The legendary Norwegian Death Metal band, Cadaver, is back. This time, the mastermind Anders Odden, also known as Neddo, decided to do everything by himself and the band is currently working on a new studio album, so it was a perfect time to interview him. The multi-instrumentalist also plays in Satyricon, Order, Magenta (with his wife Vilde) and has been part of Celtic Frost and Apoptygma Berzerk, just to name a few. He is also a key figure in the Norwegian Black Metal history, since he was there from the beginning, been in the so-called “Mayhem house” a few times and was a friend of Euronymous, so he has a lot to say about this topic too. Enjoy!
RISE!: – You’re currently working on a long-awaited Cadaver album, why do you feel it’s the right time to do it?
Anders Odden: Because I just had so many ideas to make new music for Cadaver. Since 2012 I’ve been recording demos. I felt that it was unfinished in the past. I had good lineups before but there’s always been some problems, like in any band. So now I’ve decided not to rely on others but to do it for myself. When I decided that, it came very natural because this is my long-term project that I had since I was 15-16 years old. Maybe I realized this is the kind of stuff that works best where I can be creative and feel like I have something to say where people can pay attention to it as well, so I decided to do it as Cadaver. It would be wrong to call it solo project because it’s not really only me, there are others who help me out, but I’m doing basically all the vocals for the first time, which I also did somehow in the past making demos. That’s one of the things that happen when you get older, you get more confident on what you want, so it’s better to start doing it now than to start ten years from now because I would be too old maybe.
R!: – So what are the challenges you have to face by working this way?
AO: First of all, I thought I would have big challenges or figuring out how to make my voice function within the Cadaver frame. But that was much easier than I thought. I had a lot of experience singing live since 2007 with a project which was called Karaoke From Hell, which is a live band that invites people to the stage to sing classic metal and rock songs, so when I did that I had to sing a lot of songs too to get people in the mood when nobody wants to go on stage. I was doing Motorhead stuff and even Kiss, you know, all kinds of styles live. I didn’t do full concerts but maybe five or six songs. Somehow I developed certain style or certain way of doing things, but when I was translating that into Death Metal it was just about figuring out how to do it in a way that I can listen to it without thinking it’s me. So when I discovered how to do that, it was fine, I just can listen to that as if it’s music, so that’s the trick for me really, that solved a lot of problems.
R!: – How long have you been working on the album so far?
AO: As I said, I’ve been collecting demos and bits and pieces since 2012, but actually I wrote most of the record in 2018 because I threw away a lot of the demos. Maybe I made twenty songs which weren’t good enough or didn’t feel right, that’s also the problem if you have your own studio, you tend to just make a lot of ideas and then leave them. So I just had to have a deadline, so I booked a studio for the first two weeks of January, so I just knew that from October I had to collect the demos and figuring out the arrangements and just work with the deadline. Basically I wrote over half of the lyrics and half of the songs within the last three months, but I was kind of based on the ideas I had because I trained myself to figure out how to do it by learning all albums on guitars. I keep getting into my own world so to speak, I’ve been making metal for a long, long time, so the best inspiration for me is to steal for myself. I’m stealing the bits and pieces from my own past and making those new, and that’s how I do original things somehow. My inspiration back then was of course based on something around me, but now it’s been inspired by my younger self, and making it better. My songwriting skills are probably better now than back then, so I just refined my own stuff basically.
R!: – I’ve read your lyrics are going to be more personal now…
AO: Yes, they’re more personal. They’re reflecting things I want to say about the general problems of being a human being and older somehow. You never really get to make life experience when you’re young because you haven’t experience, but when you’re older, the growth doesn’t make things better necessarily, you’re still angry or frustrated about the same things, so being a human being is my main source of inspiration. All the terrible things we do or try to do and fail or stuff like that. There’s an ocean of inspiration from just being a person, there are definitely not love songs in there (laughs). That’s for other genres to take care of, but I think the more personal you get, the more lyrics that actually translate to everybody’s feeling about certain things like betrayal for instance, everybody feels like that sometimes.
R!: – Do you have plans to go on a tour after the album comes out?
AO: I plan to do anything that comes my way and that makes sense really. I thought I was going to have eight songs, but now I have ten and maybe I do four more. So I plan to make some videos, maybe an EP or mini album and then the album, so I’ll try to build it up. Having tours require long-term planning, there’s already been some talks but I’ll probably do some shows, there are some being booked right now.
R!: – Here in Norway?
