#mats levén

[bisexualrobertlowe]

group was overwhelming today so, posts something silly instead

this video is so swords of justice coded i think

lars is p1, trying to hit the notes and playing along even if he’s not that good. mats is p2, realizing the hard mode is bs and just walking away. jan is p3, hitting every note since he’s a drummer

[clouds-of-wings]

New single! There's a lot of different things happening in this song. I haven't really wrapped my mind around all of them yet. But it sounds really fun, especially the second half.

Also, Mats Levén is in this song! I just assumed it was Erik Mårtensson again.

[leifedling]

We finally saw a bit of his legs...

[metalsongoftheday]

Friday, January 3: Yngwie Malmsteen, "Facing the Animal"

R.I.P. Colin "Cozy" Powell (1947-1998)

There was no logical explanation for Mercury Records re-signing Yngwie Malmsteen in the late ‘90s: a handful of folks were loudly insisting that metal was making a big comeback, but that was largely wishful thinking with nothing to back it up.  But Facing the Animal was indeed released by a major label in 1997, and if Yngwie was trying to meet the ‘90s by writing crunchier riffs and layering in some bluesier notes, he still shredded all over the place and wrote nonsense lyrics that Mats Levén howled with such melodramatic intensity that he fully crossed over to absurdity.  “Facing the Animal” benefited from a robust Chris Tsangerides production and full-bodied drumming from Cozy Powell in what would prove to be one of his last performances on record, though it would’ve been nice to hear him let loose a little more- of course Yngwie would never allow anyone to potentially overshadow him, but at least his toms hit harder than on Forbidden so this wasn’t the worst way for him to go out.  And though Yngwie naturally overplayed, there was something to be said for him staying true and ignoring if not outright defying prevailing trends.

[metalcultbrigade]

Today it’s the 20:th anniversary of the Lemuria and Sirius B albums!

After the Deggial album we started to write on a follow up, which would eventually result in Lemuria/Sirius B. But after writing a few songs I got a completely different idea and wanted to do a Nordic concept album, so I shelved the album I was working on and instead wrote most of Secret Of The Runes in a month time and we recorded that album instead. Later we would return to work on Lemuria/Sirius B. But what was originally intended to be one album had now grown to enough material for three albums. So pretty much the same story as with the Leviathan trilogy.

We though recording three albums in one go would be too heavy and if we did them one by one, it would have been too time demanding and I thought we would always have material for future albums in the loop ahead of us. So we did a compromise where we would record Lemuria and Sirius B together and push the third album into the future. The way we divided the songs was that we put the more straight forward and heavy/power metal songs on Sirius B, the more progressive/adventurous songs on the coming third album and whatever left would be Lemuria. But after the recordings, we would swap a few songs between Lemuria and Sirius B, so they didn’t become as style wise diverse as originally intended. For instance the Kali Yugas were intended for Lemuria. And the song Lemuria was intended for Sirus B, but I thought Lemuria was a great album title, so I swapped that song. There was one more song swapped, if my memory serves me right it was Abraxas.

Instead of recording the planned third album after all the touring was done, I changed plans again and we did Gothic Kabbalah instead. The remaining songs intended for a third album in a trilogy with Lemuria and Sirius B would instead become scattered in different directions:

Kings of Edom, Land of Kanaan, Kali Yuga III, The Shells are Open, Din and Children of the Stone ended up on Sitra Ahra.

One song would end up on Beloved Antichrist and be slightly rewritten to become the scene ”Signs are here”.

Two songs would be incorporated into Gothic Kabbalah. One song was Der Mitternachtslöwe, which had a different vocal line in the chorus, but was replaced with a new melody suggestion by Mats Levén. The second song was essentially the beginning of Adulruna Rediviva (the first 4:50 min) and the ending (final 2:18 min), which I decided to merge with another song we wrote specifically for Gothic Kabbalah.

So if you compile those songs to one disc (or play list), you get a good idea of how the third album of the trilogy was originally intended to sound.

BUT... there where were actually two other songs, ”Serpent Messiah” and ”Thunder Perfect Mind” which were recorded for Sitra Ahra, but were left out in the end. I plan to do some kind of leftover compilation some day (like there were leftovers from Theli and Vovin released on A’arab Zaraq Lucid Dreaming” and Crowning of Atlantis.)

