Uncategorized

A Conversation with Kim Larsen from Of the Wand the Moon

/ Ryan Chapman / Leave a comment

It is getting colder, and darker out these days in New Hampshire and the changing of the seasons means the darker and introspective elements of myself come out. Nothing is as dark and as introspective as the music of Kim Larsen and his project Of the Wand and the Moon from Denmark. To wrap up my articles on this brilliant and emotional dark folk project Kim took time out of his busy schedule to answer some in-depth questions in the interview below. He gives us glimpses of what lies behind the music and why he spent 22 years creating a world of such stark, and compelling music that has touched so many people over the years.

I appreciate Kim taking the time to answer my questions knowing how reclusive and private of a person he is. He shows depth, intelligence, humor and care in his answers and I hope you enjoy them as much as I did. His new album “Your Love Can’t Hold this Wreath of Sorrow” is out now and it is absolutely required listening (you can purchase the album with the links following the end of the interview).

Photo – @kimsolve

Hello Kim, thank you for taking the time to do this interview with me!

I guess my first question for you, is could you tell us your origin story Of the Wand and the Moon and how it was conceived?

“Hello Ryan, thank you for the questions. It has been a while since I gave any interviews. So please excuse me if some answers might be short.

Somehow it feels like walking in your own thoughts and then someone coming up asking you about something. Caught off guard.

But I’ll do my best.

I used to play in a doom metal band called Saturnus. At the same time, I was very much into music such as Current 93 and playing classical guitar. So, I incorporated this more, apocalyptic folk music into Saturnus (alongside the doom metal). Eventually the more acoustic ideas and compositions became too many to use for that band, and along the way I wanted to have a purer outlet for those ideas. And the other guys didn’t have the same love for this kind of dark/apocalyptic folk music. So, a natural step was to do my own project. In the beginning I hooked up with a female vocal duo that was doing singing in old Norse etc. But we weren’t really on the same page. I wanted something a bit darker, I guess. So, in the end I thought it be easier to just go ahead and do everything myself.”

At one point during an interview, you mentioned the style of music for Of the Wand and the Moon as “loner folk” could give us a more detailed definition of “loner folk” and what it genuinely means to you?

“It was a term that I heard from my co-producer Mikkel who recorded the new album. Guess it was more coined on musicians such as Dave Bixby, Bob Theil, Simon Finn etc etc. People who kind of got lost in time and were rediscovered decades after making some legendary albums. However, I felt somehow it matched pretty well where I had moved on to musically and lyrically. I really feel my music moved in another direction from when I first started out Of The Wand And The Moon. Not sure if you could call it folk nowadays even. Of course, there is some essence from the beginning but…yeah. There’s a lot of jazzy trumpets on the new stuff. And more of a 60s rock/folk band feel over it all, I think. It’s difficult for me to explain the style to be honest.

Anyway, loved that description…”

A common element to your music and lyrics is the concepts of love lost and regained and lost again. I noticed this as a very common theme in most of your discography, what made you want to pursue these themes to begin with?

“Never really planned out that this is the way the lyrics or music should be. Just my nature as a person, I guess. Hard to say what sparked that line of expression. But of course, things happening in my life pushed these thoughts and lyrics. Perhaps just trying to give a little back to the world what the world had to offer me …haha.”

How would you describe your creation process, are there any rituals or interesting things you do to help you write your music and come up with your ideas?

“No rituals really. Just must be in the mood and wanting to pick up the guitar or fumble around on the keyboard or whatever. Sometimes I can think of a line or watch something in a movie which will inspire a quote or a line. But usually just sitting down with the guitar. Compose the music. And then the lyrics will come after. The name Of The Wand And The Moon came into place as I used to do my music at night. And at the beginning I was somewhat into magick, runes etc. hence the “Wand” reference.”

Another element I noticed in your themes is nature and old faiths and such what drew you to these ideas for your music for Of the Wand and the Moon?

“I think this was mostly in the beginning of the band. I would read a lot about runes and magick as it was an interest at the time. Go to the royal/university library in Copenhagen and go through books on rune stones, mythology, and stuff like that. It’s more of a personal and intuitive thing these days. Like seeing signs and runes in building’s shapes for instance. But not really a big topic in the lyrical universe now.”

