Even though they boast members of both Darkane and Soilwork, The Defaced want to make it clear that they are just not some hastily assembled side project! In fact, The Defaced are completely the opposite. With "Domination Commense," the band unveiled their potent mix of modern American metal and catchy Swedish licks to the metal underground. Now with their sophomore effort, "Karma in Black," The Defaced refine their sound and take the groove, the intensity, and the melody a step further. I recently had the chance to speak with the band's guitarist and co-song writer, Mattias Svensson, on the new album and more.

Adam Block


I would just like to start right off by congratulating you guys on the high acclaim of the your debut album "Domination Commence." Your new album "Karma in Black" is already receiving large amounts of praise from various metal magazine! How does it feel hearing that stuff when the album is only on the verge of its release?

Oh you know it's really cool because when we write the stuff we just go for the gut feeling of writing what we like playing and what we feel that The Defaced should like that. It's really that is comes across that we hope it will. Of course, it's really, really cool if people like it but, on the other hand, if they don't we are still doing what we want to do. I'm very happy about it.

Well it has to be a relaxing feeling. Some bands send out promos and seem to get a little backlash, but it must feel good that the album is not even out yet and it is already getting good feedback.

Yeah, yeah, yeah definitely. Especially about this one because the license between Scarlet and Nuclear Blast for "Karma in Black" wasn't finished in time so the initial press time was way shorter than it was supposed to be. It was only like a month and we usually want like three months to work the album. I was a bit nervous that the promos would not reach the magazines in time but on the other hand, now when we are doing interviews the album is going to be out. I mean it is released in the States tomorrow.

Yes I noticed that actually. Usually Americans get upset when they hear that they have to wait longer for a CD to come out than other countries do. We always seem to be the last ones. This time it is opposite. How did that come about?

I don't know actually. I think it's that... when we had mastered the album and we sent copies to Nuclear Blast. We have to send everything to Scarlet in Italy first so they handle all the shipping of the masters to the licensed labels but we sent a copy to Nuclear Blast and they were totally psyched and wanted to release it as fast as possible. I guess it was sort of a demand from them to be able to release the album as soon as possible.

That has to be quite reassuring for you then...

Yeah and that is just my theory though you know but it's quite logical that it came around like that. I know the Japanese Soundholic wanted to... they are going to release the album April 2nd and in Europe it does not get released until April 14th.

Now I remember thinking the first time I heard you that you had to be an American band. Even though I was familiar with Soilwork and Darkane, I still sensed the American metal influence amongst the melodic overtones yet you guys seem to be creating more of your own sound with this new release. What was the goal of this record going into the studio as far as the sound goes and do you think you achieved it?

Yeah, you know when we started talking about the second album we didn't actually sit down and plan a whole lot of things. We just sort of took the parts from "Domination Commence" that we liked the most and sort of went with that. We all just let it happen. No planning. We just sort of went with the flow. On the other hand, production wise, we had a lot of stuff that we weren't pleased with "Domination Commence" and we set up production meetings if you can call it that and discussed what the goal would be like. We decided upon a fat, pounding sound and quite hard-hitting but also a natural sound so when we recorded the drum tracks we decided to use only natural ambience for the drum kit, no reverbs, no triggers because it's more dynamic to work with the natural ambiance. It is also a bit trickier because it is less controllable.

The drum sound was one of the first things that stuck out for me actually. I liked the fact that it sounded a bit more live and had better acoustics.

Yeah I think so too because of course you can use triggers to get the punch in every kick...

But when you have Henry Ranta behind you do you really need it?...

Yeah [laughs]... we don't need it.... No man, that's true... He's very umm I don't know what the word in English is... umm

Amazing?

He's ... even when hitting... what do you call it...

Precise!?!

Precise! Yeah! He is... so no use using triggers. It's better to use his dynamics instead.

This album was written in a relatively short amount time. Your debut was released not too long ago. What is the general writing process for you guys and who are the main contributors?

