Following the success of the singles “Checkmate” and “Flying Monkey,” BLUE MEDUSA, the band of metal icon Alissa White-Gluz, takes a step forward with “CROCODILE,” released on Friday, September 4th on all platforms.
Dark, tense, viscerally disturbing, “CROCODILE” explores that creeping feeling that danger is approaching, even when it remains invisible.
“‘CROCODILE’ speaks of that feeling of being watched… that instinctive fear when you know danger is lurking nearby, even without seeing it. The feeling that something is hiding just beneath the surface of what seems safe or familiar. It is in this tension, between what we perceive and what we sense, that the song lives.” – Alissa White-Gluz
The music video marks a new chapter in the visual collaboration between the singer and Vicente Cordero (Industrialism Films), with the two artists once again co-directing the video. It features the very first performance of Blue Medusa with the full band. Alissa plays a one-of-a-kind guitar, custom-made by Nik Huber Guitars as part of a three-way collaboration between Sea Shepherd, Doyle Wolfgang von Frankenstein and Blue Medusa. Equipped with Doyle-signed Von Frankenstein Monster Gear pickups and strings, and autographed by both artists, it will be auctioned to benefit Sea Shepherd’s marine conservation efforts.
Beatriz Mariano (Okkultist) also brings her creative touch: chilling visuals & saturated voice.
Alissa White-Gluz, a multifaceted artist and activist, was at Hellfest this year, where fans enjoyed a special acoustic set with Savage Lands, followed by a surprise appearance alongside Sepultura on “Kaiowas” during one of the Brazilian band’s final concerts.
Elsewhere, the singer has been involved in numerous collaborations: three different stages at Wacken Open Air , including “Our Kingdom,” the festival’s official anthem composed with Bear McCreary, two vocal performances with Dragonforce at Sonic Temple and Welcome to Rockville, whom she will rejoin this fall for the Inhumane Rampage anniversary tour in North America. Also, several surprise appearances with Ice Nine Kills in Europe, notably at Rock am Ring and Rock im Park, as well as Heavy Week-End in France!
This autumn, Louder Than Life and Aftershock will host Blue Medusa ‘s first-ever festival appearances, ahead of the band’s arrival in Europe in 2027. More announcements to follow…
BLUE MEDUSA TOUR DATES:
2026 Sept 18 – Louisville, KY – Louder Than Life Festival Oct 2 – Sacramento, CA – Aftershock Festival
2027 July 28-31 – Wacken, DE – Wacken Open Air Aug 11-14 – Villena, ES – Leyendas Del Rock Aug 18-21 – Dinkelsbühl, DE – Summer Breeze Open Air
FLIGHT OF ODIN Discusses New Double Album ‘I Traveled The Crooked Path’, Old-School Metal Influences And Keeping Music Human
Washington, D.C.-Area Doom Metal Band Talks Songwriting, Recording Without Click Tracks, The Sanctuary And Plans For A Doom Metal Opera
Washington, D.C.-area doom metal outfit FLIGHT OF ODIN recently joined The Zach Moonshine Show on Metal Devastation Radio for an extensive conversation about the band’s new double album, I Traveled The Crooked Path , their evolution since forming in 2015, their approach to songwriting and recording, classic heavy metal influences, and what they have planned for the future.
Released through Riding The Dragonfly LTD , I Traveled The Crooked Path captures a band that refuses to stay inside a single musical box. Doom metal provides the foundation, but psychedelic rock, progressive music, classical influences and traditional heavy metal all find their way into the band’s sound.
During the interview, FLIGHT OF ODIN also discussed the decision to release a double album, the addition of guitarist Tyler Beddow , vocalist Xyra’s wide-ranging vocal abilities, the band’s Washington, D.C.-area underground scene, and their commitment to preserving the human element of heavy music.
WHY A DOUBLE ALBUM?
According to the band, the decision to release I Traveled The Crooked Path as a double album came down to having a large amount of material and wanting to properly document the band’s history.
