SAM: Hail Satyr and Frost. Many congratulations on your 10 years of hard work, and giving us fans and listeners only the best in Black Metal. Your musical superiority is something which i believe to be the essence of Satyricon, and since the beginning Satyricon has pushed boundaries and set paths for others to follow, so I often wonder if you have had any formal musical training? Such as university courses or the like? Also, what inspires you to write such songs that have a story within the guitar lines itself? Is it a matter of trial and error to see what fits an initial idea? Or something much more emotional?

SATYR: We don't really have any formal training. I took classical guitar lessons for a while when was 14-15 and actually drum lessons for a good year when I was 8-9 years old! As far as inspiration goes it's sometimes the mood you are in that will come through in the part you make, but it could also be the desire to evoke a certain feeling within the part you are actually making.

UNKNOWN: I saw the "Roadkill Extravaganza" video and thought it was incredible. It was bloody great, and it was really interesting seeing a bit of the life behind one of my favourite bands. My question: Just in general, what do you guys think of all the crazy shit that was going on in the Norwegian scene almost ten years ago? (the murders, church burnings, etc. in general: the massive amounts of crime driven by Black Metal and black metal artists). Thanks. Satyricon FUCKING RULES!

SATYR: It is a thing of the past that we do not think of anymore unless it's brought up. It was certainly mad conditions back then.

UNKNOWN: Since the beginning, Satyricon has produced music that stays one step ahead of the pack. Now that you've been around for a decade, what do you feel is your greatest achievement?

SATYR: Having our first album "Dark Medieval Times" released was an achievement. Being the first Black Metal band in the world to do a full tour with a million selling band (Pantera) was another one. We were also the first Black Metal band to get signed by a major label (Capitol records in Scandinavia).

MAGNE BJERKAN: Hello and congratulation with your anniversary. I have some questions to Satyr:

1. What did you want to achieve with Satyricon 10 years ago, and do you feel that you have succeed in realizing your goals?
2. Have your comprehension of the band changed over the lifeline of Satyricon?
3. What was the main criteria that the songs on teen horns needed to fill, in order to be choosen over the other songs on the albums?
4. What has been the most satisfying thing about your career as a musician in Satyricon.

Thank you for your time.

SATYR: That was four questions you fuck, not one, but since all of them were really good, I'll answer them all:

1. I have always been very ambitious in whatever I've felt strongly for. When I was a kid I didn't want to be fire fighter or a policeman: I wanted to be a Heavy Metal star! Preferably a drummer as I was massively impressed by huge drum kits and thunderous rhythms. It didn't quite end up like that, but being the front figure of at least in my opinion an extremely important Black Metal band is not so bad either. And yes, I feel we've been successful, but you always want more.
2. Yes of course it has. Because we change, our music change and our surroundings change.
3. The criteria was two songs from each full length (although we chose to use a re-recording of one of the "Dark Medieval Times" songs, because it was better), that had to say something about the feel of every album and Satyricon and that time.
4. Many. I learnt a lot on the Pantera tour, both as a musician and organization wise. We had some spectacular shows in Milan (8000 people), Paris (6500) and some good times as private persons. The atmosphere that was in the band around "Nemesis Divina" was also really special, it was a great time in my life.

PHILIP: This is more of a question about your band in general, do you guys get a lot of criticism from the black metal scene and other black metal bands since you guys seem to be so far beyond just black metal (you add so many wonderful elements into the music) and never followed the typical generic style of black metal? And if so, how do you respond to it? Thanks for your time, you guys are without a doubt one of the finest bands in extreme metal.

SATYR: Well, thanks. We don't receive criticism like that from journalists or other artists, but sometimes from so called "fans". A lot of kids fail to understand the core of Black Metal: Extremity. Change in itself is not extreme. There has to be certain key elements like darkness and aggression. BUT, if you keep on exposing darkness and aggression in the same form every time it becomes predictable and conventional. And to me very boring. Like Cronos from Venom once said to me; there has be a danger element to it. This is so true. There's nothing extreme or dangerous about something predictable. You have to add new elements to it all the way. Just like Black Sabbath, Bathory and Celtic Frost did.

KJETIL BERNTSEN: What has kept Satyricon together for all these years, and has there ever been a time where you could not stand each other, and wanted to split up the band?

