Band: ELVIRA MADIGAN
Country of origin: Sweden
Style: dark / black metal
Questions by: Kai Mathias Stalhammar
Answers supplied by: Marcus Hammarstrom (all vocals & instruments)
 

The whole Europe has celebrated the coming of a new year recently. Did
anything special happen to you on 31st of December? How did your own
celebration go? Would you dare to say 2001 was a successful year for
ELVIRA MADIGAN, as well as you personally?

- I did spend my new years eve at a friends house. Well, actually it was his girlfriends and her four kids but it was very nice and in walking distance of my home. I have a dog and she is not really that keen on celebrating this particular eve, so I have to have her in mind when planning my own celebration for all the rockets and stuff that goes off in the air do scares the wit out of her. But I got quite intoxicated anyway and it was pretty nice bearing in mind the last time I drank alcohol was at my promotion tour in the early Summer. If I dare to say 2001 was a nice year? Hmm, well I think I do. 2001 was the year for the "BlackArts" CD to hit the road for promotion. Sure, it was released in late 2000 but it took off a little more in 2001. I actually hadn't planned making promo-tours to festivals, but it was a rather intruiging idea that popped up about a year ago and really put a different spin on my promotion. Very successful indeed. And in late 2001 I finally got my second release out, and so far it has been recieved even better than "BlackArts", so I am very humbly looking forward to what this year will bring. In fact, I dare say that the year 2000 and 2001 were probably the best years if my life! And this is even though I felt rather mentally ill this recent fall. When devoting oneself to art like I do the creativity sometimes hits back in negative ways. This happens quite rarely and is overcome eventually (and who cares about me wining like this anyway!). Now I'm loading my batteries for the next ElviraMadigan release.

The year of 2002 has come, and since your latest offering was released in 2000, I wonder if you have anything new in store for us?

- Yes, I do indeed. On the 3rd of December 2001 I did release the second CD "Witches - Salem (1692 vs 2001)" which has just been send out to different magazines (inculding yours). The promotional shippings were rather delayed because of Christmas and due to the rest I felt I needed shortly after having finished the new CD. I am extremely excited now for the new CD since "BlackArts" - even though released 2000 - was actually finished 1999. It took me two full years to make this new opus which is extremely diverse and has a much richer production which hopefully will bring ElviraMadigan a few steps forward. The new CD obviously feels much more up-to-date in the ElviraMadigan evolution and highly representative of where I myself are standing musically. Otherwise concerning this new year of 2002; I will try to get some merchandise (probably T-shirts) available. And I will have a professional photo session (finally!). And work for the next release has already started. Depending on how that work progresses there might be a single or EP release either late this year or in early 2003. Then there will of course be a promotion tour later this year as well, so I certainly need not feel choreless in any way.

You handle everything yourself; like singing and playing all instruments, recording / engineering / mixing / mastering both "Elvira Madigan" and "BlackArts", making 'em available via a label of your own (the latter in the shape of digipack)? I suppose all of it takes much effort _and_ money. In case you agree, why do you keep on rejecting any other's helping hand?

