Manes — a fabled entity of such epic and blinding brilliance that their art lies beyond critique and even praise. However, I will attempt to convey my infinite admiration for this pioneering outfit anyway. The first incarnation of Manes was conceived in 1992, the history-making union of the divine gifts of composer Tor-Helge “Cernunnus” Skei on all instruments and Sargatanas on vocals. These two geniuses crafted three highly influential demos — Maanens Natt, Ned i Stillheten, and Til Kongens Grav de Døde Vandrer — as well as one miraculous masterpiece of a full-length album — Under Ein Blodraud Maane — during the remainder of the old millennium.
Although the band is regarded as one of the best and most important in black metal, with only a couple of others on their level, they immediately sought to distance themselves from the hordes of weaklings: “Black Metal is a trend and only for wimps. We don’t play Black Metal, we play Unholy Metal the Dark Way.” In an early interview, Sargatanas described Manes’ music as “cold, bizarre, unholy, nocturnal, obscure, blasphemic, dark ‘metal.’”
With the release of 2003’s Vilosophe, Manes unveiled their radically altered stylistic path, which has been said to incorporate elements of various genres, but, in reality, was something wholly new, ingenious, and thoroughly individualistic — blacker than black metal in essence, haunting to the maximum degree, totally immersive, and also overflowing with electronic charm. It is everything you could want and nothing you could expect. Since Vilosophe, Manes’ core has remained Skei, along with his fellow titans: Eivind Fjøseide, Rune Hoemsnes, and Torstein Parelius. Meanwhile, the outstanding Asgeir Hatlen has perfectly filled the position of lead vocalist, though additional phenomenal singers like Marita Hellem, Anna Murphy, Ana Carolina, Rune Folgerø, and Tom Engelsøy have contributed. Manes has only continued to astound us with more unsurpassed offerings over the years.
In order to properly celebrate the lethal magic of Manes, we sought the word of a nearly-nearly omniscient being, whose excellence and wit have been recognized everywhere from the most underground zines to overground leaders like Loudwire. Thus, the globally esteemed owner of the Trondheim-based black metal label Terratur Possessions, Ole A. Aune, obliging stepped up and rightly stated:
“It is no secret the early demos of Manes have inspired the Nidrosian scene to the point that it would most likely not be what it is today without their influence. Their demos, plus the Bloodthorn Natteskyggen demo needs a mention as it is related, are unique in terms of atmosphere and the aesthetics. This all just shows you can create something masterful with pure passion, iron will and Devotion. This is Black Metal exemplified and perfected back when the genre was still being shaped by revolt and contempt. The song titles, the song writing, the lyrics: all can be found in the Nidrosian bands, and of course many bands around the globe.
To underestimate MANES just goes to show most people today don’t understand what Black Metal is.”
Let it be known: Aune’s name was inked in blood by the remarkably talented Ms. Lisa Rösel of Salowe Vision in gratitude for his help with the magnificent Manes box set Ihjelbrent Skatt. Aune works with Skei through the glorious vessel of Manii, which also includes Sargatanas; Syning; and the emerging supergroup Diabolus, Mecum Semperterne!, whose debut will be a great event, sending waves of fear throughout the supposedly extreme music community.
Not only has Manes inspired the Trondheim scene, but the group is beloved by many more spearheads, such as the Almighty and Omnipotent Sir Niklas Kvarforth of Shining, my Lord and Savior; Kim Carlsson of Lifelover; Nag of Tsjuder; and Nattefrost of Carpathian Forest.
We ecstatically await Manes’ next full-length album, To Burn Is to Shine, which will curse us with its display of artistic superiority next year, courtesy of Roberto Mammarella’s Avantgarde Records. Verily, Manes always outshines. Even now, for the most part, the only other artists who can even be called equals are Manes’ collaborators — again, hail the luminous Sir Kvarforth!
We wrote to Manes, and they were kind enough to provide us with beautiful answers to our questions. Of course, we are incredibly grateful for their time and all that they shared. Without further ado, and to make a Vilosophe reference, let’s finally dive with our hands bound into our interview!
