The Daily Swarm

Beyond The Dark Horizon via Bravewords:

Gorgoroth is a name that is known not only for setting a standard in Norwegian Black Metal but also for fulfilling the stereotype that extreme musicians are often violent, offensive and criminal. Gorgoroth’s newest release, Quantos Possunt Ad Satantitem Trahunt, is a work of creative genius that will hopefully outlive the recent news spectacle that was made of this great band.

I will mention that this interview is incomplete. The last question apparently did not go over well with Infernus and he has let us know he feels strongly about the aesthetics of black metal by ending the email interview. The last thing I care to do is argue with anyone and my next questions were obviously on a different topic. So I do apologize to Infernus and everyone, especially you, the reader!

I only wish that the interview was complete as I really respect Gorgoroth’s music. My last question for Infernus was, ‘Where do you see Gorgoroth in the next 10 years?’
Now we can only wait and see…

Beyond the Dark Horizon: First, thank you for your time! We support your art and want to help spread the word of your newest release! Some of the material on your new release, Quantos Possunt Ad Satanitatem Trahunt, is as old as 2006? What was the creative process like?

Infernus: Basically it was a period where I had more time to concentrate on songwriting that in the years prior to that. It was 2006, right. This coincided with that I got back some sort of a feeling that I was inspired, so to speak, and that I could be able to stand behind the music being written. As a songwriter, of course, most of my entire grown up life I have been writing music. but – allowing me to brag a bit about myself – in the periods when it just did not feel right, I believe now that I was right in my judgment on not presenting to others any half hearted crap which would in the long run destroy my personal, and what others might refer to as “artistical”, integrity. I deem it as I was right. half the material was written in 2006, the other half during the period in which I worked on the pre-productions with Tomas Asklund prior to the recording of the album; a process which took more or less a year and a half, in which I had to relocate to Sweden from time to time.