- I don't really reject any help as far as I see it. I started out with ElviraMadigan after my previous band split up. It was due to the lack of interest from other members and difficulties in finding new, that I more or less was forced into learning other instruments (Luckily I might add. For I am very glad I had to take that path since it formed my creativity into something quite different than was the case in those early days). It was actually only after I had put my first tracks for this project on tape, that I realized that I could do all this by myself, hence the ElviraMadigan of today. And I was still fishing for a record deal up until the autumn of 2000 when I felt compelled to get "BlackArts" out (in order to make new material available a year later on) which led to me founding "Northlore Records". I would really like more partners in distributing the CDs and I hope fate will prove to treat me nicelly even in the future, so perhaps this issue will be solved as well. When it comes to playing, producing and writing my songs I suppose I am a control freak - a quite tyrannical one if I might add. I did start ElviraMadigan to be able to write and make music the way only I alone would see fit. That is; with no external interferrence what so ever. I felt rather frustrated in my previous bands when all my ideas was altered and at times even destroyed completely in order to compromise with the other members. I guess I am a highly visionary individual, and sometimes it's almost like my head is about to explode with all the stimulation / inspiration I might recieve and all the things I want to do artistically. Every song for instance, has an own personality for me - a certain artistic mark if you will, and this very fact makes me hold each composition quite dearly. The CDs themselves are highly thought of and planned in order to have the songs compensating each other in the order of which they are featured to make a complete icon of drama and art. It's not like I just write a few tracks and collect the best of them on a CD. I do plan and think of every detail so much that it drains my energy - and that was especially the case for the new CD. It is this very issue that is hard to share between different people. I know I have had problems with that anyway. If one thinks of the soundproduction and mixing; I do it myself mainly because I have my own studio and am able to record whenever I want to. If I were to record in a different studio then I'm pretty sure my budget would fly out the window (since recordingsessions can be held in Madigan Studios without the slightest thought of keeping oneself within a certain timeframe). Lately, I do feel that the productions I come up with in Madigan Studios may also turn into a very suitable and formidable trademark for ElviraMadigan, which is yet another reason for sticking stubbornly to my concept. Sometimes I actually think there is too much money involved in the music industry, for it seems to have a negative effect on the bands themselves. Just look at Metallica or Megadeth which with huge budgets have become uninteresting. And they were both killers in the 1980s. The charm of early Bathory and early Slayer is unmistakeable. And their budgets must have been extremely low. So for me the interaction of being stuck with a tight budget as well as doing everything myself fits me perfectly. I feel not the need to complain at all.

It seems like you've been into music for many years now since, at least
that's what I was thinking of judging by how you handle guitars, bass and
keyboards...

- Well, I started out playing bass in the end of the eighties and started singing shortly afterwards. I was extremely devoted to my bass and after obtaining Yngwie Malmsteen as my ultimate influence I got perhaps a little too carried away in playing fast. When the band I had previous to ElviraMadigan (called ANDALUCIA) split up I started playing guitar and keyboards to be able to record in Madigan studios without having to ask friends. This was in 95 I believe. So I guess it was from this year I seriously started playing other instruments than bass. By this time I wasn't really interested in the Malmsteen type of playing anymore (including the mandatory huge amount of scales) and tried instead to develop other techniques and styles for use in ElviraMadigan. I think no instrument in particular shines through unnecessarily much in my songs - which is a very good thing for me. I feel the compositions themselves should be the main issue and not ego-trips on certain instruments.

How has your work with Northlore Records been? Aren't you planning to
enlarge the label's roster, or do you feel like supporting a couple of
bands is just too much?

- I don't think Northlore Records will have other acts than my own in its catalogue. I don't have any interest in that at all actually. Northore Records is merely a vessel to enable me to work with ElviraMadigan in a more effective way and to have an better possibility to reach out to the public. Northlore Records have only excisted for one and a half years and I'm just about to report how this first period has been to the Swedish financial authorities. Economically, it has been devastating! But it was expected since two releases have been made during this period. But otherwise I feel the work has progressed wonderfully! I don't do this for any financial gain what-so-ever, but only to realise my own dreams.

Why have you decided to add five tracks off your debut offering to "Black Arts"? As a matter of fact, is the CD you made your debut with, still available?

- The debut CD is "unreleased", and by that I mean that it has never been available. It was available for a short period on cassette and was then called "Varsel" but it is sold out. The reason for putting most of the debuts tracks on "BlackArts" was so that I don't necessarily need to release it in its entirety. Since I finance everything myself and since I write much new material it actually felt rather needlessly to release this "debut" by own means. The main songs on "BlackArts" reach up to approx 55:00 minutes so I saw a nice opportunity to cram as much into the first official release as possible so that I could focus all my energy after that on future material / releases. I saw it as a rather nice solution to a financial situation as well as an affordable CD for the one who buys it - it suddenly becomes almost like a two-in-one album. The only tracks that didn't make it onto the CD was and intro, an outro and a symphonic softer song - all three are instrumental.