SATYR: The love for music and loyalty to the cause. It has been times where it has all felt meaningless when you work extremely hard and do your very best, and all you end up doing is fighting windmills. We've also done many things we've spent an awful lot of time on and ended up losing money on it. That's not very encouraging. As long as the passion is still there we will keep on doing this.

UNKNOWN: Hi, Satyricon's music is amazing and "Rebel Extravaganza" is one of my 3 favorite albums of all the time (with "Transylvanian Hunger" and "Reign In Blood"). But also I think what makes the band so attractive is the visual aspect. Better and more clever than all metal and industrial acts. Perfect combination of modern advertising work and old-school (the satyricon logo). I read few years ago Satyr was an art director in an advertising agency. Is it still the case? How much are you involved in typography, photography, photoshop, illustrator, webdesign, etc. for Satyricon? Thanx.

SATYR: Thank you for appreciating the combination of modern aesthetics and raw old-school feeling. I'm not an art director in an advertising agency and I never have been. I'm extremely involved in every visual aspect of Satyricon and I've always been.

MARTIN: Hi! Please don't be offended, but I really don't get the point of this CD ("Ten Horns..." etc.). Why are you putting songs on there that your big fans (including myself off course) already have? Anyway, keep up the good! I can't think of any black metal band (or any metal genre really) that comes even close to the high level of musical creativity and quality in which you create. Can't wait to hear "Volcano".

SATYR: I'm not offended. I'm just thinking, here we go again, let's educate. I would have been a very rich man if I could make a buck for every time I have educated someone about the mechanisms of the music industry. First of all, it is not called "Ten Horns..." etc. It's called "Ten Horns - Ten Diadems". The return of the fucking Antichrist, not etcetera! Referring to it as "Ten Horns" is ok though :-) it is a release that was meant to be a documentation of our history. Two songs representing every full-length album, three of them remastered, meaning with a better sound now. In addition the exclusive "Serpent's Rise" featuring Anja Garbarek and A SONG FROM THE NEW ALBUM. How often is it that bands take songs from their UPCOMING album and feature it on a compilation CD? I have A LOT of CD's and no one like that. If one of my favourite bands included a song from their upcoming album on a compilation I would buy it without any hesitation whatsoever. A lot of our true fans have already done that because their anxious to hear what "Volcano" is going to sound like. Celebrating ten years of Satyricon by releaseing a CD with only exclusive songs wouldn't be a documentation of our history, would it? I'm not so sure everyone has all of our albums either. We don't have a bunch of unreleased songs lying around. It's not the way we work. We focus on recording ONLY great songs. A lot of bands record 25-50 half-hearted songs and pick 10 for the album, which the producer and the A&R consider to be the best ones. Then later on there might be a live album with two exclusive bonus tracks. Great huh? You get two songs not considered good enough for an album. Awesome. And it's "free" too. If we record extra songs, it's not for b-sides; it's for a meaningful purpose, because we don't make half-hearted songs. "Ten Horns - Ten Diadems" also comes in a very nice box with a digipack inside, a 20-page booklet with previously unpublished photos and a 4-page info booklet on "Volcano". The price is that of a regular CD. I'd say that's a real treat. Not a pointless one like you claim. It also makes me wonder how you claim to be a real fan and at the same time state that a release celebrating 10 years of one of the most influential bands in the genre is pointless. Hope you enjoy "Volcano" then!

KUBA MORAWIEC: Hi! Which of yours all album do you both find most important for progress of the band?

SATYR: All of them have been a vital part of our progress. As musicians for both of us. And of course as song/lyric writer and producer for me.

ANTI-MOSH: Hail Satyr, We've seen a "re-done" version of the song "The Dark Castle In The Deep Forest" ("Night Of Divine Power"). It was wonderfully re-recorded mixing the feeling of Satyricon's newer material, yet keeping the same feeling as the original (in my opinion, however). I was wondering if there were any other songs you would ever think of re-recording, and if the changes in your music was a gradual sort of evolution, or a pre-planned sort of thing?

SATYR: It is always very dangerous to re-record something as there will always be a special feeling connected to the first one which can't be recreated. When we did that particular song I was confident that it would be better. When I looked back on that song, it irritated me how some of those riff "got lost" in the guitar sound. There are some songs that are very tempting to re-record but no plans as of yet.

