Thursday, September 23, 2010

Interview with Johan Hegg of Amon Amarth, Part Nine

Johan Hegg in Chicago (April 19, 2010)

KS - I feel that your voice, over the years, has gotten more and more clear. On Twilight of the Thunder God, you can immediately understand all the lyrics. The words are more clearly enunciated than on the older albums.

JH - Well, that’s something that we’ve been aiming for. We wanted to do it, actually, from the start – to get more and more clear. Something that I’ve been doing, even though it’s been more screaming, of course, is to actually try to sing, and not just scream.

It’s kind of tricky, and I’ve had to develop and re-develop my style of singing from album to album. It’s also a matter of trying to get the vocals to fit the music. Sometimes, I feel that, on the older albums, I maybe should have used a different voice here, or done something different here, to make it more vibrant and more alive.

Olavi Mikkonen in Chicago (April 19, 2010)

We’ve become more professional, as well, during the years. Back in the early days, it was more like, “Ah, let’s go. Let’s do it.” We didn’t think so much. Now, it’s more planned, and we try to be more structured when we arrange a song. With everything – music, vocals, everything. Those things try to go hand-in-hand. On the other hand, you don’t want to be too structured, because then it becomes boring. Ha!

Yeah, the vocals have changed. I think, also, it’s a fact that I needed, probably, to change a little bit, to be able to preserve my voice.

KS - You never have lost it?

JH - Oh, yeah. Ha! Many times.

Ted Lundström in Chicago (April 19, 2010)

KS - What do you do?

JH - Not much I can do. One thing that I do, before I have a show, is that I have fresh ginger root. I shave it off into a cup, and then I put honey and lemon juice, and I pour hot water into it and drink that.

KS - And do you scrape some runes into it?

JH - Ha! No I don’t. Ha! Then I drink that and do my all warm-up exercises. Usually, if I do that, and everything is fine, I won’t lose my voice. I might strain it sometimes, which happened on this tour, actually, in Calgary. That’s also another thing that’s more important, is that I hear myself on stage.

Johan Söderberg in Chicago (April 19, 2010)

KS - Do you wear earplugs on stage?

JH - No, I don’t. I probably should. Ha! It would probably save my ears. We’re not really loud on stage. We’ll see.

If I lose my voice, I try not to speak. I’ll cancel interviews and all that stuff. And then, two hours before the show, I’ll do the ginger-root tea, and I’ll start doing some simple warm-up exercises and get into it. Then, maybe an hour before the show, I’ll do another cup of tea and keep doing the warm-up and try to get a feel for it.

Usually, I’ll do an hour warm-up, but, if I lose my voice, I’ll try to do about two hours. I’ll start off very softly and just work into it, gently. You can’t force it. Then, afterwards, you do the same thing, more or less. You take a cup of ginger tea and, basically, straight to bed. No alcohol.

KS - Did Marvel Comics call you to do the soundtrack for the Thor movie next year?

JH - Ha! No, they haven’t. Maybe they’re still waiting. Ha!

Johan Hegg in Chicago (April 19, 2010)

This concludes the Norse Mythology Blog's interview with Johan Hegg. Heartfelt thanks to Johan, Amon Amarth, Uli Fisseler (tour manager), and Vince Edwards (Metal Blade Records).

Thursday, September 16, 2010

Interview with Johan Hegg of Amon Amarth, Part Eight

Johan Hegg in Chicago (April 19, 2010)

KS - Over the course of the last week, I’ve been listening to all of your recordings in order. When I went back to Thor Arise and Once Sent From the Golden Hall, I realized how much your voice has changed in the last fifteen years.

JH - Oh, yeah.

KS - The singers I know want me to ask you, “What in the world are you doing? How do you not lose your voice?” When I teach a lecture class, my voice disappears after an hour. How do you do perform such an intense show tonight and then perform another one tomorrow night? Right now, your voice sounds fine.

JH - You should have heard me this morning. Ha!

Johan Söderberg in Chicago (April 19, 2010)

KS - Did you take voice lessons with a classically-trained singer?

JH - No, no.

KS - It sounds like your voice is stronger now than it was fifteen years ago.

JH - Actually, Heri [Joensen, of Tyr] taught me one trick that I do to warm up which is, basically, a breathing exercise which helps you warm up the diaphragm. You just breathe in, and when you breathe out, you block the airways with your tongue to the roof of your mouth. You go like, “Hhhhhhh.”