The music is written by me and Klas and I also get the question, "Is it hard to keep the different styles from the different bands apart?" The answer to that is no it isn't because Klas does not write that much for Darkane. For "Expanding Senses" he only wrote like two songs so I guess he gets his musical expression out in The Defaced instead. I think that the writing process was something like 8 or 9 months for "Karma In Black" and we tend to take our time with the songs and work through the ideas real thoroughly to make the most out of each basic idea. Since me and Klas produced this album, the whole production was an extension of the song writing in the creative process. It was really cool to be able to follow the songs real closely and watch them develop the way we had in our heads.

I think a lot of good work was done with the vocals and choruses. They are still heavy but a little more melodic as well. Was that something you guys wanted to focus on while making the record?

We felt that, like I said, to take the parts from "Domination Commence" that we liked the most and as you there are no really super fast songs on this one. As well as that with the melodies we wanted to focus on the things that we thought that we could do the best. We had a lot great ideas that we wanted to pursue so we just went with the flow.

What is the significance or meaning behind the title "Karma in Black?"

Not at the point when we decided upon the title but in retrospect I guess it pretty much sums up all of the lyrics on the album actually. I don't know if that's something that I made up in my own head but if you listen carefully to the lyrics and the meaning that we put into the title "Karma in Black" I guess you can say that "Karma in Black" pretty much sums up every title or every lyric on the album. "Karma in Black" for us is that once in a while or perhaps quite often, everyone is affected by darkness in one's life. Sometimes the dark and bad stuff that you see and you ever think will happen to and instead of being absorbed by the dark stuff in your life, use them as a strength to help overcome them. The lyrics for the song 'Karma in Black' is quite contradictory. There are contradictions all the way through the lyrics. So I guess what does not kill you makes you stronger... you know that old saying? That's "Karma in Black!"

You guys had a chance to play some shows in Europe for the last record. How did those shows go? Any tour highlights that you can recall?

We did a small tour in Holland which was really cool. On that particular tour all the gigs went great and we got a lot of good reactions from the crowds. We also had the chance to hose Klas down one night with a fire hose so that was fun!

I know it may be too soon to tell but are there any talks of you guys heading out on the road anytime soon?

There's actually been talk about a European tour starting in August but at this point I think it is a bit too early because there are still some issues that have to be settled. If it comes true, then I think it will be a really cool package so I really hope that it'll happen.

I saw your new video the other day and I must say that it is very awesome. What was that whole experience like for you and the band? Have you had a chance to see it on television yet?

No, we haven't seen it yet but the whole experience was a lot of fun. It felt like back in your old room in your parent's house jamming to some good music and playing air guitar because you play with a playback when recording a video so it is a bit weird. We had a great time you know and the film crew was really great to work with.

What CD have you gotten recently that has been spending some time in your CD player?

I am in sort of a retro phase right now. I actually bought Guns and Roses' "Appetite for Destruction" the other day...

Man that album never gets old...

[Laughs] no, it doesn't and I wasn't too into it when it came out so that's why I tried it now and I imagine that it is THE rock and roll album. It is really good and I sort of surprised myself by liking it as well.

But it is pretty sad to see what is going on with Axl Rose nowadays though...

Yeah man [laughs]... but he's got some illness...

Your new album has been in the top 5 of 2003 for quite some time now even making it to the number one spot so congratulations on that as well!

That's really cool man! That's great! I hope it stays in there!

Well it was number one for a couple weeks actually!

Yeah... a couple weeks?

Yeah, we had a new mp3 from "Karma in Black" for a while so I guess a lot of people heard some more new songs and started voting!

Well that's cool. Really cool!

Well that is all I have ... Any last words you would like to give to the fans?

Yeah check out "Karma in Black!" It is a strong album in my opinion and it is definitely worth checking out. If you are into hard-hitting, groovy modern metal, I think it will fit you like a glove. Also, for the ones that have supported us up to this point... many thanks! You’re the shit!

It’s been over 11 years since mysterious and icy cold atmosphere Of My Dying Bride invaded our souls. Throughout those years MDB developed and grew to the ranks of, and I’m not afraid to say this, Gods of doom and dark metal. They’ve been through highs and lows, they’ve toured with Iron Maiden and they’ve thought of a break up but "Dying Bride" never died. Now there’s more, Andrew Craighan thinks that with their latest masterpiece "The Dreadfull Hours", which believe me will warm your blood during those cold and lonely autumn nights, is just the beginning in their new chapter of misery...

