Underground black metal has long meant a lot to me, so it was with a degree of pain that I witnessed countless bands flood into this genre in the last several decades with only a tenuous connection to its ethos at best. It's not that there is a problem with evolution and progression in this or any other genre or style of music per se, but the atmospheres that unraveled in the 90s seemed to me to die out far too quickly than I think they should have. Judging by the endless number of black metal promos I receive that promise a return to the 90s, an almost consistently false promise turned regular PR cliché, it appears that I am not alone in this assessment either. Ulfsdalir started in 2001 but Ragnar’s roots go far back, and I would argue that these roots are audible in his music. I always felt that Ulfsdalir were one of the best examples of 90s black metal done right, continuing in a straight line from where the originators left off at the height of their creativity and power, particularly early Darkthrone, Burzum, Emperor, and Mayhem. But let’s hear what the man has to say about this himself as well as his recent decision to put the band on (possibly permanent) hiatus…
You have announced that Ulfsdalir will end as of 2022, yet there are unfinished and unrealized recordings of the band. What were the factors that led to this decision to stop work on new releases and is it more accurate to say that Ulfsdalir is ended, or just on hold?
I have a lot of unused material on my harddrives and some are intended Ulfsdalir material, some are not, but maybe I will use this for Ulfsdalir as well.
I actually work on an album which was recorded in 2010 for a side project but never finished. My first thought was to release it as an Ulfsdalir Album but finally I think it’s better to not use it for Ulfsdalir. So this one is skipped for Ulfsdalir.
Then I have the album “der vergessene Turm,” I recorded the guitars in 2004/2005 parallel to Wolfszeit. Stylistically Wolfszeit was the follow up to Grimnir, while “der vergessene Turm” is the follow up to “Baldurs Traum”. At this time Malthökk joined the band, therefore we finished Wolfszeit and continued with new stuff. “Der vergessene Turm” was on hold from this point. I think that album could be the first one postmortem.
In 2014 to 2016 I was in a band called Schattenthron with some of the guys of Idhafels. We released an Album and an EP. When we started writing riffs for the EP, Semgoroth came up with a lot of stuff and we only used his riffs for the EP. Therefore, the riffs I wrote were never used and it was a lot. So maybe I will do an Ulfsdalir album with all this riffs left from Schattenthron. This might be the second next Ulfsdalir release.
Maybe this will be the final chapter, but I am not sure now, because there is still tons of unused stuff.
I was surprised by the different directions in your newest and possibly final release, Totenkult... the first track is long and mostly mid-paced. The two tracks that follows sound like they are from the Baldur’s Traum era. And then the last three are old-school, more classic-styled black metal. Can you elaborate on the content of this release and when it was recorded?
As it is written in the booklet, the three parts of Totenkult were recorded in different times. Part 1, the long opening track was recorded in the time of Bilsteinfeuer. Part 2, the two slow-paced songs, were written between Baldurs Traum and Grimnir. In fact one of the songs was used for a compilation CD back in the days. But we rerecorded this two songs in 2017 because of the poor sound. Part 3 are songs from the time shortly after Malthökk joined the Band.
Nostarion only recorded bass in Totenkult, whereas on Am Galgenberg he is the main songwriter, or did you write the songs? I ask because Am Galgenberg is, to my ears, the lightest, almost friendliest sounding Ulfsdalir release… I think it’s a quite decent work but it also sounds like a different band to me.
I was present the whole time when he made the riffs for Am Galgenberg. So he makes the whole music, but I was the supervisor so to say. When he came up with a riff I do not like or I thought it does not fit, he skipped it. I only have to focus on lyrics and vocals and I am happy with the outcome. For me this was just an experiment to let someone else write my music. I think it’s worth a listening.
In our last conversation in 2004 (see Convivial Hermit issue 2), you mentioned that one of your goals with Ulfsdalir was to record releases that sound different from one another. Do you think you’ve achieved that goal?
Yes, I think every output has a different mood and sound. Of course it’s never a complete different band, but in general there are different emotions and inspirations. And that’s what I always wanted and achieved.
In the 2010s there was less output of Ulfsdalir compared to the 2000s. Was it due to circumstances out of your control or did you just feel less motivation in those years?