How important is Denmark to you and your writing process? Does it play a key role in influencing your ideas at all?

“I guess it has a huge role as the winters here are very long and dark. And it takes a big toll on my mood. Not good for my depressions. Probably not good for my production in those months either. But perhaps some work comes out of it after all.”

Another thing I noticed in your albums and music videos is a homage to old black and white films and you directly quote from these films too in some of your songs. What are the names of some of these movies and what do you recommend to our readers?

“Think those movies just somehow made sense to use. I have a nostalgia for those old movies. Love the works of Fritz Lang. So, the movie Spione was an obvious choice to add to some video. And movies like Sunrise: A Song of Two Humans, Le Feu Follet, Bonjour Tristesse etc. And later movies such as Taxi Driver had a lot of impact on me. I could go on. Anyway, just seemed to fit perfectly with the universe of the music.”

Of the Wand the Moon has been lumped into the neo-folk scene for many years now, what is your take on the scene and how has your experiences been with the musicians and bands you played with over the years?

“I am really grateful for all the experiences and the friendships from the scene. Also, people I was a fan of became friends. Had very magickal moments along the way for sure. But I don’t really want to get stuck. And repeat and repeat. Things will inevitably change…the way of life.”

Where do you see the dark folk scene going now in 2021? Nighttime Nightrhymes came out back in 1999. Has there been a huge shift in interest since then from your personal perspective?

“I don’t really sit and ponder about where things are changing regarding music. Maybe some young people will come along and pick up the torch and blow our minds. Who knows…?

All I know is that I’m always striving to make my own music better. For me. In my own little world. Whether or not people will like it.”

What was the main influences and feelings you were going through in the writing process of “Your Love Can’t Hold This Wreath of Sorrow”?

“The usual, I think. The pain of lost love. The pain of having to move along alone. Nostalgia. Solitude. Memories. All the good things in life haha…”

There is an almost romantic urbanism found throughout the album, prior Of the Wand the Moon albums had a distinct nature/pastoral feel while the new album is the complete opposite. What made you want to go in this direction?

“I just wanted to open up the universe of the music to not get stuck in the old ways. To be honest I think I am somehow going back in time to when I was in my teens. The memories and the sounds I was exposed to then. As a kid I would go with my friends to these abandoned sites, run down areas where I grew up. Where nature took over the concrete and what have you. Music wise there is a straight line from my father’s record collection as well, I think. The bass sound. The tic tac bass is the sound of the records my father had and that I was listening to when I was very young. The “Je t’aime moi non plus” single with Serge Gainsbourg (with “Jane B” on the B side). The Beatles “Rubber Soul” and “Help”. The trumpet fetish I think came from watching an ancient Danish crime series called “En by i provinsen”. The intro theme had some trumpet that stuck with me I think. My father was also a big fan of jazz. Miles Davis and such. I would also sometimes record the music and dialogue from movies off the TV on my cassette tape recorder when I was a kid. Like “Escape From New York”, “The Warriors” etc. A lot of these things made a big impact on me.

I am curious about your reasoning for writing the songs “Fall From View” and “Williamsburg Bridge” they seem to be almost jarring to the flow of the album in a completely good way. What message were you trying to convey in those tracks?

“Williamsburg Bridge was a kind of intro to Nothing For Me Here. And the title was a homage to a night walk with a good friend of mine, Luke, over that same bridge when I visited New York years ago. Again, perhaps some reconnection with imagery of my childhood memories, movies, and such. And all the sudden, seeing/being in it myself in some strange way these many years after. “Fall From View” was a somewhat purging/cleansing of depressive thoughts. Not sure how to otherwise put it.”

The trumpet plays a huge part in a lot of the songs in the new album (it seemed to be used sparingly in “The Lone Descent”) what about this instrument? Because to me it fits perfectly in the mood and feel of the new album.