The first disc features material representing FLIGHT OF ODIN’s current lineup, while the second disc revisits the band’s Goddess In Smoke EP material from a previous lineup.
The band explained that they wanted those earlier recordings to receive a physical release rather than remain available only digitally. The material represents an important chapter in the group’s history, and the musicians who created it deserved to have their work preserved.
The result is a release that effectively bridges two eras of FLIGHT OF ODIN while showcasing the band’s ongoing evolution.
SONGS THAT DEVELOP ORGANICALLY
One of the defining characteristics of FLIGHT OF ODIN’s songwriting process is the band’s willingness to let songs develop naturally.
Some tracks on the new album originated from older material that was reworked and reinvented, while others came together through spontaneous rehearsal-room sessions.
Instrumentals such as “Andromeda” and “Obsidian Cove” are prime examples.
“ Andromeda” developed from guitar ideas brought in by Tyler Beddow, with the other members adding their own parts until the piece evolved into something much larger.
“Obsidian Cove” began from a warm-up idea and eventually became a fully developed composition.
That collaborative approach is central to the band’s chemistry.
Rather than attempting to force every song into a predetermined structure, FLIGHT OF ODIN allows its members to respond to one another and see where the music takes them.
A DOOM METAL OPERA?
The band’s ambitions don’t stop with conventional albums and live performances.
During the interview, FLIGHT OF ODIN revealed that they have discussed creating a doom metal opera , potentially involving other bands and incorporating extensive visual and theatrical elements.
Considering the band’s emphasis on atmosphere and storytelling, the concept could be a natural extension of what they are already doing.
For now, however, the band has plenty of new music to work on.
Despite just releasing a double album, FLIGHT OF ODIN is already developing new material, with several songs taking shape that push the band’s sound in new directions while maintaining its core identity.
THE SANCTUARY: FLIGHT OF ODIN’S CREATIVE LABORATORY
The band’s rehearsal space, affectionately known as The Sanctuary , plays a major role in the creative process.
Located in the band’s basement, The Sanctuary is designed to be a comfortable environment where the musicians can experiment without worrying about whether an idea is immediately perfect.
Fairy lights, a solid sound system and a relaxed atmosphere turn the room into something more than a rehearsal space.
The band records rehearsals and listens back to the performances afterward, allowing them to identify ideas that might have been overlooked in the moment.
FLIGHT OF ODIN is also considering filming a live performance or playthrough featuring the current lineup inside The Sanctuary.
RECORDING WITHOUT A CLICK TRACK
The band’s commitment to keeping performances human carries directly into the recording studio.
FLIGHT OF ODIN records together in the same room and does not use click tracks.
Instead, the musicians allow the tempo to naturally speed up and slow down depending on the performance.
The band views those fluctuations as part of what makes a recording feel alive.
Their sessions take place at BIAS Recording Studios in Springfield, a professional facility with decades of history. The band typically records multiple songs during a session and returns later for mixing.
Mastering is handled by Mike Monseur at AXIS Audio in Nashville.
The result is a polished production without stripping away the natural interaction between the musicians.
“THE HUMAN ELEMENT” IN THE AGE OF AI
That recording philosophy led to a broader discussion about the growing use of artificial intelligence in music.
For FLIGHT OF ODIN, the imperfections are not necessarily problems that need to be fixed.
They are part of the performance.
A drummer pushing a tempo, a guitarist holding a note slightly longer, or musicians reacting to one another in real time can create moments that are impossible to completely manufacture.
The band believes that preserving that human interaction is especially important for underground music.
Technology can certainly be useful, but for FLIGHT OF ODIN, the reason to play in a band in the first place is the experience of musicians creating something together.
FROM CHOPIN TO BLACK SABBATH
FLIGHT OF ODIN’s influences cover a considerable amount of musical territory.
Classical music, including Chopin , has influenced the band’s approach, while rock and metal influences include Iron Maiden, Scorpions, Judas Priest, KISS, Black Sabbath’s Tony Iommi , and numerous other artists.
