I actually have quite a few books about extreme music, but few of them select such an isolated area as Swedish death metal. The closest one I have read is American Hardcore, but even that differs quite a lot from my book. I guess it’s very tempting to write in a sensational way about brutal genres, but I have always felt that the actual music produced is the thing that will have to stand the test of time. In fact, any underground (or “overground”, for that matter) have their fair share of extreme living, drinking, dress-codes, symbols, “philosophy” or whatever. But after the fact, it is what a movement produce that will matter. For me, death metal music was always the real deal. And the music will still make a difference far beyond all those t-shirts, bullet belts, beer cans, gore and inverted crosses. (And as I am writing this, I am wearing a Venom t-shirt...eagerly drinking from a beer can...ha ha!).

Oh hell, I can basically just guess and speculate here...since I was nowhere near the US during the late 80’s...but I’ll give it a shot. a) I guess all around the world the basic start of an underground genre will always be the same – restless kids want to express themselves as violently as possible, and in the process they break boundaries and create something new and exciting. As for the early death metal years, it was all about tape-trading, making fanzines, searching the world for new exciting bands (which was quite a job in those days when hand written letters was the way of communication). Also, early US bands like Possessed, Autopsy and Death sounded pretty similar to Swedish bands like Grotesque, Nihilist and Dismember. And the beer-drinking was probably just about the same! b) Most importantly – Sweden had the Sunlight Studio. The thick guitar sound created there made Swedish death metal stand out. To me, that particular sound is still what I instantly think of when someone say “death metal”. Also, Swedish bands like Entombed, Dismember and Grave initially had a direct, almost punk approach of song writing. Later another more melodic unique Swedish style grew with At the Gates and Dissection. c) Well, I guess it’s mostly a matter of taste – and in that case I see nothing wrong in it (but personally I think such people miss out on some truly amazing music!). But it can also be “image” or something, where you only listen to one style just to distinguish yourself. In that case, it’s just sad. I mean, Morbid Angel and Entombed are both so great BECAUSE they are so different and unique! Don’t miss any of the styles – and you’ll have a richer life.

Are you kidding me? Autopsy were GODS in Sweden in the late 80’s!!! I don’t think Dismember would even have existed without them – their chord patterns are almost identical to Autopsy (you know, the riff starts in F and then goes down to E...classic!). Since Reifert played on Death’s first album and created Autopsy – he was my first choice. The fact that he did Murder Squad with members from Entombed and Dismember only made things better! Let’s face it – he was THE man. [I admit Chris´ "tawdry US style" of writing numbed the other factor; I disagree about his influence of the whole subject... ok about the Dismember patterns, but still I think his drumming (especially in Death´s first LP) was not a crucial reference, being Nicke or Estby far more advanced... just my opinion –Fjordi.]

It was new then, so it can never be the same. I mean, we have new underground bands with teenagers now that act and sound just like the old days, but it can never be the same. I don’t think it has anything to do with the death metal essence, it’s just a different world and a different time. Everything is accessible now, nothing is tabu, communication is easy and fast. It is the world that has gotten impersonal, not the scene. But since the scene is in this world, it gets affected... Ah, do you get me? Better fetch another beer before I get too sentimental and boring. [I wish every interview was as boring as this one... –Fjordi.]

It was very intentional in one way, but very natural in another. You see, I have written a bunch of pure academic texts at the university and in magazines about art, cinema and music – but at the same time I have always written in a completely different way in fanzines. I tried to write in my natural fanzine style, but with the clarity and disposition of my academic darker half. I think this is the way to write about things – things should be written to read, and they should be fun to read because if they are not, nobody will read them! I really hate when people use “difficult” words in an attempt to sound “clever” and “educated”, I just laugh myself sick at such nonsense. Most texts are written in a complicated way about easy things, while the opposite is the real challenge. And you should try to get a few laughs in along the way!

All great, as Demigod, Demilich and the whole lot!! That first Xysma mini-Lp spinned like crazy on my turntable when I was younger, such a great record. I really hope some Finnish crazy head will write the book about Finnish death metal. It would probably be far more entertaining than my book since the Finns are far crazier than the Swedes! Finland rules!