Thank you so much, Rune and Eivind, for agreeing to this interview and also for your art. I’m a huge fan of Manes — it’s one of my very favorite bands along with just Høstsol, Shining, and a certain Bergen-based project. So, I’m really excited to hear To Burn Is to Shine next year. I don’t know that many details, but I am aware that Anna Murphy handled mixing, Marita Hellem has provided some vocals, and Asgeir Hatlen has returned as the lead singer. I can’t wait to find out which guests might have made special appearances. However, I assume it’s best if we don’t spoil surprises regarding the album’s content, so I’ll avoid prying. Perhaps I can ask: Who came up with the title? It reminds me a bit of a quote about figurative self-immolation from Nietzsche’s Also Sprach Zarathustra: “You must be ready to burn yourself in your own flame; how could you rise anew if you have not first become ashes?”
Eivind: Torstein suggested “To Burn Is To Shine” for a song at first, but it changed to become the title for the new album instead. As it fits very well with the concept for the album and also due to the fact that the rest of the band happened to like it a lot. I connect “To Burn Is To Shine” with “You need to sacrifice a (personal) source in order to shine”.
Torstein: I can comment briefly on the title, as I am the one that came up with that one. As with the music, and I guess this time as many times before, both the album title and song titles evolve and morph over time. The same does whatever conceptual onset that kicks things off. Everything can be picked up and given a good shake, opposed to best practice guidelines for a newborn baby. That being said, I recently suggested a different title for the album, but was quite quickly convinced that “To Burn is to Shine” works better in several ways. Still, no one was opposed to the idea of going in a different direction, had the title been better. The quote you reference from Zarathustra is quite clearly a legitimate link here, and gives way to an interpretation of sorts, but there are others. I do believe I have said this ad nauseam, but we really hope that our music (together with lyrics, titles and visuals), can incite some form of listener immersion or absorption. We don’t actively strive for this by design, but rather try to under-communicate “meaning” to allow this, I would say. It has been like a mantra through the years (especially regarding all things conceptual or lyrical) that inspiration or intent is far less important (or indeed interesting) than interpretation. I can still share another sort of pathway to understanding the album title that we have discussed, as the bright destructive energy of fire starting to shape something of a framework for (some of) the album. It spawned out of a chat about how the notion of fame and followers has mutated to some sort of depraved normality, and how you sacrifice yourself for the visibility of a persona, or even things like prestige or success in extension of that. It reads a bit like your reference, but perhaps with a more negative twist to it.
I understand that you’ve been working on To Burn Is to Shine for quite a while. I was a bit confused that Manes posted a studio picture in late August — I was under the impression that the album had already been mixed by then. Were you adding to it, or were you recording something intended for a different offering?
Rune: The album and all the recordings related to it was finished a while ago, and pre August this year. Small and few adjustments made this year, but basically everything has been finished for almost a year.
Eivind: Yes, we started working on “To Burn Is To Shine” back in late 2019 if I’m not wrong, and the album was finished, mixed and mastered this summer (2024). The Vindmill studio pic from August is in connection with other stuff we’re working on.
How did Manes decide to ink with Italy’s Avantgarde Music, the 30-year-old label of MonumentuM’s Roberto Mammarella? I assume Skei has a good relationship with Avantgarde since a certain masterpiece that he composed was co-released by them last year, and they likewise unveiled Manii’s Kollaps, another masterwork, in 2013.
Eivind: Well, the short version is that we got an offer from Avantgarde Music. Skei has good experience with working with them from before, so this then led to meetings and talks to see if we could reach an agreement, and we did.
I could gush about how you’re all geniuses, but, instead, in your own words, could you please tell us about what your bandmates bring to the table? And please, Rune and Eivind, speak about each other. Although modesty seems to be one of Manes’ virtues, don’t be afraid to be a bit American and brag — it couldn’t be more well-deserved!
