So I released the record “Eternal Damnation” under the monicker bloodofjupiter. At the time we were a band and here is the complete story behind this album from my point of view.
First, I am very proud of this record and how it came through and I do not wish we did it in another way. No, this is what it was. This is what it is. This is what it forever will be.
It was during the Taste of Stockholm Festival for food and wine located in Kungsträdgården in the very center of the city I did meet some people from the wine house of Piccini, Tuscany.
I was in company with a few members of the band Opeth. It is a band I created and was a part of thirty years ago, today. After my departure from the band, we remained friends and I always buy their records and pop in into their gigs and so on. So in this case, I had a product manager from the company that imported the wines from Piccini, he was a good friend and knew I was a specialist as a profession in northern Italian wines in general and Tuscany in particular and also very involved in the metal scene playing with my own project somn and had a past in several bands. So, he asked me if I thought Opeth were interested to release a wine of their own brand on the market. 2010 most bands had still not yet add alcoholic beverages to their merchandise.
That is why we were there, to start with. There were two represents from the winery, a female from the export market and a guy who was a winemaker. They were both fans of Opeth and would be more than happy to produce this wine.
The wine did never happen in the end. The band was entering a very long tour shortly after and things were blowing away in the wind.
Anyhow, through this discussion and tasting of wine with the wine house and the members of Opeth, we spoke a lot about one of my favorite grapes, the Sangiovese. The name means the blood of Jupiter in Italian and through that, I decided to re-make somn and name it bloodofjupiter, in one word.
Just it did not happen until almost exactly one year after this band rehearsed for the first time and played a song from the band somn that I & Adam Skogvards wrote and arranged in 2007. That song is called “Archangel Polymorphess in Blue” and is of course the first song on the record.
That song traveled a long way by now and the re-scale and arrangements used on the record were done by me and past member Rolph Ericsson in 2013. It is way different from the original version in the way that I slowed it down firmly and removed all the extras so it is simplified. There is actually a demo-version of an old line-up with the previously named Rolph on guitar, Dipa on bass, and Ronnie Bergerståhl on drums circulating somewhere on the webs.
It also had a last journey in the sudio when Robert added the dark bells upon it without our knowledge. We did first find out when listening to the mixes of the album.
The lyrics from the song are also the first text from my book featuring lyrics, poems, and collective writing from my book “Ornament if the ominous demoniac – the coagulated blood if David”. It just handles the powers of a glory ride through the winescapes.
Coming back to my lyrics, I later discovered that I more or less accidentally often uses a technique named after me that was revealed to the public by no one less than Ernest Hemmingway named The Iceberg Theory. I stole this little example to explain it from Wikipedia:
“If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.”
You can see that later down in the featured lyrics for the title song or as some of you might´ve read my book and saw things inside the book.
The next song up, “232 -Esoteric terror”, came from the start of a jam. I tried to have the bass player at the time and also the guy who plays on the record, Fredrik Dingvall, to play a melody I had in my mind. He just grooved it up and then came the drummer and slapped on so it turned out into something else.
Ir really breathes heaviness and fear, jumping its way through and over and struggle to balance the intensity despite a mid-tempo. Yes, we can be complex in our deeds though it sounds like pretty much easy stuff.
The lyrics handle morbid visions of fire and desolations through number magic that goes completely out of hand.
Dangerous stuff, I can tell.
People knowing me closer knows that I am restless like hell and have traces of a series of letter-combinations starting with the A & D.
So walking around in the studio when nothing happened, mean the other dudes were tuning something or our engineer/co-producer Robert Pehrsson had to listen to something recently recorded.
We recorded all the musical grounds live with me directing the musicians.
Robert Pehrsson was a great choice for this session. We went to his Studio Humbucker, south of south-central Stockholm. He had Stipen from Merciless coming there the day before tuning the drums for us. He is a very simple person and with a long time background in the Death Metal-scene playing with several bands since the early nineties, he definitely knew exactly what to do with us.
One day I would like yo work with him again.
Back to be restless, I started to create a new piece of music. Also Linus “Commander” Öhrn, the guitar player had a riff so, on the final day in the studio after the lunch break the two of us merged them together into one song whilst the others were having a piss. I quickly arranged the drums and 18 minutes later after the second take, it was recorded, settled, and done.
