With "Storm Metal" the Swedish metallers of SPAZMOSITY released a fantastic demo that will hopefully open the eyes of the public, media and record labels. After 2 previous demos and a rehearsal tape the band's music has evolved to a style described as blackened Death Metal, resembling bands such as DISSECTION and NAGLFAR amongst others. "Storm Metal" turns out to be one of the two best demos (along with CURRICULUM MORTIS) of the year so far, so to shine light on the SPAZMOSITY story here are some questions and of course answers, by Peter and Björn.

- Hails to the SPAZMOSITY cult! How are you all doing?
We are doing just fine and we have recently started rehearsing more frequently for some upcoming gigs this autumn. We also work on new material, good stuff I can tell you! (Björn)

- Could you give us a summary of the history of the band?
The band was born back in 1994 but didn’t really take form until 1996 when we recorded our first demo-tape. We had many changes in the line-up the first years but we have continuously played concerts with bands like VINTERLAND, AMON AMARTH, LOBOTOMY, A CANAROUS QUINTET and most recently ENTOMBED. The music has always had a melodic element but became faster and more extreme as the years went by and our latest recording, “Storm Metal”, is the refined result of that development. (Björn)

- What can you tell me about the previous demos that you released? For instance, how is the sound quality and how did the music of the band compare to the sound of SPAZMOSITY anno 2003?
Previous demos have a hideous sound quality, and the standard of the songs are not as high as today. This is especially true for our first release. The difference now is that we have a stable, working line-up, regular rehearsing, and a good working relationship with a producer. I believe we also have improved much as musicians, writers and live-artists, but that’s not really for me to judge but the public. (Peter)

- SPAZMOSITY is an interesting name. Any particular reason why you chose this name?
People who weren’t that involved in the Death Metal scene said that we were playing very fast and almost spasmodic so we made a name out of it. And we have kept it because we like that it is a bit different. (Björn)

The current demo “Storm Metal” was recorded in late December of 2002, did you send out a lot of promotional copies and how did people react to it? Did you like the review at Vampire Magazine?
We have sent about 40 copies, and are planning on sending even more. The overall reaction is really good, great even. Almost everyone agrees that we should release a signed album, and some even hailed us as a vital part of the next Swedish Black/ Death metal wave. The review in Vampire Magazine falls in that latter category. Thanks for your support! (Peter)

- The demo you released is really unbelievable, featuring the best elements of the Swedish Black/ Death Metal scene. As I said in the review, it reminds me of DISSECTION, NAGLFAR, SOULREAPER and a bit off SETHERIAL. Do you agree or would you describe your band differently?
It is quite difficult to categorise your own creation in that way. You are intimately connected with the music in a way which makes that kind of analysis hard to perform. Since we like these bands, DISSECTION and NAGLFAR in particular, we take it as a compliment. I would love it if someone apart from that noted influences from classic metal band like IRON MAIDEN, JUDAS PRIEST and WASP. But that might be to stretch it a bit, just because we love some types of music and listen to it quite a lot it does not necessary make it a part of our own creations. (Peter)

- None of the songs on the demo sound the same, and the songs themselves have a lot of variations in riffs, speed and rhythms. Would you agree that keeping music diverse is a key element to a good recording?
Diversity is always more interesting than monotony. Everyone in the band has really unique tastes, and apart from some common nominators, like the above mentioned IRON MAIDEN and DISSECTION, our record collections look quite different. For example, the 20th century Russian composer Schostakovitsch and trance music found at my house does not fit well with some other members tastes. But Metal is a main focus for all of us. (Peter)

- The production of the demo is really awesome, in fact better than a lot of albums by signed bands. I have never heard of the producer or studio before, can you share some details with us. Did the recording go smoothly?
We have a very good relationship with Tore Stjerna and feel comfortable at his Necromorbus studio. At this recording he worked not only as an engineer but as a producer as well. He has played in several bands (WATAIN, IN AETERNUM etc) and understands the music really well. The studio is located in a suburb of Stockholm, and I would recommend it to any Death or Black Metal band with a limited budget looking for a good sound. The studio can be found here.
We had to re-write one of the solos in the studio, and I stayed up all night the day before to finish the lyrics in time. But we perform best under pressure, and I think the final result confirmed that. (Peter)