AO: Yeah, right now just a few Norwegian shows at the end of the summer, and then I’ll see how things develop from how this is seen by people. I feel the album became even better than I thought, so I would rather have the album out and have as much attention to it as possible. There are so many bands out there right now, so if I want to do a tour I think I would do support for a big one or local shows in Scandinavia. I don’t know what’s the demand for Cadaver at all right now, I’m just trying to build it again, it’s kind of starting from the bottom.
R!: – The band first split up in 1993 and you resurrected it in ’99 under the name Cadaver Inc. What was the reason behind the name’s change and why did you return to the original name afterwards?
AO: We had too many people around bringing new ideas and sometimes you rely on people who seem to have good ideas but maybe they’re not that good, you know? If you get carried away by too many wild ideas, things go wrong, so trying this for the first time, I know a lot more of the things I don’t want to do and I want to do things not only easier but also much better and consistent. I think the times have changed so much, so maybe now it’s a better time to come back than it was in 2000 I guess. Back then, the internet was still kind of fresh, the whole world was so different. It feels like I’m entering the third time in a very different road. There are so many people right now which basically are brand new, all the kids right now have never heard what we did. But a lot of those young kids look back into the past for inspiration and old bands seem to have some things that the new bands don’t have which is maybe a more unique sound and a different approach. We just sound very different from being old bands, and it seems to me that right now it’s kind of coming back a little bit because it’s been a long period of what I would say it’s very boring metal even when it comes to extreme metal. A lot of drum-machine based stuff and lots of bands that sound exactly the same and they don’t have riffs really, making music like it’s a mathematical formula without emotion. When you do something that it’s more real with real skilled musicians, it sounds different. I think that will always be the appeal. If it’s real, it’s better.
R!: – How did you come up with the name Cadaver back then?
AO: Back then, it wasn’t so difficult to find the right names for Death Metal bands because the genre was brand new and we could get all the one word names that have something to do with death. Carcass was already taken and we just found out nobody has taken Cadaver at the time, so we just grabbed it before anybody else (laughs). It was a very good name for a Death Metal band.
R!: – Nowadays it’s more difficult to choose a name with only one word. That’s why we see bands with very long names sometimes.
AO: Yeah, it’s ridiculous. But even back then, there were bands with names in their own languages which is another source like Sepultura in Brazil or now Kvelertak in Norway, so there’s always possibilities to find one word in your language which means something strange. But to have an English one word that nobody took before, it’s very hard. If you go to Metal Archives, I think there are a few other bands called Cadaver, but they have never…
R!: – they have never released any album…
AO: Yeah, we were so early, we are from ’88. So anybody that figures out about this genre and do some research, they will see the name was already taken which it’s good for me.
R!: – You’re obviously a Celtic Frost fan and you actually had the chance to play with them in their 2006 reunion. I know that happened because they saw you while you were playing for Apoptygma Berzerk…
AO: Tom (Gabriel Fischer) was an Apoptygma Berzerk fan, so he came to the show. I didn’t know he was there, he just came and saw us live. They were looking for a guitarist at the time and he knew someone from the music industry in Switzerland that I knew, so she knew I was into Celtic Frost. Thomas was like “Oh, the guy from Apoptygma Berzerk loves Celtic Frost, let’s check him out”, so he just called me.
R!: – So how was your experience playing with them?
AO: That was amazing because that actually brought me back to metal. I was involved in the industrial music, so through that experience, I’ve started making metal again, and now I will never leave metal again, it’s metal for life (laughs).
R!: – Talking about the past, Per Ohlin (AKA Dead), the former vocalist for Mayhem, would have turned 50 this year. You met him back in the day, what memories do you have from him and Mayhem as a band in that period?
AO: Well, they rented a house outside Oslo, so I went there maybe three or four times to hang out and check out when they were rehearsing or just to have a party with people and stuff like that. I was part of the group of people that were there sometimes to hang out. I actually found a letter that I was supposed to send to him but I haven’t sent it because I found out he was dead. I remember that, because in the letter it says that I was going to borrow him a microphone for their rehearsal place because they didn’t have any money. The letter says “I have this extra microphone for you, I will give it to you and we meet at Fenriz place at the party next Saturday”. I don’t remember that party, probably never happened but we were supposed to meet at Fenriz place next weekend and then he killed himself.
R!: – Wow, so you were actually going to meet him when that happened..
