▲ 27 r/Mayhem
Maniac on old and new Mayhem lyrics
Can you tell a few things about this Deathcrush album? I think you were quite young at the time.
“Yes, I was really young. It was ten years ago in 1987 when I was 17 and I’m not sure if I like the album. I don’t like the lyrics on the album at all but I like the brutality of it and it was one of the first BM albums that came out, you know.”
Maniac in Nightwalk #1, 1997
You wrote all the lyrics on ‘Wolf’s Lair Abyss’. Did the other band members have any input?
“No, they fit right in. Actually Blasphemer is a really big fan of my lyrics, you know. I have much lyrics lying around from older days and what I did was take out some lines that I’d written ages ago and combine with some new ones. I remember there was one line that Necro Butcher didn’t like from ‘The Fall of Serpahs’ which says ‘A serpent kiss I give to woman’. He didn’t really fancy the word ‘kiss’ in a Mayhem-lyric, but otherwise they really liked it. I also had some other lyrics which I had never planned to use with Mayhem, but I had them with me at rehearsal. Necro Butcher was like, ‘are you really going to use these fucking lyrics on a Mayhem record?’. ‘Don’t worry’, I said. I even used the word ‘love’ in one of them.”
From Descent #5, 1999
u/GHOSTALICE — 1 day ago
Celestial Bloodshed - Aorta of my Thoughts
Did they just take a Thorns riff (from the song "Lovely Children") and basically...not credit Snorre?
Most people probably know the riff from "From the Dark Past" by Mayhem.
I like Celestial Bloodshed and I don't want to shit on them or anything, but I was wondering if anyone knows more about this...?
u/GHOSTALICE — 4 days ago
Pytten on Øystein/Euronymous, his ideas and influence on others
(pictured from left to right: Attila, Snorre, Hellhammer, Pytten and Euronymous)
How would you describe Euronymous as a mentor for the other bands?
“He had a very strong position. He defined what was accepted and not. And I understood why. He had come a longer way in his search musically compared to the many others, and he had pretty much stopped using distortion pedals. He used some simple things, and he worked a lot with his amplifier, and he was probably the Black Metal guitarist that had the most traditional Rock gear. He used the red Les Paul guitar - single coil I believe, and a Marshall 800 or 900 and a standard Marshall cab, 4 x 12. He did not try any absurd things, like trying 3 or 4 pedals in series. And this was a relief for me, because I didn’t know much about those insane guitar sounds and pedals other artists would bring to the studio, so I appreciated his traditional approach. I totally understood why people were looking up to him, he could define the directions, and he could do these extremely good compositions. One of my big moments experiencing one of his compositions was when Attila came and played with ENSLAVED at USF, and I was on the side stage looking at Ivar, and we knew this was a once in a lifetime experience. That was a really strong experience.”
And how would you describe him as a person and friend?
“A really interesting person. Intuitive. Strong opinions. Lots of ideas musically. Some of them were far out and complicated. We were planning things for the next album. If you know GRATEFUL DEAD, the bass player had a custom made bass where every string had a separate pick up leading to a dedicated amp. Øystein was thinking about doing the same. We were hoping to find some technical people to do the similar with his guitar for the next album, and use a lot of time to pre prod to create this stereo sound where every string had its dedicated sound. It would create this sound of stringing chords! We were talking intensely about this. And I know we would have been successful in some way or another.”
Pytten for the DMDS 25th anniversary interview
u/GHOSTALICE — 11 days ago