Rune: We all bring lots to the table, and we all play several instruments and therefore record more than our main instrument during the process. Tor-Helge typically plays: Guitar, synth/keys, prog beats, computer. Eivind: Guitar, synth/keys, prog beats. Torstein: Bass, guitar, lyric/text, Rune: Drums, guitar/e-bow, synth/keys, soundscapes. We have worked like this for years, and it makes our material more varied and interesting, I think. Even though we share much of the same musical thoughts and influences, we also have different ones, and it’s important to implement this when composing music. We gather and discuss the material, each of us producing demos with this material and adding stuff we think would fit the compositions. This will usually go back and forth for a period of time before we decide what we want to keep and what to let go, and we often end up with 2-3 variations/directions of a song and these “remixes” can be used later. We all take part in the final production of the material.
Eivind: I think we’re very different in many ways, but also very alike in others. What each bandmate brings to the table depends on what “table” we’re on, if you understand what I mean. In general, I think some of what Rune brings is awesome drumming and music, Skei “devil music and knowledge”, Torstein cool bassplaying and lyrics for your brain, Azzy a special voice and magical vocals. And we must not forget that we couldn’t have done it without the rest of the “gang” either, so kudos to all of you — Ana, Anna, Eskil, Marita, Rune F., Tom, Tor Arne and Vegard!
How did the two of you unite with Manes? I’ve read that Torstein was a friend of Skei’s before he joined. Do you have any reflections on the fact that the core four, plus Asgeir, who has one of my favorite voices, has remained the same since Vilosophe (2003)? Obviously, egos often clash in bands, but the way that you are all able to build upon, deconstruct, and reconstruct the songs as well as invite associates to take part sounds too “healthy” to be true, kind of like the way a utopian society should operate.
Rune: We all know each other from way back in time (late 80’s). Basically, all participants of our generation in Trondheim’s metal scene know or knew of each other, friends of friends and so on. Of course, we have discussions and don’t always agree, but we are good at dealing with these things and clearing up disagreements. If we don’t find a common path (regarding composing or other band related stuff), we vote. Democracy where the majority applies.
Eivind: In summary, I started to play with Skei in Atrox back in 1991. Some years, later he left the band, moved from Trondheim to Oslo for different reasons, and came back to Trondheim again after some years of absence. As him and I always have had a good “chemical connection” music wise, we knew that we wanted to play together again, and then it was for me to unite with Manes. And in the end, it turned out to become the line-up featured on “Vilosophe”. The fact that we’ve been pretty stable when it comes to “personnel” for over 20 years tells a lot about the people in Manes. In my opinion, you need to have certain “skills, attributes and values” and to understand what “it’s” about. Then you can keep on and continue.
Eivind, I believe that a good portion of Vilosophe was based on your ideas as well as those of Skei, though everyone ended up contributing their touches. Skei had been exploring the possibilities of electronic elements long before Vilosophe, and he started experimenting on his computer in 1984/85. Eivind and Rune, did you realize how radically inventive Vilosophe would ultimately become as you were making it?
Rune: Working as professional musicians for years ahead, releasing albums with other bands, touring and knowing the metal scene, we knew this would be a “different” album when recording it. It had its own atmosphere and songs with an alternative approach, especially considering previous Manes albums. The “new lineup” was also a part of its new musical path and sound, I guess.
Eivind: No, not really, cause it was kind of natural for us, and thus we didn’t see it like that at all. We knew that it sounded different compared to other bands at that time, but we just wanted to create music that gave us “chills down the spine” and that we found exciting ourselves. We loved to explore new “possibilities, emotions and sounds”.
Now, to return toward the present: Congratulations on the releases of both Pathei Mathos and Slow Motion Death Sequence Remixed on Aftermath Music this June. Both are phenomenal, obviously. Skei did fantastic mixing work for Pathei Mathos, and I do want to say that, to me, the original Slow Motion Death Sequence (2018) is one of the most beautifully mixed albums ever, thanks to Cellar Darling and ex-Eluveitie’s Anna Murphy. But, of course, it’s one of my very favorites all around, so I think everything about it is absolutely brilliant! Let’s first discuss Pathei Mathos though: Was anything different that time around regarding how the EP was created?
