The latest fan-funded endeavor Spewing Venom into the Eyes of Deities, was released last fall, with a CD version released earlier this spring.  The album is, of course, absolutely killer, and dare I say the best effort since 2003s Hate, Dominate, Congregate, Eliminate. 6 mammoth songs of blasphemous, industrialized, symphonic death metal with programmed elements, Jorgen Sandstrom’s (ex Grave) massive bellows, the unhinged female vocals of Elinor Asp and Dirk Verbeuren’s  (Megadeth, ex-Scarve, ex Aborted, ex-Devin Townsend etc) deft drum work. Of course, all of it orchestrated and mostly written by Lord K himself.

Seeing as I never reviewed Spewing, I thought I’d reach out and do another interview ( I did one after 2017s Of Chaos and carnal Pleasures) only to discover Lord K has mellowed out and become very humble, relaxed, not outspoken at all, and seems much more at peace with the world….

NAAAAAAAAAHHHHHHHH. He is still a delightfully honest,  outspoken, opinionated old curmudgeon that always provides a great interview. So keep reading to see what he has to say on the new album, old record labels, and the state of the world today…..

So, the new album is the sixth effort that has been/fan/donation-based. How surprised, If at all, are you that your fans have been able to fund your music and allow you to continue to make albums? It has to be humbling at this point 

Humbling? Yeah, you could say that again… It’s beyond humbling, and fuck knows I’m not the President of Humbleton. It’s really simple though; to have these extremely loyal supporters, who aren’t more than a few hundred, every time we try to do a new album, make it possible for me to raise the funds so I can pay everyone involved for their efforts is…  absolutely fucken mind-blowing.

When I came up with this idea a decade ago it was pretty much a very untried thing, and I sure as fuck had my doubts about it ever being possible to work out. And still, after SIX successful attempts up to this day, I never fucken ever count on the fact it’ll actually be possible to pull off. That’s why I have continuously firmly stated that if we don’t reach the monetary target needed to record the album in question all the donated money will go to my local cat shelter. So yeah, to have this thing work out for 6 albums in a row is not only surprising nor humbling, it’s also a testament to how fucken amazing it is to have such a small fan base being the sole reason for me being able to create and finalize everything I could ever wish for when it comes to music. But humble…? Fuck no, I’m King. And The King is not humble. By the way, I say that in the humblest way possible.

This one again was a digital release followed by a CD release, which at one point you said, CDs were dead or not an option. But here we are with another CD, what prompts the CD version- fans? 

A hundred percent; the “fans”. By the way, I fucken hate that term; “fans”. Let me put it like this; TPH has been a thing for well over 2 decades now and it’s not like we’re close to being a “big “band” by any stretch of the imagination, and STILL, this fucken thing is going… all thanx to a couple of hundred “fans” as mentioned. I see most of these guys as fucken friends. It’s always the same people making insane donations for the albums, buying the limited merch I do once or twice a year or so, asking for physical CD’s and whatnot. I can’t view them as “fans”…  I view them as absolutely amazing friends with spectacular taste in music, obviously.

And that some 100-150 people actually deem it worthy to have yet another CD manufactured by pre-ordering is just fantastic. Yeah, that is what we sell as far as physical discs go… some 150 CD’s. Now you know why I live in a fucken castle.

So… to answer your question and to make my point once again; CD as a format might not be completely dead yet, but the corpse is absolutely in its rotting stage. Then again, hasn’t it been for quite some time? Just wait until the goddamn Internet dies… then we all will go back to our Walkman’s and cassettes. Did I just say “cassettes”? Find it in your heart to forgive me, muthafucker. One day you will all understand. 

You’ve been on Vic Records, Stormvox records, Threeman Recordings, Massacre records. The last label you worked with was the respected label, Season of Mist for Bleeding the New Apocalypse (Cum Victriciis in Manibus Armis). What is it about labels that made you stop working with them and basically form your own label- Mouth of Belial, for TPH albums? 

