[interview conducted in January 2018]
QUICKSAND DREAM - a strange band name indeed! What is the meaning or inspiration behind it? A shit ‘dream interpretations’ website reckons that dreaming about quicksand represents “the circumstances of life pulling on us”, pointing out that “the more one struggles against quicksand, the more entrapping it becomes.” Is this a load of old crap, or were some of these themes in your mind when you named your band?
Göran: I guess I am responsible for this. The name actually came from a NECROMANDUS album – and song – that I had bought in the early nineties. Later on I learned that there must have been some kind of mix-up regarding song titles on that particular release. This resulted in two songs ending up mistitled, one of which we had figured was a fitting name for our band. As for the reason for our choice, I thought it sounded a bit eerie and unsettling whilst leaving out the blood and guts.
Can’t say I ever spent time reading up on dream interpretations. I’ve always been more of a day-dreamer than anything else anyway. Another thing was that I felt unsure about our previous moniker, EPIC IRAE, since our knowledge in the Latin tongue was pretty much zilch. In hindsight maybe that had been a better name, it kind of looks good in print. QUICKSAND DREAM has to do though.
During a chat with Göran (vocals) at Keep It True 2017, he said that he is sent all the music to listen to and make up vocal melodies for, which he likes doing on his drives to work! Tell us more about how QUICKSAND DREAM songs are born - do they continue to evolve as Göran comes up with ideas, or do you get them to a finished musical state and then add the vocals last?
Patrick: For the Beheading Tyrants album I set out to make music that in some way was a continuation of Aelin. I tried to do something that would feel new yet had a connection to the old. The intro was actually written during the making of Aelin, so I had that in store already. I played it and the opening heavy riff just came into mind after that and so it continued, riff by riff, part by part. I never restricted things to a verse/chorus arrangement. Instead I just played what felt like the right next step in the song. Each song was completed in full in regards to instrumental content/arrangement and presented to Göran, and if approved he would start to work on the lyrical themes and melodies.
Aelin - A Story About Destiny was recorded between 1997 and 1999, and Beheading Tyrants also took shape over three years, 2013-2016. This seems like a very stretched out recording process - tell us more about this prolonged timescale - is it because you write and record as you go along, one song at a time? And what sort of recording setup do you use to make sure the album sounds cohesive despite being recorded so gradually?
Patrick: Aelin was actually recorded over a longer period, mainly because I gradually built up my home-studio at the same time. I also had to practise guitar quite a lot haha. Beheading Tyrants took a long time because there was a lot of pause and waiting in between. I only wrote and recorded when I had time and had inspiration.
It was also first recorded in several steps. First guitars/bass, then drums, then I replaced the guitars/bass. I use the same studio/equipment as for the three MORTALICUM albums we’ve recorded ourselves. It was only the first album which was recorded in another studio. I record everything on a 24-track digital recorder but do all mixing on the computer. For MORTALICUM I use mics for all instruments except the bass which is lined. For QD the drums are of course miked, but all guitars and bass are lined.
In my opinion, QUICKSAND DREAM could be described as “narrative heavy metal”. I feel that your music tells epic stories with its structure and sense of journey - this is added to when the lyrics tell stories too, but I think it’s innate in the sound regardless of the lyrics. It makes me think of other bands like DARK QUARTERER and CIRITH UNGOL whose music is epic in scope and not strictly linear. Would you agree that you try and have a narrative in your songs, and which other bands (of any genre) do you look to as shining examples of ‘storytelling’ music?
Göran: I always thought Patrick was the storyteller in the band (see Aelin for proof), but I notice that to some point my lyrics tend to follow some kind of narrative too. Not sure why that is, but I guess growing up with Iron Maiden might have left its marks. Also many of our songs don’t have many repetitive parts in terms of bridges and choruses, and if they do we might ignore that and try to keep them varied. For example, the first sketches of 'White Flames on Black Water' had the lyrics of the bridge part repeated three times with only slight variations, but on the final version that ended up on Beheading Tyrants those parts are all different and the melodic material differs a bit too.
When Patrick approached Göran to work on the concept album Aelin, did he have the fantasy setting and storyline already planned out, or did he ask him to create a narrative from scratch? What are the main inspirations and concepts behind the story of Aelin?
Göran: I only provided the vocal melodies for Aelin and I am very intrigued to hear what Patrick has to say about its creation, since he wrote pretty much all of it (although some parts are credited to Mikael Svedlund, the drummer from the EPIC IRAE days). A completely different version of 'Road Goes Ever On', which only shares some of its lyrics with the identically titled song from Aelin, was recorded already in 1989 for our first demo tape. For anyone curious to hear how it sounded it can be found on the EPIC IRAE demo compilation Dreams and Delusions. Back in those days we also tried out early versions of 'Caress of the Breeze' and 'Lighthouse Dream' at rehearsals.
Patrick: I read a lot of Tolkien back in my youth so that was a big inspiration of course. A lot of inspiration also came from CANDLEMASS, MANILLA ROAD and SABBAT. I was especially fascinated by the Dreamweaver album by SABBAT. I remember I worked a lot on the storyline, but have unfortunately forgot about the details. I was never a good story-writer, so I really had to struggle and at the same time I worked countless hours recording and arranging the music. I am definitely better when it comes to arranging songs compared to my lyrics/storytelling.
Patrick plays bass in his other band MORTALICUM, and also handled bass duties in QUICKSAND DREAM’s precursor band, EPIC IRAE. Does he think of himself primarily as a bass player? Is it the instrument he enjoys most? I have to say the basslines in QUICKSAND DREAM are some of the most exciting and creative I can think of in heavy metal - so many wandering complimentary notes that add a lot to each song. It makes me wonder, do you write the songs on bass first?