Rune: We wanted to release something before the next full length album. We knew the release of the LP would delay even more, and therefore new material ahead. “Pathei Mathos” is a great EP, in my opinion, and it was inspiring to work with, as all of Manes projects are. On this EP, we worked with a new vocalist, we often like to bring in new musicians. Good for variation and new inspiration. Skei mixed this EP and this was a “new” approach for us, but this turned out perfectly. For my part, I only recorded drums on this release, and not other instruments as on the previous releases “Young Skeleton” and “Slow Motion Death Sequence”. The fun and inspiring aspect about the Manes project is its freedom to do whatever suits the songs when composing and tracking. No one contributes only with their main instrument. If you have an idea, you record it. An important aspect for variation in feel both tonally and rhythmically. But also, you don’t need to play on all songs. If it’s necessary for the composition, you contribute and record your stuff. If not, you don’t. This is important for us, the final stereo track is what’s important. Not who plays on it. We all take part in the producing of the material, and that’s also contributing.
Eivind: Yes, I think it was different cause it was forged while we were in the mixing process of “To Burn Is To Shine”. So it was kind of an escape from that process, to have something else to focus and work on cause of the time “To Burn Is To Shine” took. We also had more strict deadlines for each piece in the puzzle, and a deadline for it all — like when the project “Pathei Mathos” was going to be finished. Another thing is that the songs on “Pathei Mathos” are based on ideas that Skei had been working on with Marita from earlier. So the ground ideas came with her test vocals as well, and that also made it different this time around. One more thing is that Skei mixed it, and we usually have “external” people taking care of that. All these differences made “Pathei Mathos” how and what it is. In the true Manes spirit, I can tell that we also have been “playing around” with some remixes of some of the songs from “Pathei Mathos” where Azzy and Ana Carolina do vocals.
When I first received Pathei Mathos, I was so confused about the fact that Asgeir wasn’t included. But then, I quickly realized that Marita Hellem is an overwhelmingly fabulous vocalist. I had been curious about her due to her contributions to Enevelde and Lethe’s Alienation. So, yes, I adore her artistic choices on Pathei Mathos, and I literally just go around singing “A Vessel for Change” because it’s so catchy. Terratur Possessions’ most venerable and ever-amusing Ole A. Aune (eternal hails to him!) passed her name along to Skei, and Marita believes K.R of Whoredom Rife did so as well — WR obviously made a great Manes cover. Do you know what inspired Skei to go with a new co-conspirator for Pathei Mathos? What were your thoughts upon hearing Marita’s sublime vocals on the EP? It’s my understanding that Torstein penned Marita’s lyrics?
Eivind: As I told in the previous answer, “Pathei Mathos” had a strict time schedule and deadline. Skei had already tested recordings with Marita that sounded great. And as Manes personnel at times can be difficult to get hold of to schedule recordings and so on, the process for “Pathei Mathos” just had to continue without involving more people. I think most of the lyrics are based on ideas from Torstein.
As far as Slow Motion Death Sequence Remixed goes, how did the band select the different artists/engineers who ended up participating, and what were your reactions to how they reimagined your material? A little side note: I would love to see what would happen if Seigmen’s Alex Møklebust, who has gone by “SnifferGod” for remixing purposes, worked his magic with a Manes track.