The band also cited Nico and The Velvet Underground , Roxy Music and Bryan Ferry among their broader influences.
Those influences help explain why FLIGHT OF ODIN can move from heavy doom passages into psychedelic, progressive or melodic territory without sounding like a straightforward genre exercise.
The musicians aren’t attempting to reproduce one particular era.
Instead, decades of music have become part of their collective vocabulary.
WRITING FROM THE VOCAL MELODY
Another interesting element of the band’s songwriting process is the role of vocalist Xyra .
Several FLIGHT OF ODIN songs begin with vocal melodies, lyrics or musical ideas developed before the full band arrangement exists.
One example is “You Can’t Stop Me Now,” which came to Xyra one morning and was reportedly written in roughly 20 minutes.
She recorded the initial idea on an iPhone before the rest of the band eventually built the full arrangement around it.
The band’s approach demonstrates how songs can originate from almost anywhere.
A guitar riff.
A vocal melody.
An acoustic recording.
A rehearsal-room jam.
Even a warm-up exercise.
The important part is recognizing the idea when it appears.
“SEANCE” AND THE BAND’S MORE EXPERIMENTAL SIDE
FLIGHT OF ODIN also discussed “Seance,” which they consider one of their most ambitious compositions.
The song developed through contributions from multiple members and took on an almost automatic-writing or channeling quality during the creative process.
That experimental attitude is one of the defining traits of the band.
FLIGHT OF ODIN isn’t afraid of long songs, instrumental passages, unconventional arrangements or allowing a piece to develop at its own pace.
For a doom metal band, that’s hardly surprising.
But the group combines that patience with an appreciation for the immediacy and energy of traditional heavy metal.
THE WASHINGTON, D.C. METAL SCENE
Although FLIGHT OF ODIN identifies with the Washington, D.C. area, the members actually come from Leesburg and the surrounding Northern Virginia region.
They discussed the challenges facing the local original-music scene, where cover bands, tribute acts, Americana and blues can often be more prominent than original rock and metal.
The band pointed to Baltimore and Richmond as areas with stronger rock and metal communities.
Rather than simply accepting the situation, however, FLIGHT OF ODIN wants to help build the local scene.
That DIY mentality has always been an important part of underground metal culture.
THE NAME FLIGHT OF ODIN
The band’s name dates back to its formation in 2015 and was inspired by Norse mythology.
Odin’s legendary eight-legged flying horse provided the initial inspiration, with the concept of music serving as a kind of flight.
Although the band’s lyrical and visual identity has expanded beyond its original Norse mythology focus, the name and imagery remain an important part of the group’s identity.
The band’s logo features Odin riding the flying horse, while the primary logo uses the band’s distinctive lettering.
TYLER BEDDOW JOINS THE LINEUP
Guitarist Tyler Beddow has also played an important role in the band’s current direction.
Beddow brings a technically capable and powerful approach to the guitar, including the use of a seven-string baritone on some of the band’s material.
His studio and live rig includes an ENGL Fireball , Mesa 4×12 , tape echo and a Marshall DSL 100 , contributing to the band’s substantial guitar sound.
The gear, however, is only part of the equation.
The band’s chemistry remains the foundation of the music.
WHAT’S NEXT FOR FLIGHT OF ODIN?
Even with I Traveled The Crooked Path now available, FLIGHT OF ODIN is already looking toward the next chapter.
The band is writing new material and expects to return to the studio in November .
They are also hoping to get back onstage, while continuing to explore new visual ideas and potentially developing their Sanctuary performance concept.
And somewhere further down the road, there is always the possibility of that doom metal opera.
For now, FLIGHT OF ODIN is continuing to follow its own path.
It may be crooked.
It may be unpredictable.
But judging by I Traveled The Crooked Path , that’s exactly how they like it.
