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FLEURETY
Far Away From Any Messianic Complex
By Olivier Côté
Well, well, here I am, interviewing one of the
most underrated and underground pioneering
metal bands, whom were always mostly
known by name and reputation but almost
never through their one-of-a-kind musical
quality. Listening to the actual everexpanding
avant-garde metal scene, one has
to admit to the fact that they actually had an
impact on its development as a genre. Soon
enough I got in touch with their band coach
singer, drummer, lyricist, synthesizer and
piano man Svein-Evil Hatlevik, a most honest,
laid-back and intelligent everyday journalist.
Along the way I was even given a chance to
hear a post-1998 recording of a new Fleurety
song, which is aptly called The Animal of the
City. I immediately sat down deep into my
sofa, plugged in my headphones and started
the song at a very high volume. What a
shock! Could this be Fleurety at all? It most
certainly is! However, once I got used to it,
this experience made me remember that ever
since I discovered this band, I’ve truly never
been able to predict what would be their next
disguises. For now, have a seat and discover
the unstable world of Fleurety.
Hey Svein-Egil! Let’s hope everything is
fine on your side of the European
ground; anyway, wherever you are, a
sunny and warm summer is always a
welcome treat, right. Well I would like to
take this opportunity to explore in details
such a delicate subject as Fleurety,
the now cult experimental band you and
31
Alexander Nordgaren both gave birth to.
Ever since the year 2000, just after the
release of Dept. of Apocalyptic Affairs,
an album that took everyone by surprise
with its refreshing twists of mind, absolutely
nothing seemed to happen in your
camp. The momentum slowly faded
away so to speak. Why was that?
Any hurt feelings about that last album?
No more inspirations? Of course we
probably all know how Hatlevik kept on
going with DHG and Zweizz, but Nordgaren
all of a sudden musically disappeared,
heading off to India and other
exotic parts of the world. Between 2000
and 2005, what were then your feelings
about Fleurety and its artistic accomplishments
thus far?
Well, first thing is that summer here in Oslo
is the rainiest ever since they started scientific
measurements of the amount of rain in
18-twenty-something. Anyway, I was a little
surprised to see that nothing happened with
Fleurety after the Department of Apocalyptic
Affairs album. I was still making songs that I
intended to be Fleurety songs, but nothing
really happened. So it took me a while to
understand that the band was in a hiatus.
In fact, both the songs of the Zweizz 7" Black
Necrotic Obfuscation
(Vendlus Records 2004)
were originally intended
from my side to be
Fleurety songs when I
started making them. I
programmed some beats
and some synth stuff, and
I did nothing more about
them, since I assumed
that Alex would add some
guitars. Then all of a sudden
three years had
passed, and there were
still no guitars, so I decided
to finish the songs
myself. Anyway, I was
very happy about the
Department of Apocalyptic
Affairs album, but lately
(last five years or something)
I've come to the
understanding that Alex
wasn't too happy with that album. So well, I
have no problem with that.
Now it's more like I continue one thread with
Zweizz, the electronic experimental one from
Department of Apocalyptic Affairs. But as I
see it Fleurety as it works these days is following
another thread that goes back to our
very first demo, and the years that followed,
with Min Tid Skal Komme. That kind of material,
that kind of mentality. That's OK with me