[metalindex-hu]

Izzott a levegő az Analogban: Royal Hunt, Echonald – Analog Music Hall, 2023. 08. 30.

Izzott a levegő az Analogban: Royal Hunt, Echonald – Analog Music Hall, 2023. 08. 30. - https://metalindex.hu/2023/09/10/izzott-a-levego-az-analogban-royal-hunt-echonald-analog-music-hall-2023-08-30/ -

Már megszoktam, hogy az Analog zsákutcájának csak a végén jut parkolóhely. De hát így jár, aki az utolsó pillanatban érkezik a koncertre. Nem is bánom, végül is jól esik az a kis séta az este végére elgémberedett lábaimnak.

Az Echonald Krajczár Ferenc basszusgitáros-énekes és Krajczár Márió dobos zenekara, sok-sok tagcsere után a jelenlegi felállást Juhász Bertalan billentyűs és a szemtelenül fiatal gitáros, Bolyó Márton egészíti ki. Utóbbi héthúros gitáron játszott, és röfögős riffjeivel, valamint virtuóz, neoklasszikus beütésű szólóival levett a lábamról.

A nehéz sorsú zenekar az állandó tagcserék miatt sohasem tudott igazán reflektorfénybe kerülni, pedig 5 nagylemez van a hátuk mögött.

Leginkább az utolsót, a ‘Becsület’-et igyekeztek becsülettel bemutatni, de jutott hely a korábbi slágereknek is, nekem például a Bukott fejvadász volt a kedvencem a műsorukból, melynek végén angol nyelven mondtak köszönetet a Royal Huntnak a lehetőségért.

Utólag azt mondom, hirtelen nem is tudnék jobb választást a dán zenekar elé, stílusban annyira passzoltak, ezzel együtt úgy gondolom, az egyórás program kicsit hosszú volt, a fele elég lett volna bemutatkozásnak, a sok ismeretlen dal az új füleknek egy idő után zavaró, a közönség egy része ki is szivárgott a büfébe.

A Royal Huntnak stabil, de kisszámú rajongótábora van Magyarországon, a mostani koncertet is csak egy román rockfesztiválnak köszönhettük, az olcsóbb utazás érdekében ezért az Echonald dobszerkóját használták. Kilenckor a legutóbbi, 2018-as turnéjuk sikerdalával, a Fistful Of Miseryvel robbantak be a színpadra, André Andersen zenekarvezető vezényletével a közönség ütemes „hej” kiáltásaira.

DC Cooper énekes persze sztárhoz méltóan csak később, a saját részénél jött be, és ő nem is „robbant” akkorát, mint a többiek, mivel egy friss lábtörésen van túl, a koncert egy pontján rá is játszott, hogy erősen sántítania kéne.

Érdekes, hogy DC a saját maga által felénekelt lemezek dalain kívül előszeretettel énekli az első két, Henrik Brockmann-os lemez dalait, de a John West– és a Mark Boals-korszak 6 lemezét látványosan hanyagolja, összesen egy The Missionre futotta tőle, annak refrénjét is egy oktávval mélyebben adta elő, kifogva a szelet ezzel a zseniális dallamból.

Viszont az első lemezről meglepetésre előkapták a rég hallott Strandedet, a másodikról pedig a Wasted Time már régóta stabil része a koncerteknek. A turné névadója, a ‘Dystopia’ is csak 2 dalt kapott, mindkét részből egyet-egyet (itt nem volt problémája az eredetileg Mats Levén által énekelt The Art Of Dyinggal).

Andreas Passmark basszusgitáros a biztos alap mellett a vokálból is aktívan kivette a részét, bár szerintem ennek az oroszlánrészét a sampler vállalta.

Jonas Larsen gitáros viszont fürdött az Andersen mester által megálmodott staccato riffekben, és a szólókban is brillírozott, a kifutót is gyakran igénybe vette hozzá, a Half Past Lonelinessben még térdre is vetette magát közben.

Az Until The Day ballada a ‘Devil’s Dozen’ lemezről került bele a műsorba, számomra meglepetésként, az az album valahogy elment mellettem, de ez a szám tényleg gyönyörű a zongora intrójával együtt, DC Cooper pedig megmutathatta benne, hogy még mindig nagyon tud énekelni. Talán ezért is volt csalódás számomra az az oktávcsalás a The Missionben.