UNKNOWN: My question concerns the actual process of songwriting. I am interested in knowing something about the relation between pure technical ability and inner visions. To which extent is your way of writing songs dependent on current technical limits. It is obvious that you, Satyr, has a gift for music and that you have developed your skills tremendously over the years. But do you think that your early material would have sounded different, if you have had your present technical level when you wrote it? Would "Dark Medieval Times" have sounded different, if Satyr anno 2002 had written it? Has your way of figuring out melodies, riffs and songs changed while breaking new ground and developing as a (fucking excellent) guitar player.

SATYR: Great question! Sometimes the lack of technical ability can be a hindrance, because you cannot fulfil what you hear in your head on the fretboard. That happens to almost everyone who plays an instrument who is a songwriter. Luckily very seldom though! I've seen many cases of guitar players who are masturbating, not playing. They don't know how make some badass riffs, they just play. That's the difference between a labourer and an artist. I'm sure the old stuff would have sounded different if Satyr anno 2002 would have written it as opposed to back then. Not because I'm better at playing now, but because I'm a better producer and a wiser person. I guess my taste has changed throughout the years and of course my songwriting technique has developed.

SAKIS CHATZITKIS: Hail MIGHTY Satyricon! First of all, I am kneeling in front of your MAJESTY for creating such supreme piecies of art for ten years. Keep practising aggression and protecting the wealth of the Elite. My question is: Please, describe the whole feeling that flows through the "bones" of your forthcoming album "Volcano" and what is the music direction you have followed at that time?

FROST: I perceive "Volcano" as a very dark, eerie and powerful album. Something I find to be really strange about "Volcano" is that all the songs are sounding very different, yet there is one distinct feeling that is present in all of them. Musical direction? Black Metal, created and performed with the unmistakable quality and authority of Satyricon.

UNKNOWN: Hail! I would like to ask about your inspirations, stimulators and in general, about things that push you to generate the sound you do.

FROST: To point out and categorize sources of inspiration is a rather hopeless task, as there is no limits to what such sources might be. You know, everything that affects the mind could be a potential source of inspiration. What truly drives us to create the music we do, is our will to make the music of our own hearts. So there is a passion for music, and more specifically a passion for Black Metal, that is the fundamental motive power. For each album we may also have specific motives concerning a feeling of wholeness that we want the collection of songs to have, but there is always this one criteria that must always be met: That we ourselves is moved by our music and find pleasure listening to it.

UNKNOWN: HAIL! During your "career" as black metal servants what was the worst expirience that you had?

FROST: Dynamo Open Air 1997

RYAN: After ten years as the top innovators of the black metal scene do you still feel the need to criticize christianity?

FROST: Hate can be a perfect driving force when creating dark and aggressive music. Christianity represents almost everything we hate, and is unfortunately a very present factor in our surroundings. However I don't think we should speak of any need to do anything at all, we are simply unleashing some demons of hatred, and we find it to be most appropriate. Anyway; Satyricon is much more about creating Darkness than opposing "Light".

JONAS HOLM: A short one: how do you feel about the fact that more and more extreme metal drummers are using triggered drums live and on albums?

FROST: There is nothing wrong about trigging the drums in itself, rather to the contrary. It is a method that may help the drummer to achieve a desired result. For instance it is almost impossible to make the drums sound loud and clear all the time when performing complex music with distorted guitars and a vide variety of tempoes live. That is, unless you trig the drums. I myself have just started to use triggers on the kickdrums when playing live, and it surely makes my playing sound more steady and powerful. The trigged sounds I have chosen sound quite "natural" and aren't too clicky. Now; in live situations the acoustic sound of every unit of the whole drumkit is also picked up by microphones, so the bassdrum-sound is a mix of acoustic sound and trigged signals. From what I've heard, that mix sounds really punchy and good. A lot of drummers choose a horrible clicky sound when trigging, and that for sure doesn't sound good at all. I believe that is what is giving trigging such a bad name. Some people will always complain about trigging being "unnatural" or whatever, but "natural" truly is a word derived of logical meaning in this business. Clever use of effects is definitely a key factor in Black Metal - think of the distorted guitarsound, for instance.

MIKE: This question is for FROST. I have been told be some people that contractual agreements with major labels can seriously inhibit any creative outlet. Is the fact that Satyricon is tied to a major label going to keep you from participating in other musical projects?

FROST: We don't have clauses like that in our contract. I've heard about other musicians being bound to one particular band by label contracts, but every band that sign a contract must take action to ensure that they know what commitments they are making.