I do have many lyrics written and laying around but this was an easy pick. I could hear on the guitar intro that this song was called “Bleeding”. The lyrics are handling the subject of internal bleedings. Turning the angst and wrath inside of you to the joy of torment.
It is an interesting part of the tragedy as we´ve heard it happen too many times. Other persons considering themselves as normal would say that the person would go nuts.
It is the thing, working the songs and then try to order them up for a full record and do them in the right order. I am not more than old school in mylearning. So I started the record with a typical opener that gives the listener hunger for more and then pop down the two singles, straight. Finishing side A with a banger and then do the more complex and interesting stuff on side B. Most of the fluffy listeners who mostly bought singles back in the days will never ever go as far as side, anyhow.
So I saved the tracgic and magic and gave the flops and the pops. No more, no less. Tell me I am wrong, cool, but there will be no other order working with this material as your brain must be open minded for the full 53 minutes and be ready to accept more of this brutalism.
Coming back to my first meeting with extreme metal further than Motörhead we have to move back until the year 1985 and Kynäsvägen in Huddinge, a suburb 12 km south of the Stockholm city center.
A few hundred meters down the street of Kynäsvägen lived a guy obsessed with heavy metal. Five years older than me and listened to the name of Peter Olsson. He introduced to the likes of Mercyful Fate, Voivod, Nuclear Assault, and Venom 1985-86. I walked over to his house every now and then to hear the most glorious music around. Not too sure what he and his older brother (I do believe or was it a friend?) thought about it, really, as I was just such a small boy and in the teenage, as they wore, it can be very sensitive if someone finds out. I am however grateful for this and I will never forget it.
Anyhow, this day he played the recently released lp by a band called Slayer, called “Hell Awaits” and the other bloke, Anders Mellberg, living in my blocks providing me copies of bootleg cassettes by Dio, Iron Maiden & Ozzy were directly forgotten. I had a new local hero.
So “Hell Awaits” is a very special soundtrack to my life. Might be heard here and there onto this record. He soon played me some adorable music by Venom, too. I liked it but did not jump on that wagon until later. That is another story containing a VHS-release.
Anyhow, I heard Fredrik our bass player play a riff in the rehearsal room and I had Peter begin to drum upon it but held him back so we did not lose any power or heaviness. I thought we found the natural continuation of Slayer’s title song.
A couple of weeks later in the year 2018, Linus came back from a few weeks up north where he comes from way above the arctic circle. He came into the rehearsal room and we tried to wake up the song again, he listened and told us to hold on as he had some changes to it. He played a few versions of the riffs evaluating a lot for each new take and half an hour later we were there.
He started the riff, Peter played disco drums, and then we transferred into I do not know what. Intense chaos that turned out to be the fourth song on the record “Abstract Unobtainium” where the main being/character in the lyrics does certain tricks to wake up Cthulu with Unobtainium to end this world as we know it, as mankind.
A most spectacular order of chaos and for a few a very unsuspected turn on the record. The first three songs are holding on to the obscure heaviness of doom. This is as close as a end part of midtempo Death. A cluster filled with old school elements.
So far many stages of imagination leading us to the bitter end, no matter what.
I can not for my life remember how this started. One day it was just there. A song that fits the modern dark death & doom & influences me from the nineties and forwards outside the epic doom or classic death.
Just instant low-tempo brutality. The lyrics for the title song “Eternal Damnation” go through lots of different efforts and may be interpreted in just your own way. Another kingdom of paths towards the end and it goes like this:
” Scraped of the ground
Like a rotten dead something
The power plant
Like nutrition scholarship of uranium
Drafted smell of coming explosions
Like the dream you never dreamt
Like cleaved in the middle
The spirit of the outer sphere
What they call lightyears away
And parralell dimensions
Eternal storms of damnation
I’ll face my end
Everytime I wander there
I’ll face my end
Into the cold dark sphere
Where there is a end
You will know
What exactly that all was
And were exactly that will come
Beyond the stages of sense
In any mind “
In the next episode, we do see the world fall down through spectacles such as domination, frustration, group sex, longing & the entering of the portal of eternal darkness filled with cynism, fear, and reservations towards others. It is more or less partly a biography from different corners of my own life down the bottom of society.
