lunes, 12 de diciembre de 2022



Good morning, thank you very much for answering these questions, how is everything going in Bratislava?

Hello and thank you for the invite. All is going well, thanks. The new record has been well received and Udånde just got announced as support for Kampfar in March 2023 in Bratislava, so I'm definitely looking forward to that gig. 

1. For a period of about four years you were the bassist of the Danish band Afsky, what led you to leave Afsky and create this new project? By the name of Udånde and what does it refer to? Why this change of country from Denmark? to Slovakia?

Udånde was created while I was still a part of the Afsky live crew. Udånde was created out of pure boredom as I had a job where not much happened, so I went to a local music shop and purchased a cheap guitar and started composing music.

I left Afsky as I wanted to focus on Udånde. That being said I sure miss the guys in Afsky.

The name Udånde means “exhale” in Danish, but also in a more spiritual way as in drawing your last breath and die.

My girlfriend is Slovak and we had a long distance relationship for a year, but then decided to move together. My girlfriend wanted to study to become a vet, so it was my call to move to Slovakia. 

Now I have been living here for 5 years, and from the view of a Dane who grew up in a comfort zone like the Danish welfare society I can only recommend moving outside the country, to gain another perspective. 

2. Shortly after founding Udånde, you edited your first album “Life of a Purist”, for which you had the collaboration of other session musicians for vocals and drums, how did you approach the entire composition process of this first work and in What moment did you decide to have other musicians on vocals and drums?

Good question! I did everything myself; guitars, bass, lyrics, drum programming and so on.

As the drums were programmed I wanted to have a real human to record the drums for the sake of the sound. 

Regarding the vocals I did not feel confident doing it myself as the album was a bit of a “test” for me. I had made “Life of a Purist” as cheap as possible as I had no idea how it would be received by the listeners and if anyone wanted to release it at all.  

3. You have recently released your second album “Slow Death – A Celebration of Self-Hatred” in which you have taken control of most aspects of the composition and recording process, only with the collaboration of a drummer, how do you think What has affected this greater control on your part when defining the sound of the new album? What brands of instruments have you used in the composition and recording process?

As mentioned in the previous question I have had control of the composition all the way already from the first album.

But speaking of the sound of the new album, I contacted Patrik McDowell of Spectral Wound to do the mixing and mastering as I wanted a more brutal and dirty sound. 

The whole idea of “Slow Death” was that it had to be composed simple and dark due to the theme (anxiety, depression and antidepressants), a goal that I think was reached in the end. 

After “Life as a Purist” I spend a lot of time researching what guitar to upgrade to. I ended up with a FGN Mythic JMY-Ash-M guitar which had the two most important features for me: 

Seymour Duncan Nazgûl pickups and string through routing. Otherwise I used my trusty Fender Jazz Bass Walnut ‘62 reissue which has installed some Lace Aluma J pickups. 

4. “Life of a Purist” still had, so to speak, an aftertaste of what we could define as depressive black, however this new album sounds much more powerful, with more influences from styles like death or doom, do you think Have you taken care of aspects such as the vocals or the echo against a drummer from a school that is heavier than black, has it supposed an important change in this sense? How would you define the sound of the album for those who haven't heard it yet?

It’s hard to say. I’m listening to a lot of different music, but mostly black metal of course. 

To start with the vocals, a friend of mine taught me vocals over Skype which he managed to teach me in just 1,5 months. An impressive achievement of my vocal coach Steven Borgwardt especially taking into account I was on tour with Afsky at the same time. 

Funny thing regarding the drums. On LoaP I used a drummer who primarily plays grind and death metal and for Slow Death the drummer was primarily playing black. You are not the first to point this out which is very interesting to me. 

5. The theme of the album can continue to be related to aspects closer to depression such as anxiety disorders or depression. Why did you decide to deal with these issues in your lyrics? Does the music fit the lyrics or vice versa?

The theme was an idea that I have wanted to do for a while as it has taken such a big part of my life. At the same time I hope some people can relate themselves in my lyrics and music, as I see mental issues as a topic on the rise and yet still a taboo at the same time. This goes for both my Danish and Slovak friends. 

Yes, I composed it that way. For example, in song 5 “We Should Welcome the Suffering” that is the period where I started to take my antidepressant hence the song is more uplifting and less dark compared to the other songs on the album. 

And also to mention song 4 “I Mean, Who am I to Blackout?” is a reference to an episode where I literally blacked out due to an anxiety attack and remembered nothing afterwards. Apparently I was lying on the floor and hitting my head into a cabinet. If you read the lyrics you should be able to understand the situation. Anyway, after that experience I started to search for a psychiatrist to get some help and medication. 

6. Has this album meant a step forward for you both in sound, having incorporated death elements, always preserving a melodic sound and a melancholic atmosphere, as well as in aspects such as the lyrics that would have served as a catalyst for your emotions? 

Yes, I believe so. 

In many ways I felt this album was a new start for me, as I did the vocals myself. 

