“Seigmen is one of my all-time favorites, and I look at their music as a cinematic soundtrack of my life, and their latest release, ‘Dyret,’ is a monument of their great legacy. I had extremely high expectations when I learned that Leon had made his interpretations of ‘Sort Tulipan’ and ‘Performance Alpha.’ The result is dark, painful, melancholic and indescribably beautiful. The piano. The vocals. Well done, Angel of Death.” ~ leading music expert and author Finn Håkon Rødland
Ranking among Norway’s greatest artists, Spirit Tomb’s Leon Kristoffer is not only a Renaissance man, but also a figure steeped in mystery. In accordance with his enigmatic nature, this distinguished visionary has taken us by surprise with a mesmerizing offering that did not appear anywhere in his carefully detailed plans until the moment when it attacked us from behind as an already complete work, wielding the scythe of funereal darkness and all the majesty of a king’s castrum doloris. Indeed, Leon Kristoffer has hit us with a brand-new EP titled Sort Tulipan, a gorgeous homage to the legendary Seigmen. Sort Tulipan features covers of, yes, “Sort Tulipan” from the classic Total (1994) and “Performance Alpha” from the equally splendid Radiowaves (1997).
Endowed with elevated and unquestionable aesthetic judgment, Leon Kristoffer has often referred to Seigmen as one of his favorite bands. Furthermore, Total and the Spellemann / “Norwegian Grammy”-awarded album that came next, Metropolis (1995), were both produced by another huge inspiration to Leon Kristoffer, the ingenious Grammy-winner Sylvia Massy. Leon has applied her teachings to his own work as an esteemed producer and engineer, who has actually mastered an offering by one of Seigmen’s perfect and immutable core five.
Founded in 2020, Spirit Tomb is entirely sustained by the brilliance of Leon’s vocals, piano, and cello. However, one of his compositions does showcase the divine voice of the phenomenally gifted Lena Kathrin Fet, and we expect additional exciting guest appearances in the future. Spirit Tomb is currently in the process of unveiling the “Aandegrav Trilogy.” In a statement too beautiful not to repeat, Spirit Tomb penned the following upon the release of the trilogy’s premier installment, the two-song EP The Lotus of Dahlia:
“The realm of Spirit Tomb is where old ghosts are conjured.
Flesh and spectral limbs entwine in a dance that ultimately escorts the dead to their final destination in eternal solace.
The Lotus of Dahlia is the first chapter of Spirit Tomb’s ‘Aandegrav Trilogy,’ which will take the listener through a journey of loss, grief and catharsis.
It begins with grief.
The Lotus of Dahlia speaks of the open wound of heartache in its most beautiful form — for there is beauty in everything.”
The masterpiece Spiritus Lacrimarum: Dolorem in Lacrimas Efundere, a collection of eight expertly curated interpretations of works by Poe, then transported us to the heart of loss, as promised. Now, we await a full-length film for that audial miracle as well as the cinematic and sonic wonders that will then manifest themselves as The Haunted Palace. Without the slightest doubt, The Haunted Palace will boast lyrical wizardry and Leon Kristoffer’s trademark dramatic supremacy.
We have spoken with Leon Kristoffer about his sublime art in the past. Please read our first conversation with the master here as well our chat with Seigmen here. Obviously, we were enthused to catch up with Leon Kristoffer yet again to discuss Sort Tulipan, which we likewise reviewed, and more. We sent him our questions, and he replied in his ever-eloquent style from his idyllic mountain town.
Without further ado, we present our latest interview with the great Prince of Romantic Darkness himself, the Ville Valo of a style that can be described as modern classical with inventive twists.
Please tell me about the genesis of your new and unexpected title, Sort Tulipan! As always, you’ve managed to completely blow me away. I believe that the recordings date back a couple of years?
Leon Kristoffer: That is correct. I recorded these two tracks simply because I love them.
I had no plans on releasing them or anything. They were just for me, and to share with a few close friends!
In a sense, your style can be described as dark romantic minimalism. However, you create a lavish effect that overpowers by means of your alchemical genius, a topic we’ve touched upon in the past. What were the challenges of reinterpreting Seigmen’s material with just vocals, piano, and cello?
Leon Kristoffer: Sort Tulipan is in many ways like an exercise in broken beauty, which, to me, is the highest form of beauty, and by choosing to use an out-of-tune piano, it really emphasized the fragile broken beauty and the profound depths of the song’s heart and soul.
“Performance Alpha,” to me, has a welcoming coldness — a shared coldness that invites me in.
A common thing for both tracks is the feeling of closeness. If you truly grasp the heart and soul of these songs, then they will forever be a part of you, dwelling inside for the rest of your life. In addition to that, they feel completely naked, vulnerable and honest. That is a big part of the home of the aforementioned broken beauty.