LISTEN TO FLIGHT OF ODIN ON THE ZACH MOONSHINE SHOW
FLIGHT OF ODIN’s complete interview with Zach Moonshine covers I Traveled The Crooked Path , songwriting, recording, classic metal influences, the Washington, D.C. underground scene, The Sanctuary, AI and the future of human-made music, as well as the band’s plans for new material and live performances.
Listen to the full show on Mixcloud now:
Full Track List:
Battle Of The Bands Top Six Winners:
1 – Another Demon – Reduced to Ash 2 – Soul Of Sheol – Paradise Is Not For Us 3 – Minstrel – Guardianes de la Noche y el Tiempo 4 – Sharp n’ Loud – Armored sexy girl 5 – Mistress – Terrified eyes 6 – PS:23 – The Angel They Call Evil
The Zach Moonshine Intro
7 – Ozzy Osbourne – Over The Mountain 8 – BEHEMOTH – In League with Satan 9 – CIRITH UNGOL – All The Shadows 10 – Smoulder – Shadow Of The Vulture 11 – Darren Michael Boyd – The Day Beneath Yesterday 12 – Rise From Your Grave – Stay Awake 13 – HELLUCINATION – Petrified
Flight of Odin – Interview featuring You Can’t Stop Me Now/The Ravens Eyes
14 – Riftpatrol – The Sky is Not the Limit 15 – Demon Christ – Curse You All 16 – Blind Illusion – Smash the Crystal 17 – Ministry – We Hate 18 – CREEPER – Big Bad Wolf 19 – Plusminuszero – Runner´s High 20 – THRONEHAMMER – Rise of Resistance 21 – Body Count – Last Breath
Dave Mustaine’s Metallica songs number six in the official credits — four on Kill ‘Em All and two on Ride the Lightning, the album released after he’d already been fired. He was in the band barely a year, and the riffs he left behind are the DNA of their first two records. Here they are ranked worst to best, plus the Master of Puppets track he still claims was his.
It is the greatest what-if story in metal.
Dave Mustaine was the lead guitarist in the original, rawest incarnation of Metallica. He lasted barely a year. When he was put on a bus back to Los Angeles in April 1983, he didn’t just take his anger with him — he took his riffs.
James Hetfield and Lars Ulrich would go on to become one of the great songwriting partnerships, but their early blueprint was heavily co-written by Mustaine. His feral, over-stuffed, faster-than-necessary style of riffing is what Kill ‘Em All is built from. And he’s on two of the best tracks on the follow-up — an album recorded months after he’d been fired.
Six songs. We’ve gone through the liner notes and the interviews, including the claims he is still making, and ranked every one.
6. “Jump in the Fire”
Album:‘Kill ‘Em All’ (1983)
Something has to be last.
“Jump in the Fire” is a good thrash song and the least threatening thing on this list. There’s a swagger to it that’s closer to rock and roll than to the world-ending band Metallica were about to become.
The riff is Mustaine’s. The original lyrics were his too, and Hetfield scrapped them entirely, rewriting the song from the perspective of Satan — which is a substantial upgrade. But the mid-tempo chug doesn’t hit the way the rest of his contributions do.
It’s the one that sounds like 1983. Everything else here sounds like it could have come out last year.
5. “Phantom Lord”
Album:‘Kill ‘Em All’ (1983)
A deep cut with a devoted following, and the best example on the record of a very specific Mustaine habit: cramming a dozen ideas into one song and refusing to throw any of them away.
It’s chaotic and multi-part, and there’s a clean, almost pretty bridge in the middle that simply appears out of nowhere with no warning and no obvious reason. It shouldn’t work. It absolutely does.
This is the sound of a band with too much speed and too many riffs and no editor. That’s a compliment.
4. “Metal Militia”
Album:‘Kill ‘Em All’ (1983)
The sound of a genre being born, and the fastest thing on the album.
That main riff is a buzzsaw. There’s no build, no atmosphere, no mercy — just three and a half minutes of a band trying to play quicker than anyone else in California. It closes Kill ‘Em All and it functions as a mission statement.
Whatever the speed limit was in 1983, this is the record that raised it.
