TTI: Many contemporary black metal bands demonstrate their vanity and ambition to come across as smart as possible by interpreting their ideological standpoints through the most abstract of terms, which is precisely why I have a lot of respect for your decision to celebrate earthly profanity by naming yourselves Whoredom Rife. I feel that your name, although essentially metaphorical, speaks a lot about the state of the world today, as we all prostitute ourselves on so many levels every single day, and compromise our dignity, our beliefs and our integrity in our desperate, trivial attempts to survive and improve our social or whatever status. Were you reasoning somewhere along these lines while coming up with it?
V. Einride: I must admit you make a great point, and do agree with you. But the band’s name really means The worship of idols instead of God, Idolatry, Ragnarok. The reason why I chose that name is because it says everything about our music.
TTI: Even though they work extremely well as a whole, all four songs on this EP have completely different vibe from each other. That being said, and in order to fully understand the essence of your music, would you agree that a listener must, or at least should, play it in its entirety?
V. Einride: Sure, if he or she wants to.
TTI: Your dexterous, seasoned-sounding musicianship is largely responsible for the quality of this EP, and the fact that you have single-handedly played every single instrument on this recording is even more impressive. Especially when we know that you don’t have any musical background and that Whoredom Rife is the first and only notable metal project in your career. I must admit I find that hard to believe. Are you sure you haven’t played in some other prominent bands from Trondheim?
V. Einride: I’ve been a professional drummer for many years, so yes, I have plenty of experience from many different bands and many different styles of music. But I am here to talk about Whoredom Rife, where my focus should be right now. I have not played in any of the bands you suggest.
TTI: What is your favorite moment on this EP?
V. Einride: I’m quite satisfied with the whole EP, but It’s done and released, so there is no meaning in thinking any more about it, for my part. I focus on the new songs now, and I’m looking forward to releasing the full-length. But If I must choose, I must say the vocals on Gitt Til Odin’s mid-section are simply outstanding.
TTI: When I asked you to send me the lyrics for this EP, you refused with a remark that they should remain a secret. Why? What is so personal and important about them?
V. Einride: I feel that the music should speak for itself. It’s not like a big secret or anything, but the words are personal, and they should be. I won’t say that I’ll never print lyrics, but not printing them makes a good point. We’ll keep it that way as long as it feels right for us.
TTI: Thought And Memory is the title that made me think about the difference in meaning between those two words. The way I see it, thought is usually a result of brain dealing with the present moment, whereas memory is when something that once was comes at the forefront of our consciousness. However, in order for that to happen one must think about the past, so it’s fair to say that memory uses thought as a vehicle to materialize itself. Was your lyrical inspiration for that song anywhere near this line of reasoning?
V. Einride: No. It’s about the two ravens of Odin. How they behold and bring tidings. It’s about being watched, so one should be conscious, strong in heart and noble in deed.
TTI: Was your intention, prior to forming Whoredom Rife, to pay homage to your national black metal scene and its notorious, yet glorious history?
V. Einride: Partly. I missed the atmosphere in black metal that I grew up with. I missed the fact that it meant something. The seriousness of it. I want to make music that matters. Not some mundane shit that everyone can relate to. I want to create something for the elevated spirit.
TTI: Many little details on this EP, like those delicate keyboards in Fyrstens Land for example, I find to have significant aesthetical similarities to Anthems At The Welkin At Dusk. In that regard, if asked to compare Whoredom Rife to one legendary Norwegian black metal album, it’s precisely Anthems that I would go with. Is that record on a list of your biggest influences?
V. Einride: It depends on how long the list is, but on a fairly long list it would definitely be on it. But I do prefer In The Nightside Eclipse. It’s funny you mention that part, because the synth was added in the dead last minute. I’m very glad I did, though.
TTI: His singing technique, highly emotional delivery and dynamic vocal arrangements make K.R easily one of the most malevolent singers in black metal today. One can tell only by listening to his voice that he is a genuine alpha male. When it comes to preparing vocal lines for this EP, was his approach to just enter the studio and deliver without any upfront preparation or was there a lot of meticulous planning involved?