How did the production process go? We already know you’re a brilliant producer and engineer, but were there any difficult choices that you had to make?
Leon Kristoffer: It was a natural flow, and the material told me exactly what it needed. I don’t think I spent any more than 1 day to completely finish each track, actually.
I’m curious to know: How do you view the lyrics to “Sort Tulipan”? They are very “suicidal black metal,” in my opinion.
Leon Kristoffer: I never thought of the lyricks in that manner at all, really. I view them as a beautiful story of accepting that things have come to an end, and even though it might not be exactly what one wanted or hoped for, there is peace and serenity in knowing that it somehow still feels right. It is to end things in a treasured state.
Of all the magnificent Seigmen songs, how did you make the decision to reinterpret “Sort Tulipan” and “Performance Alpha”? Do you have any more Seigmen covers in your arsenal? If not, which of Seigmen’s compositions would you like to tackle next?
Leon Kristoffer: It is as uncomplicated as in that I just started to play them and record them. It was not really planned. It just kind of happened. It felt like the right thing to do, and I just started doing it.
Well, who knows if it will be more? Why not? Total has a birthday each year, strangely enough! Hehe!
I may or may not have heard another superb cover by you of a different artist. Is there anything you would like to reveal about which musicians we might hear you take on in the future?
Leon Kristoffer: We shall see! I really love the idea of paying homage to my influences and heroes in this way, so this may be the start of something bigger, but who knows? I love it when artists wear their influences on their sleeve like this, and I also love to pay this kind of tribute to bands and musicians that are still alive and kicking. Don’t get me wrong — I deeply love and respect it when artists pay tribute to those who are no longer with us, but to be appreciated like this within one’s own lifetime is one of the most beautiful gifts a musician can give to other musicians, I think.
Kim Ljung unveiled what one might call a fantastic “cover” of “Sort Tulipan” on Ljungblut’s Total. Seigmen unleashed a version with a different arrangement on the EP Slaver av Solen, and we likewise have the rendition on the video Seigmen i Operaen, which includes “Performance Alpha” as well. “Performance Alpha” furthermore appears on the Fra X til Døden video and the partially live EP Beige for the Karisma Records trinity that also includes Rosa and Gul. Do you have any reflections on any of these recordings to share with us?
Leon Kristoffer: I love all versions, and I really love it when bands dare to let their songs evolve, and show them in different shapes and forms like this. Of course, some songs “have to” be performed in a certain way, and one can’t deviate too much from the original without losing anything in the process, but these two tracks are perfect for big variations, and fit perfectly in many shapes and forms. “Performance Alpha” even got a special live version some years back, when it was all synths and vocals. I think they only did it like that once, and it was brilliant.
The Fra X Til Døden DVD was my first time seeing them live, and it absolutely floored me. Still hope that the songs that were cut from the DVD will be released somehow one day.
The Live at the Opera DVD was something I was so glad that actually happened. Personally, I think that one is even better than the Dødens Dal concert. They never play it safe live at all. You can always expect them to dig deep within their deepest cuts, and give you something truly special each and every time.
The live EPs show a band at their ever climbing peak, performing on all cylinders, paying homage to their own past. And merely the act of recording so many of their Klisne Seigmenn era songs goes to show that they are one of the most authentic bands on the planet.
Sort Tulipan will unfurl its petals on the 30th anniversary of Total. Please explain further about what this classic album means to you and your overall relationship with Seigmen. When did you first discover Seigmen? How have they affected your art and approach to your craft?
Leon Kristoffer: Total is an album that has everything a good album should have. It can be summed up in one word, and the word is “depth”. It shows that even the most fragile moments can have immense intensity and heaviness in them. “Sort Tulipan” and “Nephilia” perfectly represent this.
I first saw their video for “Metropolis” on Norwegian top 20 back in 1995. I was 9 years old, and it scared the shit out of me. I was obviously not emotionally ready to grasp them at that age! Hehe! It was when they resurfaced at Dødens Dal that they were reintroduced to my consciousness, and I was more than ready to absorb.
As for inspiration, musickally speaking, it is the moods. The moods are really captivating. The sense of longing and searching is endlessly inspiring. Esthetically, they show us to dare to go all the way, and not hold back a thing. The Radiowaves photoshoot is a perfect example of this. There is a limit to the fascination and atmosphere that flannel shirts and stone-washed jeans give, wouldn’t you agree?
Certainly! What should the unenlightened portion of foreigners who have not experienced Seigmen’s work know about the band?
Leon Kristoffer: That they are truly missing out. As simple as that.
