OPETH

How has the tour been going so far?

Good! Nice and calm, and a good way to start a world tour. Whatever you call it. It takes you a while to get into the whole vibe, and being on a bus with ten guys, you know? The album is not even out yet but we’re now in touring mode, and it’s nice.

How are the fans responding to some of the new material?

We’re just playing one of the new songs and it’s going down really well. It’s probably the best of all the songs we play. People are really dead silent when we play that song. You can hear them like, “Shh!” if someone is yelling out something during the song.

Is it Porcelain Heart you are playing?

No, it’s the song “Heir Apparent,” the second song on the album.

How did the idea of Progressive Nation come to be?

Well it wasn’t my idea. We were asked to join as were Between the Buried and Me, and Three. So it’s all Port’s idea (Mike Portnoy, Dream Theater), he is the boss of this thing. I am hoping it’s going to develop into something like Gigantour. He really has got his tentacles out everywhere, just looking for new bands that he likes. We have been in the making of doing a tour together with them for a long time. We just haven’t been able to do it until now.

Prior to the tour, did you have any kind of relationship with the guys from Dream Theater?

No, I kind of e-mailed with Portnoy, but I didn’t know him. I met him a few times. I met James once when we did a project together that we were both involved in. I didn’t know them. I knew their music. I am a fan of theirs.

The new album will be released in just a few days, how would you describe the musical approach of this album and what could we expect?

Dark, evocative and a little bit tongue and cheek. When it comes to the music we’re really serious about it, and I think that’s the main perception people have about Opeth. But as people we are just bums, jokers, you know? And we let a little bit of that into the music this time around; just a little. There are a couple of things on there that are almost funny, but still good. 

Are you more satisfied with “Watershed” than any of your previous albums?

I am satisfied with all of them, but yes, I am satisfied with this one. I want it to be like that, that every new album is my favorite, and if that wasn’t the case I would be miserable and would probably end it – not like, end it [pretends he is cutting his wrist] but end the band. So yeah, this is my favorite.

You are the main songwriter of Opeth, how do you structure your work? Do lyrics play a big role in the mood of your songs or does that come later?

Lyrics come usually later. But I have an idea about what I want to write about pretty early on. And I’ve written some, without thinking if it will fit into the song or not, so I literally had to re-write all the lyrics, or re-work all the ideas that I had into the lyrics. That was done during one night in the studio. Basically I wrote all the lyrics in one night and put them to the vocal lines that I had and whatever rhythm I had. Generally, always the music comes first and the lyrics last.

What influences such angry lyrics?

It is death metal isn’t it? That’s what I like to write about. I have yet to write about a nice day at a picnic with a ham and cheese sandwich in a little basket. It’s not what I like to write about for some reason. Consistently, it has always been dark lyrics. I am not saying that I am an aggressive person, like if I don’t write lyrics I’d kill people, but I have to think that some of my inner aggression, I could get out through the music and the lyrics, because I am very mellow.

Generally, your songs are always very long, is this a natural thing and do you find it harder to try to put all of your ideas into some time limited rule?

I guess it’s natural to not have any rules about how long the song will be. But if I come up with something that seems to be not a long song, I am fine with that. I have done a few shorter songs, too. In the past I guess I didn’t think I was able to write short songs, but I can. I don’t want to limit myself; time is not an issue when it comes to music, as far as I am concerned. Some people don’t have the attention span to listen to an album with long songs, but I do.

Can you describe the writing process of this album? Was there anything you wanted to try or do different for the writing and recording?

Well, we wanted to be professional and do it scheduled and disciplined. The writing process was the same old stuff. I bought a little studio so I could record demos. I demoed all the songs and I sequenced them in the right order that I wanted them to be on the album. So I could basically listen to the album before we recorded it. But the actual recording process was very disciplined; early mornings and early evenings. It wasn’t a big issue for me anymore because I’ve got kids now, so I get up early, but usually I like to sleep for a long time. We’d get up at a quarter to eight, start at half passed and work until seven. Have dinner and then bedtime at midnight.

What are the pros and cons to having a set schedule in the studio, as opposed to doing what you want?

We chose the schedule because we wanted to do it. There are a lot of things about being in this band that you don’t feel like doing but you have to do them, and it’s all going to come back to me in the end, so I try to behave. But we do whatever we want to do, to be honest. The word discipline has a negative ring to it but some times you need it. And if your band has been around for a while, and there is a lot of things about this band that nobody knows that has nothing to do with discipline; on the contrary. So we were in deep need of scheduling everything and having an agenda. We couldn’t be the fucking drifters just kind of ending up by chance in the studio recording an album. [mocks] “Oh, should we record?” You know? We had to do it with the whip this time.

Will we see this day to day activity on the documentary from the album?

