This is a fan page, I am not Vintersorg or Mattias. I don't know what the best pub to find Vintersorg in Skellefteå is (and I certainly wouldn't tell you if I knew). This site is a promotional machine created in order to facilitate the online promotion of one of the best bands in the entire world. -- Also, for some reason Myspace doesn't allow the use of the extra Swedish vowels on this site, therefore the titles are spelled incorrectly and I am well aware of it.
VINTERSORG emerged in 1994 as VARGATRON (Wolfethrone). The band's goal was to allow for innovation by blending clean vocals, acoustic guitars and heavy riffs [nowadays a common practice] and thus, bring about new dimensions to the black metal genre. Following the typical line-up changes, the band reached a standstill in 1996 prompting Vintersorg to bid farewell to his colleagues and continue on his own. He promptly recorded a demo and was soon picked up by NAPALM RECS, the same label that had already signed Vintersorg's other claim to fame, OTYG.
Satisfied with the outcome of the 1998 MCD entitled Hedniskhjärtad (Pagan-hearted), Vintersorg began writing new material for his first full-length recording, Till Fjälls (Up in the Mountains). Vintersorg's passion for folk music became obvious with this release, as with the follow up, Ödemarkens Son.
Vintersorg returned in 2000 with an outstanding new release entitled Cosmic Genesis. The natural progression of the band's musical development soon gave way to the addition of a second guitarist, Mattias Marklund. The two musicians had been playing together for over ten years, so it was a logical step to forge a more permanent bond.
Cosmic Genesis continued to emphasize Vintersorg's personal exploration of uncharted musical territories. The result was that of a more progressive gloomy atmosphere and diverse vocal styles and arrangements, while still retaining the old essence. Lyrically the album philosophically explores thoughts, questions, and observations regarding the essential forces of the infinite cosmos. Theorems influenced by Copernicus, Galileo, and Kepler are a recurring theme of an album that can be described as contrasting the harsh and the beautiful, the cold and the warm, the spiritual and the physical, the earthly and unearthly.
In 2001, Vintersorg began writing material of an even more progressive and intricate nature. It soon became clear, after the pre-production work in their small studio Seven Stars, that a drummer capable of handling the technical and creative aspects of the new material would be needed. Asgeir Mickelson (Spiral Architect, Borknagar), with whom Vintersorg already had a working relationship through Borknagar, joined the recording efforts. With Asgeir came the suggestion to recruit Steve DiGiorgio (Death, Sadus Testament, Control Denied) for the recording of the bass tracks.
Visions from the Spiral Generator was recorded in three different studios, three countries, and two formats. First guitars, keyboards and vocals in Ballerina Audio (Sweden), then the drums in Top Room Studio (Norway), and finally the bass in Nu-tone Studio (US). Lyrically, this release continues to touch upon the concepts of science and faith, the search for the formulas that create us and the universe, and the never-ending journey through mathematics and philosophy.
As Visions from the Spiral Generator hit the streets, Vintersorg had already completed the follow up. The idea this time was to develop a concept album from start to finish. The music continued to evolve and it became even more diverse, using all the previous Vintersorg elements, but placing them into new environments that include more acoustic guitars, more vocal harmonies, more extravagant guitar leads, and fresh keyboard frameworks. The two renowned geniuses Mickelson and Di Giorgio once again contributed the inspiring drum patterns and fretless bass wizardry to complete the work. This album is more melodic, and the folk influence shine through as clearly as ever. The lyrical theme is based on the never-ending Vintersorgian quest to find the essence of Man and the complex connection between science and fate.
"When we've found the utter limits of Man's knowledge, we're at a new crossroad with new things to follow, so mankind's focus isn't constant. It seems more like we're victims of a blur, where the blur is the arena of things we havent thus far mastered. As such, it may be referred to as "The Focusing Blur".
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