A Stranded alatt a közönségből bedobott sapkában énekelt, majd a dal végén visszaadta azt, később megjegyezte, hogy 200 igazi rajongó is tud olyan hangos lenni, mint egy arénányi félig unott nézőtér. Csak a füstgépből vehettek volna vissza egy keveset, azt mintha arénára méretezték volna, az utolsó dalok alatt már köhögési roham fojtogatott.

Andersen a szokásos módon U alakba pakolt hangszerein játszott, jobbára háttal a közönségnek, de két nóta között azért mindig bezsebelte a tapsokat ő is, és több alkalommal átvette a konferanszié szerepét az énekestől. Például a ráadásban a Martial Arts instrumentális futamai után, amikor bemutatta zenekarát, kiemelve a beugró dobos, Alfredo (Alfred Fridhagen) személyét, aki az utolsó pillanatban ült be Andreas Johansson helyére a miniturnéra.

A 2013-as ‘A Life To Die For’ lemez címadó nótája megjelenése óta szintén szerves részévé vált a műsornak, és mindig főhelyen szerepel, 2018-ban a főműsor zárótétele volt, 2016-ban és most is a koncertet záró ráadásnóta.

A dallamos és a progresszív szavak nincsenek jóban egymással, ez a fajta zene viszonylag keveseket érint meg (lásd: Saga), a Royal Hunt is többet érdemelne 200 főnél, de ez a bázis legalább biztos, és ezt a zenekar is meghálálta. Nemcsak egy jó koncerttel, de azzal is, hogy „ingyenes meet & greetet” tartottak az est végén, dedikáltak, fotózkodtak bárkinek és bárkivel.

Habár 451 Fahrenheit nem volt az Analogban – ahogy a kétrészes ‘Dystopia’ albumon ígérték –, DC Cooper énekesnek háromszor kellett pólót cserélnie a Royal Hunt-koncert alatt. És a forró hangulat a közönségre is átragadt, amihez jó előkészítés volt az Echonald szimfonikus metálja.

Fistful Of Misery / One Minute Left To Live / River Of Pain / Last Goodbye / Live Another Day / Wasted Time / The Art Of Dying / Half Past Loneliness / Until The Day / The Mission / Stranded / Message To God // Martial Arts / A Life To Die For

Szerző: CsiGabiGa Fotók: Török Hajni Köszönet a lehetőségért a Livesoundnak!

[megarockradio]

Former CANDLEMASS Singer MATS LEVÉN Joins PRINS SVART; New Single 'Speglar Och Dimma' Out Now

Former CANDLEMASS Singer MATS LEVÉN Joins PRINS SVART; New Single ‘Speglar Och Dimma’ Out Now

[ad_1]

Former CANDLEMASS Singer MATS LEVÉN Joins PRINS SVART; New Single ‘Speglar Och Dimma’ Out Now

https://www.blabbermouth.net/news/former-candlemass-singer-mats-leven-joins-prins-svart-new-single-speglar-och-dimma-out-now/

Former CANDLEMASS Singer MATS LEVÉN Joins PRINS SVART; New Single ‘Speglar Och Dimma’ Out Now

[ad_2] Read the full article at Blabbermouth! https://www.facebook.com/2…

[therionsymphonicmetalmasters]

¡Feliz Cumpleaños Mats Levén! Un día como hoy 11 de septiembre de 1964 nace en Moldanl, Suecia el vocalista Mats Göran Levén miembro de Therion del año 2003 a 2007. #Therion #Therionband #symphonicmetal #matsleven #symphonicmetal https://www.instagram.com/p/CTr_DWRgQ5c/?utm_medium=tumblr

[bisexualrobertlowe]

Assign everyone (or just every member that you can think of) a pokemon type :3

OF COURSEEE!!! :3 although this miiiiight be biased from our ✨ legendary pokemon assignments ✨ haha

leif: dark

mappe: dark & fairy

lars: grass

jan: rock & fighting (DON’T BREAK THE DRUMS JANNE!!!)

johan: ice & flying

messiah: FIREEEEE

thomas: electric

björn: ghost (cos he’s a cryptid man)

robert: dark & dragon

emma (oc): dark & psychic

mats l: steel & dragon

matz e: fighting & fairy (he had SUUUCH a baby face back in the day)

most of the other ex-members can get steel, lol

thanks for this prompt uwu!!