Yeah, it’s been a few labels over the years even though it was quite some time ago that I decided enough was enough. What it comes down to is that, now more than ever, they are obsolete for what I wanna do coz they all wanted to interfere with what I had to say in interviews and/or how I should do TPH to sell more albums.

The “sell more albums” is not a ridiculous thought process considering the label in question is actually a  goddamn company trying to make their monthly nut, so that makes all kinds of sense. But there’s a real problem here; you can’t sign me to a contract and think I’ll change my ways of doing things. I can’t do that. This is too important to me. I don’t care about units sold, I care about my craft. And therefore I am obviously not interested in working with a record label, nor am I easy to work with for a label which is perfectly fine by me, obviously.

Of all the labels I’ve been on, and since you appreciate this shit, here are a few choice words about them:

Massacre; That’s like 2 fucken decades ago and I have no idea what they are up to these days, but they will always have a special place in my heart as they did our first 2 albums, and by doing so at least spread the word about TPH initially. They had a promo department that actually did some work as far as getting us interviews. That was impressive. A promo department doing promo stuff for once. I asked to be let go either way. They obliged. Go figure.

Threeman: I loved being on Threeman since I knew most of the people involved with the label and it was quite hassle-free. Not that much happened from their side to boost our… eh… career, but it was an ok relationship business-wise, meaning I never got to see any sales figures and I didn’t care. Still to this day I have no fucken clue as to how many albums we actually sold on Threeman. I’d guess some 50 or so. I’m not sure, but I think they actually did some re-issues of our albums some time back. That must mean we sell copies like crazy even to this day when I think about it. I’ll wait for the sales figures and plan for the future accordingly with that cash flow coming in!

StormVox: It was awesome to be on legendary actor Peter Stormare’s label. Becoz he’s Peter fucken Stormare, you know. And that was that. It’s a shame that some labels do not find it interesting to actually promote and sell the records they manufacture. My best memory from this era was when Stormare tried to change our sound to something more commercial, which obviously had the opposite effect on me. I will never understand how one can sign a band like TPH and expect to get something that is not TPH. But Stormare as a person was awesome. As a record label boss though, not so fucken much.

Season of Mist: This company sure was above and beyond all the others when it came to being professionals. I dig that. The best thing with the journey on SoM, though, was not getting to release an album on their label, it was when someone from their office called me to tell me I can’t say stuff like I said in an interview when I told the interviewer to go fuck himself. Why did I do that? Becoz it was deserved and the fucken idiot in question (the interviewer, not the label guy; he was cool) was obviously just trying to get free albums from labels. He didn’t even know what the band’s name was, he thought we were called MCMXCIX. I just can’t deal with idiots like that. At least fucken try to look like you give a shit about the band you’re interviewing. But I have zero bad things to say about SoM. They were good. We didn’t sell a single copy of the album probably and once again I just grew tired of this bullshit and asked them to let me out of the contract, which they did. And after that, I gave up on labels coz it’s clear as day no one knows what to do with us anyways. I do my part, is doing yours asking too fucken much?

Have labels approached you since the last few releases? 

Some have over the years, yeah. All labels that no one’s ever heard of, including me. The best part of this is when “labels” (let’s call them for what they are, a logo on a CD case that anyone can fucken print these days) contact me and give me amazing offers like “Hey, I press 200 coppyss of yir CD’s and yo get 5 coppyss for free”.

Get the fuck out of my face with that shit.

I will never sign a record deal again. Unless they give me a fuckton of money as a signing bonus. Then I’ll happily change music style too to something that would sell a ton of records. I’m only in this for the money, and fuck knows that 10-15 minute tracks of pure diabolical insanity spiced up with symphonics and electronics is a recipe for success in that department. 

Is Mouth of Belial just for TPH, do you see yourself releasing anything from another band or another Lord K project? 