Well, we did start filming it, but the guy who started filming didn’t get any off time from his regular job so he only got a few shots of Axe. So what is on the DVD are instead interviews with all of us and rehearsal footage. The first rehearsal we ever had playing the new songs once the album was done. And then there is complete bum material from my home studio of me and Fredirik sitting there playing. It just looks like a bunch of freaks, to be honest, but it’s kind of fun to watch. People should have the perception of us in the band like we are humans, not rockstars. So you won’t see us hanging around in a Jacuzzi with a bunch of naked chicks drinking champagne. It’s more like anyone is in the privacy of their own home. It’s not exactly flattering footage from our part, but it is fun and it’s regular.

With the departure of Peter Lindgren, would you say this had an effect on the writing process?

Not musically. I don’t like line up changes and I never meant to have any. I don’t want to have one come in and one to leave. I fired a bass player we had in the past, on the first two albums. I’d like it to be the same guys who started the band 18 years ago, but line up changes happen, and Peter was an important part of this band, but not so much musically in the end, to be honest. But the fans loved him. And I think the music remains intact but when you’re looking at the pictures some fans look at the pictures and say this is not Opeth anymore, because Peter is not in there, and Martin Lopez is not in there, and who the hell knows is not in there anymore. And I could appreciate that and we had a great time with them, but the music is still there. And Lopez never did write, and Peter didn’t write in the last ten years, pretty much. So he’s a face. And he is a good friend of mine and that’s the thing that I lament sort of speak. He and I sort of started this in a way, and he’s not here anymore. But it doesn’t really affect the friendship; it’s more likely to make it better. So now it’s just an issue of whether or not the fans are willing to embrace this new line up or not. And if not, it’s a shame. But the way I see it is it’s their loss. The old days won’t come back. So they either have the choice of not listening to us at all, or come with us and just listen to the old albums or go to another band. To be honest, I am quite indifferent. It’s what people think. This is the reality now and they have to accept that. 

Frederik Akesson is Opeth’s newest member, what about him attracted you to choose him in completing the line up of the band?

He attracted me? Well, he is a good looking guy!

No, we’ve been friends before and I liked him. He’s from Stockholm. He has the same kind of vibe as me. He’s very laid back and calm and on top of that, he is a great guitar player. I saw him playing metal covers at a pub and was very impressed with his playing and eventually became very impressed with him as a person, once I got to know him. Now it feels like he has always been there, in some way.

The first gig we did with him was in Finland, at a festival. And we were standing on the side of the stage, the intro went on, and we always shake hands before the show and we’re looking for Peter and he’s not there. Federik was there. That was weird, but now it’s not weird. It’s like, business, as usual, for us. So he’s been integrated to the point that like I said, it feels like he has been there forever.

You have 3 bonus tracks on the limited edition version of the album, and cover songs from Robin Trower and Marie Fredriksson, do these songs have a special meaning to you and why did you choose to cover them?

Yes, especially “Den Ständiga Resan”, it’s very special, I love that song. That album was like a little break up album for me. I had a girlfriend at the time, this was in 1992, and she broke my heart. It wasn’t my first love but it was a long relationship and she fucked me over with another guy, it was a mess. And I was listening to that album a lot back then, and I’ve always loved the whole album. And this song is a very delicate song and a very sensitive album and obviously she wrote it when she was not in a good state, which I could relate to at the time.

I brought it on every tour we’ve ever done and I’ve played it to everyone in the band, and it got to the point where everyone had a personal relationship with that album and in context, with their girlfriends at the time. We could play that album and soon enough people would go wandering off calling their girlfriends, [mocks] “Oh dear, I love you!”

So it’s a very delicate, very sensitive song and a beautiful singer/songwriter song that I never had the confidence to sing until now. The other one also, is just a great blues track that Jonas, the singer from Katatonia played. He was growing up with Robin Tower and I didn’t really know who he was, until he played me an album, which I picked up and then later picked up “Bridge of Sighs” and I fell in love with it. We did that song and everybody liked it. It’s a cool version. I am singing like a rock vocalist with the raspy voice which I haven’t really done before. It puts the band outside of its own natural habitat. Which is what I think makes a cover interesting. If you’re choosing to do a cover you should do something weird, so you’re pushing yourself to meet the levels of that type of genre.

You covered an Alice in Chains song (“Would?”) why did you choose not to release it on any version of the new album?

It was our least favorite and the most anticipated. People were talking about that song. It’s a cool version but it sounds like them, but worse. It sounds like “Would?” but not as good as “Would?” so you kind of get that whole petty shrug and you’re like “Eh, sounds like ‘Wood?’” But the other ones are cooler, I think.

Has being signed to Road Runner Records had any kind of pressure or effect in the way things are handled with the band nowadays?

No. They never interfered with the music. If they did I would be very upset, unless it was a good idea. And even if it was a good idea, I’d still be like, “Fuck you.” But no, they never interfered with the creative side of the business and that’s the way we want it. Obviously they have a lot of things for us that are a drag, like we have to do lots and lots of interviews, and signing sessions.

Just before we left for this tour I got a box at my house with 800 booklets in them that we were supposed to sign. I was like, What the hell? We did it, but some of the things I don’t understand, you just do them. But I am fine. I have become a little bit informed once the album is done. I am a leader and I like to think I am strong and disciplined and stubborn with the creative side. Like if it’s something with the music or the lyrics, or the packaging or photos. But once all that is done I am more like a dog on a leash, I do what ever they tell me to do.

