Re-awakening; an Interview with Nordvargr

An Interview by Vitriol.

Henrik Nordvargr Björkk is a monolithic figure of the industrial and dark ambient scene and a hero to Swedish underground music in general.  In addition to owning his own label 205 Recordings (for his own projects) and his long-time partnership with Italy’s own Old Europa Cafe, he has worked with Cold Spring Records, Essence Music, Eternal Pride Productions, and more recently, Beast of Prey and Small Doses.

This only applies to Henrik’s work under Nordvargr, however, and only scrapes the surface of what the man has accomplished under other monikers and with other musicians.  Maschinenzimmer 412 is the name that will instantly resonate with most fans of the black industrial genre, and has arguably seen one of the most productive and well-received careers out of any industrial project of the last two decades.  Holding their rightful place in music history as Cold Meat Industries’ seventh release, MZ.412 has influenced an entire generation of modern industrial artists.  Henrik continues his work under the rhythmic project Folkstorm as well as his martial alter ego in Toroidh, a project that is largely backed by Neuropa Records. 

Of course, there are also the lesser known projects such as the short-lived Hydra Head 9, Muskel whom released one album on the Malignant Records sublabel Black Plagve, and, more recently, All Hail the Transcending Ghost with Tim Bertilsson of Trust No One Recordings and Körperwelten with Leech of Navicon Torture Technologies.  Needless to say, the only thing that surpasses Henrik’s influence is his experience.

Heathen Harvest: Greetings, Henrik. First of all, many thanks for accepting to do this interview for us. Let’s start with your most recent release, more particularly “Tyglad Best” which was released on the 14th of November 2011. Would you like to tell our readers a little more about it?

Henrik Nordvargr Björkk: To begin with it is a vinyl only release – I love vinyl, but unfortunately it is getting harder and harder to get albums out in that format.

“Tyglad best” is recorded live in the studio using only modular synthesizers. Basically I spent hours to set it up first, getting the basic sounds and sequences in place. Then I just pressed “record” and improvised the pieces. There is no post production, no overdubs and no mixing made – just the music as it was performed. I think we will hear more music from me made in this fashion, it is very liberating and inspiring.

HH: You mention in your blog that during the making of the album, you were deeply shocked by the tragic incidents that took place in Norway this summer. I was especially impressed by one of the preview tracks you have uploaded, “Extended tentacles and unfathomable emptiness in holy union”, because it somehow denotes a coming to terms with the grief and dismay one feels when faced with an incomprehensible reality. How were you affected by what happened?

HNB: I was as shocked as everybody else I think… and it felt more “real” than other terror/catastrophes since it only happened a few hours drive from where I live. The last piece I recorded for the album was made the day after the killings and I really had a hard time focusing on the music, thoughts about what had happened (and why) kept interrupting me constantly. I get a real weird feeling every time I listen to that track… it brings back all these bad feelings. At the same time I think it was a good way of subconsciously working with the impressions and fear you feel when you get news like this.

HH: This tragedy delivered a powerful shock to everyone, especially here in Europe, because contrary to initial rumours circulating in the media, it wasn’t caused by Islamic fundamentalists, but by a right-wing extremist reacting to what he saw as the Islamisation of his country. The fact that  someone could launch a massive attack against his own countrymen is indeed unthinkable. Do you feel that multiculturalism has failed, and its application has led to a “battle of civilizations”?

HNB: I am not sure if multiculturalism has failed, and if it has, this was not a sign of it anyway. Breivik is a freak, a very special person and it has nothing to do with politics or racism or anything else for that matter. He is a sick person who managed to brainwash himself for lots of years into doing this. He claims to have motives etc, but at the end of the day – he is sick.

HH: After the fog had cleared there was a lot of analysis and criticism going back and forth. Some claimed it was a one-time occurrence brought about by a deranged individual. Others blamed the right that instigated anti-Muslim feelings in the population, while a significant number of people believed that European governments do not apply a strong enough policy with regard to the  handling of the immigration problem. Being a Scandinavian and therefore very close to the whole situation, what do you think was the cause?