It’s for TPH. Gotta have something on those goddamn digipaks pretending I have an actual label releasing the shit, you know. I have no label, I have a logo saying “Mouth of Belial Productions” and that’s that. Release something by anyone else on Mouth of Belial? Not a fucken chance. Leave me alone.

You’ve had the same lineup now since 2014s There Is No Earth I Will Leave Unscorched; You, Jorgen Sandstrom on vocals, Elinor Asp on vocals, and Dirk Verbeuren on drums – is that level of consistency something you strive for, or do you want new blood every so often with this project. 

I am extremely blessed to be able to have all these wonderful and amazing musicians at my disposal for TPH. The Haters make it possible for me to actually pay them for their efforts or I’d be screwed. I can’t expect people to help me realize my musical vision for free coz it sure as fuck is time-consuming for them.

To have this core group of people (Jörgen, Ellinor, Dirk, and Lasse) still by my side is mind-blowing. We are all past or approaching  50 years old so we’re not exactly spring chickens anymore, and who knows for how many years Dirk can play drums until his body says “fuck you”. Or J’s voice gives out and he rather spends time fishing? Or my wrists might wrap it up so playing guitar becomes unbearable? We all have our aches and pains and for sure we won’t be doing this when we’re 70. But I can state with every fiber in my body that I will play and create for as long as I humanly can. I live for this shit. It’s my destiny and mission in life.

It’s a great fucken cause; spending insane amounts of time writing and recording and still don’t know if anything will ever come out of it. Those goddamn TPH Donation Experiments sure are stressful even for me, and I’m probably the least stressful guy this side of the world.

If I can pick and choose I will have this line up for TPH until TPH is no more. These people simply are the best. Just the fact that Dirk Verbeuren plays with fucken Megadeth and STILL wants, and finds the time, to do TPH is ludicrous. That guy makes me wanna become a better human being. I don’t need any new blood in TPH and I don’t want it if I can prevent it. I work with my personal heroes, all legends in their own right.

As with prior albums, you have some guests on Spewing. Lars Johansson, Simon Johansson, and Johan Längquist How did you get involved with two Candlemass chaps and one from Memory Garden, very non-death metal types. How did that come about? 

I obviously like to spice things up with guest artists from time to time, and I want them to be musicians that I respect and admire.

Guitar hero Lasse Johansson of Candlemass originally did a guest thing a bunch of albums back, and that just blew my mind. I wasn’t actually the one asking him if I remember shit correctly. I believe I asked Jörgen, since he was rehearsing with Candlemass in Leif’s absence if he could ask Lasse to do a solo for TPH. Lasse is of my fave guitarists ever, you know… He gladly obliged and I even have the video of him doing that very first appearance on a TPH album in one take. It gives me fucken goosebumps seeing that shit.

And now he’s a very dear and valued friend and plays on all TPH albums after that first guest thing he did, on whatever album it was, many moons ago. I absolutely love Lasse. And to have shared the stage with him and the other guys of Candlemass for a few gigs (just like Jörgen did) with them is just… I don’t know. Surreal is the word.

Simon is another one of these wonderful cats that I run into every 5 years or so. He and legend Mike Wead (King Diamond, etc) are good buddies and Mike is another one of those people I have always admired when it comes to skill. And sure as shit, I had the privilege of having Mike involved in TPH way back. So I guess Simon thought it was about time he also was featured on a TPH record, haha… I can’t remember if he asked me or the other way around, but he’s a fucken insanely skilled guitarist, and having him on was a no-brainer. Simon is fantastic to boot. And his beard deserves to be on a TPH recording.

This is the second time I have had the honor of including Johan Längquist of Candlemass. He’s so fucken chill and I love his voice to pieces, so to have him doing some parts is simply amazing. I fucken grew up and partly evolved into what I am today with the soundtrack to that process being “Epicus Doomicus Metallicus”, you know… Johan is fantastic, and to see him back in Candlemass is phenomenal. I wish all of those gentlemen the absolute best.

