The one-man heavy metal project Razör Forge has recently returned with a solid two-track EP "Nightfall Hunter" which is currently available on 7" vinyl and digital streaming, and the way I see things, this presented itself as a great opportunity to do an interview with its founding and only member Jørgen Sven Kirby, also known as Nattskog. Apart from his recent work with Razör Forge, his other four-piece project Dungeon Shaker also released its first demo at the start of this year, and since he was already interviewed here on MetalBite regarding his death metal project Garden Of Eyes, I thought it would be great to bring him back to talk about his other two projects, while also discussing various subjects along the way such as his recent trip to see Destroyer 666 concert in Prague, Czechia, his massive album collection and also his own Nattskog webzine. If you happen to be a longtime follower of Nattskog's frequent activities, I am very pleased that you have tuned in to this conversation, but in case you are not familiar with his works, then I hope you will still enjoy this journey, and be sure to check out Nattskog and his various projects. 

Vladimir

Greetings Jørgen, welcome back to another interview for MetalBite. Wow are you doing, brother?

I'm doing great, mate! Blasting Vulcano's essential "Bloody Vengeance" LP as I respond to this interview!

I saw that you recently went to Prague to see Deströyer 666. How was the whole experience? Have they included some interesting surprises on their setlist?

Indeed, I flew to Prague although I actually went on to Pisek (a small town in the Czech Republic) for Thrash Nightmare festival. Sadly Exciter had some last-minute cancellations but Deströyer 666 managed to make it in time to replace them! Their set ruled! A lot of earlier material from the first two records and they fit right onto the bill alongside Morbid Saint, Protector, Blood Feast, Witching Hour, Cruel Force, and many more rabid bands!

So far, which concert or festival that you attended this year would you regard as your personal favorite?

I think for festivals I would say: Keep It True (Germany), Metal Magic (Denmark), Thrash Nightmare (Czech Republic) and Killtown Deathfest (UK). As for shows: Adorior/Imperator/Masacre/Vircolac was a really ferocious one! Diocletian / Blood Feast was another! Plus some amazing sets throughout the year from: Coscradh, Death Worship, Deicide, Hirax, Exodus, Ulthar, Power From Hell, and Hyperdontia.

You've finally released a first independent release for your project Razör Forge, the two-track EP "Nightfall Hunter" which is currently available for pre-order sales on AHPN Records. Considering that the band officially debuted on the split with the Greek blackened/speed thrashers Chaoshorde, how come you haven't released any material before that and why did it take so long to release the new EP?

The split with our friends Chaoshorde was essentially a demo. I did everything myself for our side and it's very raw, primitive, and necrotic sounding! It was a healthy first step (albeit with the Greeks taking a more professional approach to their side) and working with Vicious Witch Records was a pleasure. I still have a good relationship with Nik and even sent some copies of the new EP to his distro! The length of time was due to us being in 3 different countries, me moving cities and also the length of time vinyl manufacturing takes. But I believe it to be worth the wait!

The EP features two guest musicians, vocalist Jan Hirtz of Witching Hour, and drummer Oskari Räsänen of Iron Griffin, with whom you also worked on your other project Dungeon Shaker. What can you tell me about the decision behind including them on this EP? Are there any plans to have them featured in future works of Razör Forge?

Oskari is a phenomenal drummer and a good friend! I was honored he accepted my invitation to drum on the record. Jan fronts Witching Hour, whose last album is probably my favorite record to come out in my lifetime. When I asked him to guest on the song, I was not sure what to expect, only that if he did it would be the ultimate evil metallic song in existence. I have no idea about the future, but I would certainly be proud to work with either / both again!

I personally think that this EP gives a nice glimpse at a much broader horizon for Razör Forge which will hopefully be explored even further as time goes on. Are you currently working on a full-length album or are you focusing on other projects at the moment?

Thanks man, it's basically what I've wanted to create as a musician for many years and through trial and error have finally achieved. I do not know what form the next release will be, currently, I am working hard on getting this flowing through the veins of the global underground so maniacs can get it on their turntables around the world! Sätaniak is also demanding a lot of my attention, though I won't say too much prematurely haha!

Speaking of other projects, this year you also released the first demo for Dungeon Shaker, the "Cruel And Wicked Heavy Metal" four-piece international project that features the aforementioned Oskari Räsänen on drums, Josh Stormwind on vocals, and Kyla Jean Morgan on bass. What can you tell me about the formation of this project? What is the story behind Dungeon Shaker?