It’s only at four because the three above it aren’t just great thrash songs. They’re the foundation everything else was built on.
3. “The Call of Ktulu”
Album:‘Ride the Lightning’ (1984)
Mustaine is credited on an instrumental from the album released after he was fired. Sit with that for a second.
Nine minutes, no vocals, entirely Lovecraftian in mood, and it works as a piece of storytelling without a word in it. That opening riff — the descending one everybody hums badly — is his.
What Metallica did with it, with Cliff Burton’s arranging instincts all over the arrangement, is the part Mustaine couldn’t have done alone. He handed over a foundation and they built something considerably more sophisticated on top of it.
It’s the bridge between the raw debut and the band they became.
The arpeggiated intro lures you in and then the main riff arrives like a door being kicked open. It’s the first time this band sounded genuinely dark rather than just fast — the lyric is written from the perspective of a man strapped into an electric chair — and the structure is far more ambitious than anything on the debut.
This is the song that proved Metallica were more than speed. It’s also the song that proved Mustaine’s writing was.
1. “The Four Horsemen”
Album:‘Kill ‘Em All’ (1983)
It was always going to be this one.
Seven minutes, multiple movements, and one of the most recognisable galloping riffs anyone has written. It’s the definitive Mustaine-era Metallica song and arguably the best thing on the debut.
Then there’s what happened next. Mustaine took the song back, re-recorded it at its original speed with his own lyrics, and put it on Megadeth’s first album as “Mechanix.” You can play them back to back and hear two of the Big Four splitting apart in real time.
Hetfield’s rewritten lyrics are better. The mid-section — the one everyone points out sounds like “Sweet Home Alabama” — is a genuinely strange decision that somehow works. Metallica’s version is the definitive one.
But the riff is his, and it’s the single greatest monument to the year Dave Mustaine spent in that band.
Every Dave Mustaine Metallica song, ranked
6. “Jump in the Fire” — Kill ‘Em All (1983) 5. “Phantom Lord” — Kill ‘Em All (1983) 4. “Metal Militia” — Kill ‘Em All (1983) 3. “The Call of Ktulu” — Ride the Lightning (1984) 2. “Ride the Lightning” — Ride the Lightning (1984) 1. “The Four Horsemen” — Kill ‘Em All (1983)
The Ghost in the Machine: The Song Dave Claims He Wrote
The list above sticks to official credits. If you ask Mustaine, it doesn’t end there.
For forty years he has maintained that the main descending riff in “Leper Messiah” — from Master of Puppets, the biggest metal album ever made — was his. Metallica have consistently denied it, Hetfield and Kirk Hammett most directly.
He has no credit and he never will.
But go and listen to it. That churning, chromatic, thoroughly irritated riff sounds exactly like something that would have sat comfortably on Peace Sells… But Who’s Buying?, which we’ve ranked against the rest of the Megadeth catalogue. We can’t prove it and neither can he. He’s the ghost in that song regardless, and it remains one of the most argued-over credits in metal.
Did Metallica Make The Right Call?
Look at what he contributed and it’s hard to argue he deserved to go. He was a riff machine who set the band on their path and then wasn’t there for any of it.
But the split had to happen.
That volatile creative clash is what gave us Megadeth — and the run of guitarists who have passed through that band since is a story almost as long as this one. It also forced Hetfield and Ulrich to become songwriters rather than riff collectors, because suddenly there was nobody else to do it.
One firing, two of the Big Four. Metal got a considerably better deal out of April 1983 than Dave Mustaine did.
And we’ll be playing “The Four Horsemen” forever either way.
TL;DR
He was fired in April 1983 and replaced by Kirk Hammett, weeks before Kill ‘Em All was recorded.
Six official credits. Four on Kill ‘Em All — “The Four Horsemen,” “Jump in the Fire,” “Phantom Lord,” “Metal Militia” — and two on Ride the Lightning, the title track and “The Call of Ktulu.”
