DEATH IN JUNE like how I originally thought it would as I quickly abandoned sounds and instrumentation in the studio that were not of ‘The Now’ and felt hackneyed and old fashioned. It’s difficult to define how I do that but it simply declares itself and you have to have ears that listen out for that. Within your lyrics you’re mostly focusing on things happening inside the human mind. Can you say that these things attract you more than creating a concept album with characters/storylines and a certain plot I don’t think I’m capable of writing a concept album with fictitious characters involved. It’s simply not part of my psyche or what ultimately interests me. I’m too introspective and analytical for that. My Life’s been a serious affair and continues to be. I can’t escape that. It’s my Destiny, my Wyrd. After the release of ‘Peaceful Snow’, people had doubts about the directions in which you would move. For a number of times you said that it was a very interesting experience and Miro Snedjr added very interesting things to your music. What do you feel every time, getting to some new point of this journey ? Bewilderment, bemusement and excitement as I feel I’ve successfully managed to direct musical changes over the years regardless of whoever I’m working with. Certainly Miro Snejdr, Herr Lounge Corps Himself, brought something very special to the Death In June table on several levels. Along with this, your cooperation with Miro started with his variations of your songs, that caught your attention. As a person who always looks forward, what do you feel going back to the past and looking at some things from a different perspective? The one main thing I’ve noticed for some years is when I’m singing an old song the original meaning for many of them for me has changed. They seem to be in constant flux. I think I’m looking back at the past but it’s the present that ends up distorting the view. How much have your artistic goals and objectives changed since “The Snow Bunker Tapes (2013)”? I don’t know if they have actually changed. I act on automatic about almost everything I do artistically - 17 - (Continues p. 18) www.peek-a-boo-magazine.be
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