[clouds-of-wings]

Fanboy ramblings (as the author calls it), but correct ones. Lemuria & Sirius B still stand out to me in terms of how diverse they are. There's just everything in this double album, and a bigass orchestra to boot.

It's actually true what the author says, these albums feature lead vocalists more than the albums before. I never thought about it that way, given that as a teen I yote all of them into my music library where they'd be on shuffle along with everything else I had, never caring what was on which album, a way of approaching extraordinary music whose careless wastefulness I can only marvel at nowadays. For comparison: When I discovered my favourite folk / folk metal band (and probably all-around 2nd favourite band), Fejd, in 2013, it took me 4 years to even listen to all their releases because I realized quickly that I had found something very very special, something that I would have to give time and attention so it could unfold properly. But 9 years earlier? Wow this kicks ass, I'll toss it into The Arena with everything else! I hardly even knew what was on which album until fairly recently. But come to think of it, it's true, the albums directly before these two didn't really have lead vocalists and sounded very neoclassical.

But then Mats Levén appeared on the horizon. And these albums happened. And then the sound got stripped down some, became cool and prog and slightly minimalist (by comparison at least), and Gothic Kabbalah was the result of that.

Shout-out to the mandolins in An Arrow from the Sun, as the author already said. That was truly a moment for the ages.

[Lemuria] - [Sirius B]

[leifedling]

Have you listened to any of Abstrakt Algebra? If so, your thoughts on it?

(Which is just Leif Trying To Control Everything 2.0, lol... Who What Where When actually kinda slaps.)

Abstrakt Algebra rules. Isn't that close to the Candlemass style but we should consider it more as an experimental album... you find there progressive structures, some doomy touches, some power metal oriented moments. Good stuff.

It was basically a Leif solo project after Candlemass was pretty much ruined. I think he wanted to do something different from what he was used to...

We were talking about this with @messiahmarcolin due to the demo versions included in the "Black Heart of Candlemass" compilation CD which include many demos/outtakes from that era. If you listen to it with a open mind, you'll enjoy it.

The "Abstrakt Algebra II" album wasn't released until it was included as a bonus cd along with "Dactylis Glomerata". It's said Leif couldn't find a record label interested in release it and also, he had to release Dactylis Glomerata as a Candlemass album (with a totally different line-up) just for promotional reasons as the record label asked him to do so, probably to secure more sales.

JUST LOOK AT HIM, AWW!

[metalsongoftheday]

Wednesday, April 8: Krux, “He Who Sleeps Amongst the Stars”

Krux III - He Who Sleeps Amongst the Stars had quite the lineup: two former Entombed members, two current and former Opeth members (one of whom also briefly served in Arch Enemy), the well-traveled Mats Levén, and Candlemass leader Leif Edling.   And the title cut reflected this, offering a potent mix of crushing doom and prog metal with Levén’s steady and powerful vocals up top. “He Who Sleeps Amongst the Stars” was heavy, esoteric, technical and intense in equal measure, and simply sounded cooler than most metal circa 2011, including a decent portion of what the members’ primary/former bands were up to around that same period.  Of course, Opeth was continuing their ascendancy, while Candlemass was diminished but still legenday, so Krux ended up lying dormant, but this song and album showcased a strong outfit that deserved to go further.

[metalindex-hu]

Vandenberg – „Lángra lobbantjuk a világot ezzel az új számmal”

Vandenberg – „Lángra lobbantjuk a világot ezzel az új számmal” - https://hardrock.hu/vandenberg-langra-lobbantjuk-a-vilagot-ezzel-az-uj-szammal/ -

Csak az énekes személye változott a 2020-as visszatérés óta, a Mascot Label Group adja ki a Vandenberg Bob Marlette által készített új nagylemezét, a ‘Sin’-t, melyen már Mats Levén énekel, a tőle megszokott magas színvonalon. Hallgasd csak meg a House On Fire-t!

