EREB ALTOR has just issued their latest album Vargtimmen, which is actually quite a nice piece of work. I’ve learned about the band since their album Fire meets Ice, but even before I’ve know for the band’s existence. Anyhow, we’ve met before on Summer Breeze festivla if I could recall well and have some chats and beers together…but now the time has come to share some wisdom concerning their brand new effort.
Ereb Altor just released your brand new offering for Hammerheart so if you could any more details about your latest work: Vargtimman…the record sound indeed refreshing so to say.
Vargtimman is recorded, mixed and mastered by Jonas Tord Lindström in our own „Studio Apocalypse“. Lyrically and musically it connects with our inheritance in Sweden; stories inspired by myths, history and legends from Sweden as well as melodies inspired by our old folk music.
We experimented a little bit more on this one with e-bows, hammond organ and some use of dissonant notes.
Vargtimman deals mostly with dark subjects which is reflected in the sound and it is a diverse album with both epic and harsh elements.
After three years of silence the band has made a come back. So why did you make a longer pause and what do you expect from HHR? This is your third album for HHR.
We didn’t take any pauses but we took our time during the pandemic to complete this album. Since the live music business was on hold we figured that we weren‘t in a rush to release the album. The writing process and recording process in 2020 ended up in 12 recorded songs and we did release 4 songs on an EP earlier this year.
HHR has promised to promote and distribute this album in the best possible way and we hope this co-operation will be valuable to us and help us to take some steps forward.
Could you compare your latest full-length Vargtimmen with your previous records?
„Vargtimman“ is perhaps one of the darkest album we have ever released. „Järtecken“ had a faster pace and maybe „Vargtimman“ has more in common with „Ulfven“. Still I believe that this album holds together as a unit in a better way than all our previous albums even if it contains all sides of the Ereb Altor sound.
Could you say us now little more about your cover artwork? Who has done the cover and what would you like to express by?
The cover is made by Tómarúm av Christine Linde. It’s an image of an old mans final journey to what lies beyond after he died. Death in human form is steering the boat and the old man is contemplating his passed life on their ride to the land of the dead. It’s the theme of the title track. We wanted an old shool look on the coverart and I think Christine did in an awesome job at that.
Are there some tracks that you can say are really promoting a new record in the best possible way?
I would say the title track and „I have the sky“. The title track is a dark and kind of complex piece while „I have the sky“ is a pretty straight forward majestic epic tune. These two tracks displays the diversity of the album in a good way.
There are lots of YT channels today that could help spreading a word about the band so is that the case with Ereb Altor as well?
I have to confess that YT channels are not are strongest area of expertise. Hopefully HHR will take care of this.
What’s the next move when it comes to Ereb Altor? Do you plan to have any shows in the upcoming year 2022?
We are trying our best in these difficult times to do as many shows the pandemic will let us. We are planning to tour and we still have some festival shows that were postponed when the plague shook the world.
And for the end we would like to ask you which was the best record when it comes to Ereb Altor or perhaps the most important if you will? I really like for example Fire meets Ice album…
As a songwriter it’s always the new album which is the best I think. The album you mentioned „Fire meets Ice“ is somehow pretty important since it’s the first album where we were combining both the harsh side and the epic side of Ereb Altor in the same album. But I believe we have refined that sound a lot over the years.
Interview by Marko Miranovic