Best: “The Four Horsemen.” Seven minutes, multi-part, and the riff he later took back and re-recorded as Megadeth’s “Mechanix.”
Worst: “Jump in the Fire.” A good song that sounds more like 1983 rock and roll than the band Metallica were becoming. Hetfield scrapped Mustaine’s original lyrics entirely.
The strangest credit: “The Call of Ktulu,” a nine-minute instrumental on an album recorded months after he’d been fired.
The disputed one: Mustaine has claimed for decades that the main riff in “Leper Messiah” from Master of Puppets is his. He has no credit and Metallica deny it.
FAQ
How many Metallica songs did Dave Mustaine co-write?
Six, officially. Four appear on Kill ‘Em All — “The Four Horsemen,” “Jump in the Fire,” “Phantom Lord” and “Metal Militia” — and two on Ride the Lightning, the title track and the instrumental “The Call of Ktulu.” Both Ride the Lightning credits are on an album recorded after he had already left the band.
What Metallica songs did Dave Mustaine write?
He holds credits on “The Four Horsemen,” “Jump in the Fire,” “Phantom Lord,” “Metal Militia,” “Ride the Lightning” and “The Call of Ktulu.”
Did Dave Mustaine write “Leper Messiah”?
He has claimed for decades that the main riff from the Master of Puppets track was his. He is not officially credited and Metallica have consistently denied the claim, most directly James Hetfield and Kirk Hammett.
What is the difference between “The Four Horsemen” and “Mechanix”?
They are the same song. “Mechanix” was Mustaine’s original — faster, with his own lyrics — which he re-recorded for Megadeth’s 1985 debut Killing Is My Business… and Business Is Good! after leaving Metallica. “The Four Horsemen” is Metallica’s slowed-down rewrite with new lyrics by James Hetfield and an added mid-section.
Why was Dave Mustaine fired from Metallica?
He was dismissed in April 1983 over heavy drinking and drug use, along with aggressive behaviour and personal conflict with James Hetfield and Lars Ulrich. He was replaced by Kirk Hammett weeks before Kill ‘Em All was recorded, and formed Megadeth shortly afterwards.
Six songs, one year in the band, and a firing that created two of the Big Four. Does Metallica’s “The Four Horsemen” beat “Mechanix,” or did Mustaine get the last word? Settle it in the comments. And keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
The Loose Lips train just keeps on rolling! One year after Josh, Nadine, and Ethan clobbered us with their great album Last Laugh, they return with a new EP that smashes together all the best parts of garage punk, power pop, Aussie punk, and kick-ass rock ‘n’ roll. Out on DIG! Records, the four-songer Love You is exactly what you were hoping it would be: 10 minutes of pure electricity crammed with infectious hooks. Loose Lips have found such a natural and distinctive sound as a trio that I sometimes forget that they’re a super-group. They’ve got the main band energy going strong on this EP.
If I said that “Beehive Teardrop” could easily be an Unknowns song, that’s hardly a dismissal. My thirst for catchy old school punk rock with a garage edge is never-ending, and this tune really hits the spot. It’s fun, simple, and guaranteed to leave you wanting more. Josh is so good at writing songs like this. If you like poppy punk rock that definitely isn’t “pop-punk,” well this is a tune that will get your heart racing. Nadine is on lead vocals on “Looking For,” a song totally in that late ’70s/early ’80s new wave power pop pocket. Ethan channels Graham Maby with his bass lines, and no one will be complaining! Yes, my friends, you have entered power pop heaven. “Remember We Love You” is a mid-tempo rocker that brings to mind ’70s punk with thunderous, Aussie-sized riffs. What a banger! Finally, “Tired of Toein’ the Line” is a fabulous cover of Rocky Burnette’s 1979-80 hit — one of my favorite under-the-radar radio songs from my childhood. I love how Loose Lips take a quintessentially American roots rock ‘n’ roll number and make it sound like something they could have written! That goes to show you that great pop songs are great pop songs.