Adrian Vandenberg mesélte: „Mint minden más zenekar vagy művész, mi is kénytelenek voltunk »visszafogni magunkat«, miközben a Covid éveiben egy ‘Vírus’ stílusú hollywoodi filmben játszottuk a szerepünket, pedig nem is jelentkeztünk meghallgatásra ezzel kapcsolatban. Megérthetitek, hogy rendkívüli módon vágytunk arra, hogy mi is kitörjünk, mint a nátha, úgy gondoltuk, lángra lobbantjuk a világot ezzel az új számmal, a House On Fire-val!”

Adrian, aki festőművész is egyben – minden albumának borítóját saját kezűleg festette –, festményekhez hasonlítja a lemezeket is. De ecset és vászon helyett itt magasba törő énekhanggal, földrengésszerű ritmusokkal és az ő ikonikus és azonnal felismerhető gitárjátékával fest. A mostani alkotásban segítségére volt Mats Levén énekes, Koen Herfst dobos és Randy van der Elsen basszusgitáros, velük készült el a ‘Sin’ című új nagylemez, melynek borítóján a ‘Heading For A Storm’ cápái visszatérnek, ezúttal a sivatagi országút helyett egy metropolisz közepén (talán ő is túl sok ’Sharknadó’-t nézett). A lemezt a Mascot Label Group adja ki, a producere pedig a ‘2020’-at is készítő Bob Marlette (Ozzy Osbourne, Alice Cooper, Rob Zombie).

„Számomra a zene nagyon hasonlít egy festményhez. Vannak benne csúcsok és hullámvölgyek, fények és árnyékok. Lehet, hogy egy dal arra késztet, hogy felpattanj az asztalra és szétbulizd az agyad, egy másik pedig gondolkodásra sarkall. Akárhogy is, olyan, mintha belevetnéd magad egy tájba, a kedvenc albumaim még mindig megteszik ezt velem, lehetek a kocsimban vagy otthon, a fejhallgatót a hifibe dugva, máris egy másik világban vagyok” – ecsetelte a Whitesnake-et is megjárt gitáros.

A holland fenomén az 1982-es, ‘Vandenberg’ című albummal robbant be a világ rockzenéjének színterére, ezt követte az 1983-as ‘Heading For A Storm’ és az 1985-ös ‘Alibi’, hogy aztán 35 év szünet után 2020-ban térjen vissza a kiadás évéről elnevezett albumával. Az akkori csapatból csupán Ronnie Romero énekes hiányzik, akinek helyére a svéd kiválóságot, Mats Levént (Trans-Siberian Orchestra, Yngwie Malmsteen) szerződtette.

„Mats csodálatos énekes – jegyezte meg Adrian. – Hallottam őt a neten, és felvettük vele a kapcsolatot. Az a vicces, hogy az édesanyja hozta az első két Vandenberg-lemezt Angliából Skandináviába, amikor ő a húszas évei elején járt, és a banda rajongójává vált. Ő is éppoly munkamániás, mint én, a szikra határozottan megvan közöttünk. Ráadásul Koen és Randy betonkemény, groove-os alapot rakott alánk, a legkeményebbet, amit csak kívánhatok. Azt mondanám, hogy ez egy fokkal súlyosabb album lett, mint a 2020-as.”

Az elsőként bemutatott House On Fire-t így vezette fel: „Bizonyos szempontból ez egy bulizós dal, mert folyamatosan ütöd a ritmust a lábadon, de Mats egy másfajta, sötétebb csavart adott hozzá a szövegével. Egy olyan személyt képzelt el hozzá, akit frusztrálnak azok a dolgok, amiket más emberek birtokolnak. Ez a személy nem tud uralkodni a dühén, és felgyújtja a helyet.” Az album egészéről pedig korábban ezt nyilatkozta: „A ’70-es és ’80-as évek legjobb rockbandái inspiráltak minket, amelyeken felnőttünk, de közben hangzásában és dinamikájában 21. századi lesz az anyag. A ‘2020’ albumunkkal való elképesztő újrakezdés után, amelynek világméretű visszhangja messze túlszárnyalta azt, amit remélni mertem, máris készen állunk, hogy még magasabb sebességbe kapcsoljunk a következő lemezzel.”

