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In a recent interview with Jorge Botas from Portugal’s Metal Global, EMPEROR frontman Ihsahn (real name: Vegard Sverre Tveitan) shared his thoughts on the band’s remarkable success nearly 35 years after EMPEROR was formed. He noted (as transcribed by BLABBERMOUTH.NET): “Absolutely. I’m continually surprised and very grateful for it. I believe it reflects the times we live in.
“We emerged at a time when audiences could cultivate a deeper connection with bands or artists. Although there were many musicians and groups before us, in the ’60s, most young people typically chose between BEATLES or ROLLING STONES. There wasn’t much variety available. Nowadays, with social media and the ability to access any album…
“You might be younger than me, but I think you can relate to that feeling as a kid saving up to buy an album on vinyl. You sometimes had to choose because you could only afford one record. This focus helped you forge a relationship with the artists. I’d delve into the lyrics and liner notes, and with limited information about the artists, a big part was left to your imagination, creating a special bond with music. Unfortunately, it seems that aspect is somewhat diminished today, as many people relate more to playlists than actual artists. While the rock and metal communities might still maintain some dedication, the rapid pace of change makes it hard for newer bands to establish that bond, unlike the early ’90s when it was possible to nurture those connections over time.”
Ihsahn also addressed how the “highly saturated” markets of platforms like Spotify and Apple Music make it tough for newer bands to make their mark.
“It’s unfortunate because there’s still incredible music being created, but much of it may never be discovered by those who would love it,” he said.
“I truly appreciate having access to all music digitally — I can explore things missing from my collection and discover new recommendations that I might never have encountered otherwise,” he emphasized. “This is fantastic. Previously, record companies acted as gatekeepers, meaning not just anyone could release music. Now, it’s incredibly easy; anyone can put something out on Spotify or similar platforms for just $19. This makes it very saturated. Still, it is what it is. Before the ’60s through ’80s, records held significant value, but prior to that, music history revolved around live performances. Even in the ’60s or ’50s, many people couldn’t afford records — perhaps only one friend had a small record player. So, instead of dwelling on how things were better in the past, I appreciate our time when we bonded over albums. Now we’ve returned to valuing live experiences and connections, which are unique. Hopefully, it will be a long time before A.I. overtakes that feature as well. [Laughs]”
Ihsahn elaborated on how the transparency and interaction with fans in the age of social media differ from the pre-Internet era when a lack of information generated a certain mystique that is now lost.
“Back in the ’80s, bands like KISS and Alice Cooper had a mythical quality,” he recalled. “When I attended my first IRON MAIDEN concert, I was in awe just to share the same space as the members of IRON MAIDEN, due to the absence of social media. We weren’t privy to what they ate before shows. This wealth of information diminishes some of the mystery. In the metal scene, the success of bands like GHOST, SLEEP TOKEN, or SLIPKNOT may partially stem from their theatrical elements. While they haven’t fully maintained their anonymity, people crave that sense of spectacle. My experiences with artists like Rob Halford [of JUDAS PRIEST] have shown me he is the sweetest person, but when he’s on stage, he’s the Metal God. Fans don’t want to see the humble side; they want the Metal God presence. The onstage performance allows both the band and the audience to transcend limitations and immerse in the experience. Considering the intimate interactions on social media, this aspect is somewhat lost.”
Ihsahn released his latest self-titled album in February 2024 via Candlelight. He was joined by Tobias Ørnes Andersen and Tobias Solbakk on drums and percussion, with Ihsahn‘s son Angell Solberg Tveitan contributing additional percussion, and Chris Baum on violins. The artwork for the album was designed by Ritxi Ostariz, with all promotional photography by Andy Ford.
Photo credit: Andy Ford
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