I wanna avoid that feeling of keeping the name but being someone else.ĭo you have boundaries in terms of how should a Ved Buens Ende song should sound like, and could you go for something completely different ? He said "Yeah, we're just covering our own songs, we're not even the same people anymore." So, I think it's really important when it comes to Ved Buens Ende that is has to become Ved Buens Ende and not another band from 25 years later. They were booked everywhere and I asked him why he was depressed about it. They did some reunion shows a couple years ago and he was really depressed about it. I have a friend in Norway who played thirty years ago in a legendary punk band called Quok Process. Otherwise, it will just end up being another band. I think that if we work on new music, it's really important to remember and try to reconnect with the roots, and have Ved Buens Ende from 25 years ago as the biggest inspiration for what to come, in a way. As for right now, our focus is on playing these quite exclusive shows. And some stuff from back then has been used in other bands : some in Dødheimsgard and some in Virus. Yeah, there's probably a few riffs left from back then, I guess. This time, it's the proper Ved Buens Ende.Īnd now the question that's on everyone's lips : are you planning on working on new material ? If yes, would it be brand new material or do you have some riffs stocked somewhere, like the unreleased album Half Visible Presence? Basically, in 2005, we ended up being more like Virus but with me on additional guitars. We did it the right way, in the right order. That's the biggest difference why it didn't work back in the day in 2005 and why it worked this time.
We played all the old songs instead of making new ones, and we brought Skoll back into the fold instead of replacing him with another bass player. What's different about the last attempt to reform the band was that, this time, we did it the right way.
You know, it's wrong genre to use that kind of word, but it was kinda fun to pick those songs again. We did and that sparked interest for renewing those old songs and it was a lot of fun.
A friend of ours, our manager, had her birthday and asked if we would mind playing a few songs at the party. Vicotnik (guitars and vocals) : It's really a coincidence. How did this utterly unexpected reunion happen in the first place ? We discussed all things Ved Buens Ende with Vicotnik. After a failed attemps to reunite in 2005, 2019 was finally the year when Vicotnik and Czral got on stage together again, still with Skoll ( Arcturus) on bass and Øyvind Myrvoll from Dødheimsgard on drums. But the Black Metal scene never quite fully recovered from the earthquake caused by Ved Buens Ende's Written in Waters, and still feels its aftershocks to this day. This band released only a demo and an album before splitting up, surrounded by a myriad of unique bands which are among the most vital in the Norwegian scene : Dødheimsgard, Aura Noir, Virus or Void, to name the most well-known ones. dark and eloquently dreaming, beautifully enigmatic symbolic poetry even worth reading without the music, as surreal and haunting as Lisa Myhre's cover painting.Ved Buens Ende. With a bit more reverb and distortion, of course.Īnd Carl-Michael's lyrics.
The production is far from the necro-standard of their fellow countrymen, reminding you more of the warm fuzz progressive rock embraced its listeners with during the 70's. Every musical element dances and whirls in a perfect symbiosis, in perfect balance. Skoll's fluent bass-lines wandering rumbling about, yet never without an aim or goal, using the tonality (or lack thereof) as much as (or more than) his six-stringed counterpart. Vicotnik's grim screeches and ever-changing guitars - from the raw BM riffage in "Den Saakaldte", through disharmonic chords to the jazzy and pop-like melodies of "Autumn Leaves". His British crooning, sorrowful, slightly yet delightfully out of tune vocals. Carl-Michael's flowing melodic drumming - those aren't beats, they are melodies technical, but never showing off, switching from typical Norwegian grinding to peculiar rock beats through smooth polyrhythms. Except for the strange violin-piano-accordion misuse on a few tracks, the band keeps to a voice-drums-strings setting, leaving all unnecessary dabbling with synthesizers and samples behind. There is a poetic genius in these nine pieces, in all their simplicity.
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