Absolutely all musicians I'm acquainted with, those who managed to put out either demo or CD, perceive their own past works quite critically, vainly wishing they could do this or that in a better way. How do you apprehend "BlackArts" now? Is there anything you'd like to improve?

- I do view all past recordings I've done in ElviraMadigan with great pride. And I am very happy for that. I can recognize that they represent a certain period in my own development as either producer/mixer or as musician. I can still put on "BlackArts" and get completely carried away by what I hear - even though the recordings are two years old, and the same goes for the "unreleased debut". And to be honest; one of my more interesting songs to date in my own oppinion is still "TuathaDeDanan" which was recorded 1998. But I suppose that is all enabled because of the emence work I put into every song (so they are not to feel uninterested regardless of the period in time they represent) and how the entire albums are to be featured. To be honest, after finishing "Witches..." I didn't know if I - myself - felt that the new opus was good enough compared to "BlackArts", but I then also recall that I felt the same after mixing "BlackArts" and comparing it to the "unreleased debut". Now I have developed a certain distance to "Witches..." and feel that it is at least as good as "BlackArts". The only thing I feel I might have second thoughts about are the soundproductions and mixings - but then again, there's always a possibillity of a rerelease...

Who is Elvira Madigan? Somehow I'm pretty much convinced that this name's picked up from so-called "fantasy" literature?

- She was a tightrope dancer in a Circus who lived 1867-1889. She fell in love with a married lieutenant by the name "Sixten Sparre" and together they ran away to Denmark (from Sweden). This made Sparre a deserter from the army and after eventually facing the necessity of returning to Sweden due to financial problems they chose to kill themselves instead of being parted back home. Sparre shot his Elvira Madigan while away on a picnic and then shot himself. There is a very well know classic film made called "Elvira Madigan" by Bo Widerberg, and also a piece by "Mozart" if I'm not mistaken. But my project has of course nothing to do with her life or story. I mainly picked it because it isn't necessarily tied to the English language. You see, I'm a sucker for band names that are not English such as "Tiamat" or "Hexenhaus".

By the way, if referring to this "fantasy" thing... it's often considered an escapist genre... what's your point of view?

- It most certainly is. But what would humanity be without escapism, I believe we would still be living in caves. Mans progress, every inch of development comes through dreams and dreamers, perhaps it isn't pure escapism, but the embers that fueles mans every essense and creativity is pure escapism. My whole art, and all my creativity comes through dreaming myself away. I am truly devoted to escapism, and damn proud of it!! When it comes to fantasy art in general - since you brought it up, I can't say to be devouring that much fantasy literature as influence. I do of course recognise J.R.R. Tolkien and love his work. And it's probably quite obvious he is the grandfather and creator of what other modern fantasy more or less hails from, but to me erotiscism and folklore is far more interesting. The work in ElviraMadigan to this year has not been that much focused on giving some sort of fantasy interpretaion through the music.  This will be the issue for the next release which will most likely be highly influenced by Playstation RPGs (Role playing Games) and Lord Byron / Shakespearian literature. Quite a strange mix! I hope it will work. Perhaps the ever present folklorian inspiration will help, we'll just have to wait and see! I do know ElviraMadigan has been referred to as "Fantasy-Metal" and I can respect that. But on the other hand, it has been rather hard for people to define this music of mine in general and other defentitions like "Art Metal" or "Avant-Garde Metal" are quite common as well.