AO: Yeah, he was just reaching out to people to get stuff like microphones, they didn’t have any money. Mayhem didn’t do anything to make money from at the time. They literally didn’t have money for strings.
R!: – You were friends with Euronymous, but on the internet there’s a scanned copy of a letter Euronymous sent to you which has a lot of insults… so how did that happen?
AO: When he got angry with me, I was 13 years old and he was 18, so that’s a very important factor. I was probably just stealing all their ideas, but I was 13, so I didn’t have anybody else to look up to. But I remember he said the same thing to Fenriz. I think he saw both me and my bands and Fenriz with Darkthrone as kind of a threat, because they have been working for three or four years and suddenly we were small kids doing the same thing and seeking attention from him and anybody else. It’s kind of crazy to think about how young we were. If you see someone who’s 18 yelling at someone who’s 13 now, you will be like…
R!: – Yeah, it’s not that important…
AO: Yeah, but when people read all this stuff about the early scene, they don’t take into account how young people were. Lots of things that are taken seriously about all that stuff were not taken seriously in that way because those were just kids, we didn’t have enough experience to filter out whatever what’s real or not. I remember in 1991 I met Ivar from Enslaved for the first time, he was 13 then and I was 19, he was just one of those small kids that make you think “where are his parents?”, he ran away from home to go to a show or something. He was just a small kid not even in junior high hitchhiking to cross the country to see these bands. So it’s kind of crazy to see how all these kids are now adults and doing their thing with their bands, but everybody lived at home with their parents at the time.
R!: – That’s something people forget sometimes…
AO: I think they don’t understand that. They take everything that was said as if we were talking about adults. They get everything wrong about how things were developed because of that too. These were kids doing very specific stuff, but everything they said or did was not really thought-out that much, so that’s where all these myths go wrong. Basically a lot of the things happened by chance, not by a plan. Everybody thinks that all these kids had a grand plan to make Norwegian Black Metal a huge thing and if that was true, that would have never happened. That’s because they were kids and they didn’t really understand the impact they were doing. They were just competing with each other, not with the world. And they just made something unique, that’s really impressive too, but it’s not because somebody had a masterplan, it was more like one thing led to another.
R!: – Yeah, there are lots of misunderstandings on that… Coming back to your projects, you’re not only playing for Cadaver, but for Order and Satyricon as well. What would you say are the main differences on the way these bands work?
AO: That’s kind of how all these bands are working individually too. In Order, it’s me and Mannheim putting things together. He has a very unique approach to drumming which is very primitive but also very cool and groovy, so that makes me do totally different stuff. When we are playing together, everything just sounds different, it gets a different vibe because of how we’re doing this.
Cadaver is of course much more technical, faster and elaborated. And Satyricon is basically Satyr and his vision on how to make music and of course, the drumming of Frost is from a totally different planet. I think the similarities are how things are made by somebody who plays guitar to a very unique drummer. That’s how this kind of music normally gets its own sound and place. Sometimes you think you know what the drummer should do and sometimes drummers do the opposite or do different things and you think about something else. It’s kind of all based around different drummers and how they do things, that makes music very different from band to band.
R!: – What happened with the band Doctor Midnight & The Mercy Cult that you had with Hank von Hell (ex Turbonegro) and Tim Skold (ex KMFDM, ex Marilyn Manson)?
AO: We did the album and an EP, then we did some shows. Then Hank decided to become a celebrity and a solo artist, so it kind of imploded. But we still keep in touch.
R!: – Maybe sometime in the future then…
AO: Yeah, right now everybody is busy with their own thing, but we’ll see. Never say never. I learned a lot through that too, you know? That’s another reason why I’m doing the Cadaver album alone now, not relying in other famous people but doing my own thing. I like to work with other people and I do that, but I realized it’s too complicated to have a huge group of people trying to do things in the same direction. It’s almost impossible.
R!: – What about Order? Do you have any plans for this year?
AO: Yeah, actually we have a lot of ideas for a new demo, so we’ll get into my studio to try to do some recordings pretty soon. We’ll see what goes on, but it’s definitely going to be another album.
R!: – And what about Magenta? That’s like the family band! (His wife Vilde is in this band and even his daughter Regina was involved).
AO: Seems like I have lots of bands (laughs). It’s like a family band, yeah, we’re more like a studio project anyway. We have a lot of material too, but I need to have time for everything, you know? I just record stuff all the time that it would be suitable for that, but having my own studio next time we can probably produce everything ourselves again and see where it lands, but right now I’m too focused on my metal stuff to have a clear vision for that. It’s probably because it’s very different, so it’s probably going to be very electronic or acoustic or something completely different.