True or false: Seigmen is probably the most criminally underrated rock band outside of Norway, though they’ve been awarded within the country and even performed with the prince?
Leon Kristoffer: More true than Spandau Ballet could ever be.
That’s a fantastic line. “Performance Alpha” hails from Radiowaves. What would you like to say about that album?
Leon Kristoffer: Radiowaves is probably my fave album from them. It has such a cold atmosphere, yet still a warmth that invites me into a world I feel safe and at home with. I remember countless walks in the middle of the night in my hometown listening to Radiowaves in freezing snowy weather. Absolutely magnificent.
The album has these sentiments of fragile intensity and brutal force blended perfectly with a sense of truth and longing, both lyrickally and musickally speaking.
In addition to that, it is not only what may very well be the best Seigmen album, but one of the best albums ever made by anyone.
The B-sides from this album should also not go unmentioned, and for the album to feel totally complete as a listening experience, I have to add them to it. The vinyl reissue from Karisma Records is almost perfect in this sense, yet sadly it lacks the one last track “The Odyssey: In Vacuo”.
You’ve taken inspiration from Sylvia Massy as an engineer and producer. Please fill us in on your love for her work, and how she has influenced you!
Leon Kristoffer: The direct influence is summed up in “if it sounds good, it is good”. The gear is perfect if it gives you the sounds you want, and the name or price of the given piece of gear is not really relevant in that sense. It takes away so much of the unnecessary snootiness one finds in the studio world. Like some fucking little boys’ club where you have to sit by yourself during lunch break if you don’t own a stereo pair of original Pultec equalizers.
We do sadly live in a world where oftentimes competence has been replaced with expensive toys for talentless little boys. If you don’t know how to use your gear, then it won’t sound good regardless of what it costs. I have actually witnessed a live sound engineer in my home town with something like 40 years of “experience” trying to “correct” some work I did for a local band by insisting that the microphone placed on the guitar amp was facing the wrong way. I had to refer to the manual in order to settle the situation. Imagine that guy doing live sound all those years, and not knowing the proper direction of a fairly common guitar cab mic, and not even noticing that there is something horribly wrong with the guitar sound! Haha! As I said; great tools are close to worthless if one does not possess the skills to use them. The same type of examples goes for musicians as well. Owning an expensive mic will not make you a great singer, and owning an expensive guitar will not make you a great player.
So, by having a genius like Sylvia in the world, one can stand up to this little boys’ club when questioned about that inexpensive compressor, or that shitty mic, and say: “Well, Sylvia uses it, and it ended up on a million selling album”.
What are some of the things you admire about her decisions with Seigmen both in regard to Total and Metropolis, which will be turning 30 next year?
Leon Kristoffer: That making an album is a full experience in every way. It’s not about going into a sterile environment and merely recording your songs, but getting to the core of the song and album’s heart, and extracting all of its traits, and getting it onto tape for the world to hear.
What I admire most of all is that she just went and did it — that she follows her heart and works with the bands she wants to work with. This is a person who could work with more or less anyone, and she chose cold little Norway, and the brilliant band named Seigmen. Perfect.
How is the construction process going for your additional studio space, by the way?
Leon Kristoffer: On a break from painting the walls as we speak.
Allow me to note that the interior of your current setup is the most stunning I’ve seen in a studio environment. Now, may I please have your reaction to Seigmen’s latest album, Resonans, which was recorded at the same studio as Total [Velvet Recording, previously known as Studio Nova]?
Leon Kristoffer: I love the album! One funny thing is that I actually felt that the album was somewhat incomplete when listening to it. Like there was more to tell somehow. Then it made total sense when they announced that it was the first part of a trilogy.
What are your thoughts on Resonans’ final track, the epic “Tønsberg” [which was just released on vinyl to benefit children with cancer], and the wealth of potential allowed by Marius’ stellar voice?
Leon Kristoffer: “Tønsberg” sounds absolutely fantastic in every way. The voice of Marius is stellar, and would be a very good thing to utilize more in the realm of Seigmen. It has definitely not been used too much, but the places it has been used are standout moments. It works splendidly on its own, yet it adds a very interesting dimension to things when it is used as a harmony vocal, and not as a background voice. The chorus of “In Limbo” is a perfect example of this.
I also think it would be great if Noralf got some lead vocals there too. He is a multi-instrumentalist, and a damn good singer.
I love it when a band is full of great singers, like the original Kiss lineup. Such a fantastic blend of stellar voices.
I humbly ask for your take on Seigmen’s latest single, “Dyret (23 Bud).”
“(Dyret) 23 Bud” sonically, has a dark, thick atmosphere that I hope the next album will embellish further upon. It is a very moving piece lyrically as well.
