After revelling in their latest album “Tragedy Has Spoken“, ThisIsNotAScene‘s Dewie took time out to speak with Marcus Bertilsson of Miseration. They talked about the new album, the inclusion of unusual instruments, Marcus‘ varied other projects and much, much more…
Congratulations on a blinding new album – genuinely loved it. One of those I had to buy on CD straight away after I listened to the digital preview copy. The songs are really well crafted and sound (to my ear) even more intricate than your previous stuff. Was it a pretty lengthy writing process?
To write is easy but to get to the point where it feels like it fits the vision of how it’s supposed to sound is harder. I always tries to find a sound in my soul before I start to write and I want every band I’m in to sound different from each other as well. But on the whole we wrote the album in a period of about 5 months.
Whose idea was it to add the dulcimer, piano, harp etc. and are you pleased with the results?
It was my idea. It is not a harp actually, that is a printing mistake. The Esraj is more like a Hindustani version of the fiddle. It is played by bow and not plucked like a harp. All my life I’ve been trying to broaden the music I craft and a couple of years ago I discovered this instrument and fell in love with it, used it for the previous album with my other band Inevitable End too.
But yes I’m very satisfied with the results.
I thought it made the songs even more visceral and powerful. Do you think it’s something you may continue in future or was it more of a one-off experiment for this album?
Thank you! It’s a bit early to tell whether the next album will have all these instruments too. The next album will maybe have other instruments instead, but I think we will continue to do some experimentation, one way or the other. As long as I’m allowed to be in the band at least.
Do you think the new songs will translate well live – some parts sound like they may be tricky to pull off?
I think that we have a couple really cool songs for the live set with this album! We are preparing for the first show since the release at the moment actually! We will play together with Entombed in Sweden on the 24th august. It’s the first Sweden show we do too.
Can you expand a little on the lyrical theme of the album – it seems to be very much a bleak vision of our society and our future?
Its an interesting point of view to take, that the tragedies have some sort of character behind them. The “Waylayer”.
Do you think ‘clean’ vocals will play a part in future Miseration material at all or do you not think this band suits that style?
If it fits, it fits. We will not force it in there though. There are cleans on two of the songs of the album but no more than that.
Sweden has long been the home of a fine clutch of metal bands. Are there any that particularly inspire you guys?
No, we listen to lots of different stuff. Raging from Entombed to Bob Marley, Muddy Waters to Behemoth, Converge to Deep Purple, Squarepusher to Jedi Mindtrix.
Can you tell us about your touring plans for the rest of the year?
We got the show with Entombed in August and we are working on doing some touring later in the fall. Nothing official yet though, but we sure will bring this monster across some stages!
You guys have a multitude of projects you are involved with – does it help fuel your creativity to have different musical outlets?
Yes it does. I am constantly writing music for all the different bands I’m in and sometimes it’s a long jump between the genres. Other than Miseration, I play in the chaotic hardcore/grindcore act Inevitable End, the Swedish folkmusic band Lötgärdet, a funk/soul band called The Lowbrow and some other stuff too.
Working with writing music in all of these genres and contexts gives me a hunger for each one of the other. When I come out of a writing period with Miseration for example, it gives me a lot of ideas for doing other stuff.
I also think that as an artist you learn from each work you’ve done. So if we would only be in Miseration we might write ten songs in two years and learn and develop through that process. But now we all are in several bands and we get to write about maybe 20 songs a year each and that gives us shitload more of experience in writing music and becoming better and more focused on it.
If there is one album (by any band at all) that you wished you’d played on, what would it be?
Deep Purple – Machine Head
Many thanks for taking the time to chat with ThisIsNotAScene and all the best with the album.