Eivind: We tried to reach out to different people, asking if they were interested in doing a remix. And some were, and others not. I think it’s very interesting and “funny” to hear how songs end up when they are remixed, and I do have some faves on the remix album. Yeah, it would have been cool to hear what “SnifferGod” could have done with a Manes song, and hopefully we will sometime in the future! When mentioning Alex, I can also tell you that back in the days, we had some talks with him regarding mixing a Manes album. Who knows what the future will bring 😉
I’m in love with Throes of Dawn’s remix of “Scion.” At first, I thought it was a crime to remove Asgeir’s performance, so I was actually… outraged. But when I listened to it properly, I was just stunned because it’s so perfect when Ana Carolina’s vocals are given the space to shine — on the original, they serve to back Asgeir’s and are therefore mostly obscured. The two versions are perfect in their own right and function as nice companions to one another. The lyrics are beautiful, by the way, and I always want to see your texts in writing, but I know that you have good reason for withholding them, thus I know better than to ask for them. So, the question: This remix tells me that a Manes song with Ana Carolina on lead vocals would be glorious, so why not?!
Eivind: First of all, I’m happy to read that you like both versions and both vocals. We have never said “No” to have Ana Carolina on lead vocals on a song, and of course there is a possibility for that to happen in the future.
Sometimes, within the context of Manes and Lethe, I have a really hard time telling who is who because everyone and everything just meshes so seamlessly into the whole. Do you happen to remember which other songs from Slow Motion feature Ana Carolina and which showcase the talents of Anna Murphy? I do know that Ana Carolina sings on “Last Resort,” which we’ll get to in a moment, and the single “Endetidstegn.” It was nice to learn that, in addition to Torstein and Asgeir, both women helped with the lyrics. I would also like to fill readers in that Anna’s vocals were actually recorded for Lethe because some of the compositions were originally meant for that project.
Eivind: Yes, I think I do. Ana Carolina is featured on “Endetidstegn”, “Scion”, “Chemical Heritage”, “Therapism”, “Last Resort” and “Poison Enough For Everyone”. While Anna is featured on “Endetidstegn”, “Last Resort” and “Building The Ship Of Theseus” (if I’m not wrong).
In conversation with The Progspace, Ana Carolina clarified that she recorded “Last Resort” together with Asgeir — that’s one of my very favorite songs, and their performances there are two of the very greatest and most moving, in my opinion. Anyway, I was surprised though because, for some reason, I had assumed that they would have tracked their parts separately. Did they speak to you about feeding off each other’s energy? Is it rare for two of your vocalists to go into the studio together? And to return to Pathei Mathos, I know that Marita completed her vocals on her own, but were there any parts of the release that weren’t done remotely?
Rune: I remember when we recorded these vocal tracks at “Spiren Studio”. When multiple musicians record at the same time in the same room, and you really listen to what the others do, you get this musical dialogue that weaves together nicely. That’s what happened on “Last Resort”.
Eivind: Ana Carolina came all the way to Trondheim and went with us to Spiren Studio to record much of the vocals she did on “Slow Motion Death Sequence”. In my opinion, the recording process of that album was so great in many ways. One of em was of course Ana’s and Azzy’s talks, planning and recording of the vocals on “Last Resort”. If it’s rare or not depends a bit whom we’re talking about, cause it’s not that rare to for example have Rune F. and Tom recording together. When it comes to “Pathei Mathos”, I guess you can say most of it was done “remotely”. I only recorded bass with Torstein and some drums with Rune, the rest you could say was remotely.
Torstein explained to No Clean Singing: “… we have a reoccurring chat before we start with any new recording where we discuss how we can go darker.” I am very interested in the brighter form that Slow Motion initially took and the vocal tracks that were removed toward the end. Do you think that Manes could present yet another version of the album at some point? Also, I had been curious: Did you give those who did the remixed Slow Motion Death Sequence any of the leftover material?
Eivind: It’s of course possible to present another version of “Slow Motion Death Sequence”, but for the moment I think it’s enough with the album itself and the remix album. For the remix album, we provided “loop/sample packages” for the people that made em. I think these packages mainly contained stuff that you already find on the original album.
Some of Slow Motion Death Sequence’s compositions date back further than others, but “Young Skeleton” and “Mouth of the Volcano” are both tracks you had from when you created the album that you decided to save and complete later. I understand that you have more that didn’t make the record for one reason or another. Will we be hearing them anytime soon?