How involved are the other members with the TPH songwriting process? I know this is your baby, do you write everything and have everyone do their part, or for example does Elinor have some input on her vocal parts?

Musically I, and I alone, do this. It wasn’t always like that though. I have had some amazing people writing with me back in the dizzay; namely Petter S. Freed and Anders Bertilsson (guitarists, both of them). That was fantastic for the time being, but now I need to do this by my lonesome

Believe it or not,  I do have limits though… I can’t sing for shit so do not for a second believe I can write anything that Ellinor comes up with. If we were to compare musicality, I am a fucken toddler next to Ellinor. She’s retardedly talented with a voice that is just… out of this world. She truly can do everything and anything and she absolutely brought TPH to a level I never thought was possible until she entered the picture. I couldn’t be more thankful that she’s here with me.

She writes all of her stuff and when she’s tracking demos for me to approve or disapprove of the material just takes another shape. I do mock-up vocals (that suck tremendously) for Jörgen so I know how his stuff will sound in the end structure-wise, but when it comes to Ellinor she’s got to roam free and bring her insanity into my music in the parts I need her for. None of my words do Ellinor justice. She’s a prodigy.

When it comes to Dirk I do pretty advanced drum programming for him so he can see what I have in mind, and then he goes fucken apeshit and starts blasting in parts I never figured could use blasts, haha… I love that shit. Goddamnit, what a fucken drummer he is. Sometimes I program stuff and let him know I’m not sure if it’s doable for a human drummer. It’s not, but for Dirk it’s possible. Legend. Absolute legend. And one of my 5 fave drummers of all time, which I naturally told him the first time I met him, which was way before he came into TPH. I’m spoiled having all these fantastic musicians helping me out. 

I assume you will be working with Dan Swano for any and all future TPH releases. He really nailed this one (like he has with all of them) 

If possible, yes. I always wanna work with Dan. Fuck man, he’s been with me in some way since day one when it comes to TPH. He did the first demo for this project, damnit! That was back in 1998 or so… Holy fuck.

Dan is great in all aspects and he really understands me, after all, this time. Mixing with him is so much joy. I think “Spewing” is the best he’s ever done for TPH, absolutely. I have to disagree with one thing though; he hasn’t always nailed TPH. “Cybersonic SuperChrist” from 2000 or whatever… Too much reverb on J’s vocals, haha… 2007’s “In Hora Mortis Nostrae” is sporting a very weak production to my ears. There’s no punch whatsoever. I liked it when we mixed it at the time, but now… not so much. The rest of the albums have been killer production-wise for the time when they were done, but everything from 2014 and onwards is his best work, with “Spewing” being the absolute winner. For now.

And let it be known, I sure as fuck wouldn’t be where I am if it wasn’t for Dan. He was the one who got us the first deal with Massacre Records. He (together with Johan Berglund) is also responsible for me having at least some knowledge about recording in my home studio as well as having it possible to sound decent. Both those guys have helped me so, so much over the years with anything and everything when I am fucked. I don’t wanna know all these technical details and how to EQ shit or whatever, I want shit to work and I want to create. Dan and Johan have made sure I can do just that. I love those guys to death and I’m forever thankful for their presence in my life.

 I noticed a slightly less programmed/electronic/techno element on Spewing. There seems to be more of a grandiose/orchestral element- where is that coming from? 

I beg to differ. There are probably more of those electronic ingredients on “Spewing” than on any previous recording. I think the thing is; it’s just more stuff happening in the background instead of upfront in the sound picture. That could probably fool you into thinking it’s less stuff becoz it’s not as obvious, but trust me when I say that if those things were removed you’d notice that something is missing big time.

But of course, there’s a semi-massive wall of symphonic stuff in there. The thing is that over the years the development of marvelously sounding orchestra libraries has reached new heights, both in sounds and in the cost of purchasing them, haha…  And it’s a fuckload more fun to work with great stuff and have it really show within the music.