[riffrelevant]

CANDLEMASS To Release 'House Of Doom' EP In May; Band Launches Online Game

CANDLEMASS To Release ‘House Of Doom’ EP In May; Band Launches Online Game

(By Pat ‘Riot’ Whitaker, Senior Writer/Journalist, RiffRelevant.com) Legendary doom metal icons CANDLEMASS recently broke ground into a new, modern venture related to the rise of online gaming. (more…)

[planetrock-ru]

REVERTIGO выпустили одноименный альбом и видео False Flag

[doomedandstoned]

Candlemass: 35 Years A Band

  ~A Doomed & Stoned Double Feature~  

Dare To Knock On   The Door To Doom

By Magnus Tannergren  

I don't know how well known it is that CANDLEMASS hails from the same hoods in the Upplands Väsby right outside Stockholm as both Yngwie Malmsteen and Europe. And it is a fact that Candlemass debut album Epicus Doomicus Metallicus was released just two weeks after Europe's smash hit album The Final Countdown. We all know that that album earned Europe worldwide fame. Candlemass, on the other hand, remained an underground affair for decades.

Yet the legacy of Candlemass cannot be underestimated in anyway when it comes to heavy music. Their slow, heavy Sabbath worship paved the way for a whole genre inspired by the heavy rock and proto-metal of the ‘70s that we call, up until this present day, doom metal. Ironically, Europe now days have returned to their roots and sound more like Deep Purple or Rainbow than anything else. The circle is complete.

Anyway, this is a review of the new Candlemass album 'The Door To Doom' (2019 - Napalm Records) and not a study of when two parallel universes collide. This album also completes a full circle for Candlemass in many ways, too. It sees the return of the mystery man who did the vocals on that legendary debut album that arrived more than three decades ago. It was shocking news when Johan Längquist was announced as the vocalist on the new album -- an album that was already done with vocals by longtime singer Mats Levén (Therion, Krux). Oh the drama...

But maybe this is exactly what Candlemass needed to get back on track. The band has not been able to really deliver the goods these past ten years or so, in my opinion. Maybe it's because of the lead singer issues that have been tormenting Candlemass for ages. The reunion with Messiah Marcolin back in 2004 went south, Rob Lowe had a great voice but didn't work out as a touring member, and so on. Add main songwriter Leif Edling’s struggles with chronic fatigue syndrome and it is easy to understand that this doomsday machine has not been firing on all its cylinders for a while.

Yet here we are now. The new album is out and it is a grand return to epic doom metal as we know it should be done by Candlemass. I am the first to admit that I was skeptical, as I always am, to these kinds of albums that try to summon the glory of the past by reuniting with old members. But I am also the first one to admit when I am wrong. This is a fantastic Candlemass album.

The Door To Doom by CANDLEMASS

The voice of Längquist has matured as a good wine. It depth and grandeur coupled with attitude and experience. The vocals add that extra drama to tracks like "Splendor Demon Majesty" and "Astorolus – the Great Octopus" (yes, there is a solo by Tony Iommi on this, so another completed circle), but there is also beauty to be had, such as in the epic ballad "Bridge of the Blind" with its echoes of the great old ones, like Dio. I'm glad Johan Längquist is back. His silence has been a waste.

Musically, Candlemass delivers an album that stands proud besides the classic first four albums Epicus Doomicus Metallicus, Nightfall, Ancient Dreams, and Tales of Creation. It measures up to the challenge to invoke the gods of doom in a way that sometimes sends shivers down my spine, as I recall the greatness of this band's early years. It bares the mark of true doom and the spirits of the old classics possess this album. The guitar works by Mappe Björkman and Lasse Johansson are stellar and the thunder of Edling’s bass and Jan Lindh’s drumming is spectacular.

The music bares all the marks that makes up the legend of Candlemass. It is, in the words of the band itself, “the sound of 666.” I already mentioned some of the highlights on the album, but I must also say The Door To Doom doesn't really have any weak spots. All the songs are very strong and the riffing is epic. Despite my skepticism, I got bewitched again.

