After decades in the extreme metal scene, primarily known as the iconic voice of Unanimated, Daemonium Regni marks the very first sign of existence for this new solo endeavor. What summoned the need to forge this highly personal, purely dark entity at this stage in your music direction?
In this journey I felt the need for something more profound in my writing and performance, something that would lead me on my way to build my vision. It took me a substantial period of time to find it, and it was a slow process to learn more about the depths of myself, and also necessary to take the time and steps to develop and evolve the skills I needed for creating this album. This work has shown to be a natural direction for my music. Both musically and vocally. (But I have been doing solo-projects for the past couple of years now, Born For Burning – “The Ritual” in 2019 (homage and tribute to almighty Bathory), Contempt Of The Light, full album in 2021 (melodic black metal) and a full length digital release with The 13th Passenger in 2022 (stoner metal with some occult 70’s vibes). And now Daemonium Regni (self-titled) 2026. What separates this from the rest of my projects is the way I choose to write the album).
How did the songwriting process for this bleak, doom-tinged black metal differ from the faster aggression you are traditionally known for?
In this writing process, I basically built the music around the vocals. You could say that it’s entwined through the atmosphere and the words just lead the way. It may sound strange, but I cannot explain it in another way that makes more sense. I think the album has its aggressive elements as well, but the main focus is with no doubt the mysterious darkness and what holds in the shadows below that makes it what it is.
You handled the intricate arrangements and all instrumental duties yourself, stacking sonic layers on top of repetitive, hypnotic riffs. What were the greatest challenges and creative liberties you experienced while executing every instrument alone?
In my head the vision was already clear and ready to be released, the process of the songwriting had its difficulties when it came to lay the pieces on the right places. It would however been harder to explain my vision to another soul in this process of all the instrument executions, since they were all in my head. But at the same time, it could also have helped to change ideas with someone alike. For me, the creative liberties has made the whole difference in this particular project, I have been able to take step by step, thought by thought in my on paste without any pressure of time or any other elements of distraction. And in that I could find what I needed to perform and overcome what ever challenges that were before me.
"For me, the creative liberties has made the whole difference in this particular project..."
The lyrics on this eponymous album are delivered exclusively in Latin, contributing heavily to the feeling of a dark, foul liturgy in the service of perdition. What themes are you exploring across these eight tracks, and why was Latin the necessary vessel to convey them?
On this journey of mine, I found that this language holds many more depths of meaning and ways of understanding. It is up to the listener to interpret the words and find the context, in that the experience will be different and personal for every listener. The language itself is very old and mysterious and spoken around in the 7th century BCE. It is used in the name of the church, and I found it interesting to use some Latin words as “spiritus” that refers to the holy spirit (spiritus sanctus) as describing the presence of god and love in the world etc. Where I use it in a more blasphemous way as “Spiritus In Flammo”. That title is open for interpretation of one self. I also found that this language should be spoken throughout the whole album for its full length of understanding and unholiness.
The vocal performance is mixed right to the foreground and is noted for making "all the difference" on the album. How did you go about developing the dynamic balance between those demonic growls and the deeply somber chanting?
That was one of the things that was kind of clear in my vision from the start, but then in the making sometimes things do not come out the way you thought and it sometimes requires changes. So, much thought and endeavour as I went through the process, with the vocals especially there is more emotions involved and I often feel my way through, even if I have a vision and a plan of how, the emotions have the final say, and maybe that is the balance.
Daemonium Regni is highly recommended for fans of Root, Bathory, and Ancient Wisdom. Were these specific pioneers on your mind while crafting the album's dark and epic atmosphere, or did that specific dread manifest organically?
Those have of course been with me for as long as I can remember and has always given me inspiration to whatever I have done, especially Bathory is very close to my heart since I was a boy.
Dan Swanö handled the mastering at Unisound Studios. Given the incredibly dense, layered dread you engineered on your own during the recording process, what did Dan's legendary ear bring to the final sonic landscape of the album?
He really put the final delicate touch, and made the identity of Daemonium Regni sound. I would say he found the depths of the music and united it and made it whole and clear.
You enlisted Daniele Valeriani, known for his striking work with Mysticum, Mayhem, Triumph Of Death, and of course, Unanimated, for the album's layout. How closely did you work with him to ensure the visual aesthetic perfectly matched the bleakness of the music?
He also made the logo artwork, I just sent him the songs and the cover just matches the music perfectly, it could not reflect the Daemonium Regni any better. Daniele is such a gifted and great artist.
With Darkness Shall Rise Productions unleashing the album today across CD, vinyl, and cassette formats, what lies ahead for Daemonium Regni? Will this remain strictly a solitary studio project as Born For Burning, or is there a possibility of bringing this dark liturgy to a live audience?
Everything is possible, nothing is written in stone. I have not yet consider that possibilities in facts, but I do have thoughts about it. The boring answer is, we will see what happens and what the future brings us. We have just released the album, and do not yet know what this album will give, in case of live permonaces we´ll need an audience at the shows. All gates are open!
Given your long history with Unanimated, how does Daemonium Regni fulfill something that Unanimated doesn’t? Is it a different creative outlet or something more personal?
Daemonium Regni or any other project of mine is of course very personal and different for my creative versatility etc. The main difference obviously is that Unanimated is a band with many members and you are working together and Daemonium Regni a solo-project with one man. It’s like relations over all, being married for a long time (like Unanimated) or living a single life and don’t worry about someone else, similar difference with the two compositions.
Speaking of Unanimated, can you share any updates from that camp? Are there plans for new material, live activity, or anything fans should keep an eye on?
Well, sorry to say that at this moment I have not much to share at all from Unanimated camp. We will see what the future holds, that is all for now. Hail the Hordes!
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