Since day one, the orchestral aspect of TPH has always been strong, but it has also been something used to back up the music, not to take center stage. It’s an ingredient, just like the electronics. Most bands have a tendency to completely fuck up their sound, thanx to having the orchestral shit be the main point.

Retarded.

It should always be about The Riff. And fuck knows I am the King of that shit. Oh well, Gary Holt might be up there with me when I think about it, but nah… I am undisputed when it comes to this, and you know it. I am also extremely humble about it. Bow down to your King!

Also, there seems to be some increased melody, like with actual, dare I say, catchy choruses? Are you getting soft in your old age????? 

Oh yeah, over the years since Ellinor jumped on board there’s definitely been a massive increase of catchy shit brought into TPH. It wasn’t possible before her when there were other girls/women doing their thing. Go figure. It has to do with limitations, let’s just put it like that and be done with it.

Melodies have always been a focal point in TPH, coz seriously; music without melodies can suck it. What’s the point? The problem is that most bands can’t do melodies and combine it with brutality and chaos without sounding like idiots. I can. I’m like the fucken King of that shit. Just check out the 14^t goddamn albums in our discography. You know I’m right.

And while you applaud me for my excellence I have to address that “soft” part of your question. Everyone knows that TPH is one hundred percent NO HARDNESS, so you’re stating the obvious, captain.

I never had any intention of coming across as the ‘trooest’ and ‘grvmmest’ of the bunch.  I know all fucken well what I am and what I do, so I am very, very content with just being absolutely superior. And not to forget; humble. Being humble is key.

As with all your recent albums, the songs are all long, with all the new ones being 12-13 minutes. Do you go into each album, saying here we will have x number of songs and they will all be so many minutes long, or does it happen more organically? Do you have extra stuff at the end of the writing process? How much is on the cutting room floor so to speak? 

Nowadays I am firmly rooted in this idea of having 6 songs per album, naturally numbered tracks 111, 222, 333, and so on, all the way up to…. Yeah, you guessed it; the number of the beast. It just makes perfect sense considering what TPH is.

In comparison to the great Edge of Sanity’s “Crimson” my songs aren’t that long, but compared to the standard formula I suppose they are. Naturally, TPH is something different entirely, I don’t really view my material as regular songs anymore but more like musical journeys

If you’re not giving the music the attention it deserves, the very same insane attention I put into creating it, you’re missing the whole point. And that is your loss. You must do better. You deserve to understand the whole formula. Or maybe you don’t, some people are just beyond help.

When I compose for TPH I know where I wanna go and I always write for the cause of creating one album. Nothing extra will be written. Nothing will end up on the cutting room floor. It’s all written with beautiful and malicious intent and nothing is saved for later. One cause. One album. 5 million godlike riffs later and boom, there you go! I just gave you yet another 75+ minutes of the best music man ever composed.

This is quite funny, by the way… From time to time I get emails from people who wanna “help out” with TPH, telling me I should do this and this and that and that… I should do shorter songs, I should bring back some vocalist from decades ago, I should incorporate specific instruments and bla bla bla… the list goes on.

Hold on here for a second; we have a problem.

If I wanted to do any of the things you are bringing up, you don’t think I would have done so by now, without your input? None, absolutely none, of your brilliant ideas will do anything for TPH when it comes to the music I create.

The fact that I take pride in communicating with the “fans” and being accessible to them to some extent doesn’t give you permission to tell me how I should compose my fucken stuff just becoz you have access to the Internet. It is absolutely mind-boggling that a selected few think this is within their right like I am here to cater to their personal ideas.

Get the fuck out of here.

Here’s an idea for you; start your own band, bring in all your amazing ideas and go on conquering the world. Oh, you’re not even a musician? Well, you better get to work then coz your opinions about how I should write my own music are absolutely worthless to me. Next time you feel like telling me how I should do my stuff, just… don’t.