A great doom metal record, indeed, executed with precision and power. I fully believe this material has focus to make Candlemass relevant as a scene-anchoring act in metal once again and I hope they succeed, because the world needs this band. On the other hand, if this turns out to be the last album by this legendary Swedish doomers, The Door To Doom will also serve as a fitting final chapter in the Book of Candlemass. I honestly hope it’s not.

Magnus is the founder and host of Into The Void Podcast. He is also a senior staff writer at Slavestate.se, one of Sweden's oldest and most important online zines about heavy and extreme music.

☠

An Interview with

Candlemass Co-Founder

  Leif Edling

By Willem Verhappen  

I must say I was very surprised when the new record was announced, since at the time of its release, you said 'Psalms for the Dead' would be the final Candlemass full-length record. What made you change your mind? >

The "House of Doom" single. It was great fun to write it! Also working with producer Marcus Jidell was fantastic. We're quite a team, I must say. There I got the inspiration back for an entire album. We had a couple of band meetings about it and it was very clear that the band shared the enthusiasm for a new record. They had been playing live without me for a couple of years, with good response, but without an album it is easy for you to become a retro band pretty quick. Don't want that to happen to Candlemass.

I see what you mean. It's quite a challenge to stay relevant as an "older" band, especially in this day and age, when everything retro seems to be cool. On one hand you have bands like Priest and Saxon, who are still releasing decent records, and on the other hand there's bands who've been past their expiration date for decades. Do you prefer to see a band over their top or just remember them as they were?

That one’s easy. Remember them as they were. But having said that, it is a joy to see bands like Angel Witch, Manilla Road, Pries, and Saxon today, because they can still deliver. When you can’t deliver the goods anymore, maybe stay at home instead. Hope somebody will tap me on the shoulder one day and say “Leif...It’s time.” (laughs)

"Too many discussions & arguments over the years. Maybe some heart was missing in it all."

Just before the Christmas of 2013, you had a bout with burnout and stepped away from live performances for a while. What made you realize you needed to take a break? How did you get the “fire” back again?

A bit better, but not 100%. I'm still struggling with it. I hope I can do the rest of 2019's shows without too many problems. Have to look after myself, rest as much as I can, eat regularly, not party too much. Well, this is very "rock 'n' roll" to say, but it is great to be back. You have to listen to your body. If it says "rest," you have to step back. If it says, “Go, you can do it,” I hope I can!

I hope so. too. As a diabetic. I know it's sometimes difficult to listen to your body and not get drawn into the excitement of the rock ‘n’ roll lifestyle. Is it difficult for you? What do you do in these moments?

On the Candlemass tour with Ghost, there was lots of partying on the bus after the shows. I was there, but took it quite easy. Went to bed early, but still I felt tired in the morning. So if we go on another tour, I might have to stop drinking totally, to pull it off. Playing live almost every night takes its toll. I’m 50-plus, struggling with fatigue syndrome, on a tour bus to hell -- talk about the wrong man in the wrong place! (laughs) Said "yes" to it instantly, of course.

In 2015, you released Avatarium’s second album, 'The Girl With The Raven Mask.' Was it difficult for you to pick up writing again?

Yes, it was. Well, not super hard. The burnout gave me the time to rest and get new inspirado for songs. In a way, I’m glad that it happened. Think many people just go on and on without taking a break. They just keep on going and get themselves an aneurysm or something. I quit before that happened. Got lots of time to think about future and what to do with it. Songwriting is one part. That Avatarium album is pretty good, I think.

I agree. It's my favorite Avatarium record. But you're saying this like you're not as happy with the other two records. Is that the case?

No. I love all three of them, but the second is the best.

We spoke briefly at Roadburn 2017 and I don’t know who was more nervous, me for meeting you or you for getting back on stage, playing the first ever live show with The Doomsday Kingdom. I remember that you were afraid no one would show up. Luckily, the place was pretty crowded and you guys gave an amazing show. I still get goosebumps when I think of your emotional performance of "The God Particle." How do you remember your return to the big stage?

The stage wasn’t that big (laughs), but it felt rather good. I could have played better, plus it's true I was quite nervous. It was the first small step to a full return, I would say.

In September of 2017, I spoke to Markus Jidell at an Avatarium show and he told me you were working on something very special. This was shortly before the 'House of Doom' EP was announced, so I assumed he was talking about that. Was he or were you already working on 'The Door To Doom'?

