As esteemed guests and cherished friends, the legendary Norwegian Black Metal band DHG/DØDHEIMSGARD will grace Servants of Chaos festival with an exclusive performance. Led by the always-visionary Vicotnik (VED BUENS ENDE, DOLD VORDE ENS NAVN, STRID), the band will perform select tracks from their extensive discography, alongside the live debut of new songs from Vicotnik's latest project, DOEDSMAGHIRD (details in the interview below).

DØDHEIMSGARD requires no introduction, being a pivotal and pioneering force in the evolution of Norwegian Black Metal. Formed in 1994 by Vicotnik and Aldrahn (THORNS), the band initially carved out a raw, thrashy and twistedly melodic sound. 1995 debut album, "Kronet Til Konge", remains a genre classic - as does "Monumental Possession" (1996) - but the band truly came into their own with the layered deviance of 1998 EP "Satanic Art" and the eclectic electronics and maniacal arrangements of 1999's head-turning full-length "666 International".

DØDHEIMSGARD's evolution into an avant-garde Black Metal trailblazer was consolidated fully via their recent releases, including "A Umbra Omega" (2015) and the highly acclaimed 2023 epic, "Black Medium Current", which was named album of the year by DMP's Void.

Listen to "Black Medium Current" here:

DØDHEIMSGARD are famed for live performances of unhinged and manic power. Watch an example below:

Frontman Vicotnik has shared his insights with us on the exclusive upcoming performance at Servants of Chaos:

Q: Hello Vicotnik and thanks for taking the time! Could you tell us what connects you to DMP and why you accepted the invitation to perform as a guest at the festival?

Been speaking with Void for a few years, and it's just one of those relationships that clicked instantly. So, working together in one, or several, capacities was something we both wanted to achieve. And it has kind of rolled from there, making exclusive merch, premiering two songs exclusively for the festival and seeing what we can do with the post-production of the event. Working with Void is easy, always on point.

Q: With "Black Medium Current" (2023) and "A Umbra Omega" (2015), you released two outstanding recent works of avant-garde Black Metal. What can fans expect from your live performance at the festival? Will you try to cover most DHG releases or focus on the latest two masterworks?

It's certainly a challenge for long-established bands to encapsulate their extensive discography in a limited timeframe, especially with lengthy tracks like 'Aphelion Void'. Balancing the desire to honour their 30 years of music while accommodating varying set lengths can complicate live performances. Many bands facing similar constraints often prioritize key tracks or create a setlist that highlights their evolution while still delivering a satisfying experience for fans, but inevitably, some beloved songs may need to be omitted.

Q: To add to that question: with such a rich discography and with such different sounding albums and tracks, is it difficult to come up with a concise set? Do you "rearrange" older songs so that the live set is more coherent?

Not really, maybe some added layer here and there on the old tracks, but not that much tweaking and turning. The old songs are also probably played a bit faster, but not to the pace of changing their nature. It's up to the listener pre-conceived notions right, if you come to our shows to hear mainly the two first albums, disappointment is inevitable. On the same token, if you are there hoping we skip the couple first albums, the set might feel a bit disjointed. If you are there with an open mind, all the songs will have their unique value to the set. While longtime fans may find aspects to appreciate or critique depending on their attachment to specific albums, we encourage attendees to embrace the entirety of our set with an open mind. Those familiar with various genres – from PINK FLOYD to DARKTHRONE – may find our eclectic blend particularly coherent and engaging. Ultimately, our goal is to challenge conventional perceptions of what a metal set can entail, offering a unique journey that reflects our evolution as artists.

Q: You will honour us by premiering two songs from your new project DOEDSMAGHIRD at the festival. For this entity, you have channelled the mindset in which "Satanic Art" and "666 International" were created – a more intuitive, instinct-driven methodology. When you listen back to forthcoming album "Omniverse ConsciousnessW are you surprised at the results of this approach?

I think that this was the only way to go about it. There were two dangers of making this album in a traditional sense. Number one: overthinking it and missing the mark. Number two: trying too hard to copy specific riffs and thus not making something unique, but rather leaning too heavily on what is already there. Because there is meant to be a distinction here, we were not trying to recreate either "Satanic Art" or "666 International", the idea was to imagine an alternate reality where there was a potential release between the two. By envisioning an alternate reality between "Satanic Art" and "666 International," we aimed to forge your own unique path while still honouring the essence of those influences. This creative perspective offers a fresh take and allows for innovation, ensuring that your work stands out instead of merely replicating existing styles. Will be very interesting to add two tracks from this album to our set.

Q: You mentioned in an interview that "Omniverse Consciousness" and "Black Medium Current" are related to each other and that listeners will be able to understand each album better when they have heard both. Could you elaborate? Is "Omniverse Consciousness" the spontaneous brother of the rational "Black Medium Current"?

Well certainly, I think some key factors are that both albums sort of share the same spatial now, a lot of the same equipment is utilized for both albums as well. They are both conceptually linked in the sense that they traverse in the complexities of existence, exploring themes of trauma, duality, and the struggle for identity amidst chaos. The weight on both albums is put on conflict and introspection, and interconnectedness of pain and potential.

The way the album-tracks are set up are meant to mirror each other more concretely. In ending I also think the link between the two albums are very experiential. That the listener is entering another edge of the same universe as a palpable, somewhat cohesive journey, inviting them to delve deeper into a shared universe through their parallel structures and themes. This intentional mirroring not only enhances the overall experience but also encourages listeners to interpret the connection in personal ways, leading to a diverse range of emotional responses and interpretations that reflect their unique perspectives.

Q: 2024 also sees you celebrating 30 years of DHG. Does this anniversary have meaning to you? Do you have anything planned for the band's birthday?

Nothing planned yet. I am not a big nostalgic, I like to think that it all exists in the here and now. That there is no real distinction to what we did in '94 and what we are doing in '24. The perspective of emphasizing the continuity of experience and the importance of living in the present moment, allowing to draw connections between past and present without clinging to nostalgia. Embracing the now can lead to a more fulfilling appreciation of life as it unfolds, making each moment valuable and interconnected, regardless of the year. So instead of celebrating 30 years ago, I would rather celebrate this moment, with 30 years ago being an inseparable part of the here and now.

Q: Last question: which other performances at Servants of Chaos festival are you most looking forward to witnessing?

My biggest task of that day will be getting through my set half dead reaching mental and physical exhaustion. Unfortunately, that is my only focus when I do shows myself, my mind is just entirely pre-occupied with this. The story is almost always like this: too pre-occupied before stage time, and too exhausted after the show. In a way, this is exactly how it should be, but I am missing out on a lot of great bands. That being said, the quality of the booking for this festival is out of this world and I am pretty sure every performance will be stellar.

DHG/DØDHEIMSGARD will headline Servants of Chaos festival on October 19th. Find all info about the event here and tickets here.