R!: – Some years ago, Coca Cola company used one of the Magenta songs for a commercial, that’s not something that happens everyday. How did they contact you?
AO: Yeah, that was long time ago. We had a publishing company that was selling music to different things, so it was by chance. But we were screwed by some crook in Greece, so we actually didn’t get the money we were supposed to. So somewhere somebody has 85.000 euros that were supposed to be ours. That’s a lesson learned from music business.
R!: – I know you like to play in Latin America, what do you think is the most exciting part of playing in this of the world?
AO: It’s definitely the passion for the music. It’s the place in the world where it seems to mean the most somehow. People are just much more passionate about metal in Latin America than anywhere else. I mean, there are passionate people in other places too, but Latin America for every band that has been there I think it stands out as one of the most crazy crowds, specially places like Chile or Colombia or places where not everybody plays all the time. In Brazil maybe it’s a little bit different because now everybody goes to play there all the time. So in those places where not everybody goes and plays, it feels like they want it more. When we played in Siberia and Russia, it was crazy because not everybody goes there, the same thing with India. In places where it’s not so much going on, people who are into metal probably gather to go to these few concerts and they go bananas, and that could probably be the reason. Although there are places like Mexico where they have a lot of concerts now, but people go crazy anyway, so I don’t know.
R!: – I think it’s part of the culture too. And it could possibly be related to the strong passion regarding things like football too. It’s so strong there that you can see the same feelings in other aspects of society including concerts. When people starts chanting it feels like being in a stadium in a way (laughs)
AO: Yeah, I remember when we played there with Satyricon, at the end of the show it felt like we won a game. People were singing “ole ole ole, Satyricon” like we have won a game (laughs). That doesn’t happen anywhere else, only in Latin America.
R!: – Some old school Latin American bands, mostly Brazilian bands like Sepultura or Sarcofago, had an impact here in Scandinavia back in the day on the late 80’s/early 90’s, but were they an actual influence for the bands sound here?
AO: Sarcofago was probably very important for a lot of bands here the same way it was Sodom from Germany. I think it was inspiring because they sounded very different, it didn’t feel very polished, they had this raw feeling which also comes out because of lack of money. They just did things without any resources and made it happen. I think that factor was important because Norway was very far away from the world in the 80’s and Sweden was basically the music place in Scandinavia. Norway didn’t have any national bands or anything, so tours didn’t come very often to Norway. When the first Death Metal bands came to Norway, that was maybe some years later than in Sweden, so we had to go to Sweden to see Sepultura. They played in Sweden on their first tour in Europe, but not Norway. So when they finally came here, they were already kind of big, so it was sold out. The first Sepultura show in Norway was at Rockefeller in 1992 on the “Arise” tour and the next time with “Chaos AD”, it was sold out too, they played at Sentrum.
R!: – Did you get to know about these Latin American bands by tape trading at the time?
AO: Yeah, tape trading and also through people like Euronymous and Metalion (Slayer Magazine editor), they were my sources for unknown things, so to speak. They would always have all the latest things of anything, so it was just going to their place and check out and copy stuff.
R!: – Apart from these bands we mentioned, do you like any other Latin American bands?
AO: Yeah, there was this scene from Colombia sending stuff to Norway like Massacre, Parabellum, these bands. They also sound very different from anything from Brazil, so I think it was about listen to everything, you know? Also the bands from Greece at the time, they sounded very strange and different too, you wanted to check out more of everything that sounds different. The american bands and the Death Metal scene, they found their sound in a very fast way, so suddenly they went from demos to polished albums, so all the other music from other places seemed more raw, brutal and different and that’s why it had an impact on people here.
R!: – Are you a record or memorabilia collector?
AO: No. Well, I have a lot of stuff, but I started to sell a few of them. I mean, I have all my own records and tapes and everything, but it just too much stuff.
R!: – But do you have any special item that you don’t want to get rid of?
AO: Yeah, I would probably never sell the “Deathcrush” album, stuff like that. And my own stuff of course. But right now everything I have on vinyl is just there in the storage. I mean, it’s ok but I have kept all the good stuff, all the good LPs. You don’t throw away vinyls, but you throw away CD’s which has no value, but I kept CD’s which seems valuable and maybe in ten years they will be valuable again, a CD revival, who knows? There’s a vinyl revival now. If everybody throws away their CD’s, someday you will have a lot of rare CD’s.