Dungeon Shaker is the brainchild of Josh Stormwind! He asked me to write and record 3 songs on guitar that he had written lyrics for as he wanted to try making music for the first time. Gladly I obliged and Oskari and Kyla got involved on the rhythm sections. It's rough, rockin', and mystical heavy metal influenced by Witchfinder General, Pagan Altar, and Witchslayer!

Were there any talks of doing live shows for either Razör Forge or Dungeon Shaker, or do you prefer to focus on all of them solely as musical projects?

Probably not for either! Sätaniak is the only band I have a genuine plan to do shows with for now! But never say never!

Since you also own the label AHPN Records, were there any particular physical media formats that were in high demand from bands that you've worked with? 

I don't really pay too much attention to demand (I'm a terrible businessman but a dedicated collector). For me a 7" was essential but also the most illogical in terms of finance. They are expensive, not very profitable, and not as sought after as LPs or tapes. BUT that's why they are the most cult format. Only real die-hards collect ‘em, it sorta gatekeeps the music to real fanatics which is my target audience. Don't get me wrong, I love all physical music, but many of my favorite releases are NWOBHM, death metal, and speed metal 7" from before the band's first albums. So that's the path I chose to go down! AHPN Records is not so much a proper label as just a place where I can keep everything in one spot for sale for my various endeavors…

I know you also have a massive collection of physical media from CDs to cassette tapes and vinyl, and I must say that I feel a bit envious because you own so much great stuff that I've seen you post on social media, or even showcase on your Nattskog YouTube channel on either the "Relic Raiser" or "10 Metal Bands You Haven't Heard But Should" episode. I really must ask, how and when did your passion for collecting physical music start?

I've been collecting music physically since I was like 11/12 I'd say. If I love some music, I want to have it. I don't mean some files, but a relic I can hold, examine, and interact with. While vinyl is my favorite, CD and tape releases (especially the latter for demos) have a place in my heart too. I'll get more into this topic in the next question! Moreover, I never feel like I've properly engaged with a release 'til it's physically done. Thanks for the nice words on my collection too, I'm a lot younger than many friends but I like to think I've curated some cool stuff in my time!

While on this topic, could you also tell me which physical media format (CDs, vinyl, and cassettes) you like to collect the most and for what reason?

I guess I semi-answered that, but to give more detail: yeah vinyl I adore most. I love a good 7" especially (please don't take that outta context). Demos on tape, and CDs for albums and compilations that are too hard to find on vinyl / out of print / expensive! Seeing all of the artistic, lyrical, and of course most importantly musical detail as the stylus drags through a groove or tapes spool across is a ritual that cannot be replaced by mere binary code.

The last thing I want to say is that I personally admire your work and your passion for heavy metal music, especially since I see that you go to concerts and festivals very frequently, constantly collecting new physical media and you also take time to work on new music, write album reviews for your Nattskog webzine and occasionally do video content for your YouTube channel. With all these things said, I am curious to know how you manage to keep your sanity intact because you really seem like someone who's got his life well-balanced and everything in control.

I need heavy metal TO keep my sanity mate! It's my lifeblood, passion, work, and leisure. I will take this music in every form I can consume it 'til I am buried in a coffin made of j-cards and zines. If I like something I want to put my own mark on it, that's why the projects and fanzine and site, etc. I need to consume, but also to give it my best from every angle. Heavy metal is the law!

Thank you so much for this interview Jørgen. Best of luck to you on all your future work brother, and keep on delivering the goods! Are there any final words?

Thank you for taking the time to reach out mate! My final words:

Keep supporting true heavy metal, the underground, and going to shows/buying records/writing doing whatever it takes to pump the metallic furore in your veins! Everyone reading, check out the 7" and my other projects or zine, I am sure you'll find something to like if you're a real maniac (like me) and keep rockin' the night away!

<"Pelagial" was without a doubt one of the best albums of 2013 and any metal fan should see The Ocean perform live to see the full spectrum of band's abilities, passion for music and professionalism. After one of those shows I had a chance to get in touch with Loic to ask a few questions about his instrument, and Robin added his 2 cents explaining the concept of the album with last 3 questions.

Chris

Even-though originally the album was written as instrumental you bring a lot to the table and your vocals complete the concept perfectly. I'm just curious what would you do if "Pelagial" was released as instrumental only? Stay home and do other things (like what?) or go with band on tour and sell merchandise?