Chris


How much have you and the band changed since the band’s inception? Is it the same passion and enthusiasm for the music as it was 11 years ago or is everything more or less calculated now?

I think, to be honest, it’s been calculated in the past to a certain degree but you’ve got to love what you’re doing to keep going for this length of time. But I think more now, specifically with the last two LPs, it’s more of a passion again. It’s not calculated at all, we just really enjoy what we’re doing again. So, I guess the answer would be straightforward; we just enjoy it now. We have been through this calculating stage and it’s not as much fun. Fortunately, we’ve got to the stage in our career, for whatever reason we’ve got a stable line up again and it is very much passion now. We do enjoy it so much that we don’t really think about anything else now. It’s just being in the band again and enjoying what we do.

The band went through a lot of personal and musical changes. Which period of the band’s career do you think was the most satisfying?

At the moment, it’s very satisfying. I’m extremely happy with the way the things are going but one moment I know for definite was better satisfying was between "The Angel and the Dark River" and "Like Gods of the Sun". It’s so obvious to me because during "The Angel and the Dark River" the popularity was such that it allowed us to tour with Iron Maiden here in Europe and during "Like Gods of the Sun" we were touring with Dio in the United States. There’s no way on earth I could say those were the bad times. Yes, it was difficult and it was a lot of work but Iron Maiden and Dio were some of the bands I grew up with when I first started getting to heavy metal and rock music as a whole. So, to get to tour with them both, on separate occasions, it was like... well, I was clearly dreaming. It was bizarre. It was bizarre time in my life, for a good reason for a change... So, definitely between "The Angel and the Dark River" and "Like Gods of the Sun" has been the most satisfying period for me.

Were there ever any moments that you thought of quitting or breaking up the band?

Yes. When Calvin left. We sat down, myself, Aaron and Adrian and tried to assess what would be the plan, what would we do? Do we continue with My Dying Bride and go on to rebuild it? As it turned out that’s what we did. Do we finish My Dying Bride and let her die? The answer was no, we continue with My Dying Bride, we’ve always been My Dying Bride and we’ll always be My Dying Bride. That was the question then but we chose not to. Looking back that was the best thing to do because after that decision we did, in my opinion, two of the best records My Dying Bride has done, two of the darkest sounding records in "The Light at the End of the World" and now "The Dreadfull Hours". So, it was a tough time. It was extremely difficult time. I’ve learned a lot about the bad since those times. Yes, myself, Aaron, Ade, Shawn and Hamish are part of My Dying Bride but we have bigger responsibility, seems now, to the people that subscribe to My Dying Bride who’ve been with us since the beginning. We wouldn’t just be letting ourselves down by stopping the band we’d be letting people down all over the world we’ve never met and we don’t want to do that. We want to keep going for as long as possible now. We really have a new vigor, new passion to keep going because it’s almost like a new beginning getting the band back together, releasing two good LPs and hopefully, who knows, but moving into stronger and bigger things.

Let’s go back to "34.788%… Complete". Everyone knows that it was your more or less most experimental album of your career, but what I want to know is the history behind the title. What exactly is 34.788% complete?

Calvin had an extremely vivid dream one time where he was sort of led around somewhere by a more intelligent authority, let’s say, who was saying, looking back at mankind and this kind of thing you are only 34.788% complete. This is where you are in a progressive state. I don’t know whether this was like spiritually, mentally or in a technological sense but whatever it was in that particular time, we are only 34.788% complete. So consequently we have over 60% still to continue to develop. At that time, the mentality within the band was such that we liked the idea. We thought it’s not typical of My Dying Bride and I think that’s what we enjoyed about it back then.

We also liked it because it was a very very strange time for us and another thing, the record company hated the title and we like that a lot. So, with those things in mind it was decided that that should be it, very simply. There isn’t really a great deal to tell about it. It was basically sort of math theory on where the humanity was. When you see the background to the title it’s not the most insane idea the world has ever had. I think back then we were all subscribing to a very similar thought anyway. It fit very well with what the music was sounding like and what the cover was going to be. When we choose a LP’s title we don’t just choose it because it looks or sounds good we actually attempt to make it work with the artwork. We try to make a complete package. So, because it had a very techno feel of also being numbers and percentages as well with the cover looking like it did it fit very well. Looking back it was a good decision.