We worked on the House of Doom for about six months before we started on the full-length album. If I remember correctly, we started the demoing of the new songs on November 1st. The full album took exactly one year to make. Too long! Next time, I hope I’m better, then I hope we can deliver an album in three to six months. Shouldn’t take more time than that.

Does that mean there will be more Candlemass music coming our way?

Well, eventually. Hopefully!

The only surprise bigger than a new record was the return of Johan Längquist. How did that come about?

During the recording, we felt something was missing. We had too many discussions and arguments over the years -- all of us. Maybe some heart was missing in it all. I'd worked my ass off for this record, but was struggling with my health. Too much work, too much business, too many arguments, too much bull! In the end, we took a band decision to bring in Johan again -- go back to the "ground zero" of Doom, so to speak. Mats had done a great job, but we needed to do something in C-mass to find the spark again and Johan was the answer. Now we focus on having fun, not letting any business take over. I have no clue if it will last a year or two. At least we will enjoy the time left.

Lyrically, as well as musically, I think ‘The Door To Doom’ feels like a very dark record. What were your inspirations while writing this album?

It’s a good thing that people see the albums music and lyrics in different ways. I don’t think it is that dark. We have done darker things in C-mass, definitely. The songs are about the state of the world, how I feel myself during the burnout process, sea monsters, and reflections upon life in general. This time around, I’m pretty satisfied with the lyrics.

"I have no clue if it will last a year or two. At least we will enjoy the time left."

It's no secret that you’re a massive Black Sabbath fan, owning over half a meter worth of vinyl of their debut alone. I can only imagine how special it must have been for Tony Iommi to play on your record. How did that come about and what was it like working with Tony?

We just asked him. Seriously. We asked and got a "yes!" Our manager emailed his personal manager. Couldn’t believe it when we had the positive answer back. I was over the moon. Tony Iommi will play on my song! Hardest thing was to keep my mouth shut for three months. (laughs) But, you know, if you aim for the stars, you might succeed. He sent us the solo after a while and it was absolutely great! A dream came true.

Amazing how easily these things can happen.

Yes, Dio said once in an interview that he would have loved to guest sing on records but he never had the question put to him.

You’re currently on tour, opening for Ghost. When I went to see your show in Amsterdam, I noticed their audience is turning more mainstream. For instance, before your show, I heard someone say: “I looked up Candlemass online. They sound kind of like AC/DC.” Do you recognise this and how have the reactions been so far?

I have heard that we sound like Iron Maiden and Motörhead, to mention a couple. AC/DC? That’s a first. But the crowd reaction for our short set during the Ghost tour has been really good, actually. Better than we expected, so we must have done something right. The reactions for the album have been fantastic. Super great criticism from all over the world. And the Cardinal said to us, “You are special guest on this tour. You’re not the support act.”

With a band like Ghost, I can imagine the touring life is quite the experience. Did you have a chance to interact with those guys much beyond the stage?

Not really, they play a nearly three-hour long set and they take it seriously, as you should. We did have a couple of record hunting trips with the Cardinal that were very pleasant. He is a real vinyl buff, so we raided some shops here and there.

I can only imagine how these raids go about. What's your best find this tour?

The first Steamhammer record. First press on Brain €50. I gave it to the Cardinal after the last show, since we really wanted it, too. He got it as a gift from me, saying thanks for a great tour.

Since you’re a record collector and a fan of old school metal, are there any new bands you’re into that you think everyone should check out?

I haven’t bought a record with a new band for several years. I have no clue what’s going on in the metal world anymore. I just buy old albums. Seems like they knew how to write songs back then. Lost art, unfortunately. Is Blood Ceremony considered to be a “new” band? They are pretty good, I think.

Do you have future plans for the band or will you be shifting focus to side projects like Doomsday Kingdom, Krux, or others?

We just released a new Candlemass album and the schedule for this year is already full, so I won’t have any time, this year anyway, to do anything other than C-mass.

True, your calendar is swelling with the Ghost tour and some festival appearances in the summer. Are there any shows you’re especially looking forward to?

Yes: Sweden Rock, Hellfest, Wacken and, well, all of them! (laughs)

Follow The Band

Get Their Music