All in all, Love You is a perfect continuation of the glorious racket that Loose Lips have been kicking up in recent years. If you like your music raw, catchy, and full of spirit, it doesn’t get much better than this. You love this band, and for sure it loves you back. Vinyl is coming in less than two weeks, so get your orders in!
Ahead of a new album built on collision — raw against refined, violent against fragile, plan against accident — the Tokyo band explain why the best songs are the ones you can’t quite steer. There’s a story, often repeated and probably a little embellished with each telling, about how the fuzz pedal was born: a … Continue reading J-Rock : THE FUZZ ACT: Static, Thorns and the Art of Losing Control in Tokyo
What the hell is Emperor’s 1994 track I Am The Black Wizards all about?
“I came up with this sort of parallel universe, this dark dimension that was very Tolkien-esque. I wanted to use it for a concept record for Emperor. One of the ideas was for it to have this massive tower with incredibly deep dungeons, housing, amongst other things… these strange wizards controlled by a hive mind. Everything is connected, and that’s where the title comes from.”
Presumably there was a big Tolkien influence on the Mortiis mask…
“Yes and no. I knew that I wanted to do something beyond corpsepaint. I’d grown up with Kiss and W.A.S.P. and Mötley Crüe – these big-image American bands – so that was something I’d always liked, but I was definitely into The Lord Of The Rings.
The early version of Mortiis was just me finding things I could mould into noses and ears and all of that, and then putting make-up on top of it. To get the long nails, I would cut out the bendy ends of soda pop bottles, then paint them and glue them to my fingers.”
How do you feel about this current crop of masked bands, like Ghost and Sleep Token, becoming some of the biggest names in metal?
“I don’t pay a lot of attention to it, but Tobias [Forge] has done really cool stuff with Ghost. I’ve only met him once but he seemed like a very nice person. He was quiet. I’m only aware of Sleep Token because people talk about them. I see a shitload of masked bands fly by on my algorithm. The weird thing is, I feel like I’m the only guy who wears a mask but still has a face.”
What are the masks like to travel with? How many airport security guards have you shocked over the years?
“They pull my stuff out a lot. I usually carry weird electronics, and they think it’s a bomb or something and scan it, like, three times. I’ve half-expected sometimes for them to go, ‘What’s inside this box?’ and then all of a sudden there’s a face staring back at them. Ha ha! It’s never happened, but, then again, these people, can you imagine all the weird shit they must see every day?”
You’ve travelled all over the world. Who’s the weirdest person you’ve ever met?
“I met a guy in the 90s who was completely tattooed, top to toe, and he had 12 kids in 12 [US] states. This was back when I was still drinking, and I drank with him all night. He was like a living piece of art and he was super-nice, but I was thinking, ‘How the hell do you even get to the point where you have 12 kids in 12 different states?!’”
Must’ve been a bit of a vagabond type.
“I guess! Maybe he just travelled around and… he must have been a very charming person.”
You were charmed enough to drink with him all night.
“Yeah, I didn’t have kids with him, though. Ha ha ha!”
You’ve been Mortiis for more than 30 years now. What keeps it fun?
“I’m a stubborn motherfucker, that’s for sure! I love trying new things musically. Even as I was completing [new album] Ghosts Of Europa a few months ago, I already had a whole bunch of other, different-sounding music on my hard drive. There’s, like, three more albums I’ve started: some similar, some vastly different. It’s the ability to explore new ideas and see where I can go with it.”
When you’re not Mortiis, you’re a healthcare worker. What do your colleagues think of the Mortiis music and presentation?
“When I started that gig, early on, some of them probably didn’t quite know what to make of me. I walked in there scruffy-looking, with long dreads. But I’m gonna believe my boss when she tells me that I’m a fairly well-liked employee. You try to have a good attitude and just be a fairly comfortable person to be around. That’s a big part of the job. If you’re an uncomfortable person to be around, you’ve failed the first test! Ha ha!”
What’s the most rewarding part of that job?
“Getting paid. Ha ha ha! But, in all seriousness, it’s nice to be nice, man.”