I read somewhere that "...Complete" didn’t belong to the list of your favorite albums. Did this change of musical direction have any affects on personal rotations after its release?

Well, two of the members had already left. Rick and Martin had already left, Calvin was still with us but it didn’t change anything personally between myself and Calvin or the band and Calvin. Calvin is now our tour manager, we’re still very close friends. I spoke to him earlier tonight, in fact, I speak to him every day now it seems. So, there is no animosity. The people in the band didn’t fall out, he just chose that after "34..." he had enough. He chose to help himself so he could concentrate on getting his life in order by leaving the band. We obviously didn’t think that was the best thing to do but we couldn’t change his mind so we had to accept it. We didn’t fall out in any way, shape or form whatsoever. We still, in fact we are probably better friends now than we were in the band ‘cause we actually talk more now. In the band we used to just work together. Now we can have a relaxed conversation without always talking about the band.

How did it happen that you landed on Peaceville’s label again? Don’t tell me you didn’t have any serious offers from other labels?

If I did say that I would be lying anyway. [laughs] No, the simple reason is that once we became free agents we shopped around and we got a few offers from labels from Europe and England and every single one of them simply couldn’t mach Peaceville’s new offer. Not the freedom in artistic license, not the freedom in merchandising. We don’t want to be too restricted to what are we allowed to do. With freedom of title choice, freedom of artwork, freedom of studio choice and also how much money we will be allowed to spend in a studio, Peaceville came back with all answers and none of the other records could even come close. So, it was pretty easy really to go back to Peaceville. And we did this not only because they matched that contract; we know Peaceville, we know how they work and they know what My Dying Bride is capable of. They know if they just leave us alone to just get on with the job, everybody will be happy and rewarded in a sense that they can make enough money out of us to keep them happy. So, it was easy to go back to them. We don’t want to be messed around, we don’t like contracts, we don’t like... well, we don’t like record companies, to be honest, and they just allow us to be a band. They don’t fuck around with us, they don’t get involved with us and we just turn in a piece every two years and say, "There you go, that’s the new one". It’s great cause we don’t want to get involved in all that commercial bullshit another record label would have us do. Not just myself, the entire band enjoys the underground. We still consider ourselves an underground band, which is a probably a bizarre statement but we subscribe to that. We are not rock stars. A lot of bands are really into being commercially successful and selling a fucking million records we are not really interested in that. The key to My Dying Bride is to be allowed to do exactly what we want, no mater how it sells. At the end of the day Peaceville will not complain and we’ll not moan that is not commercial and that’s what we want. They just allow us to be My Dying Bride and release incisively miserable records time after time just because we want to. And they say, "Yeah, we’ll continue to support that" and that’s perfect for us.

"Meisterwerk" – are you satisfied with fan’s selection for those albums? Are there any songs you would like to skip and replace with something else?

To be honest, I’m perfectly happy. In fact I was surprised how well it all went for me because I had no idea what people were gonna choose and yet they all pretty much chose everything that we expected. We gave it to the fans to choose and then for me to sort of say, "I’m not sure about that" that wouldn’t be right anyway. So, even if they chose something I was completely unhappy with and I though that was the worst MDB track ever I wouldn’t change it. People have voted for it, they took the time to vote for it and they should be allowed to hear it whether it’s my favorite or not. So, I’m more than happy with the way they turned out and more than happy with the response they’ve got because I’m not a big fan of compilations and that kind of thing ‘cause it just looks like the record company wants to make some money. Again, being adverse to self-commercial side of things it wasn’t something I was happy with but I was glad the fans backed us and came out to help us choose the songs.

OK, enough of the past because we could go on and on... Tell me how the writing process of "The Dreadfull Hours" went? Did you have a feeling of proving anything... because personally, I can’t stop listening to it, it’s that good.