Ted Lundström in Chicago (April 19, 2010)

When you do that, you’ll feel that whole thing. That way, you can warm up the diaphragm without actually straining the vocal chords. To warm up the diaphragm is very important. If you use that when you sing and when you talk, you don’t strain the vocal chords as much. When you feel it, and when you got it right, you’ll notice the difference.

I have some vocal exercises that I do, where I use the diaphragm. One is like, “Zzzzzzz.”

KS - Going down the vocal range.

JH - Yeah. “Zzzzzzz.” Always from light to dark. When you do that with the vocal chords, you can relax them.

Olavi Mikkonen in Chicago (April 19, 2010)

You can also go – which sounds even more stupid, but it’s sort of the same principle – it’s like, “Mmmmmuh.”

KS - Also going down the vocal range.

JH - “Mmmmmuh.” It opens up, and you use the diaphragm.

KS - I noticed, going through the albums, that your voice is much deeper now.

JH - Yeah. One of the reasons is that my style of singing used to be a lot more frantic. It would be totally uncontrolled screaming, which, I guess, is cool. But, when it’s only that, there’s no range in it.

Johan Hegg in Chicago (April 19, 2010)

KS - In the beginning, it was almost more like black metal.

JH - Yeah, it was lot more of that, of those influences.

Thursday, September 9, 2010

Interview with Johan Hegg of Amon Amarth, Part Seven

Johan Hegg in Chicago (April 19, 2010)

KS - My favorite Amon Amarth song is “Hermod’s Ride to Hel - Lokes Treachery, Part1.” Is there a “Part 2” coming? Because I’m waiting - the song came out two albums ago.

JH - Ha! Yeah, well...we’ll see about that.

Olavi Mikkonen in Chicago (April 19, 2010)

KS - I was talking to Uli Fisseler, your tour manager, and he said that you’ll be working on a new album after the tour.

JH - We’re going to start working on a new album. Let’s put it this way. We want to do “Part 2,” and we were actually trying to make it happen for this album. But we’re not going to do a “Part 2” just to make it. It has to be a great song.

Johan Söderberg in Chicago (April 19, 2010)

KS - Do you have a concept for the new album already? Have you started working on it?

JH - I think that there are some ideas, like basic ideas, really. A riff here, a riff there.

For me, I have some ideas of what I want to use as topics for new lyrics. I just started writing. Even though it’s an idea that I have, I might not end up using it.

That’s actually what happened with “Hermod’s, Part 2.” I had an idea that I wasn’t happy with, and it didn’t really work out with any of the other songs on the album, so it didn’t end up happening.

Ted Lundström in Chicago (April 19, 2010)

KS - You said that the lyrics are secondary to the music. Do you wait until the songs are finished before writing lyrics? How do you relate your lyrics to the music?

JH - I’ll write some stuff, and I’ll have some ideas and then go, “Alright, this idea works perfectly with this.” Sometimes, you maybe have to rearrange the idea or work around it a bit to make it work. Usually, I try to fit the ideas together.

Johan Söderberg, Ted Lundström, Olavi Mikkonen, and Johan Hegg (April 19, 2010)

A lot of the times, I will sit in the rehearsal room when the guys are working on something, and I will just doodle something on the paper and write something. Then, all of a sudden, there’s a line, and you’re like, “Hmm.” Then, you start writing something, and then you come up with a cool idea.

Sometimes, I’ll record the songs, and I’ll sit home and listen to it, and try to figure and to get into a mood, what it could be about. There’s a lot of different ways to work it out.

Monday, September 6, 2010

Stephen Hawking: The Myths and the Critics

On September 2nd, The Times printed excerpts from Stephen Hawking’s new book, The Grand Design. The English physicist argues that God is no longer needed, writing that “the Universe can and will create itself from nothing. Spontaneous creation is the reason there is something rather than nothing, why the Universe exists…It is not necessary to invoke God to light the blue touch paper and set the Universe going.”