What about “Porcelain Heart” made you choose this song to be your first single and video?

That was the label’s choice. They asked for my opinion and I said, “Whatever, whatever you want to do.” I don’t know what works as a single, we’re not a singles band. It’s not likely that we are going to be fucking walking down the red carpet with a Grammy in America for a single. So I didn’t really care. I like all the songs, and if they think one song is better as a single than so be it. It worked fine. I hate editing songs but we did a pretty ok edit, I guess, and the video is pretty nice. It’s a bit saucy. But I like the video and I like the song, so why not?

Would you say that Opeth is a visual band? And are you satisfied with the work of Lasse Hoile?

We’re not really a visual band. We became a visual band once we had a video. And that’s why people hated the first video because it didn’t meet their expectations on what the visual side of Opeth was. To be honest, me either. Big muscular dudes, stripers…

But this one is kind of gothic looking in a castle. We did it in Sweden. The guy looks very tense, I think he is a good looking guy, it really fits the song and the two girls are beautiful. They’re sexy but not in a cheap way, they look good. And it looks like they belong together, the three of them, like they have a story together. And we’re just playing. So I like that the focus was not on the band, it was on the story. But we’re not a visual band at all. It’s one of the things that I really don’t know where to take it, to be honest. 

Who created the concept of the video?

Lasse. I didn’t even bother reading the treatment because I knew him and his references when it comes to films. And he said something about the film Sweeny Todd – so, sure. And sure enough I think it’s really good.

There was a rumor that after ‘Damnation’ was released you would play for the Jordanian King? Is this true?

No, it’s not totally true. But we did have a gig in Amman, Jordan. We were set to play there. We weren’t supposed to play in front of the king. But I think the Queen has Swedish blood, or has something to do with Sweden. We were I invited for a tea party with the Swedish embassy in Jordan. That was it. But we had to cancel because Lopez wasn’t feeling well. We sold 6,000 tickets and people were traveling from Iraq, Syria, from everywhere. So that was a big let down that we couldn’t do that.

I hope to reschedule but I think it all comes down to the promoters and I think that no one wants to touch us now because of the fact that we canceled. The promoter didn’t have insurance so we lost a lot of money by our constellation. I want to play in any of those areas. The closest we’ve come is Dubai and we have a gig in Israel.

Obviously there are mixed opinions about Israel, but we don’t have a political agenda, we just play for the people who are interested in music, so we’d go wherever.

Now that Progressive Nation is coming to a close here, what can we expect from Opeth from now until the end of the year?

We’re going back to Europe, doing a signing a session in Amsterdam, one in Paris, and three festivals. Rock Am Ring, Rock Im Park, in Germany, and then a Swiss festival, and then we’re flying home for one day. Then, we’re going to Gothenburg for another signing session, and then one in Stockholm, and then the festivals in Europe. I don’t know if you’re aware, but they are basically every weekend. Now there’s a festival somewhere in Europe and we’re pretty much going to be playing all of them. And then we’re doing Japan, Australia, another North American tour, we’re doing Dubai, we’re doing Mumbai, India, South America, Greece, Turkey, we hope to go to Serbia and all of the countries in the area. We’re looking at Russia, China, lots of work.

When will you go to play in Serbia?

I don’t know but we’re probably coming. We play everywhere. We don’t have any limitations; I think there is a crowd everywhere. I would love to go. But I don’t know when.

And Puerto Rico? After the last few days on this tour Dream Theater and Between the Buried and Me will go play there, why isn’t Opeth on that bill?

I guess because we have a different schedule, doing other stuff. I didn’t know they were going. But we are going to try to hit Central and South America as well, you know. And it’s been a long time. We did a gig in Mexico and we were supposed to go down for two shows in Santiago, Chile but that was canceled, and we’ve never been there, but we’re looking at playing gigs in El Salvador and Colombia. But if we go there, I am sure they are going to try fixing the schedule for us so we can do as many gigs as possible there.

Can you give us more details on the next North American tour, you mentioned earlier?

Yes, it is a headlining tour. I don’t know on which coast it will start, but it’s in September somewhere. I scheduled the tour so that I could celebrate the birthdays of my daughters. We’re going right after my eldest’s, Melinda’s birthday, we’ll start the tour on the 15th of September or the 16th, and coming back just before Miriam’s birthday, so that I could celebrate both. So we finish the 26th of October, I think it is.

Are you allowed to say who the other bands on the bill are?

I’m not sure if I can say it, but I can say it to you. It’s High On Fire and two other bands. Matt Pike is like a legend for the stoner movement. He was in a band called Sleep which is legendary because they landed a major label deal and they delivered an album with only one song on it. A 43 minute long song called “Jerusalem”, and they got dropped from the label for doing that. They have achieved legendary status, and his new band is called High on Fire.

One is a Black Metal band I can’t remember their name. I don’t know who they are but someone told me they were good and they were available.