UNKNOWN: I'm a great Satyricon fan. I just want to know how does it feel like when you accomplish such goals as you two did. And also I would like to know If you two have changed a lot in those 10 years? And do you often remember the good old days, when you first grabed your instruments and started making some noise? Greetings! Can't wait to see your answers.

FROST: To play in a band as powerful and mighty as Satyricon is joy in itself. I am very content with what we have achieved, but it is pity that I can not devote more time to Satyricon (or at least to playing the drums). I feel we have gotten far, but there is, at least for my part, still a long way to go before I can feel perfect satisfaction regarding our accomplishments. You ask if we have changed a lot in our 10 years of existence: I will only speak on behalf of myself. I have definitely matured and grown in knowledge and skill, and I have become a more responsible and conscious individual. My main motive being a musician hasn't changed much, though. I still feel like doing what I wanted to do 10 years ago, I have only gotten better. And do I remember the good old days? Yes, sir! It was an exciting time, but it was a pain in the ass being such a lousy musician while still wanting not to limit yourself too much musically. And then there were all those horrible hangovers when rehearsing...

PAUL MORRIS: Bands such as yourself have really paved the way and set new standards in Black Metal. How did you decide which songs to use on your "Ten Horns - Ten Diadems" collection? Was it difficult at all trying to decide which songs "defined" your sound, so to speak?

FROST: We picked songs that had the spirit of it's era (it's album), steered away from songs that were little compilation-friendly - excessively long songs, experimental works etc. - and did of course include songs that we know have made a particular impact on the hordes.

UNKNOWN: Satyricon has been one of the strongest bands in norwegian scene, but it seems that Satyricon's music surpasses every mold and even every trendy fashion in today's Metal. Where is Satyricon's music going? Is your music going in a certain direction or is just part of a maturation process? Do you feel playing Black Metal this days? if you do, what do you think about today's Black Metal scene? Are these changes on the sound part of the True Black Metal?

FROST: Although this question was directed to Satyr, I may just as well answer it. First of all: Satyricon is going where we want it to go. Every album we make reflects what we feel like doing at the time of creation - which may not remain static for the duration of the process. I can not say what our next album (following "Volcano") will sound like; no decisions is made in that respect. Other factors, such as our experience, technical abilities and financial situation, play a role for the outcome of an album. What does not, is the expectations that the audience, the record companies, the media etc. have. Therefore trends have no impact on our music whatsoever. My passion for Black Metal is as strong today as it is was ten years ago, and I know Satyr feels the same. The Dark ESSENCE of Black Metal is timeless and can not be changed by swarms of bands labelling themselves "Black Metal" and basing their music on false or wrong (light!) concepts, trends, wish for money and recognition, or what not. In todays scene very few bands are able to capture anything dark and substantial in their music, but they truly exist and contribute to making the scene vital and strong. True Black Metal you say: why "True"? I would prefer that bands playing Black Metal were called by their right name, and that those not playing Black Metal wouldn't be categorized as such. THAT for sure would make a change for the better!

TON OORTGIESEN: With the years the music of Satyricon envolved into a higher form of art, and the artwork did too. With the "Rebel Extravaganza" album you shook the black metal world not only on musically front but also on artistic ways with such artwork. I've seen the cover from the "Ten Diadems" album and I must say that I'm very pleased about it. Knowing that you guys do like to create a piece of art, I can expect nothing else but fine dark/cold artistic design. My questions are: "Is the artwork for the "Ten Diadems" album of the same quality compared with the "Rebel Extravaganza" album or "Intermezzo II" mini-album, or do you save up the good stuff (and money) for your forth-coming record "Volcano"? And who is the designer for the "Ten Diadems" album, Union, Hal Bodin or someone else?"

FROST: The artwork/layout for "Ten Horns - Ten Diadems" is state-of-the-art! We never do things half-heartedly: The designer for the album was Hal Bodin, as you suggested.

TERRY: How do you feel about the legacy and lasting influence Satyricon has had on the "metal community?"

FROST: Satyricon is REAL stuff, and in that respect a good influence. Actually we are taking some responsibility in order to shape the scene in the right way; on our later two albums we have taken conscious steps to counteract the unfortunate influence many of the "leading bands" in the genre has had on the Black Metal scene. This has by no means been any prime motivation for us, but we have taken our position and potential influential powers seriously. But I have to say that I observe a very unfortunate effect our earlier albums have had on some bands; they have obviously been inspired by our music, but they have kinda sucked out the harmonic, melodic and majestic in the two or three first albums and left out the Darkness and the edge, resulting in worthless music that isn't really Black Metal at all. You know, it isn't our fault, but it's quite sad, really.

