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time living it; it’s kind of being an observer of
society. Not in a critical or naive way, but just
observe to become more knowledgeable and
powerful. Of course all this is very general,
but so is the question.
Part 2: A Dance Between Chaos And Order
You said somewhere else that the new
DHG album is already composed. I know
it's a bit early to start thinking about
that, but I would guess that throughout
all these years you've been giving shape
to at least a vision of DHG's future. Is
there something you've not been exploring
on Supervillain Outcast and would
like to try out next time? Not to speak
against Kvohst, as of course his vocal
performances are quite intense, fully
accomplished and perfectly wellexecuted,
but is there any chance to
bring Aldrahn back to your musical madness?
I know you guys are good friends,
so that's basically why I'm asking.
No, unless Kvohst quits there is no chance of
that happening. His style, range and ability
suit my ambition a lot more. Aldrahn has a
lot of heart, but also has a lot to learn technically.
I think he is content with what he possesses,
so it’s better that he does bands that
do not demand a clinical execution as well as
bringing along the heart into the equation.
Aldrahn has a great voice and he is by no
means finished with his career. I guess both
a Thorns album and a The Deathtrip album
are not ages away from being presented to
the public. I am also happy about the fact
that Kvohst is British; it gives a deeper exploration
of the English language. Now the lyrics
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are as I want them, more accessible but
multi-stylistic. We can now thoroughly write
about certain themes, atmospheres, ideas,
etc. and keep a red thread from one lyric to
another, without being conceptual.
Most of DHG's fans know how long both
the mixing and the mastering of Supervillain
Outcast took in order to get completed.
In comparison, some bands only
spend perhaps one or two months mastering
a whole album. Would you mind
introducing us to what was so hard to
balance within your sound particles?
Was there something specific you had a
hellish time to drive into perfection?
What was the most challenging part of
the mixing/mastering process? Without
going into too many technical details, it
would be highly interesting to read
about the sound-picture you were aiming
for and finally had the pleasure to
achieve. I believe that Thrawn was helping
you out throughout the whole adventure,
is that right?
I don’t think everybody in this scene is an
artist. A lot of people just want to play carbon
copies of the bands they like. I am ok with
that, it’s not my point. My point is that if I
wanted to make a Celtic Frost sounding album,
I would know exactly how long every
aspect of the production would take, and
could therefore make a realistic time-line.
When your idea is something that lives in
your brain, and wants to manifest itself
physically for the first time, things like time
do not exist. A wise man once said that great
art is never finished, only abandoned. This is
very true. I did not want to abandon my mu-