For some reason people think I do not like black metal, and I guess I have myself to blame. I mean, in the narrative of my book black metal kills off my beloved death metal scene – so by association I am against black metal. On the contrary, I was 100% thrilled with black metal in the 80’s. Venom, Mercyful Fate, Celtic Frost and especially Bathory were gods. But as the early Norwegian bands came in the early 90’s, it didn’t seem to be a step forward to me. That they “half-assed rehashed Bathory instead of going forward” was my opinion back then, and the hostile climate just seemed boring. Now, after the fact, I can really see greatness in all of those bands I found lame then. I soon made friends with the guys in Enslaved and Marduk, and I could see that behind the make-up they were just like us. I was narrow minded and stubborn. But generally I still think most black metal is not as extreme and exciting as death metal, and it is because it is often some kind “pop-music”, distorted into extremity. I mean, at heart I like basic riffs and rock chords –not pop-patterns. In my book, Lee Hazelwood is more black metal than Cradle of Filth. In fact, I think most of modern metal has forgotten about the riffs. Riffs have made metal great since the days of Black Sabbath, not harmonies. Just my taste I guess, so I shut up now.

The fanzines I had, and the tapes were easy to get. What was difficult was trying to get the facts about members and bands correct. Actually, it was impossible. People had different recollections about everything, and the fanzines offered different “facts”. I really had to just let go, and rush blindly to completion. As it seems, I managed pretty good after all – even though the US-edition on Bazillion Points will be corrected quite a lot!

Not really - though I could not get hold of some of them!

I am happy with the disposition, so I would not change the basic structure. But I wish that everything could have been 100% correct (but no book can achieve that...not even the phone book!).

I would if I could, but this was my movement and my youth. I could never write as personal about another scene, others have to do that.

In a way yes, since it is hard to understand who is behind the information. But on the other hand you can update easily on the net, so eventually we might have a complete reference source out there. Still, I get headaches reading on a screen. And I love books. When you have a book in your hands, you know who is behind it. He took his time to write it, and someone was willing to release it. If something is wrong in it, who cares? It’s a personal and real piece of work.

The fanzine scene of today is so small, and I miss the old days badly. Fanzines have lost their role as a source of information of new music, but they still have a place since they are personal! A good fanzine is written in a way that makes you feel and “live” with the editor. In that sense, we need far more fanzines today...since the “scene” are losing voices...

I had fun reading that book, but it doesn’t deal with the music really. One day someone will write a real book about the subject, and I’ll be the first in line to buy it!

It’s been mostly good, but some people wish I had put more about the actual life of those days instead of my focus on demos. I can sure see that point. Others think I should have focused more about lyrics, which might be true...but it would not have gone very far I guess. Then some have criticized me for focusing on shallow aspects (music), as I should have been dealing with “philosophy”, ”the occult” or “the dark side of the mind” (or whatever). That’s just bullshit.

Actually, Yasin Hillborg (once drummer of Afflicted) has made a film called “Så Jävla Metal”, which deals with the topic in some way. It has yet to be released. Also, Jonas Åkerlund (once the drummer of Bathory) is planning a bigger budget documentary about extreme Scandinavian metal, so films will indeed come. [Åkerlund seems to be the right person for that job, really –Fjordi.]

It was pretty cool, and dealt far more with extreme metal than I thought. I especially enjoyed Ronnie Dio’s comments about Gene Simmons! Ghaal of Gorgoroth comes across pretty badly in that film though, he is such a nice guy in real life. All for shocks, I guess.

Lidström went to school with me, and I guess he is actually the best Swedish player ever. But defenders never get the credit, you know (like bass players...). Any vodka will do. Swedish girls are the best (and bass players gets most of them – Joey DeMaio, Lemmy, Gene Simmons...).

Ah, this one took two beers....long time since I wrote anything now, I´m getting out of shape! What can I say to you... Oh, the book will be released in the US through the good cooperation with Ian Christe of Bazillion Points. We will have a release party straight after the At the Gates show in NYC on July 9th, come if you are nearby! Gotta go now, I’m off to Germany to play with my band Tyrant. As Chris would say – take it sleazy, sickos!