To work as a solo musician is much easier as work as a full band. I think that’s one reason. But of course there are some others. For example, I bought a house in 2012 and became father in 2017. And I also recorded a lot of music not for Ulfsdalir. I think in 2015 I started to work on tons of other projects and bands.
Yes, exactly, since Ulfsdalir you’ve had an explosion of creativity with new bands, Nigrum Tenebris, Lunar Chalice, Mysteria Mystica Aeterna and Nightwalker which seems to be the oldest of the bunch. Why all of these bands and not one? How does each stand alone in your words?
In 2010 or 2011 I started getting really tired of “German Black Metal”. I also remember I talked to a friend and told him that I am more a guy with ten bands/projects with only one release than a guy with one band with ten CDs/LPs out. I like different styles of Black Metal and I enjoy writing stuff in all this directions. So I need an old school Band, a symphonic Black Metal Band, etc.
I wanted to work with really dedicated people and good friends, too. I would say that Lunar Chalice is my main Band. There are the most dedicated people together. All people I know before and I trust. So I brought that Band together, they didn’t know each other before. Funnily now they all have their small projects together without me. Nightwalker is my soloproject. I can do whatever I want with this band. Nigrum Tenebris was formed because I wanted to work with Maldoror, who is a good friend and I know him from Ewiges Reich. He is not this “thousand bands” guy, but a new album every few years is possible. I also brought Nostarion back for this band for the second album. He is our leadguitarist now. I think he is the one with whom I enjoy to work with the most. Mysteria Mystica Aeterna was simply formed to satisfy my needs to do symphonic black metal.
All of your newer bands are with English lyrics. You made a statement online that you no longer want to write songs with German lyrics, which has been the case with Ulfsdalir since the start. Can you explain this direction? Were there some specific experiences that inspired you to stop singing in German? Is it to distance yourself from a German scene?
I think the simple reason is, I enjoy “international” Black Metal more than “German” Black Metal myself. There are only a handful of releases with German lyrics I enjoy. Another reason is that the German (singing) scene is kind of pathetic in one or another way. Simply too many stupid people. Don’t get me wrong. For the music, the mood and the concept of Ulfsdalir only German lyrics would fit, but I never enjoy too much other bands doing it.
I also listen to other music since, I think, 2004 or 2005. Therefore I only was part of that for a few years until I lost interest. I think it must be 1996 when the first bands with German lyrics get my attention and I listen to this stuff until 2004/2005. Then I went back to the more original sounding stuff. Today I also listen to much more Death Metal than in the past. I skipped that genre 1995 when I get full Black Metal and even sell most of my Death Metal CDs. (Which I have to rebuy later)
The last time we spoke you said you will never release an album with color art, yet that changed with 2016’s Abendrot (whose artwork reminds me a bit of the cover of Primordial’s masterpiece, A Journey Home, perhaps a coincidence?) and the art in your other bands. Was it a sign of the time?
I think when I told you this, I was in a Darkthrone/Burzum mood. And I really thought this has to be the aesthetic of a Black Metal release. Maybe I am a bit open minded in this case, or my taste change a bit, I don’t know.
Your last releases with Ulfsdalir have had simple and even minimalistic designs... there is not much information or lyrics either. Is it an aesthetic choice to keep things personal or done for other reasons, for example, a judgment that the lyrics are of little importance?
It’s a matter of taste for sure. I like it simple. Nice cover, band pictures and only some few infos. That’s enough for me.
You told me in 2004 that Burzum’s Det Som Engang Var is the best black metal song, and Darkthrone’s Under A Funeral Moon the best black metal album. What’s your view now in 2023? It seems in mind of your newer projects maybe early Mayhem can be added to this list?
Another quote that didn’t age well. I still like the early Darkthrone very much (including Soulside Journey and Goatlord) and I still can hear the beauty, sadness and desperation in some Burzum songs. But I rarely listen to Burzum this days. And yes, Mayhem’s De Mysteriis dom Sathanas grew on me in the last decades. I would rank it higher than Darkthrone and Burzum now.
What’s your view of black metal today? So-called atmospheric black metal, post-black metal and dungeon synth inspired bands are new trends that have appeared, while the classic bands of the Norwegian scene still exist but have done little to surpass their masterpieces, unless you consider Darkthrone releasing albums of themselves skating on the cover exciting and revolutionary. What are some of the patterns you are seeing now in black metal that you think are positive or negative? Your predictions for black metal in the future?
