March 23, 2015 Chris Dick
** Dødheimsgard’s new album, A Umbra Omega, is no joke (see mental strongman Vicotnik’s argument at the very bottom). It’s a vicious mind-warp of an album, aggressive in its obtuseness and adventurous in its boundlessness. It’s at once black metal (free think!) and not at all (non-conformist!). A Umbra Omega riffs on, then destroys said riffs on, previous albums 666 International and Supervillain Outcast. This is Dødheimsgard. Extra-dimensional black from the deepest, darkest pits of space and time. A Umbra Omega is ritualistic in its abrasiveness, religious in the outcome of surviving its completeness.
From 666 International forward, Dødheimsgard has imbibed in the weird, the strange, and the obtuse. I figured you would’ve tried to pull the opposite of what you’re known for on A Umbra Omega. Maybe that’s too predictable too. So, you opted to stay weird. Was that kind of the idea?
Vicotnik: It was no specific idea as such, but since I love music, it is natural for me to get inspired by other genres as well. There was really never any moment in my life, where I only listened to black metal. I am also product from that school of reasoning that was very much present in the early ‘90s scene, that plagiarism is the biggest sin of them all. So if you look at 95% of the bands from my era, they all (for good or for worse) evolved in some shape or form. The black metal sound of the ‘90s was in itself a little piece of sonic evolution, since early black metal records of the ‘90s did not really have any specific counterparts from the ‘80s. In addition, you had the x-factor in the ‘90s, because nobody knew what they were doing, and the engineers that were set to produce these records had no knowledge of how a record like this was supposed to sound like. I like the idea of pursuing the unknown factor, that sets the table for creativity. There are viable reasons for bands to produce their record over and over again. They may be based on some sort of ideal, or success-recipe. Inadvertently this also means that these bands, to some degree, have to abandon the creative process. Musically one could say that the main focus of this album is the feeling/atmosphere, while the tools rendered to achieve that sought after atmosphere varied through different creative approaches.