- Did “Storm Metal” completely turn out the way you wanted it to be, or are there things you are not entirely satisfied with after all?
There are always some minor details that could have been better, but I am a pessimist so it exceeded my expectations by far. (Peter)

- What do you think is the best element of the current music of SPAZMOSITY?
Again, that’s really hard for us to answer. Personally I would say that the combination of melody and power, accentuated by the fire and blood the live act carries, is our greatest strength. But I know other band members have different opinions, and it is all these different opinions that make SPAZMOSITY the diverse creative whole that it is. (Peter)

- Tell me, how on earth can it be that you guys don’t have a record deal yet? Did you send “Storm Metal” to labels and have there been responses yet?
We have just begun the promotion of Storm Metal towards the record labels. We have some minor companies interested, but so far nothing beyond that. We have to wait and see how things work out in the end. Our earlier recordings were really not appreciated anywhere outside Poland, Singapore and Slovakia. Why the metal underground in those particular countries embraced us the way they did is one of the unsolved enigmas of the universe, and I am afraid neither we nor our decadents shall ever know the reason why. (Peter)

- Reading through your lyrics, this is pretty deep stuff. In general the lyrics seem to be about breaking away from the thoughts and will of the masses, am I correct? Who writes them? What are your views on above subject, and also religions?
I must say you’re quite right in your interpretation. The lyrics of “Storm Metal” deal largely with collective identity vis-à-vis individual identificative patterns. A typical post-modern problem, accentuated by the death of the major myths in the post war era. Individuals deal with this in two ways. Those deeply stuck in old dogma refuse to give up the quest for authority and collective myths, and search some other form of collective manifestation to hide from themselves. These are the Herd-men, and are currently making up majority. A romantic term for them is “searchers”, and our culture somehow support their lunacy although they wreck havoc whichever path they choose to follow, be it political, religious, administrative or something else. They hate modernism and relativism, and spend their life in a futile, destructive search of an original truth which they seek to implement by any means at hand. The only thing they succeed in while trying to free themselves and their fellow man is further enslavement in the maya of rigid principles..

The other way to deal with the modern problem is by an attitude of acceptance and of shouldering the consequences. The village-hierarchy is dead, it’s founding myths are rotting corpses in need of burial, and a void fills the relationships between fellow men, and a seemingly impenetrable darkness obscure all that is traditionally considered sound and true. The Shaman accepts these fact, and realise that now it’s up to every individual to create his/her own founding myth, and themselves be responsible for it’s functionality and truth. In addition to this, social roles and values are no longer given by tradition, caste or any other institution formerly defining what role an individual is to play. In an age of interactivity everyone plays multiple roles, one must be one’s own priest, provider, truth-teller, promoter, artist and friend. The increased possibilities of modern communication necessitates that oneself define the role to play, and establishes contact with others who agree on those specific social rules in the game called life. I must point out that the Herd-men and the Shamans are ideal types and everyone has both these sides in themselves to different degrees. The “modern project” currently afflicting our world is a problem only because it demands a greater part of the shaman-type than most people are willing or able to bring forth. We can either shut ourselves up and revert into a vegetative state or adapt and free ourselves to a larger degree. I think it is obvious which path I lean towards.

“Storm Metal” deals with these problems from different standpoints and phases of development. “Ocean of Flesh” focuses on tradition and it’s grip on the individual, and the individuals refusal to admit it’s own slavery to imposed principles:

Our past is a white-washed dream
A drama set on a wide display
To cover up our original sin as walking corpses
Mindless machines
From star to star we bounce in search for life

“Enter the Storm” is the next step in that process. The slavery is realised, and the search for a way out begins. The salvation or catharsis occurs with the realisation that the surrounding norms were mostly projected parts of an internal, defective psyche and the unwillingly accepted myth projected thereupon. Adherence to a kind of psychological principle of relativity gives a new perspective to these internal patterns, and aids in them losing their grip.