HNB: I think I answered that in the question before this one… I am really not that interested in politics anymore. It is a corrupt system, full of flaws and greed. What I do know though is that our politicians wants to make things as multicultural as possible, but they have no idea on how to make it happen in a good, civilized and respectful way. When people are not integrated into their new environment you get “we” and “them” mentality, classes, and then follows alienation, criminality etc etc… enough politics.

HH: Your new album was recorded live, using only a modular synthesizer, and it is being released on vinyl, a format that you favour with your preference. How did you decide to change the way you record and what did you think of it?

HNB: I have been investing a lot of time and money in new instrumentation the last two-three years. I felt limited and like I was not evolving with my “toolbox” so I searched for new instruments that could challenge me and get me into a more creative mindset. The modular synths became my best friend. The method of “liverecording” like I did with “Tyglad best” is both fun and inspiring, and it leads to new and unexpected sounds and textures.

HH: Increasing access to constantly evolving technology has led to an endless number of projects, to the point where it has become difficult to distinguish genuine artistic expression from mindless  repetition. What is your relationship with technology?

HNB: I love the fact that I can reach out to people better using websites, apps, Bandcamp and all the other services available online. At the same time I hate the fact that vinyl and CD sales are dropping due to the same technology being used to spread my music illegally. But the only way to go forward is to adapt – you can´t stop what is happening.

HH: In your blog you also mention that you are starting up a “vinyl fund”, with the intention of doing all your future releases on vinyl. Why vinyl, and what makes it special to you in comparison to CD’s, mp3s or other digital formats of sound?

HNB: That fund is not really working as people are not buying enough to even print the covers… but we will see… Why vinyl? Because a good vinyl album played on a good system sounds better. And I love the size, the cover art. Everything about vinyl is better than CD´s and mp3. OK, it is not portable… but other than that it is the best format available.

HH: “Tyglad Best” is meant as a celebration for your 40th birthday. Would you say that it generally signifies a turning point in your career, towards a simpler, less technological direction? Can we expect more of that from you?

HNB: I am clearly steering towards a more “organic” and improvised way of composing music. It will be more synth based and it will probably alienate some of my fans, but that is just the way things are. I will still go back and work with my old tools from time to time though. I am way too productive to just stay in one field anyway.

HH: In your work we can find samples from various sources, among others military marches, speeches and references to historical events that played a crucial part in how the modern western world was formed. What is the meaning of history for you, and what do you want to express through its inclusion in your music?

HNB: Those Who Do Not Remember The Past Are Condemned To Repeat It. It is as easy as that. You need to look at human history and learn from it.

HH: Personally I see the inclusion of such passages in Folkstorm and Toroidh as a historical interpretation, even as a warning that “Those Who Do Not Remember The Past Are Condemned To Repeat It”. It is my firm belief that we should not shrink from the unpleasant parts of history. Others however see it differently, and you have been accused at times, of propagating extreme right-wing ideologies. How do you respond to similar accusations?

HNB: Anyone who knows me just laughs at that (and so do I). I am a very unpolitical person. I paint audio-portraits of times past, I reflect echoes of war and conflict, but I do not tell you what to think. This is art, not politics.

HH: In light of recent economical and social events in many European countries, “Europe is Dead” by Toroidh comes to mind, and a certain insight of yours is revealed, that was perhaps not evident to everyone at the time. Do you feel your message was in a way prophetic? What do you think the future will bring for Europe?

HNB: Yes, I am the black prophet of doom. The future looks a bit dark at the moment, the euro currency issues and everything that surrounds it seems almost impossible to solve. But once again, it is all politics and corruption and I don´t waste my time with it.

HH: You are undoubtedly considered as one of the initiators of the dark ambient and death industrial genres. Rightly so, as you were among the first to carve new paths, and to explore the possibilities of these genres to the extreme. After some time has passed and those influences have been assimilated, how do you see the “scene” now? Are there any new names that you like?