R!: – Earlier we were talking about the early Black Metal scene and the misunderstandings around it. What do you think about Lords of Chaos book and movie?
AO: I’ve never read the book, but I’ve read the script for the movie. I don’t think that’s the final script, but I haven’t seen the movie, so I don’t know. From the script I just know it’s very speculative. As far as I know, even the murder isn’t done right, stuff like that. Basically the problem is the timeline is dramatized in hindsight, so if you follow what was happening in the real time, it’s always much more boring and scattered that it doesn’t really connect one thing with each other. So if you make a story like… let’s say a movie like “The Godfather” about mafia. You don’t have the boring parts, you just have the turning points, so when you connect all the turning points in somebody’s life and make that the only parts of the story, that’s never the whole story, it’s just a version on how things went from there to there, but that’s not how things happened in real life. So it’s very speculative and I don’t know if this is in the movie, but from what I read on the script, one thing they get wrong probably is that Euronymous started this journey to become a popular Black Metal artist or to breakthrough. And as far as I know from back then, his view was to always push what he was doing into the darker side to avoid mainstream recognition. He was avoiding mainstream by being extreme all the time, so whenever things turned normal, he went the other way. So he was very much an artist for the artistic’s sake and didn’t believe in commercial success. The fact that his legacy is a commercial success now is because he’s dead. People that knew him even better speculate that he would probably got really bored by the fact that everything became music business based and the image got normalized. So he would have probably got tired of it and do something completely different very quickly or do more extreme stuff in a different way or anything but mainstream recognition. But Varg Vikernes was the kind of guy that wanted mainstream recognition, so as far as I know, the movie is a lot about him. I don’t know because I haven’t seen it, but I’m pretty sure I would have the feeling that this is not really about anything that I remember. Anything I’ve seen like clips and trailers doesn’t make me feel like “oh yeah, I remember this”, it’s a totally different story with different people who try to tell a story. It’s a fiction regardless, but it’s a fiction within a fiction. So if you want to make a movie about Black Metal from Norway it would probably be much better if you make pure fiction without any of these actual events in the movie and try to portray people doing what these people were doing and make a totally different story which is also dramatic, but you know, try to portray something that was more in the way of avoiding attention.
R!: – What documentary or book about Black Metal would you recommend to people who wants to learn the actual history of the genre?
AO: One book which I think it’s really good is this Swedish book called “Blood, Fire, Death”. It’s about the Swedish Death Metal scene, but it also has things about Norwegian scene in there. It’s connecting that to the Swedish Death Metal scene at the time which was very important in Norway as well. That book is pretty good. They mention this party at Metalion’s place where Dead was cutting himself and Tompa from At The Gates and my friend René from Cadaver put handcuffs on him and sent him to the hospital, stuff like that. I was there, so I remember that.
R!: – So this is not sensationalism or something like that.
AO: No, that was real, I remember. That stuff is based on interviews with the people who were there at the time. That’s very different.
R!: – We’re in 2019 now, so Black Metal is already well-known worldwide, of course. Do you think that the genre would have stayed underground forever if the events that happened in the early 90’s would have never happened?
AO: No, I think it would have stayed underground forever regardless of what happened. I don’t think what happened was a good thing, I think it was really bad because a lot of creativity was lost, you know? The next Mayhem album would have been made by Thorns, we’ll never get to hear that album because it’s old music which was already in the making and becoming more interesting. So from the artistic perspective, all these things that happened just made it to go underground for a long time, but it was meant to always be underground. The people I know who were there and making this kind of music myself, you do it for yourself and the people around you. That’s what we do it for, you do it for peers, we don’t do it for bigger audiences or trying to breakthrough to normal people because it’s something you don’t like. But nowadays the world has seven and a half billion people so there are more weirdos in the world now, so maybe there are more people feeling the same way in total.