The absolute vanishes, unlocated, uncreated
As your own master create your golden path
Reference lost, not confined to any
single point of view
Free at last from the chains inherited in
the universe of man

Note that these patterns are not abolished, an experience is never worth negating, just integrating. Constant integration is the only way to avoid getting stuck in negative patterns. The final phase is symbolically represented by the butterfly exiting the cocoon. After a dark night of the soul, where one replace the previously forged patterns by self-chosen ones, a new being, locked in constant transformation and re-evaluation, emerges:

As the new day dawn
Uncoil, awake, break your chains,
spread your wings and fly
Eternal flames burn their way inside your body
Feel the breath of life and might
Discard the veil of sorrow, raise your eyes
The light of the serpent shines through the night

In this abstract the whole process looks quite easy and harmless, but I think the whole lyrics combined with the melodic parts makes clear that this is an extremely painful process, and many choose a glorious death rather than the ego-loss involved in the transformation.

The lyrics are written by me and I guess they mirror both my interest in alternate states of consciousness, academic studies and general outlook on life. I think the above exposé clarify things. If not, feel free to send comments or questions to via the contact part of our website. (Peter)

- Are there any plans for promotion of the discs by live shows? Do you get a lot of opportunities to play live, and with what bands? Is it mainly local shows?
We have plays some quite big gigs this last year. For example, in middle September this year `2003` we opened for ENTOMBED in Piteå, way up in the north of Sweden. We mostly do local gigs, but except Piteå we have also been in Gothenburg and some other Swedish cities. At all concerts nowadays we bring demos and T-shirts and sell quite well. We also have a few very devoted fans, almost too devoted if you ask me, which shows up at all our shows in the Stockholm area. We play for beer and a place to sleep. Contact us if you want us to show up and give you hell! (Peter)

- What bands would you mention as the biggest influences on the band? Is there a lot of diversity in the musical tastes of the members or is it pretty comparable?
I think I answered that in an earlier question. There are a lot of differences between individual members, but some striking similarities in the metal genre. (Peter)

- At what point would you call SPAZMOSITY successful (for instance getting signed to a record label, a tour or something else)?
Hopefully one never feels one has accomplished ones goal, and the only thing left to do is await the unavoidable decay of body, spirit and mind. I consider SPAZMOSITY successful as long as we keep evolving in a stimulating way. The next phase of that development must include a record label and bigger gigs. But success is a dynamic concept spread out over some period of time, not a static one-time-achievement sort of thing. A tour and recording deal would not be worth anything if we had not put together a synthesis of ideas, lyrics, music and performance we can stand for and feel proud of. (Peter)

- How long have each of the band members been playing their instruments?
Hard question. I myself started playing the guitar around 1987 and by that I think I have played the longest. What I do know is that most of us started playing our current instruments in different bands between 92 and 94. (Björn)

- Do any of the members of SPAZMOSITY operate in other bands?
Everyone has had some previous band experiences and/or side-projects at one time or another. I myself played in something that was supposed to be a Death Metal band called VEHEMENT in the early nineties. Recently I sang in a death/grind band called PLAGUE DIVINE. For now SPAZMOSITY is the sole outlet of musical inspiration for all members, unless there is a hidden project somewhere into which secrets I have yet to be initiated. (Peter)

- Now what I find an intriguing question to finish up the interview: Jon Nödveidt is released from jail next year, and the new DISSECTION album is already in the pre-production phase. I know this is a pain in the ass question, but I’d like your thoughts on the following: How do you think the new album will be: fantastic since it’s DISSECTION, or maybe disappointing since basically there have been so many years of music since “Storm of The Light’s Bane”.
I am always sceptical of new albums, that way you only get pleasantly surprised when proven wrong. DISSECTION always have the potential to do something great, but I am afraid the intervening problems must have had effect some way or other. Anyway, they would be hard pressed to do something even better than “Storm of the Light’s Bane”. (Peter)

- Thanks a lot for the interview, any last words you’d like to add?
#1) Stay drunk!
#2) Buy our t-shirt and demo, or album if such has yet been released at the time of this reading.
#3) Support metal.
#4) Kom hit och kolla på oss för fan!!!! (Peter)