Thank you very much I’m glad it’s having an effect. When we were actually writing we weren’t actually sure what we had. We didn’t know what it was going to turn out like because what we do is, we have the basics of the songs; the skeletons and then we take the skeletons of the songs to the studio and we put flesh on the bones. And there isn’t really a better description of what we do.

In the past we would take full songs and then just record them but over time we’ve learned that in the studio you can have greater control and a wider field of vision of what’s happening. So, now we are going in with the skeleton of the song and then flesh it out. Sometimes we’re even going in with the skeleton and then we eventually remove that completely and end up rewriting it. So, from now on, sometimes we have 75% of the song done and the rest is just spontaneous work in the studio. We just see what happens, which is brilliant because most of the time what does happen is that [which] can’t be planned, it can’t even attempted to be planned. You get the feeling it just works. It’s an amazing feeling. The actual writing process is pretty much this same as always, we’re trying to adjust to the lyrics. Aaron will give us the lyrics and we’ll try to basically create the atmosphere around them to make it work, to make it believable. It can be difficult because he changes the lyrics so often, because he’s always striving to make them a little bit better then they are, and sometimes it makes it difficult for you to write the music to something that’s constantly changing. Overall, we know exactly what we want. We know what My Ding Bride always sounds like so it’s not difficult to get the atmosphere going.

How does the lyrical concept differ from your previous releases? Is there a common theme on this album?

No... well, there are the usual sex, death, and religion sections; we are still pretty much under that umbrella but I think one of the key differences this time lyrically is the fact that a lot of the songs are not as mystical and poetic as it was in the past. Some of them are quite disturbing in a sense of being true to a life’s horror. 'The Dreadful Hours' is basically about a murder of a small boy by his father, which is a very disturbing story because the background that it’s set to is simply the boy is scared of the dark and a father is a violent man who has no patience, no tolerance for the small boy.

I’m still wondering about this song, to be honest, because it’s so true that it must have happened somewhere in the world. It’s a little bit too true for My Dying Bride; we haven’t really touched anything quite as close to the bone as this. I think the song itself is one of my favorite songs of all time of My Dying Bride, but the lyrics are very, very sensitive and people could be quite upset with this. I’m not sure that’s what Aaron was intending but when you’re listening to the song and when you sit down with the lyrics too it’s quite disturbing.

We also touch upon the ancient, Greek tragic stories that we used to play in the past. We’ve taken ‘Le Figlie Della Tempesta’ which is an Italian sentence that means ‘Daughters of the Stone’ and that song basically relates to... it’s similar to the Sirens of Odyssues where he’s drawn to Ireland by the song of the sirens. It’s similar to that but it’s not such a mystical point of view, it’s almost like a warning. Be aware of women; make sure you understand what they really want and what they’re doing because otherwise they can be... well, it’s almost a warning. It goes against for what My Dying Bride normally sings about because we normally congratulate women and love them in a romantic way and this is a step into completely different direction; a warning against women, don’t go there, they are dangerous beasts, be extremely careful.

So the lyrics are a little bit schizophrenic in places, not traditional in any manner. Another one, I think worth mentioning is ‘A Cruel Taste Of Winter’ which the original plan for this one was that we’ll play the song live, but each night the lyrics would be completely different. So, every night you would hear a different version, it would be like an exclusive version every night. We liked that idea a lot and we’ve actually practiced it cause we played a couple of gigs in Poland, Belgium, Holland and one gig in England in March. It worked, it worked extremely well but when it comes to the CD, we decided we would really like some lyrics on the CD for this, something definite. So, Aaron basically said, "I’ll tell you what I’m going to do for this one. I’m just going to ramble, I’m going to treat it like I’m insane and I’m going to mumble and I’m going to ramble and I’m going to come up with sentences that don’t mean anything next to the sentence above or below and I want to see what it sound’s like" and he just wrote down everything he thought. And what he wrote down it’s just a rambling of an insane man. It’s clear there’s something wrong with him and yet in the context of the song it works perfectly and yet it shouldn’t work because there is no consistency to it. It’s fucking bizarre how it works. It’s a strange angle on something and it’s a new angle and it works this time, but I’m not sure if we could do it again. I think for me those are some of the key elements on this record. The other stuff is not straightforward, it has differences to it but it is pretty much all in line what My Dying Bride people might be expecting to hear from us.