But anyone that listens to real Death or Black Metal or stuff like that, they don’t do it because it’s a popular thing to do. You just have to connect with the feeling that gives you regardless of the trends or what’s popular or stuff like that, because even popular metal is a different thing than this kind of music. Nothing wrong with them, but bands like Volbeat for instance, which are labeled as a metal band, I think it’s a rock band. I guess that if you take the average Volbeat fan and show him some Black Metal, he wouldn’t like that at all, because it’s very different. Look at people who like hard music, they would think that they like everything, but that’s not true. A lot of people just like one band. For example, lots of people like Rammstein, but that doesn’t make bands like Skinny Puppy which play industrial music bigger because they’re doing very extreme stuff in the industrial music world. Rammstein takes bits and pieces of that and make a huge show, but that doesn’t make those people be into the industrial music, they’re just into Rammstein. A better example for extreme metal would be Slipknot, which was obviously inspired by Death Metal, but what they’re doing live and as a big act appeals to a much wider audience like Kiss from my generation. I think they do it really well, but again, that doesn’t make all the Slipknot fans be into Death Metal. That’s how the world is right now. Some bigger acts borrow things from these subgenres and take them into a bigger level, but that doesn’t make the whole genre mainstream. That’s probably impossible, it wouldn’t work because most of the people are not into music at all. I mean, they think they are by listening to the radio. If I listen to the radio, I would turn it off immediately.
R!: – And one thing I think it would be good to clarify is that the Norwegian scene has always been and it’s still a small scene, right?
AO: Yeah, that’s true. I mean, because of Black Metal coming from Norway, there’s probably more people into Black Metal in Norway than it would have been without all the turmoil and all the bigger bands coming from Norway, but that doesn’t mean that the genre is big in the country. I mean, we can tour Norway and play shows all around the country, but it’s not a big thing.
R!: – Yeah, but I wanted you to confirm this because many people around the world think the scene here is really big. Some people even think everybody likes Black Metal in Norway!
AO: That’s for sure not true. Most people in Norway have no idea about this music. Maybe they heard about it because of Varg Vikernes and all the drama, but that doesn’t make them experts. They probably just heard about him, that’s very common here, but they have never ever listened to Burzum. That would be very surprising (laughs). They know about it on a level which is bigger than what would normally be in other countries, but they don’t know the music.
So I don’t know why some people in other countries think that way because that would be very strange. Every Black Metal band in Norway being like a stadium band? No no, that’s not true.
R!: – Maybe it’s because the Norwegian Black Metal got big even though it was a small scene. There are many countries with their small scenes but none of their bands got big that way.
AO: That’s true, but I can give you a good example on how that can be compared to something completely different. If you drink champagne it has to be from this small place in France called Champagne. Every country makes its own sparkling wine, but the place where they make champagne is only Champagne. Everybody who makes bubbled wine somewhere else always knows about champagne but Champagne doesn’t know about everybody else. So Norwegian Black Metal is very specifically from Norway and from this very small scene, but everybody else who looks to Norway can only be inspired by the Norwegian Black Metal scene, but that doesn’t make the scene to be bigger here. It’s always gonna be this small group of probably thirty people who have been influential. We played a show with Cadaver in 1990 with Abhorrence from Finland and Darkthrone in Oslo, the ticket price was three dollars and there were only 55 people there. That was pretty much everybody that was into this music and the same year Cadaver played with Entombed and Dissection in Sweden. There were almost 70 people there. This is right before everybody released their first albums. Still everybody knew what was going on, have been tape trading and knew about the shows, but we never thought of that as a small crowd. At the time we were just hanging out with the people we like playing music for, and that was great. We never thought about that being small or big. We were just thinking of being able to play a show and when we did that show the whole Mayhem band was in the audience and they asked “can we play some songs?” and they played some songs. Mayhem played with our instruments and everybody was “wow, that was really amazing”, I think they played “Freezing Moon” and some other song, but that was just natural.
R!: – Yeah, and that’s exactly how it is in many of these other countries with their local scenes, so that’s why they’re usually confused about the scene in Norway being bigger, because it sounds unreal how such a small scene like any other became so influential worldwide.
AO: Yeah, but the same thing happened also in England when Sex Pistols started to play shows in 1976. They played in Manchester for 30 people and in the audience there were the people who started Joy Division and The Smiths. All those bands became very big and influential, but at the time they were starting up it was the same thing. Things that are influential always start somewhere, it doesn’t start being big, I think that’s because of the time gap, it was 30 years ago so it’s been a long time now. Everybody was teenager, people don’t realize how young everybody was and that’s even more absurd, the oldest guys were 23 years old.
R!: – Tusen takk for the interview!
AO: No problem, it was really nice!
Hallucinating Anxiety – 1990
…In Pains – 1992
Discipline – 2001 (as CADAVER INC.)
Necrosis – 2004
“Hallucinating Anxiety” (Live 1990):
“Innominate” (Live 1990):
“Rupture” (as Cadaver Inc.) (2001):
“Decomposed Metal Skin” (2004):