Patrick: Yes, I am a bass player. I only play guitar in the spare time of my spare time. I enjoy to play guitar however. Love to make riffs and especially create melodies on top of those riffs. It makes me very happy to hear you like the bass playing. In fact, many times I record the bass last. That really gives me the opportunity to put the lines where they should be (and vice versa). I want the bass to provide as much music and melodies as the other instruments and, since that is my main instrument, it tends to take over sometimes haha.
Is your lack of live performances a result of not having a full line-up, or a preference to keep it as a studio band, or just that the right timing and offer hasn’t come along? Or maybe a combination of all these reasons. How your music would translate to a live setting is a fascinating thought...
Patrick: Yes, that is an intriguing thought indeed. The obvious main obstacle is the line-up issue. I think we would have a go at some live action if a line-up would be sorted.
Are you still in contact with Mikael and Thomas Svedlund, your other bandmates from EPIC IRAE? Are they still involved in music or did this end in 1993 when the band originally stopped? Would you ever consider playing with them again if they were interested?
Patrick: We have a little contact through social media. Mikael’s profession is actually music, although not similar to what we did back in the EI/QD days. I believe Thomas has up until now continued with music as a hobby but not in any band. I do not think we will ever have the opportunity to play together, but if it happens Göran has demanded that we would dust off an old song or two.
Patrick, have you ever written something for MORTALICUM that you have decided to hold onto and use for QUICKSAND DREAM instead, or vice versa? Or do you keep creative processes for the two projects very separate?
Patrick: Yes, there have been some songs that were not possible to do with/suited for MORTALICUM, but none of the songs on the Beheading... album. I also have some lyrical themes borrowed from old EI songs to MORTALICUM. Not for Beheading Tyrants (QD) or Tears From The Grave or Eyes Of The Demon (MORTALICUM) though. They were completely separated.
Patrick’s creative time is also dedicated to MORTALICUM, but what about Göran, does he sing in other projects?
Göran: I haven’t done a lot outside QD, although I do write lots of stuff that seems all to end up unfinished. Every now and then I try to record a song, usually ending up annoyed with my lacking guitar playing skills.
Who is your favourite band from Sweden and why?
Göran: Trettioåriga Kriget might be my fave, if there is one. They have some qualities that make this old sod all misty-eyed.
Patrick: I’m afraid I cannot think of any.
It’s nice to hear some real drum recordings on Beheading Tyrants, courtesy of Henrik Högl and Andreas Häggström. How did their involvement come about? Was the drum sound an aspect of Aelin you were unhappy with and wanted to improve for the second album?
Patrick: The drum sound on Aelin is what it is and if you consider the fact that it is mono, on the same channel as the bass (music was recorded on 4-track cassette), I think it is pretty damn amazing sounding haha! But of course, the sound was immensely improved on Beheading Tyrants. Andreas is the drummer for MORTALICUM so his involvement is quite obvious but for Henrik’s part he just loves to play drums. I asked if he would like to give it a try, and he accepted the challenge.
Do you like keeping track of newer bands that are releasing traditional heavy metal? Are there any newer things you have heard recently that you have enjoyed?
Göran: I might have lost contact with the scene gradually, not checking out new stuff as frequently as I used to. I still consider HAMMERS OF MISFORTUNE and such new bands. Where the hell did BLACKHOLICUS go btw? I wanted to hear more from them! Actually anything released after 1983 is new stuff. Haha! Still I heard DEAD KOSMONAUT the other day and liked it. I’m looking forward to hearing more stuff from DEATHSVN too. Their last demo Children of the Dead Sun was very much up my alley.
Patrick: Some “new” bands have really struck a chord for me. HIGH SPIRITS, DAWNBRINGER and SUMERLANDS. But, I am actually really poor with keeping track. There are many bands, old and new, that I have never heard a song from. You’d be quite surprised…
Cruz Del Sur seems to be a particularly good label to be associated with for top quality traditional metal at the moment - how did the relationship start, did you approach various labels with your new album or was it more of a direct conversation with Cruz Del Sur? How has working with them been, and are there any other Cruz Del Sur releases you have been especially impressed by?
Göran: I guess since my partner-in-life Tamara has done a lot of work for Cruz del Sur the label main man Enrico Leccese was sort of aware of our doings. Still I must say I was a bit surprised to learn he was curious to hear what we had come up with and even more so that he ended up choosing to release it. We might not be the most high profile, spectacular, in-your-face, cool-and-trendy act on the scene. Most of the time, we hibernate. Anyway, since CDS showed interest we never felt any need to check for other opportunities. We are very pleased with the finished products – vinyl and CD – and equally so with the friendly yet professional treatment we got from Enrico. As for other bands on the label, there are lots of quality stuff to choose from, but I guess SLOUGH FEG and HAMMERS OF MISFORTUNE are special to me. At least those are the ones that I have spent most time listening to.
Do you read reviews of your band, or do you avoid doing so? Have you seen any negative reviews or criticisms, and if so how do you feel about these, do you find them helpful for changing things in the future or would you rather not be influenced in this way?
Göran: I love to read and collect reviews, be they good or bad. To me – being a total amateur – seeing that someone actually has made an effort to listen to and write about our music means a lot. Usually the good reviews are energizing and the bad ones are amusing. I don’t think either would make us choose any different paths except maybe wanting to do a bit better the next time (if there is one). We have come of age and should have become painstakingly aware of our flaws already. As for Beheading Tyrants, it has received mainly favorable and even some raving reviews. Not sure what that means, but it feels good.
Thanks for answering our questions and good luck for the future! If there is anything else you would like to add please do so.
Göran: Thank you for taking the time.
Patrick: Thank you very much.
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