Furthermore: previously, most of literary works reckoned to the genre
of "fantasy" this way or another, couldn't be ever imagined lacking any
moral admonitions, or at least sermon-like principal idea, majority of
them were impregnated with. As time was passing by, everything became
different, and obviously so did the literature. I guess, the lack of
ponderous moral spiced with no less ponderous religious supply is the sort
of metamorphosis that's only for better. Would you agree?

- There is both good and bad aspects of this I suppose. In general I believe it is for the better, since people regardless of ethnic and cultural lifestyles may take part and appreciate simular literature. On the other hand, much of the literature may get watered out. People did long ago define their reality and explain how to live through stories, which more or less later on always seem to become religion. Those stories do have a more captivating essence since they have an underlining message hidden in them (moral or religious). A message that people listened to in the olden days and tried to live by in order to form their civilisation. Most classic work such as Shakespear has a moral touch. Now I'm not too familiar with Shakespears work but I have learned that this is the case. I do think that most classic work has some sort of moral reflections and in order to achive the heights of "Classic" literature perhaps that is needed. Just look at "Lord of the Rings" for instance. Not many think how the evil essence is represented there, but it is highly thought of by the writer himself. The evil is in Tolkiens wonderful works described as something black and hollow and with an unmistakable fascination to be joined together with or sucked into (whether the possible victim intends to or not). This can very well be translated onto anything that is considered evil today - for "evil" things are quite often tempting, and everyone does "evil" things wether they want to or not. Compare those thoughts to how everyone seems to want to have Saurons ring (even though they know it will corrupt them) in Tolkiens story and things suddenly become clearer. If the evil had been explained as simply monstrous with lots of "slime" and "gore" then things would have looked quite differently and the eventual moral would be lost - hence quite much of the fascinating aspects that attracts such a wide audience. Another funny thought is if one takes a look at films for instance - the same applies here. Most films belonging to the "action"-genre may be dismissed quite easily since they lack any real value or any underlining messages except shooting up people or blowing up cars. But if one sees a drama or thriller movie where it is obvious that the director has had the intention of leaving you thinking at the end then it becomes more interesting and I bet that movie is the one You would remember, or is most likely to have any effect on Your life. "The Ninth Gate" or "Jacobs Ladder" are fine examples. This mostly applies to the moral issue of course, and not religion.

Why singing in Swedish? As far as I know, your command in English is
really good, so, once again, why? Perhaps, it's like you feel more comfortable composing lyrical canvas in your native language?

- Before ElviraMadigan I always wrote lyrics in English, but in the middle of the nineties I got fed up with English because of the hardship in creating originality. Let me explain: If one considers the massive outlet in English sung music today it becomes rather hard making lyrics oneself that is not simple compilations of phrases heard elsewhere. The point of making music and lyrics as intensive as I suppose I do all depends on that I with pride can say the songs are written by me and noone else. I don't succumb to ripoffs and when writing English lyrics after so many years, everything new I wrote lyricwise all felt like stolen material in one way or another.
At about the same time I was pretty much into Swedish folk music and Norwegian black metal, and found that alternative langauges could really be very heavy! It did of course mean that a lot of people would not understand what was sung and told, but the storytelling I developed as well as the genuinity that came out of this felt really refreshing and fitted the kind of music I was currently recording (the "unreleased debut"). I started ElviraMadigan with the sole intention to make music as only I wanted it (as mentioned earlier), so what other people would think of this choice is nothing that bothers me. I guess one could say it's rather egoistic, but that's the way it is I guess... in all honesty. The next release will most likely be entirely in English but this is due to the fact that it will be conceptual with different characters and a highly vivid collective story told through the entire album. So mixing languages in the middle of a tale would be stupid. But I can't see myself abandoning Swedish entirely.

Do your musical tastes vary a lot? I mean, it's rather hard to find
anyone into metal not getting high on different kinds of music nowadays...