Back to the cassette: Please explain Sort Tulipan’s striking cover! I assume the photo was taken by the absurdly great Nicolai Karlsen?
Leon Kristoffer: Yes, it was Nicolai, of course. This is from our very first photo shoot with Spirit Tomb. The pocket watch is something I inherited from my grandfather, who again inherited it from his father, who died from the Spanish flu at age 38. The exact same age I am now. So this watch is 100+ years old, and very special to me. Remember: “all tid er forbi, all tid er over.”
Since our last interview, have there been any updates on Spirit Tomb’s second full-length record, The Haunted Palace, and your cinematic adventures with Mr. Karlsen?
Leon Kristoffer: Almost all lyricks are done, and I have let them rest for about 5-6 months now, in order to have a fresh perspective when I finalize them by perhaps the end of the year, or early next year.
As far as filming goes, we are going to do a bit more when the weather is bad enough. Hopefully this autumn.
Although I’m not quite sure yet if Apollon is co-releasing Sort Tulipan, what I do know is that the EP will be released by Gymnocal Industries, Apollon’s sub-label. That seems fitting, given their connection to Seigmen/Zeromancer. I asked you about your collaboration last time. Is there anything you would like to add? Also, is Gymnocal Industries’ founder the world’s biggest Seigmen expert?
Leon Kristoffer: It’s a co-release between Apollon and Gymnocal Industries. I am as happy as could be with the collaboration here, and Otto Egil Sætre is indeed the world champion Seigmen expert, and I am his apprentice! Hehehe!
Otto Egil also works for Karisma, and they not only issued the three EPs I mentioned, but they were also responsible for the Seigmen vinyl box set and presented the Total book by Even Smith Wergeland. Ljungblut is on their roster, and that’s obviously a phenomenal project. Are there any Ljungblut offerings that you would like to discuss?
Leon Kristoffer: It should be no surprise that Ljungblut is a band that is very close to my heart as well. All the albums are brilliant in their own right, but the last 3 albums — Over Skyene Skinner Alltid Solen, Ikke Alle Netter Er Like Sorte and Villa Carlotta 5959 — really hit all the marks. The switch from English to Norwegian made a huge difference, in the most positive sense possible. The mixing on these three records is also something worth taking note of, and it is mixed by Mr. Alex Møklebust himself. Massive respect for his fine work.
Yes, the unsurpassed frontman is an exceptional engineer as well. What are your hopes for the next Ljungblut cassette, the follow-up to Sauda [the first chapter in a trilogy]?
Leon Kristoffer: I welcome it with open arms, and I am sure I will love it. I would also love to get another full-length album. It’s been a long while since the last one now. Definitely a greedy fan wanting more and more here! Haha! I think that the band really appreciates that, though. That a band that has been going strong for so many years can excite their fans with new material is a great position to be in, I can imagine. There are enough of these “legacy” bands out there, but I think that Seigmen, Zeromancer and Ljunblut will never be in that position. The hardcore fans will pester them for new material any chance they get, and that is a huge compliment in its own right, I think.
That’s for sure. As we both know, Seigmen fans have been pestering the group for concerts, and it has been nice to see them hit the stage again, starting in December. What are your live plans? I hear that you intend to present a show in a certain mausoleum by a famed artist who just might have had a connection to your late relative?
Leon Kristoffer: There aren’t any plans yet, but I have plans for plans that may one day result in a plan, but that’s not planned.
The plan, according to Jillian, is that you will perform Sort Tulipan to open for Seigmen at the opera. Will you ever use your Zeromancer mic stand onstage, or would you consider exposing that relic to the potential perils of a performance to be an act of blasphemy?
Leon Kristoffer: It’s a guitar stand of Zeromancer’s that I own, actually. That will remain within the studio, of course.
What is your favorite Zeromancer song? I guess mine is “The Underground.”
Leon Kristoffer: Too many to choose from. But I will say that I think Zzyzx is a terribly underrated album that gets mostly ignored when Zeromancer is mentioned. “Famous Last Words” and “Erotic Saints” are top-notch tracks. I also want to mention “Ammonite,” “The Tortured Artist,” “Germany” and “Houses of Cards” as fave tracks. Dark, moody and brooding. Absolutely lovely.
Have you ever owned a pair of pink boots? [Seigmen tracked “Rosa Boots,” one of their very first songs dating back to 1989, at Velvet Recording for the Rosa EP. “Rosa Boots” can also be found on Fra X til Døden, for example.]
Leon Kristoffer: I have not. Yet I still manage to hop around, and I guess there are plenty of people around that think I am crazy already! Haha!
(We thank Leon Kristoffer for his time and highly informative answers. Of course, we urge readers to visit the webshops of Gymnocal Industries and Apollon Records.)