V. Einride: We try different vocals for different song. I usually have an idea for the phrasings, and K.R coughs up a lung. He is the instrument here, and I try to play it, sort of. It works great. He is easily the meanest singer in black metal today, I agree.
TTI: How did you two find each other and what can you say about your chemistry? Were you friends for a long time before forming Whoredom Rife or was the band that brought you together? What is the most satisfying thing about working with K.R?
V. Einride: We’ve known each other since childhood and K.R was the only singer I had in mind when I started working on the songs. The most satisfying thing about working with him is his devotion to the music. Black metal is in his blood, so when he performs it’s with true passion.
TTI: Hadn’t Terratur Possessions released this EP, what other labels you feel would have been possible alternatives for Whoredom Rife?
V. Einride: If Terratur Possessions hadn’t released the EP I guess I would have done some research, but the deal was on all along, so I never had to think about it. So honestly, I don’t know. What I do know is that Terratur Possessions is the right label for Whoredom Rife.
TTI: Do you share the standpoint of manay older Norwegian black metal musicians who claim that Snorre Ruch, your fellow Trønder, invented what is now known as the signature Norwegian black metal riffing style?
V. Einride: I don’t know. I wasn’t there when the first black metal riffs were made.
TTI: What is the best metal album ever to come from Trondheim?
V. Einride: The next Whoredom Rife.
TTI: Are there any noteworthy young black metal bands in Norway at the moment?
V. Einride: I’m sure there are many, but I don’t really stay up to date anymore.
TTI: Immortal, Darkthrone, Satyricon, Enslaved, Arcturus. Can you please rank these Norwegian bands according to your personal taste and name your favorite album by each of them?
V. Einride: Why? That’s silly.
TTI: Many Norwegian black metal bands from the first and the second wave have significantly changed their style over the last two decades. Enslaved, Dimmu Borgir, Satyricon, Mayhem, even Darkthrone, they all abandoned their original sound and took the genre with them in various different directions. As a consequence, so many things are considered black metal these days. Do you see that as a positive thing?
V. Einride: As I explained a little earlier, I miss the atmosphere of the early ’90s black metal, so I’m a bit conservative here. But I do think that evolvement is important. I just feel that many bands got bored with the monotony and simplicity of good black metal and challenged themselves, resulting in an either more technical, intricate or merrier-sounding metal.
TTI: Speaking of the early ’90s and the golden days of Norwegian black metal, what are some of your favorite albums from that period? How important role that movement had in your life back then?
V. Einride: Under The Sign Of The Black Mark and Hammerheart by Bathory, Det Som Engang Var by Burzum, Under A Funeral Moon by Darkthrone, De Mysteriis Dom Sathanas by Mayhem, In The Nightside Eclipse by Emperor, Pure Holocaust and Battles In The North by Immortal, just to name a few classics. Unbelievable how music can affect a young teenager, really. I’m still in awe.
TTI: Do you think that permanently experimenting in music is more legitimate than sticking to a certain frame, regardless of how narrow or wide it may be, and trying to write something memorable within it? In that regard, which word describes a band like Cannibal Corpse better in your opinion, consistency or repetitiveness?
V. Einride: I do believe that experimenting and opening your mind is positive and necessary in order to develop, in any case. But it’s important not to lose yourself for the sake of experimenting. Some bands seem to innovate the shit out of themselves just to sound like all the other bands that try not to sound like everyone else. A Cannibal Corpse fan would say consistency, a Whoredom Rife fan would say repetitiveness.
TTI: I have recently read in some anthropology book that music appeals much more to a man’s temper than to his intellect. That’s a deep thought, and the more I think about it, the more I feel there’s a lot of truth in it. Does it ring true to you?
V. Einride: Not really. It depends on the music. Different music appeals to different instincts. At least that’s how it feels to me. Maybe that’s why I prefer dark music, as it appeals to more of my instincts, than say, electronic dance music.
TTI: Do you hope for an afterlife and would you like to die completely, both with body and with soul, rather than to be granted some form of perpetual existence?
V. Einride: If there was an afterlife I would definitely like to see it, but if there wasn’t, I would take complete death.
Originally published on 14th December 2016.
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