Rune: We always have shelves full of ideas and almost finished songs. Material worked with when producing songs for the next album. It could be presented in different ways in the future. Remix, alternative versions, new songs and so on.
Eivind: Yes, “Young Skeleton” and “Mouth of the Volcano” were something we were working on at the same time as the rest of the songs on “Slow Motion Death Sequence”. Both songs were in fact on the list for the album, but we decided to pull em out of the “Slow Motion Death Sequence” and make use of em for the next release that turned out to be a 7”. In Manes, we have tons of music sketches in our vault, that could be material for the next Manes release(s). Who knows what the future will bring? “Stay tuned for more”.
As far as singers are concerned, we’ve touched upon Asgeir, Ana Carolina, Marita, and Anna. While Anna is a household name within the metal community, she still deserves even more recognition for her excellence. Although this may sound superficial, I believe that Ana Carolina, Marita, and Asgeir are worthy of stardom too. I’ve always thought that Asgeir sounds similar to Ozzy, and then I saw that comparison has already been made among others. Furthermore, Rune Folgerø, who is currently listed as part of the extended Manes family, has an amazing voice with a smoky texture. Tom Engelsøy is just perfect on “Young Skeleton,” for example. And then, we can’t forget that Sargatanas acted as Manes’ first frontman — he’s one of the greatest and most criminally underrated figures in black metal. In Høstsol, Skei collaborates with another artist who has my deepest reverence — Sir Niklas Kvarforth. I’ve written this before, but it clearly seems that Sargatanas and Kvarforth (plus Vicotnik) gave the top vocal performances of 2024. All of that said and much more left unsaid, do you have any comment on the fact that Skei and Manes have managed to find the best vocalists (and musicians in general)?
Eivind: Yes, I have a comment, and I do think we’re kind of “spoiled” when it comes to working with great vocalists. This is not due to “pure luck”. It’s cause we’ve always been trying to find the “right” personnel, that have the right “chemistry and skills” for Manes. In my case for example, I had been working with Rune Folgerø in Atrox and Drontheim and Tom in Drontheim before they made their appearance in Manes.
For a lot of reasons, Manes’ artistic process seems extremely confusing from an outsider’s perspective. Again, supporting your main crew, you have your team of accomplices, and I want to give a shout-out to Tor Arne Helgesen since he’s the one I haven’t mentioned yet. Manes’ members balance planning and improvisation. Your material is often very layered and intricate. You use all types of samples. As Torstein put it, old recordings sometimes “haunt” the new. You record separately and also experiment together, both in commercial studios and some of you have your own personal studios. Skei has Cernobyl Audiogenics. Eivind, I assume that Vindmill Studio is yours. Rune, I think Timebandit Studio belongs to you. I would be interested, if possible, to know why Aptorian Demon’s Libertus (2012) was recorded there and how that went. Marita has a home studio too, and Asgeir has even recorded on his phone. I really don’t know how Anna, who is based at Soundfarm Studios, has mixed everything together for the most recent three albums, counting To Burn Is to Shine. Anyway, what are the biggest production challenges that you face? Do you have any cool studio gear you would like to tell us about?
Rune: As we’ve been working with music and recording equipment for years, I think we are in the position of having few boundaries when it comes to recording instruments and music. We all have lots of equipment, both instruments and tools for recording (hardware and software). The only challenge would be recording acoustic drums whenever you want. We don’t have our own recording room for drums these days. But we rent if needed. Not a big problem really. Timebandit studio was earlier at a location with several recording rooms, and that’s where the Libertus LP was recorded. They rented the studio, and we recorded drums, bass, guitar and vocals there. Great session with good musicians. If I remember correctly, some additional stuff was recorded in Oslo also. Timebandit studio these days are based on a portable solution when recording drums and so on. Rent a location and bring the studio gear. I think we all have traditional studio gear (mostly), but lots of it and different things, we know how to use it, and are always checking out new stuff for inspiration.