- Yes my own musical taste do vary quite much. I listen quite often to styles that span from acts like ASIA, MARILLION (without Fish please!) and MAGNUM to MARDUK, BEHEMOTH, SLAYER, SABBATH and CRADLE OF FILTH. And in between there is quite many different styles as well. I listen to much atmospheric music and some goth since those two particular styles are quite common for early death metal bands to evolve into. Symphonic bands like ROYAL HUNT and classic metal like WASP and BLACK SABBATH (with Tony Martin) are also frequently in and out of my playlist. If you refer to bands / artists that is not metal I do highly praise JETHRO TULL, GENESIS, Tori Amos, Chros de Burgh (early material only), Tracy Chapman and lately also MUSE (highly recomendable). I think that summerises all my non-metal influences (then there are a few Swedish folk acts as well and a fair share of classical music), but otherwise I only listen to metal.

Are there any CDs you own that you would feel ashamed showing anyone?

- Let me think. Any CDs I'm ashamed of? I think I still have on vinyl a Prince album I got for my birthday (I wonder what my brother was thinking!) in the middle of the eigthies. But I also recall having thrown freesbee with it shortly afterwards and it is no longer playable. Otherwise I think my record collection is pretty safe to be viewed at by anyone.

Please, list us five absolutely worthless CDs and five albums worth praising released last year (2001).

- Five absolutely worthless CDs, hmmm... I suppose you want me to list Metal releases, so why not take the opportunity to slash down upon the entire "Nu-Metal" schene, for it truly sucks. And the fact that some people are ignorant enought to even think of it as metal feels almost offensive to the likes of those who know the culture that defines Metal. Be it black, thrash, speed, death, power or heavy metal - they all share this geniune common spirit and honesty which is almost undefinable but very real for anyone who truly feels passionate about this music. "Nu-Metal" has nothing of this at all but springs from music (if one can even succumb to call it music) invented by brain-dead chriminals in the slums of USA. I am of course referring to rap or hip-hop. For the need of any talent or creativity is completely unnecessary to make this utter top-of-the-line rubbish.
And that some even regard making hip-hop or rap as some kind of achivement is extremely annoying and just points at how ignorant the masses are. Aaaarghh!! This subject really makes me mad! Otherwise, I don't really know if I can manage to compile five titles of metal that are worthless in my oppinion for I can't remember having bought any worthless CDs this year. But in general I do think there is perhaps a little too much of this new generation of power metal and N.W.O.S.D.M. released the last few years. I do have a hard time relating to that kind of music. But hey! Who am I to complain!

To list 5 titles worth praising is easier, so here goes... (in no particular order)
1. ANATHEMA: A Fine Day To Exit (extremely good!)
2. ARK: Burn The Sun (all hail Tore Ostby!)
3. Nikolo Kotzev's NOSTRADAMUS (2 CD Rock-opera)
4. SUBWAY TO SALLY: Herzblut
5. FINNTROLL: Jaktens Tid

And not to be forgotten is MARILLION's: Anoraknophobia - which isn't really metal but it's their best release since "Afraid Of Sunlight" (which is their all time best!)

As Vae Solis became international edition lately, let me wonder if you
have at least basic knowledge on Russia and Spain?

- Well I know basic stuff You learn at school, such as capitol cities and general history. I suppose I'm a little more familiar with Russia though, as it lies closer to Sweden and has been / is a large part of the world politics. But I have never visited any of the both countries. I know Luis Royo is from Spain!! And I know I've send loads of money to Barcelona to license his work!! Nah, jokes aside; a humble salute goes to "Norma Editorial" for all their help and professionalism.

Nothing more to ask this time, I fear. Concluding words are, therefore, all yours, Marcus...

- OK! We have covered quite much ground during this interview. I must say there were quite a few interesting subjects that were brought up and the questions in general were really good! I don't think I have much else to add, except to thank everyone who pays interest to ElviraMadigan. I hope to stick around for a while, and I hope people will still be interested! Cheers for now!
 

ELVIRA MADIGAN contact -
Email: contact@elviramadigan.com