First of all thank you for your comment. It's quite difficult to answer this question. I honestly think I would have stayed at home in Switzerland where I would have continued to work as a sound engineer in my little recording studio. I couldn't have been on tour and do the merch and not be able to sing. It seems weird to do that.

Your vocals either bring another level of intensity or calm the waters if needed. How do you decide when and what style of vocals to use?

What I love the most with my instrument is the ability to go in any direction. I like spontaneity, I think only that can deliver something honest. So in general I do not have to make this kind of decision. Rather it is a natural process, such as at time to feel a sung part would be more appropriate and more effective than some screams. I come from the rock scene and singing is really important and even crucial for me. I feel more in harmony with myself. I feel that the screams sometimes requires much more energy, disappointment or rage, that I do not necessarily always have.

It looks like you can go from clean to screams and back with ease and with perfect pitch. Does it take a lot of training or you simply were born with this talent? Do you try to push yourself to next level on each release, try new things?

[Laughs] Well, thank you very much. Note that I'm not so sure regarding the perfect pitch [laughs]. I honestly don't do much exercises for my voice. It's been more than 15 years that I've been singing. I learned singing by going to my rehearsals and trying to sing the songs of my favorite artists just because I thought it was cool. I think this is the best exercise. Keeping a natural process you don't need to ask yourself the question. What does that mean "the next level"? It is not you who decides if the album will sell or not. I often have no idea about my voice before returning to the studio. Don't force your destiny and try to do things as they come, live the present moment without asking yourself too many questions. The important thing is to be consistent with yourself, that's how I see things in my case.

On the stage with each performance you give 110% effort - how difficult is this on your vocal cords and your overall health? I know you had some problems even before the tour started… 

It is true that I had some issues with my voice. In the same time when you're doing more than 120 shows a year you should expect to have some difficulties at the end. A lot of people are still thinking that life on tour is easy, but often these people do not realize the actual conditions of a ride. They are often exacting, the lack of sleep, the long hours of traveling, eating infected food on highways and if you want to add some alcohol it will not make things easier. After one or two month of touring , you can really feel your body fall to shreds. We must learn to calm down even if it is not always obvious and easy.

Do you take special care of your instrument? How do you keep it in perfect shape? Egg yolks or plain whisky just does the trick?

There's no magic secret. The most important thing for me is to have a nice night of  sleep, which does not happen very often on tour. Sleep is really important and repairer for me. Then, if you have a healthy lifestyle and you eat decently it will help. About the whiskey, a glass five minutes before the show and an another one during  show. It works perfectly.

How hard was to write lyrics to a concept about descending into the ocean? You can't write/sing about fish,… well you can, but I don't think it would fit.

That's why the album was initially incepted as an instrumental album. For a long time I didn't really know how to approach this, the concept behind the album did not seem to allow for vocals or lyrics… the only way to do this was to approach it was to open up a parallel universe: one being the journey from the surface to the bottom of the sea, and one being a journey from the surface into the abyss of the human mind. Once this was clear, writing the lyrics was smooth sailing. It's always like that, you're fishing for the right idea, trying out a few things, and then at one point it eventually clicks and everything falls into place naturally.

"Pelagial" was meant to be one track on record and live. For live performance, how difficult is to cut parts of 'one' song when you can't play the whole set?

It sucks. That's what we had to on the Summer Slaughter tour we did in the US here, we had a 25 minutes set, so we could only play excerpts of the record, and it didn't really make sense, as the set always either started or ended in the middle of nowhere. It is possible to cut out certain bits, for example it works well to play the entire album minus 'Absyssopelagic II: Signals Of Anxiety' and 'Hadopelagic I: Omen Of The Deep'. That reduces the set from 54 to 45 minutes, and I feel like this still works well. But less than that is hard to do. 

It looks like concepts are the main thread of band's career, why this form?

I would not say that. The Ocean is meant to be an audio-visual experience, both on record and live, and though most of our albums follow a certain conceptual thread, this is only one aspect of the big whole… the music first and foremost, but also the visuals, the lighting, the album artwork and the lyrics all play together to create this holistic experience. Personally, I have always been intrigued by albums that were "real" albums, rather than a random collection of loose tracks. When I like a band, it's great when you realize that there is some thought behind the lyrics, the packaging and the way a band presents their art both on and off stage. That's what makes artists like Tool, Nine Inch Nails or Neurosis unique and outstanding, and that's what has inspired my own approach to art and music over the years.