Eivind: He he, you are correct, Vindmill Studio is mine. When it comes to production challenges, one of the biggest challenges is the amount of tracks / files we have for each song. Thus we often need to “reduce the level of impact”, remove tracks and choose to keep the ones that are correct for the song (the direction we want it to take). And all this makes it easier when it comes to having different versions of songs, cause they may contain great stuff that didn’t make it to the album.
I don’t really need to say that Manes loves to experiment because that’s quite apparent. Is there a particular thing that you’ve tried over the years that stands out as having been especially crazy?
Eivind: No, nothing that I would call crazy. But we have some ideas that haven’t been “brought to light yet”. And if some of them make it, I’m pretty sure you also think so.
One interesting fact for readers is that Skei actually shared the stage with Snorre Ruch’s Stigma Diabolicum, after whom he named his fanzine, in 1990 while he was with Suffocation. Manes rarely appears live, but you have still managed to play some cool gigs, such as one in an art gallery — something that Thorns Ltd. has done as well. Do you have any fun ideas for venues where you’d like to perform? Spirit Tomb’s Leon Kristoffer, for instance, wants to hold a concert at Vigeland’s mausoleum, where groups like Vemod have done shows. Leon is actually related to Anders Svor, who was a friend of the Vigelands.
Rune: I guess we are a studio band these days. Last time we entered the stage was in 2017. We like doing concerts, though we’ll never be a touring band. Doing interesting gigs with some special vibe attached to it is absolutely what we would like to do in the future. This could be a special location or the way we choose to “remix” our music live. Entering the stage and reproducing the songs exactly the way they are presented on recordings is not so appealing for us.
Eivind: Yes, as we don’t play much live and never will be a touring band, doing gigs at venues/art galleries etc. that have a special vibe, is important for us. When we’re ready for hitting stage again, we’ll hopefully be in such a place. For me, there is a place in Prague that I think would have been the perfect place, but that’s all I can tell for now 🙂
There is the comp Solve et Coagula (2009), and we moreover have the split Pro-Gnosis-Diabolis 1993 / Solve et Coagula (2009). As I’ve said in the past, I think the latter especially is such a weird coincidence because it combines the artists I respect most, minus a certain wizard. The early Askim-based band of Vicotnik, also called Manes, has the other side of that — this might sound strange, but I’ve always wondered why you haven’t teamed up with him yet since, in my mind, Manes and DHG are the most radically innovative outfits of pure quality to have emerged from the black metal scene, and you both do things like implement electronics so brilliantly. Up until I first experienced the impossibly pernicious and impenetrable darkness of The Helsinki Tapes, which is currently available for pre-order from The Sinister Initiative and Shining Legions, I wondered the same about Kvarforth, given his history with Vicotnik. And because superior people tend to attract one another, Kvarforth was asked to send in vocals for “Solve et Coagula,” which is clearly common to both releases named at the beginning of the question. Kvarforth wisely states that the early incarnation of Manes was the best black metal band that’s ever existed. And he’s an even bigger admirer of neo-Manes — the following line from the Vilosophe notes reminds me of his agenda, of course: “Manes endorses the choose the noose campaign for human reduction.” For those interested, Sir Kvarforth took “Bli Med Meg,” the first half of “Solve et Coagula,” and put a different mix on Fifteen Years of Absolute Darkness. Xasthur’s Scott Conner, who has covered Manes, lent his vocals to the second part of “Solve et Coagula.” He is a wonderful person, one of the rare few nowadays with the truly right attitude when it comes to music. To, at long last, finally arrive at the point: Do you think another release along these lines with black metal content would be possible?
Eivind: Yes, of course it could be, everything is possible with Manes. We do and always have done the things that we have wanted to do when it comes to music. So if we want to make an album with black metal content, we do it.
Mr. Skei, I have a question for you. In my Ihjelbrent Skatt box, which is gorgeous, I noticed for the first time that a couple of mysterious members, Sin and Darklord, are listed. I thought I was seeing things because it was my understanding that old-Manes was always just you and Sargatanas. Who were those two?