The Grand Design by Stephen Hawking

The response from writers in the commercial media was fast and furious. Their harsh comments quickly appeared on Twitter, a platform that encourages short, sharp statements. Reuters religion editor Tom Heneghan dismissively wrote, “Stephen Hawking can’t use physics to answer why we’re here.” Mollie Hemingway of Christianity Today was judgmental; her tweet read, “If this is really what Hawking said, another indication of how unserious some atheists are @ big questions.” The nastiest tweet came from Chicago Tribune religion writer Manya Brachear. “Stephen Hawking’s answer to the God question,” she wrote, “stinks.” The blogosphere was equally uncollegial. In an essay titled “Theology: Stephen Hawking & More Tiresome Atheism,” Robert Barron of the Word on Fire Blog wrote, “something in me tightens whenever I hear a scientist pontificating on issues that belong to the arena of philosophy or metaphysics.”

What made these writers so upset? Brachear describes herself as a “religion reporter on a quest for truth and Truth – yes, with a capital T.” Capitalization is central to the Hawking discussion, as well; the media response has focused exclusively on God – yes, with a capital G. While Barron calls Hawking a dogmatic New Atheist, I would argue that the physicist is actually an open-minded Old Mythologist. Switch the mystic power from capital-G “God” to little-g “god,” move the frame of reference from Christian mythology to Norse mythology, and Hawking appears downright spiritual. Modern physics may be incompatible with the Christian creation myth, but it works nicely with the Norse one.

According to the Eddas, the 13th-century Icelandic manuscripts that are primary sources for Norse mythology, there was nothing at the dawn of time but Ginnungagap – the beguiling void of chaos. Then, out of nothing came something. Fire and ice appeared, and our reality emerged from their clash – their “Big Bang,” if you will. There was no conscious agent at work, no Prime Mover. This fits nicely with Hawking’s assertion that “the Universe can and will create itself from nothing.” Barron’s rebuttal is that “any teacher worth his salt would take a student to task if, in trying to explain why and how a given phenomenon occurred, the student were to say, ‘well, it just spontaneously happened.’” Of course, any four-year-old with basic human curiosity would ask, “who made God?” In contrast to Norse mythology’s complex family tales of gods, giants, elves, and dwarves, the Christian mythos is noticeably silent on the origin of its deity. In effect, he “just spontaneously happened.”

Hawking’s justification for spontaneous creation is that “there is a law such as gravity.” This particularly irked Barron, who wrote, “which is it: nothing or the law of gravity? There’s quite a substantial difference between the two.” Norse mythology once again provides a metaphorical context. The gods, far from omnipotent, are themselves subject to laws, and there are grim consequences for breaking them. Richard Wagner wrote four “music dramas” exploring the struggles of the Norse god Wotan with laws that he must both enforce and obey. The gods are subject to immutable cosmic law just as planets are controlled by the law of gravity. Barron writes that “to claim that something as finite and variable as the force of gravity is the ultimate explaining value is simply ludicrous.” I’d bet that Hawking’s science is a bit more nuanced than “gravity did it” Is it really more philosophically sound to simply assert that “God did it”?

In The Telegraph, physicist Graham Farmelo asserts that Hawking was “speaking metaphorically” when, in his 1988 book A Brief History of Time, he wrote that the ultimate end of science was to “know the mind of God.” In June of this year, Hawking said that “you can call the laws of science ‘God,’ but it wouldn’t be a personal God that you could meet and ask questions.” Suprisingly, Barron (a Catholic priest) seems to agree: “Catholic philosophy has identified this non-contigent ground of contingency, this ultimate explanation of the being of the universe, as ‘God.’” If the leaders of the Catholic Church have really moved from God-as-conscious-being to God-as-philosophical-construct, cheers to them.

If we accept this idea of religion-as-metaphor – and many of us won’t – isn’t the Norse cosmogony a better fit for modern physics than the Christian one? I agree wholeheartedly with Farmelo that “no religion has ever been rendered obsolete by facts or observations.” Rationality seems to have had very little effect on the major religions; the weapon that has destroyed older faiths has been the overwhelming cultural, economic, and military force of the conversion-based religions. I do, however, disagree with his claim that “no religion has ever been set out in terms of scientific statements.” The Norse cosmology clearly sets out to explain the world around us: the phenomenon of lightning is caused by Thor throwing his mystic hammer, the aural experience of thunder is caused by Thor’s sky-chariot rolling through the clouds, etc. What is mythology but the earliest attempt of humanity to create a scientific understanding of the overwhelming world around it?