When I’m composing I always need to put in heavier parts and melodic parts as well. As cliché as it may sound I will need both Yin and Yang to complete a song. 

So even if you have the darkest song ever, you should still be able to find some beauty in it and vice versa. 

7. This time you have also changed the place where you mixed and mastered the album, choosing Patrick McDowal from Montreal for it, why did you choose to work with him to finalize the sound of the album? What do you think it has contributed to the final result of the album?

As mentioned I wanted a more brutal and dirty sound for this album. Patrick is not only playing in Spectral Wound, but also doing the sound engineer part I believe. 

So already knowing Patrick from the Afsky tour with Spectral Wound back in 2019 I was sure that he was the man for the job. 

The whole soundscape was completely created by Patrick with only a few instructions from me. 

In the end I believe I got the exact (or even better) sound than I was expecting. 

8. For the cover of this “Slow Death – A Celebration of Self-Hatred” you have opted for a rather “minimalist” design, unlike the one used for your previous “Life of a Purist”, does the change have anything to do with it? Emil Underbjerg's work? Why this cover and how does it relate to the content of the album?

I wanted the whole album to be simple and dark, so the cover had to be the same. 

I chose Emil Underbjergs linocut “Malstrøm” for the DLP/gatefold version as it was illustrating the last two tracks you will only find on the DLP. You can also find the artwork on the shirt and hoodie.

I believe the less you have to look at (In this case) the cover your imagination has to take over to paint the situations of the songs. I have added some photos from the time period in the booklet, but otherwise the listener is only left with lyrics, music and their own imagination to paint the picture.

I could in fact have put a lot of horrible illustrations for the booklet, but on the other hand it might suggest that the music was not strong enough to carry its message.  

9. Your relationship with Vendetta Records is maintained in this second album. How did the possibility of working with them to publish your music come about? Are you satisfied with the editing and promotion work done by Vendetta Records?

When “Life of a Purist” was complete I needed to find a label. 

I was still a part of the Afsky live crew at that time and I could just have taken “the easy way” and asked Vendetta via Afsky. However, I wanted to make sure that my music actually had potential, so I had a lyrics video made by St. Digue and then I contacted Black Metal Promotion if they wanted to upload the video in order to get a label. 

As you have probably guessed, Vendetta contacted me and a year later Life of a Purist was released. 

From release to release you are able to see progress, and also in the background I believe there has been a high level of professionalism from Vendetta all the way through. 

10. Before I told you that Denmark has changed for Slovakia, seen from the inside, how would you describe the extreme goal scene of a country like Slovakia, unlike what you experienced in Denmark?

It is hard to say for me, as I do not want to speak on the behalf of the slovaks. 

The greater challenge I have experienced here in Bratislava is that it’s not easy to find a rehearsal space. Where in Denmark it’s not that hard compared to Slovakia.

Some Slovak bands have to rehearse in their own garage where in Denmark there are rehearsal spaces for rent. 

11. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your life pushed you to want to be a musician?

Neither the first concert or album I cannot remember to be honest. 

I had a friend when I was around 16-years-old I think who played the guitar and he inspired me to try it out. 

Later I switched to bass as my primary instrument, but now I play both instruments. 

12. What album represents for you the essence of black metal? What last albums have you bought?

To almost avoid the question I will have to say Mozart’s Requiem. 

If you have not listened to it, you will not be able to understand how a subject like e.g. ‘death’ can be described in such a beautiful yet haunting way. 

For me black metal is the most romantic (as in romanticism) genre to describe challenging topics or the opposite, a true admiration of e.g. nature.

I have just preordered “Trisagion” by Ethereal Shroud. Probably the best BM release last year if you ask me. 

13. What future plans do you have for Udånde in terms of upcoming releases, concerts or reissues?

I’m already working on the 3rd full length, but this one will take some time. 

In 2023 Udånde will be playing live and the debut concert will be at the Black Metal Invasion X in Vienna 20th and 21st of January. Bands like Medico Peste, Gespenst, Varulv, Arkæon will be playing as well. 

Also, as mentioned, Udånde will be playing a local show in Bratislava 13th of March supporting Kampfar. 

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for the fans of Udånde this is the place. I hope the questions are to your liking.

First of all I want to say thanks to all who have already listened to my latest record and took their time to give me some feedback. 

Second, thanks for the support which is truly appreciated. 

Thank you again for the invite for this interview. 


Reaper – Unholy Nordic Noise 17,99 €

Vinyl, 12", Album

1 Intro 1:14

2 Hero Of The Graveyard Flies 2:10

3 Severing Tentacles of Faith 2:44

4 Arctic Wrath - Blood and Bone 2:34

5 Order Of The Beelzebub 2:04

6 Horn Of Hades 3:47

7 The Birth Of War 2:39

8 Surrender To The Void 2:32

9 This Crystal Hell 2:18

10 Ravenous Storm Of Piss 1:23

11 De Krälande Maskarnas Kör 3:08

12 Outro 1:52

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