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last two years. Before, we all used Orange
amps and it’s pretty much been plug and
play—maybe grab some pedals you like
and do your thing. But we’ve played a few
hundred shows now, and we’ve become
better at putting ourselves in different
positions in the mix. I never thought about
these things much, because I just played
punk and hardcore. But now it makes sense
to do things well.
How do you decide who plays what?
Rolland: It’s just something we figure out
in rehearsal—whoever has the most natural
feel for something. It usually falls naturally
that Vidar will play the rhythm stuff and
Maciek will play the more advanced lead
stuff. Sometimes we switch it up a little.
Sometimes Vidar and Maciek will play lead
and I’ll play rhythm, or Maciek and I will
play a lead and Vidal will play rhythm. It’s
not really something we think a lot about
when writing songs.
Ofstad: We all have very different playing
styles and, on the new album, it is very clear
that that’s a big part of why three guitars
work. Everyone very naturally finds his
place in the song—everyone has his own
characteristic. And Bjarte playing with his
fingers sounds way different than what I play.
Nattesferd is self-produced with Nick
Terry engineering. It’s your first record
without Converge’s Kurt Ballou at the
helm. Was there something you were
hoping to achieve producing it yourselves?
Rolland: We thought we could produce it
without Kurt’s help, even though he was very
instrumental, especially on the first record.
He helped us tighten up arrangements. We
still came prepared and had songs demoed,
but it was something we really needed.
Since then we’ve evolved, having played
so many live shows, that we felt we might
as well just record it live: drums, bass,
and three guitars at the same time. The
arrangements are also simpler and more
live-based. There wasn’t really that much to
produce, or left to produce, by the time we
got into Amper Tone Studio in Oslo.
Were there problems with bleed-through
because you recorded live, or was
everyone isolated?
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