“I met Bo Rande the trumpet player many years ago, watching him play for the band Blue Foundation. Which he is still playing in. I asked him to play on “The Lone Descent” album and he agreed. While he recorded the stuff for that album, I was in such an awe of his playing, his technique, that I said to myself, “the next album I will do he has to have more songs to play on.” So made room on the new songs for him to throw in a solo or a part. Can’t praise him enough. At the recording sessions, everything he recorded we could use. Was just a matter of choosing. So wonderful.”

What is the overall message you want listeners to feel and understand about “Your Love Can’t Hold This Wreath of Sorrow” what should we pay attention to or be aware of in the listening experience?

“I just hope people will enjoy the music. There is no message as such I want to pass on.

It’s a painting I painted. Just enjoy it for what it is.”

Out of all the Of the Wand and the Moon albums you created, which one would you say is your most favorite album as well as your least favorite?

“The new album is my favourite. I don’t have a least favourite. They all had their place in time.

I really don’t listen to my old stuff. Apart from playing it live. When it’s done it’s done for me, and I’m off to another place trying to do something new.”

What are some of your interests outside of music? Are there any surprising aspects of you (Kim Larsen) that fans would be interested to know?

“Haha…don’t really know what would be interesting. I love taking rides on my bicycle around Copenhagen in the summertime (which is too short). Sometimes taking rides to places or streets I haven’t been down before. Discovering new areas of the city and surroundings.”

How would you describe your music to someone who may not be familiar with Of the Wand and the Moon?

“It’s really difficult for me as I’m not a music journalist. Perhaps, melancholic music that were inspired by 60s soundtracks and acts such as Lee Hazlewood, Serge Gainsbourg, The Beatles, loner folk and of course my starting point of the dark folk/neofolk/whatever genre. Apart from that I don’t know…”

And finally, do you have any closing words for our readers?

“Love is made of dreams and dreams are made of hope and hope will smother dreams and dreams will smother love! But remember…the tears are free!”

CD: https://tesco-germany.com/…/of-the-wand-the-moon-your…/

Bandcamp: https://tescogermany.bandcamp.com/…/your-love-cant-hold…

Spotify: https://open.spotify.com/album/3NyIa5rnbzdjLg6cJiEbbF

Facebook: https://www.facebook.com/wandmoon

Of the Wand and The Moon “Your Love Can’t Hold This Wreath of Sorrow” Review

/ Ryan Chapman / Leave a comment

It is about 10:30PM here in New Hampshire and I have a glass of scotch nearby as I write this. The nights are growing cooler, and the air feels like the crisp crunch of fallen leaves. The smell of chimney smoke permeates the cloudless star-filled sky reminding me that the slow death and decay of the earth is upon us. This time of year, when the Autumn Equinox has arrived is a perfect time than any to hear the haunting lamentations of Kim Larsen’s new Of the Wand and the Moon album “Your Love Can’t Hold This Wreath of Sorrow”. I was graciously given a promo of the new album and got to spend a long, long time giving it a listen and think it is one of Larsen’s best works. It has been eleven long years since “The Lone Descent” and I can say “Your Love Can’t Hold This Wreath of Sorrow is a fantastic follow-up in every sense of the word.

One thing about Of the Wand and the Moon is I always stumbled upon his albums at times that are very difficult in my life. I always felt a sense of synchronicity when I listen to Larsen’s music. It is like the music and lyrics reflect my life in the uncanniest way all the years I have been a fan. Larsen has a supernatural knack for writing music that not only is dark and depressing in nature but also so relevant to my life and many others who have gotten the pleasure of stumbling upon his music. “Your Love Can’t Hold This Wreath of Sorrow” arrived in my inbox during an incredibly painful transition in my life. Every lyric, note, and image just overwhelmed me with emotion I haven’t felt in a long while. I am brave enough to admit that this album caused me to get misty eyed on more than one occasion because of how on-point the album parallels to my recent heartache.