It is a tribute to all the souls giving them selves away to total darkness.
The riffs for the song were nicked by Fredrik from another band of his that did not intend to use it and it turned out to be a hypnotic and dissonant doom ballad named “Hommage des Ténèbres” lasting for nearly fourteen minutes.
It is just the wrath we had inside us that pumped out this genetic, autistic & semi-epic doom.
I will let the song speak more for itself and let you use your imagination listening to it.
In late 2016, when half the band left their duties and Fredrik Dingvall jumped in on bass, we had files coming and going with different riffs and epos. Dipa switched from bass to guitar but later needed to leave soon after as he had family issues in his home country. A few of them featured were taken up and ended me re-write some lyrics from the book, which were not published but in the final works before getting printed back then. I merged a few things into a story of fear, vicinity, witchery, and overwhelming obscure vigor. Another dissonant hypnosis was born and this is a typical opener or closer of either a show.
Unfortunately for some reasons Fredrik ended his role in the band already in April 2020.
I decided to flicker out the lights from the burning fire of this recording here. A whiplashing intensity upon complex heaviness building a strong wall of brutal doom and it almost creeps beneath your skin and goes through your vein and plant the uncertainty and fear deep inside of you. The guitar forms a spin of different techniques unusual in this kind of use and proposal.
It is a storm past torture, the trespassing of eternal damnation…
Now as these days are by. I am working on new material. there are plenty. One to be heard in the release of the single “Platonic considerations from the shores of Kataja 1538”. Originally planned to be upon a three songs ep. The recording of the ep got canceled as someone suddenly decided he did not have time for this band for a long period. Looking at it by now, I am not sure about the two other songs. Not that the songs are bad nowhere, no, it is that we could not play them properly together and the three of us at the time, me, Peter & Linus with a session bass player named Jonathan were not the people to do these songs together.
We did them live and I have plenty of recordings from the rehearsal room and we did not give these two songs enough dedication to shaping them well. I will not go into details or try to blame something. It was just the way it was. I am not sure if we stressed to up to do the studio takes for them would do the songs any justice at all.
So, on October the 10th we played at Plan B in Malmoe for a full house with all the corona-restricted seats sold, it was sort of magnificent to stand upon the stage and to see people sit by the tables and headbang.
So deciding to cancel the planned “Storms of Chaos”-ep, I had a recording from that certain gig in Malmoe which I really like.
It really captures the atmosphere of this era of bloodofjupiter and I decided to release it by November 11th digitally to end this chapter and move on further with this band.
Others moved themselves away from this band, forcing me to work more and harder than ever.
I am now sitting in darkness with new works in progress for 2021 and who will appear in the end to do it with me, only time will tell. Or maybe just the interwebs should not be in the know already by now.
This record and it´s travel from the recording starting the 1st of February until the digital release on October the 31st has been fantastic.
For the few of you who actually do buy things, yes I have plans to release it physically by myself if someone is not quick enough to deal it up with me.
New elemnts will one day shine and leave deep scars inside of you, torturing your mind with some trve #deathdoomedrocknfvkkinbaroloofmetal.
Damage done in 2020:
February: recording of the album, headlining Debaser with support from Python
April: vocals recording for the album
July: digital release of the single “Bleeding”.
August: announcement for gig at Eindhoven Metal Meeting pre-partty with Grand Supreme Blood Court, Nailed To Obscurity & Distillator in december (canceled due to Covid)
September: a sold-out gig at Fredagsmangel in Jakobsberg, based on the later canceled “Storms of Chaos”-ep sitting audience and Covid-19 restrictions, an announcement for Järfälla Metal fest 2021 along Svederna, Dreadful Fate & Firespawn amongst others.
October: a sold-out gig in Malmoe in the south of Sweden along Siniestro sitting audience and covid-19 restrictions, the release of the single “232 – Esoteric terror”, the release of the album “Eternal Damnation” o October 31st.
November: digital release of the live single “Platonic Consideration from the Shores of Kataja 1538”, a post record written song.
December: canceled shows in Eindhoven and Stockholm due to the intensity of the pandemics.
Looking forward to providing you with more material from bloodofjupiter in the futuristic chaos of the year 2021.