To Hawking, the 1992 discovery of a distant star with its own orbiting planet made the Earth’s development “far less remarkable and far less compelling as evidence that the Earth was carefully designed just to please us human beings.” Again, this lines up better with Norse myth than with Christian myth. Of the Nine Worlds described in the Eddas, our human one is clearly not the most important. The idea that humanity is not necessarily the center of reality is also put forward by Hawking. Arguing that existence is comprehensible through physics alone, he writes that there is no need to imagine a “benevolent creator who made the Universe for our benefit.” Farmelo writes that Einstein and Spinoza both felt that “the concept of God is an expression of the underlying unity of the universe, something so wondrous that it can command a spiritual awe.” The scientist and the philosopher have more in common with the Old Norse than the Christian; for the societies in which Norse mythology developed as an expression of living faith, this sense of wonder at the glory of existence was expressed by tales of larger-than-life gods and goddesses who represent natural powers and phenomena. The gods did not create the natural world; they are the natural world.

Mathematician Eric Priest wrote in The Guardian that “being able to explain the big bang in terms of physics is not inconsistent with there being a role for God.” If physics is even more consistent with Norse mythology, doesn’t that mean that this ancient worldview is more compatible with modern science than Christianity is? Indeed, Priest writes that “often philosophy or history or theology are better suited to help answer” many of life’s deepest questions. Yet he, like most of the writers mentioned above, focuses solely on a culturally-bound duality by insisting that “you can ask whether the existence or nonexistence of God is more consistent with your experience.” Are those the only real choices? If I don’t believe in the God of Abraham, am I ipso facto an atheist? In any time period, insisting on this false choice would feel culturally imperialist. In the 21st century, it feels dangerously out-of-date. The need to expand our theological concepts to include perspectives other than monotheistic, Creator-driven faiths is long overdue.

Thursday, September 2, 2010

Interview with Johan Hegg of Amon Amarth, Part Six

Johan Hegg in Chicago (April 19, 2010)

KS - I've discovered that there is actually a historical record of your style of singing in Viking times.

JH - Oh, really? Ha!

KS - Most people assume that the skalds and other poets of that time period sang clearly and “prettily” so their audiences could easily understand the lyrics.

However, there is a description of another style of Viking singing by an Arab traveler named Al-Tartushi in the report he wrote chronicling his visit to the trading center of Hedeby.

JH - Yeah, in northern Germany.

Johan Söderberg in Chicago (April 19, 2010)

KS - In 950 AD, it was a Viking trading town. Al-Tartushi described the music of the Vikings that he heard singing in a pub.

He said, “I have never heard such horrible singing...it is like a growl coming out of their throats, like the barking of dogs only still more brutish.”

JH - Ha!

KS - So, these Viking fellows are all sitting around down at the pub, drinking and singing with these deep, guttural voices.

JH - Yeah. Ha!

Olavi Mikkonen in Chicago (April 19, 2010)

KS - In the Amon Amarth song “Guardians of Asgaard,” you wrote, “We are brothers of the North who are sharing the All Father’s blood.”

Are you singing about Sigurd and his clan, who are descendents of Odin in the Saga of the Volsungs? Do you mean the einherjar, the undead warriors taken from the battlefield by the Valkyries? Or is the song about something else entirely?


JH - Ha! That’s one of the songs... First of all, it’s not very mythologically correct, because the guardian of Asgard is Thor. I mean, that’s the way it is. But we had this idea that we wanted to do a song with LG Petrov from Entombed, so we made it into two guys, and we sing together.

Ted Lundström in Chicago (April 19, 2010)

Technically, in the lyrics, it’s me and LG Petrov who are the Guardians of Asgard. I also use a reference to Entombed, when I sing, “marching down the left-hand path,” which is the first album. You know, stuff like that.

It’s meant to be just a cool party song. But when we do it live, it’s more kind of trying to reach out to fans and say, “You are fans of this music. You enjoy the mythology. You learn stuff about this. You are a Guardian of Asgard, too, because you carry the knowledge on.”

Johan Hegg in Chicago (April 19, 2010)

In a deeper meaning, to pass the knowledge on to someone – even if I said I don’t want to preach and I don’t want to teach. Still, if you have the knowledge, if you learn about it and then pass it on, you are a Guardian of Asgard. That means the knowledge will never die out.

Technically, you are probably a better Guardian of Asgard than I am. Ha! As I said, it’s not meant to be a super-deep song or anything. It’s just meant to be cool lyrics.
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