I would call “Your Love Can’t Hold This Wreath of Sorrow” an album that is incredibly cinematic and almost a concept album in many ways. If you were to describe the highs, lows, beginnings and ends of relationships this album eerily hits all those moments and feelings to a raw, vulnerable degree. For me, I was in a two-year long relationship which took me to the old, beautiful, dirty streets of Dublin, Ireland. The idea of romance in a city and the inevitable end is very pronounced in a multitude of ways in “Your Love Can’t Hold This Wreath of Sorrow” Larsen takes many daring streets of almost making Of the Wand and the Moon urbanized compared to the typical rural, and pastoral feel of earlier albums. At first this may sound jarring, but it works in many incredible, clever, and creative ways. I think it makes the music more powerful to hear because a lot of my past pains happened in big cities.

To me the city is a place with so many stories, people, thoughts, and feelings. When I wandered the streets of Dublin, NYC, Salt Lake City, Boston, and Portland I could feel and even see a dreamlike romance of two lovers in a smoky bar I could see a jilted lover openly weeping on a park bench underneath dirty streetlight. Larsen completely takes these concepts and runs with them. The two songs that really hit these ideas to the fullest extent is “Let’s Take a Ride (My Love)” and “There’s Nothing for Me Here” I cannot stop listening to these songs because not only are they beautiful, but catchy (which is unusual for Of the Wand and The Moon).

There is a ton of wonderful dark folk songs to be had in the album and all the songs hit so many emotions. Though, there are three songs that are unique that took me longer to understand and digest. The first track “Fall From View” it starts out as an ambient, amorphous entity that starts quiet and goes down a chaotic (even nightmarish) rabbit hole that is very uncomfortable to listen to (in the best possible way) to me the song reminds me of the many sleepless nights where I can’t shut down my brain and I think the worst of the worst. Then, I eventually go into restless sleep and have nightmares that haunt me even when I have been long awake. The second track is “Les Journées Sans Fin Et Les Nuits Solitaires (Endless Days and Lonely Nights)” it is a very quiet song that reminds me of the “Nighttime Nightrhymes” song “The Substance of Simplicity” it has this beautiful, airy, and ethereal female vocal chant happening throughout the song and then a female monologue spoken in French filters through the chants and gentle acoustic strumming. To me it is a song giving the perspective of relationships and how one wishes things could have been different and feels guilt around what transpired, also there is a sense of longing and thinking of when things were beautiful and full of life in the beginning. The final unique track is a quick minute and a half instrumental called “Williamsburg Bridge” to me it is the closest you could get to the atmosphere, and energy of life in the big city at night it sounds so lonely and isolating even among the roiling sea of humanity around you. This quick song really sticks with you long after you hear it.

One thing that really stands out with not only “The Lone Descent” but “Your Love Can’t Hold This Wreath of Sorrow” is when Kim Larsen incorporates more guest musicians to his vision. You notice a massive surge in sound and feeling in the songs and almost a bombast compared to quiet contemplation in earlier albums. I think with contributing musicians to Of the Wand and the Moon’s music it makes the emotions more intense in the songs. The one standout is the trumpeting work of Bo Rande never have I heard a trumpet make my eyes well up more than the trumpet work in “Your Love Can’t Hold This Wreath of Sorrow” it somehow gives the songs a whole new meaning and fits the citylike feel of the songs to an even greater extent. Rande’s talents give me a whole new perspective on the beauty of the iconic brass horn and how it can be used perfectly in dark folk music.

There are so many dichotomies found throughout “Your Love Can’t Hold This Wreath of Sorrow” there is a constant sense of movement, transitioning, and eventual healing after so much pain and heartache. When an album can genuinely hit your core, it is a masterpiece in my opinion. To me “Your Love Can’t Hold This Wreath of Sorrow” is exactly this. I think Kim Larsen nailed it in ever sense of the word yet again. I sense this album is going to get many, many hundreds of listens in the foreseeable future. I have finished my glass of scotch and feel like after going through the journey that is “Your Love Can’t Hold This Wreath of Sorrow” I can honestly say it helped me close that chapter of Dublin in my life, and now I can move forward to new horizons though guarded but hopeful all the same.