HNB: I am truly honored by that statement. Personally I only take credit for being the inventor of Black Industrial (with MZ. 412).

I do not listen that much to the “scene”, and I never have, but I do like to listen to New Risen Throne and Genocide Organ every now and again.

I feel like everything is getting diluted and boring most of the time, but that is not something exclusive to these sub-genres.

HH: With most of the prominent names having originated there, Sweden was certainly leading the way during the 90′s. At the moment the focus has been shifted elsewhere, what do you think happened? Is there any chance of a “Swedish revival”?

HNB: A big part of the reason that Sweden became prominent in this field was Cold Meat Industry – Roger Karmanik really elevated the “artform” with choosing only high quality releases and excellent artwork. As times progress the influence of this adapts to new bands/projects and the concept of “industrial” or whatever you want to call it mutates and takes new shapes. It is natural.

I don´t think Sweden will get a revival though – we are are still here, we are still important to the scene. The scene just grew beyond the Swedish borders…

HH: After an extensive discography the quality of your music remains equally stellar, and a new album from you is always something to look forward to. What is the driving force behind your creativity?

HNB: I do not know… I have tried to explain this before: I have an urge to create, it just “flows” out of me. If I don´t compose music I get all grumpy and hard to be around. I guess the right side of my brain suffers from some weird defect.

HH: How do you usually go about with making an album? Is it similar for all your projects or does it differ according to the mode of expression you are using at the time, and the general phase you find yourself in?

HNB: I have no preferred method really… I compose music or record/process sounds several days each week. When I get enough material that has a similar feeling or style I try to see a connection between them and create clusters of sounds and tracks that later forms a release.

Sometimes a theme occurs to me which I can “see” in audio – Toroidh is a good example of that.

HH: Is there any particular project you enjoy working on the most, and why?

HNB: Not really, I find great pleasure in all music I make.

HH: Your work has an underlying mystical intensity to it. It gives the impression of being attuned to layers that exceed what we would very simply refer to as “normal understanding”. Are you personally interested in the occult, and are there any aspects of it that can be linked to your music?

HNB: I used to be, but I have come to the conclusion that nothing really exists beyond death. It is all like dreamless sleep. Like before you were born. Nothing.

HH: Some of your personal albums and mostly MZ.412 contain symbolism and imagery generally considered as “dark” or “left-hand path” – for instance Satan, Lucifer or anti-Christian beliefs. How would you describe your viewpoint on the above at the moment? Do you still adhere to the same beliefs or have they altered through time?

HNB: Again, I have lost faith in everything. I worship the great nothing. There is nothing more than here and now. Make the best of it. Be the alpha and omega. Make babies if you believe your offspring will be strong enough to deal with this cruel world. Live life to the fullest.

HH: You don’t participate in live performances as often as you release recorded material. Is that due to practical reasons or do you prefer the more contemplative, solitary process of writing music?

HNB: Two reasons really; most of my music does not work live. I really do not like to play live performances with ambient music, as much as I do not like to attend such concerts myself. It is deeply personal music, nothing to share.

The other reason is that I have a demanding and exciting dayjob and a family to care for. I have very little free time, that is just the way it is… and I love it that way.

HH: Are you planning any appearances to coincide with your new release?

HNB: No, nothing planned at the moment. I do however plan to do a few gigs after the summer, but it is nothing official yet.

HH: Which of your projects are active now, and which have been put aside for later or defunct? Do you have any news for us on that respect (collaborations, side-project releases etc)?

HNB: Right now I would call Folkstorm, MZ. 412 and Nordvargr my main focus. I do have a few collaborations (Merzbow and Eraldo Bernocchi) going as well as the joint venture of Arditi/Toroidh – I expect all these formations to release some new material during 2012.

Other than that I hope that I will get enough free time to sit down and just learn my instruments better, to really deeply understand them and become more “one” with them. I think that is my way forward – to develop my craft even further.