TERRY: Which Satyricon release, in your opinions, was most influential in the direction of modern extreme music?

FROST: So far: "Rebel Extravaganza".

NORGAATH: Hailz, this question is to Frost. In the "Roadkill Extravaganza" video, you told that your(?) drumkit was used on the recordings (and gigs) for various Black Metal monuments in Norway. How did that work? Was it being sold all the time or just hired by all these BM-drummers? And how was it managed pratically if hired? Who is the owner then anyway of this drumkit (and who was the original owner?).

FROST: I bought the drumkit from Hellhammer in 1994, as he had gotten himself a new one. At that time I had myself been using it on "Dark Medieval Times" and on several rehearsals, and lots of other bands had been using the kit on album recordings. It was the official Norwegian Black Metal drumkit until I bought it, I believe: It was probably the best drumkit anoyone in the early Black Metal scene had at their disposal, so that was the reason it was hired by so many bands. Norway is a small country. Thinking it ower, I left out a lot of important bands/albums when mentioning (on the video) on which recordings the drumkit was used.

ANSAR MILES: Hail Satyricon, I have a couple of questions to ask you. First, with the black metal scene ever changing and evolving, what do you think of the scene now and how do you feel you fit in and Secondly, since Emperor disbanded and many others how long do you think that you can make music in Satyricon.

FROST: Concerning the first part of your question, see above. Satyricon actually don't need to fit in anywhere, we will make room for ourselves. I think Satyricon will be active for many years to come, but one can not predict such things. What is certain, is that we will exist for as long as we are passionate about doing Satyricon-albums, and when we have nothing new and outstanding to offer, or feel we are starting to stagnate, the passion will die. We will have a honorable death: Notice anyway how Satyricon is getting closer and closer to the core of Darkness, whereas most other bands are moving in the opposite direction.

BATTLEGRIM: Hails to SATYR and FROST from the coldest lair somewhere in Russia! It's nice to have an opportunity to ask you a question online! Here's the one: It's really exciting to watch you changing your style and the image. According to what you say in interviews I found out that you don't care for medieval and occult themes any more. Though in the beginning and in the middle of 1990s you were very fond of it! Remember "Dark Medieval Times" with ancient tales, "The Shadowthrone" with viking songs, "The Forest Is My Throne" with it's pagan tone and of course "Nemesis Divina" with the mix of sorrow, hate and inner belief! Since 1997 something has changed. You've become so experimenal band! Still I wonder what factors or something in your life forced you to give up your past music, which you played before "Megiddo" and to change your style so radically? Do you remember the time you felt it's time to change something in your music and to play Experimental Urban Black Metal? How was it? I'm sorry if this question is boring or if you had a chance to answer it thousands of times. Still it's very interesting for me! If possible, I'd like to get the answer on my complicated question both from SATYR and FROST!

FROST: Progress has ALWAYS been a key element in Satyricon, and every album of ours shows a significant development comparing it to it's predecessor. We will NOT repeat ourselves! The truly creative will always develop, improve and progress, that lies in the nature of being so. The change that occured after "Nemesis Divina" was no more radical than the change that took place between "The Shadowthrone" and "Nemesis Divina", for instance: "Experimental Urban Black Metal" must be a word-construct of your own. I don't think being experimental suddenly became a more significant quality of Satyricon in 1997, we have ALWAYS been innovative and incorporated more or less controversial elements in our music, but have always kept the essence of Darkness and Satyricon in our music. Hmm: we have never said that we don't care for medieval or occult themes anymore, we simply aren't basing our music or lyrics upon it any longer! We have done that, and couldn't take it anylonger, so we needed to walk along a different path. Anyway, Satyricon is first and foremost about DARKNESS and EXTREMITY, and that is still the key elements in our work. Actually to a greater extent now than before.

JOAKIM APOLLON: This question goes out to Frost: Is there gonna be any 251BPM convulsions in the future (ha,ha)? By the way: good move to never trigger the drums; and show those mexican batterists that even the stiff northmen have got the groove.

FROST: See answer above! There are no extreme blast beats on "Volcano", but it might be used in the future. Speed and hysteria just wouldn't fit a gloomy and naked album like "Volcano".