Rating 10/10

Bandcamp: https://tescogermany.bandcamp.com

Facebook: https://www.facebook.com/wandmoon

A Conversation with Jason W. Walton

/ Ryan Chapman / 1 Comment

 

khoradaname

Bassist Jason W. Walton of Khorada, ex-Agalloch, Snares of Sixes, Self Spiller, Nothing, Dolven, Especially Likely Sloth and many other musical acts has been a pillar in the Pacific Northwest metal community. He was one of the original members of Agalloch and then went on to do a new and highly-anticipated project Khorada with fellow ex-Agalloch band members Don Anderson, Aesop Dekker and Aaron John Gregory of Giant Squid. I wanted to learn more about his music projects, vision and hope for the future in regards to being a musician. Me like many others are waiting with bated breath to see what Khorada will sound like in the meantime we can look forward to hearing his new project Snares of Sixes which he talks about at length in the interview below.

khorada

 

You have been working on multiple projects for many years now, out of all the works you have done what do you think stood out the most to you as an artist?

JWW:  Albums I’ve been a part of stand out to me for different reasons. Agalloch’s “The Mantle” jumps to mind immediately because of the critical acclaim it received and how that afforded us to tour and bring Agalloch to places we never imagined going.  On the other hand, the debut Snares of Sixes ep that I just finished stands out as well, because that was a beast of a record and is easily my most ambitious recording to date.  Every recording I’ve been a part of has been important or noteworthy to me, because each acts as a stepping stone and a learning experience for the next one.

A lot of your works are tied to electronic, ambient and drone scapes what made you want to go this direction? What about this style do you like most?

JWW:  I first started working in these styles because I loved the freedom it afforded me.  I loved being able to work alone.  I could compose, record and perform entirely by myself if I wanted, and didn’t have to rely on others to get work done.  The nature of the music itself is basically limitless as well and I feel very free to do whatever I can possibly imagine.  

Is there any new or interesting things you can update our readers with about Khorada?

JWW:  As of right now, there is not much to report.  We have news coming soon, but as of right now I can tell you that we are deep within writing our debut album.  I feel like we are at the point where we have found our voice as a band, and are refining our sound.

What direction do you hope to accomplish with Khorada?

JWW:  I don’t really want to use too many descriptors or make too many comparisons just yet, as the music can still change quite a bit at this point.  We all came into this being very aware of our previous bands, and not wanting to repeat those themes, or ideas. Obviously, when you have ¾ of Agalloch in a new band, there are going to be some undeniable elements of Agalloch in Khorada, and of course, there will be things reminiscent of Giant Squid as well, due to AJ’s large role in Khorada.  

jasonwalton1

In regards to your influences and points of inspiration what are some triggers that allow you to create and conceive new ideas?

JWW:  It really depends on the band. Khorada is lyrically and thematically controlled by AJ.  Of course we all have ideas thrown in here and there, but that is largely AJ’s department.  For a band like Snares of Sixes or Self Spiller, I typically focus on a single idea, or a feeling, and work around that. Self Spiller’s “Worms in the Keys” album was written around themes of travel, homesickness, allergies and being caught in an unfamiliar space. The Snares record I just finished is literally about Kombucha, yeast and bacteria.  Many of these ideas have come from books I’ve read, or experiences I’ve had.  

You have done many tours over the years, in your eyes what do you think was the most memorable?

JWW:  I think the most memorable tour for me was the first time we went to Europe. Most of us had never been to Europe before, so playing to audiences all over Europe was unreal.  Also we had a month long tour with Fen in Europe, and that tour was highly enjoyable.  Usually for me, I remember stand out shows, or places, not necessarily tours. London, Copenhagen, Lithuania, Tel Aviv, Bucharest. These are the places and shows that are the most memorable for me.

You have been working with Don Anderson, and Aesop Dekker for many years now, what about them do you admire most and with this new chapter in your life has your creation process changed at all with them?

JWW:  Don and Aesop are amazing musicians, and my closest friends. They always push me and challenge me as a musician. Aesop rarely plays the same way twice. He is always trying new things and is not afraid to experiment. This pushes me to be quick on my feet and forces us to lock in together and feed off of each other. Don’s command of the guitar is inspiring. He knows enough theory to be dangerous, but loves punk enough to not be a snob. Within an hour of Agalloch breaking up, the three of us had a group text going about what we were going to do next. There was absolutely no reason for us to stop playing together.

