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You actually travelled and did some face to face I believe and guess you conducted some when the artists were touring the UK. Obviously you no doubt had to do some via the internet or phone I guess? How easily did everything fall into place in this respect or was it really difficult tying some of the bands down?
It was a nightmare. Rob from Graveland took about six months from agreeing to the interview to actually doing it, the list goes on.
Black Metal, evolution of the cult
The interviews were done in all sorts of ways; for some I went to Norway to do interviews face-to-face, other times I was meeting bands as you say that were on tour over here, otherwise it was a case of calling bands on the phone, chatting by text on skype, exchanging emails…whatever it took! As far as travelling to do face to face interviews were concerned what were the highlights and where did you actually find yourself going to?
Did you end up doing anything out of the ordinary such as camping trips with Darkthrone or fishing with Enslaved? So no camping trips — I went to a factory with Svartravn of Mysticum if that counts? And I played Pac-Man on the arcade with Apollyon.
Black Metal : Evolution of the Cult by Dayal Patterson
I was wondering if you got any sort of funding or advance to help pay for any trips by the publisher or any help at all embarking on this financially? And given our short times on this planet I say no time like the present! Unfortunately some of the people involved are no longer with us, how did you find it getting friends and relatives to talk about them and were they easy to approach and willing to do so?
B of Lifelover also passed during the making of the book but he had spoken quite extensively for the project and was very eloquent, so there was no need to ask anyone to speak for him so to speak. Yeah of course there will always be a bit of that — people have to remember that the bands chosen are there to illustrate a certain direction the genre took, certain extremes of expression, or influences the direction the genre as a whole took. But yes, there were a few people who politely declined such as Deathspell Omega, It of Abruptum, and also there were some who said yes, but never really got it together due to a lack of organisation.
Maybe next time. I bet you got told a fair few interesting anecdotes off the record that you must have been kicking yourself that you could not share in the book? One thing I have found interviewing people involved in the scene is that you can really forget any stage presence and antics.
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They are all genuine people with strong convictions about what they do and are on the whole incredibly sensible and humble about the part they have played in the grand scheme of things? Would you agree or did you find any stereotypes coming to life? How did you go about tackling the contentious issue of NSBM. Of course this is the chapter that has been mentioned most often and the one that was the hardest to write, because what I wanted to achieve was an honest look at why black metal developed a political face in the first place.
Others might find it more comfortable to ignore the facts, but it is not really possible to separate NSBM from black metal entirely because objectively-speaking there are obvious crossovers. And of course there are some contradictions in terms of values and so on. Religion is another contentious subject. I always find it interesting to discover bands from places such as Iran and Saudi Arabia where they find it virtually forbidden to play and perform. Did you seek out anyone from such areas or was this something difficult to do or maybe irrelevant due to the fact that they really are too underground to have been featured?
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