Skei: for a short while, we thought about transforming (the old) manes into a ‘proper’ band, and we had a few rehearsals, or rather, tried to. we thought about having three guitars and no bass. these two people (which will remain anonymous and ‘obscure’, unless they decide to come forth themselves, heh) wrote some of the lyrics used on the demos, and also made some songs and riffs that we didn’t use. but this period didn’t last very long, before me and sargatanas decided to keep (old) manes as a two-man project.
Eivind, you provided additional guitars for Manii’s Kollaps, which I mentioned earlier. I can’t recommend Manii and Skei’s other black metal projects highly enough. Besides Høstsol, there’s Syning, and the debut will be incredible from Diabolus, Mecum Semperterne! (And speaking of that newest entity, Eskil Blix, whose duty there is choirs, won a Spellemann with Djevel, and I’m going to have to beat someone senseless if To Burn Is to Shine doesn’t win one as well.) So, what was entailed in the process of laying down your parts for Kollaps?
Eivind: I think I recorded my parts for Manii’s Kollaps album at Cernobyl Audiogenics together with Skei. This is some time ago, but I think the process was kind of me trying and finding different stuff to play that worked well with the rest that was already there. Then us talking about the different “options” and recording the ones we thought were the best for the song.
Past and present, Manes’ members have wowed us with so many other remarkable outfits: Atrox, Helsinki Horizon, Calmcorder, The Third and the Mortal, Chton, etc. Drontheim is such an underappreciated gem of a group with a unique concept. Eivind, you are part of Drontheim together with Torstein, Rune Folgerø, Tom Engelsøy, and others. Snorre Hovdal makes their videos. He directed the “Young Skeleton” clip as well. He’s a collaborator of Torstein, who’s a documentary producer. Skei has also created visual experiments within the context of Lethe. For readers, I’ll add that “Endetidstegn,” which was directed by Guilherme Henriques, was extremely well-received. Neo-Manes has always had a cinematic charm, and I’m sure a lot of fans think it would be perfect soundtrack material. Could there be some kind of larger-scale film undertaking in the future for Manes?
Eivind: That’s of course possible, it all depends on what, how, whom, context, time and so on… and also in that we’re all “aligned”. Speaking for my part, I think it could be an exciting project to do, if the film is a “match”.
Rune and Eivind, you’ve both contributed to Lethe, which Skei formed with Anna Murphy in 2012/13. How were your experiences with that ingenious band?
Rune: There were previously recorded Manes drums that Skei used on some of the Lethe songs. We often record lots of different takes when in studio, and not all gets used. Good to have stuff for later. The fact that they are finding use for some of these drum takes in the Lethe project is great. Proud to be contributing with beats!
Eivind: I think it’s been great and fun to contribute to Lethe. As I mentioned earlier, Skei and I have a “chemical connection” music wise, and I think it’s been some great and exciting releases to be included in. It has been great to work with Anna and Skei in Lethe.
Is there anything that either of you can share about participating in kkoagulaa? For those who haven’t yet heard, that was Skei’s project with P. Emerson Williams, and it was, forgive my language, fucking unbelievable. In conversation with Radical Research, Skei described kkoagulaa as akin to “an artistic collective, inspired and influenced by not just music but also other art forms like paintings, prose, and whatnot.” If I may ask, what works of art and literature inspire you? I love the sculpture by Kjell Erik Killi Olsen on the cover of Young Skeleton (2020).
Eivind: He he, it was mainly Skei and Emerson as far I remember, but I contributed with some stuff (not remembering exactly what) as this is quite a time since… maybe it’s time to find it again and give it a listen?
We covered a ton, but have we missed any topics that you would like to discuss?
Eivind: He he, of course we could have, but it’s time to end here, so thank you for the questions and have a nice day.
(Check out Aftermath Music’s Manes store here; browse Terratur Possessions’ Manii and Syning titles available from their friends at Ván Records here; and visit the most venerable Shining Legions here for Høstsol, a bit of Manes, and Lethe. Follow Manes here and Avantgarde Music here on Instagram for updates.)