Does Aaron stand behind all the artwork again?

Yes. This artwork isn’t new though. The reason this artwork is being used at the moment is, a couple of years ago, maybe 18 months ago now, I was going to do a side project, a more up tempo, more aggressive sounding band, possibly even black metal, and Aaron had this artwork, the one we have used for "The Dreadfull Hours" now and he wasn’t all that impressed with it. He didn’t think it was any good, but I saw it and I thought "Fuck me, that it’s perfect for what I want to do, absolutely perfect" and I said to him "Can I have this piece for this band I’m gonna do if we release a demo or something like that?" he said "Yeah, yeah, sure, no problem". But I was still concentrating on My Dying Bride and never got the chance to put this band together and it never really took off. So, the artwork was there, always on the back of my mind and then when the record started to become more aggressive, more violent but still very sinister and very dark I remembered this artwork because of its contrast. It shows the aggression clearly in control and you have a defenseless child or a small man who’s being attacked. But not only just the content of these two antagonists on the page, the fact that the whole artwork looked ancient, it looked like a painting by a caveman who saw something happening he didn’t really understand what it was that he saw but he’s trying to paint it as best he could those thing coupled with the music, coupled with the title... I said, "This has to be a cover". It’s just perfect. So, when he went and took another look he brought it out and that was it. It was just too good to be true.

Without a doubt, "The Dreadfull Hours" is one of your darkest epics. Was going back to your roots intentional? Does it mean no more experiments in My Dying Bride?

No. I think this is the beginning again. We’ve come to a point now that we’re so confident, we’re so full of ourselves, that I think this is almost a new beginning. I think "The Dreadfull Hours" is the beginning of the rejuvenation of My Dying Bride. Not necessarily in popularity but in misery, in what we create musically, lyrically and visually. We’ve got to the stage were we know the limits of what’s going to happen within the band. We don’t make living from the band, which is why we can be exactly what we are and because of it we can be so absolutely free and so absolutely true to ourselves. I honestly believe that the next record will be, if it’s possible, even darker... more sick. There will still be experimentation in a sense that we’ll try, but not to push boundaries because it’s a pointless pursuit for us, but there will be definitely things we haven’t tried before that we’ll attempt to use if they work. I do honestly see a very... I won’t say a bright future because that’s not the right word, but I do see a future for My Dying Bride... but only in the constraints that My Dying Bride normally works. It’s strange but I’m looking forward to the next record already even though this one is not even released yet.

When can we see you on the road, especially here because in Europe you’ll be playing sooner or later?

The plan is, you know November’s Doom, Paul is a good friend of mine and he’s trying to put together some sort of doom festivals next year. So, he’s trying to put it together and we’re trying to help him by saying "Yes, we well play". There won’t be an American tour because we can’t commit to that kind of time scale but we’re gonna attempt to come over at least to play this doom festival and maybe two gigs but that’s probably going to be it I’m afraid for the next 12 months. I’m not even sure if we’re going to do a European tour this time. We might just do festivals. We are seriously and definitely looking at playing a doom festival in the United States at some point in the future.

Please tell us, why shouldn’t we do favors for people or animals?

[laughs really hard] My old friend of mine used to say this because he was just a fucking miserable bastard. It was just a bizarre thing... "never do favors for people or animals". He was such misery in the context of My Dying Bride. His mentality was if you don’t do favors or anything to anybody how can you upset anybody? He was just a fucking misery but I liked his mentality and I stole it from him. I wish I was that way. I would do favors for the devil I’m so willing to help people... It’s just a little bit of fun. [laughs] The key to it for me is what kind of favor would you fucking do for an animal? [laughs] That’s the question you’ve got to ask yourself.

Any final words?

Stay true to fuckin’ metal and don’t subscribe to the news of pop sensations that’s happening right now because once it’s gone you’ll be back listening to heavy metal anyway... and look out for My Dying Bride at this doom festival next year... And thank you for this interview it’s been very enjoyable, I have to admit.