Have you taken on even more songwriting duties with Khorada, and if so what are some ideas you decided to run with?

JWW:  Writing as a bassist is a very odd thing. Of course writing basslines to existing guitar parts is one thing, but writing the foundation is tricky. It’s very hard to listen to a line of singular notes and imagine what can come out of that. We did that with Agalloch once. I wrote the foundation to “Birth and Death of the Pillars of Creation” this way and it was very rewarding.  We are trying a similar approach with Khorada but AJ and Don are writing the lion’s share of the music.  

If you could think of three words to describe Khorada’s sound what would they be?

JWW:  Hungry, heavy and beautiful.

jasonwalton

Do any of your outside interests help you conceive new ideas at all?

JWW:  Most definitely. My love of cooking heavily informed the Self Spiller debut, and a couple years ago I became quite passionate about brewing Kombucha which was the inspiration for Snares of Sixes “Yeast Mother” EP.  

And finally where do you hope to see yourself as a musician in 2017?

JWW:  In 2017 I plan to record with Khorada, and hopefully start booking some shows with them as well. I also plan on releasing the Snares EP, and recording more Snares. I’ve also assembled a live band for Snares and we hope to start performing this Winter or Spring.

Bandcamp: https://jwalton.bandcamp.com/

Facebook: https://www.facebook.com/khorada/?fref=ts

Why I Love Power Metal…And you Should Too

/ Ryan Chapman / 1 Comment

bardtavern

The battle cry of the dwarves in the bowels of the under mountain, the cry of the griffin on clouds on high, and the uneasy chill of the evil lich in the shadows. These are all images that are conveyed within the realm of power metal. This genre of music has been around forever and has always been one of my guilty pleasures. When I am feeling down or just want to feel happy and alive I listen to power metal. I rather be listening to this genre compared to horribly happy pop music without any creativity or effort put into the music. Power metal is one of those forces of nature in the metal world that pretty much anyone can enjoy even if they are not really into metal. The soaring vocals, the catchy choruses and the wondrous riffs, solos and keyboard flourishes are what make power metal so addicting.

The other element of power metal that makes it awesome is the thematic elements found in the lyrics and even music. With homages to Lord of the Rings, Wheel of Time, Dragonlance and a slew of other fantasy genres there is always something for a listener to enjoy and even learn from. I have found so many obscure fantasy novels and such after listening to power metal and reading interviews with musicians in this genre. There is just a love and appreciation all around for fantasy, horror and science fiction that it feels like I am among my peers when I am immersed in the likes of Blind Guardian or Iced Earth.

lordoftherings

Another thing that you should experience is seeing these power metal bands live. The energy of the stage and the audience is just an incredible experience to embrace. I have seen Blind Guardian multiple times and every time I see them I am just wowed about how good they really are. I consider them to be my all time favorite band in this genre. Every album they have done has something to love and appreciate, and they are one of the most consistent bands I know and I am always excited to hear what they come up with when they write new material.

The future of power metal is also something to be excited about there are some new, younger acts creating amazing stuff. The list consists of Gloryhammer, Twilight Force, Dragonland, and Pathfinder to name a few. These bands are developing fresh ideas but still keep to the roots of the likes of Blind Guardian, Rhapsody of Fire, Kamelot etc. Like the other genres of metal out there, there are bands who are remaining innovative and fresh but keeping to what makes that style of metal so good to begin with. I suggest you take the chance to really listen to power metal, and embrace the cheesiness of it, let the music make you feel happy and alive. You do not necessarily have to be all about your black, death and doom metal. Sometimes diverging from your normal bubble can lead to some wonderful growth as a metal fan. Be the dungeon master of your story take the forest trail less traveled and be blown away by the majestic beauty to be found at the end of road.

1-dragons-wallpaper

“On wings and winds we ride
Towards a land so green
Take me across the horizons
To the forest of destiny
When we reach that place
So far beyond the sun
Where hopes and dreams come true
In the forest of destiny”

~Twilight Force~