Interview with Metal Hammer UK, October 2003

1. I've seen your band called so many things - orchestral doom, depressive epic power metal, romantic melancholy, ambient dark metal - what do you prefer?

Probably the most precise is "symphonic and progressive epic doom metal with cosmic elements".

2. You've been together since 1989, with scant releases to document that time, yet reviews have been ecstatic. Has it been hard for you to balance out those two facts?

Admittedly, the discography is a bit sparse for 14 years, but that's primarily the result of the countless line-up changes, plus the fact that I am a perfectionist probably does not help either, however we're pretty content releasing albums that are solid and inspired when they're ready as opposed to turning out shite at every opportunity.

3. One of our writers theorized the band sound like Opeth jamming with Savatage. Was either band an influence?

Not particularly, our primary influences are the early albums from Fates Warning, Manowar, Candlemass, "Viking Era" Bathory, all things Prog from Crimson to Pulsar, Klaus Schulze, Kitaro, and a wide array of classical music.

4. Which bands did you grow up listening to?

I started out with AOR and Prog because of my siblings, discovered the NWOBHM at its height, and my tastes further developed through the advent of Thrash and Death Metal, so I listened to everything from Journey to Slayer to Autopsy.

5. The material on the new album is gloriously epic. Through choice, or does it just work out that way? Could you write a three-minute single if you tried?

All of the music and lyrics come through revelation first; nothing is contrived, so the songs write themselves essentially. After their structures are complete I develop their arrangements. Three minutes is pushing it a bit, but the songs were scaled back significantly on the "Empires" album, mainly because the music came before the lyrics this time around.

6. According to the band's website biog, the music took "a hopelessly depressive" direction turn in 1991. Can you say what happened?

Between the demise of a very special relationship, deaths of loved ones, and conflict/drama within the family among other things, I was completely gutted and alone, so the music began to reflect that.

7. With all due respect, the bereavement you suffered back then must've been a huge one if still affects your music more than a decade later.

Yes those events changed my life forever, thus the anguish within the music is very real, but considering grieving is a process, I've managed to heal and grow through the music as well, which would explain the triumphant aspects of our sound I imagine.  

8. Again another personal question: might it not have helped you to make cheerful, uplifting music instead?

Perhaps, but it simply is not possible for me to compose music that isn't what I feel.

9. Songs like "Voice In The Wind" are intensely spiritual. Do you believe in life after death?

I'd like to think there is someplace better than this, but I'm not going to bank on it.

10. The doom/thrash element seems to have morphed into more colourful, symphonic areas. Why?

All of the original elements of our sound have remained intact, and generally I strive for balance between the technical and emotional aspects, but the emphasis shifts naturally based upon what I'm feeling/thinking at the moment. As for the orchestration, it's simply a matter of maturation in a compositional sense.

11. It's interesting that your version of "Epistle No.81" utilises the best of both worlds.

I'd endeavor to suggest the whole album does, but "Epistle" is definitely a successful marriage.

12. What level of popularity have WHW attained at home?

Only the cult fanatics have any clue as to who we are, as we've essentially ignored the USA in favor of Europe since day one.

13. During the mid-1990s you moved to the UK and joined Yorkshire band Solstice. Indeed, you've recently united with them again. The connection must be strong...

"We'll die as brothers and ride with Tyr" sums it up. WHW and Solstice are two sides of the same coin, and I'm ecstatic we're back together again. Expect something new in the next year.

14. How would you describe your experiences with record companies thus far?

Well, I know we have a fair amount of fans in high places, but none of them have been willing to take a risk, apart from extremely underground labels. Since WHW has always been a self-financed affair, we retain the power to choose who we work with.

15. How did you hook up with Rage Of Achilles, and for how many albums?

Duncan actually contacted us having heard "The Drowning Years" single, and after a lengthy negotiation we signed an agreement for 2 releases.

16. Were you aware of their highly credible reputation?

To be honest, I heard of the name, but really wasn't familiar with ROA at the time, and I'm quite pleased with the general perception of Duncan within the industry, as well as the effort he's putting into our collaboration.

17. Are you hopeful that this the big break you'd been waiting for?

While I'd be chuffed if we broke through, I'm quite satisfied in accurately realizing what I hear in my head and receiving such positive reactions from our fans.

18. Have you had much feedback from Britain yet?

Apart from a couple articles years ago, not much. Most of our support so far has come from mainland Europe.  

19. Is there any possibility that the UK could see you play live?

We won't have any shows there during our spring 2004 European tour, but we'd certainly love to play the in the UK should the opportunity present itself.