I never had listen to a Darkthrone Album past 2000 and judging by the Cover of their last one, they can fuck off.
I see the reason why bands have to evolve and bring new elements into the music. Some of these elements I like, some not. I am Ok with lo-fi sounding Dungeon Synth based Black Metal as long as it is not stupid “funny” shit, that just copy shit bands like Grausamkeit. This “Saarland” stuff is just crap from idiots. I prefer older Bands like Fulgor, for example.
What I really dislike is a mix of Black metal and Punk or Crust. Therefore, no tolerance from my side to these Bands. Fuck left-winged student Black Metal.
I do not know what Black Metal will become in the future and I don’t care. I will do my thing and that’s it.
All Ulfsdalir releases have been in limited editions, now more than ever. Am Galgenberg is limited to 240 copies, for example, and I’ve seen it sold for very high prices. How do you feel about limited releases and the huge popularity of vinyl and streaming which was not the case when we last spoke?
Ulfsdalir is a very small band. I think you can barely sell more than 300 copies these days, especially when it’s on CD. Therefore, a limitation of our releases is not to create a rareness to increase prices or whatever. It’s just the logical decision from the market side. I started to work with a label for LP versions of all releases and I see, that there is a much higher demand for Vinyl. I don’t care that much. I use my free LPs for trades, that was nice, but apart from that benefit I couldn’t care less. When we talk about streaming or download. I prefer “real” format, but I sell digital downloads on Bandcamp and it’s still amazing to see, that some people spend that much money on files. Ironically, I use the whole money I get from Bandcamp to buy music on physically formats.
How have your feelings and perspectives toward Christianity and religion evolved over the years since you’ve started? In 2004, around the time you released Christenhass, you told me “pure black metal has to deal with anti-Christian topics.”
I still think that’s the case. The purest form of Black Metal is antichristian, blasphemic and satanic. Many people would of course disagree, but these topics are the reason why black metal exists. That doesn’t mean, that other topics are not allowed, Ulfsdalir is a good example for that.
When it comes to my religious views today, I would say that Christianity fade away slowly. So I don’t care that much what’s going on there. Maybe this is a bit different from country to country, but in Germany there is not that much influence from Christianity anymore.
Have your feelings on nature changed over the years? Do you still feel the same inspiration as you did in 2003 in 2023?
Yes. For Ulfsdalir the nature, or woods especially, are the biggest inspiration. Sadly, I do not have enough time for long walks or hiking these days. I have some health issues, too, sore foot, overweight , etc. So even if I would have the time, I couldn’t walk that much.
Is there any chance for another Idhafels album in the future? Are you still in touch with Fergen (Throndt, Dystertid, Mortuary)?
We started a rerecording of “Prophecy of the Seeress”, our part on the split CD with Throndt shortly after the debut Album in 2016. Guitars, bass and drums are recorded, Keyboard and Vocals are still missing.
I am still in touch with Fergen. But I haven’t met him in person for over a year since he moved away. He also became a father 2 years ago.
With 15 releases with Ulfsdalir in over 20 years, a large map of Ulfsdalir is available today to journey across. What are your overall thoughts on your work with the band, looking back? Do you still feel Christenhass is your worst album? What is the best Ulfsdalir, the one that you would suggest first to readers unfamiliar with your band? For me, I love them all, but I think the epic Bilsteinfeuer and Baldur’s Traum are among your best. Thanks for your time and to many more years of creativity!
It was a long ride with some disappointments, but still a great time. Christenhass is not a bad album, but doesn’t fit to the rest of the discography. In my opinion, soundwise Wolfszeit is our best release. It has the most professional sound. I also think that we have some of the strongest songs on it. But musicwise I prefer Abendrot. Sadly the sound on this album isn’t as good as the music. That is one thing I regret the most. I often fucked up the sound as I am not a professional sound engineer. So to show an unfamiliar listener my music I would show him Wolfszeit. If I could show him or her a second release, that would be “nach der Sonne Untergang” . That Minialbum shows the other side of the coin.
Yury, thanks for this Interview and good luck with your Magazine. I hope we will meet soon.
Published December 2023