Do you know when I will do something with TPH that maybe you’re not hearing right now? WHEN I, AND I ALONE, FEEL LIKE IT. YOUR INPUT WILL NEVER BE A PART OF THAT DECISION

I put that in caps to make a point.

TPH isn’t made to fulfill your exquisite musical taste, it’s created to fulfill mine, and mine alone. The fact that a bunch of people appreciate it so much and help me to actually fund the recordings is just a completely fantastic bonus.

I just might have gone off a tangent here. And it felt wonderful. 

Ever going back to 5-6 minutes songs like the debut? 

It’s not even remotely present in my interest sphere. I don’t compose radio hits. 

Cover songs are all the rage right now, any chance of TPH covering someone? What song or band would you like to cover and release? 

For an actual album, absolutely not. My albums as a whole are too important to me. I can’t have a cover song in there fucking with the formula. Would I do a cover with TPH just as a one-off Internet thing? Very doubtful. I rather spend time writing real music. But you never know… It’s clear as day that I would do something special with a cover tune though, but it’s really not that interesting to me. Covers are useless, really. Maybe I should do one based on that fact alone…

But here’s a secret for ya; I always wanted to cover a specific tune by Alanis Morrisette. And of course, I’m not gonna tell you which one. It’s probably not happening though. Unless Alanis herself joins me for it.

At one point you were in a few other projects like Domedagon, Torture Division, Kadaverkult, and such- what else are you up to these days other than TPH? 

Yeah, it’s been a bunch of musical things over the years. All of them are awesome in their own ways. Today I just do TPH and some small things here and there that are not of anyone’s interest but mine. There’s a ton of completed Domedagen material laying around, but we seriously do not care much about completing it. Will it ever see the light of day? I have no idea and I don’t give much of a shit, to be honest. It’s some amazing stuff though, let that be known.

But as it’s always been for me since more than 2 decades back; TPH is my core, my drive, and my mission. Any other musical outlets that I am involved in are just a bonus. For all of you.

What is your opinion on things like Spotify and band camp- I know you have your music on Spotify- are they a necessary evil? 

I wouldn’t piss on Spotify if it was on fire, but you have to have your stuff on there since that’s what people use these days.  I sincerely hope that fucken service implodes and gets replaced by something equally as shitty, coz that’s exactly what’s going to happen if Spotify disappears. Fuck you, Spotify.

Bandcamp is better by a small margin, simply becoz they actually seem to pay the bands on their platform in a more reasonable manner, which is not close to as reasonable as it should be. But then again, when in the actual fuck was the music business reasonable? When record companies were a thing they didn’t pay their artists. Now it’s streaming platforms not paying the artists. That’s the evolution right there. And it’s not going to change any time soon. Then again, who the fuck am I to complain about actual pay when I get to create my albums completely independently and at least make more money on one digipak release than I have during any period on a record label?

And now you should understand that I haven’t made one single dollar on record sales while being on a record company, ever. So making more on one digipak release is not saying much at all. Then again, I obviously am not in this with the preposterous idea that I would ever be making a living off of it. I work a regular 9-5 job like most non-rockstars. That’s where I make my money to pay the bills.

But as a band, any band, on a digital streaming service, the pay should be fucken fair. Until that happens, which is never, fuck all of you streaming services. You’re cunts. 

We are coming out of a weird time in the world with Pandemics, War, and psychotic ex Presidents (which I hoped ‘Day of the Asinine’ from Spewing was referring to). You have been pretty vocal in the past with your thoughts on things. What’s your take on the state of affairs in the world today, and does it reflect on your music at all? 

“Day of the Asinine” could very well mean that. If it does to you, then it’s correct. To you. But it’s representing something bigger to me. I’ll leave it at that.

And of course, I’ve been vocal on things in the past as well as present, that’s just how I am and many bridges have been burnt that way, I guess, which means absolutely nothing to me. If I am asked about something I expect that the one asking would appreciate an honest reply. You’ll get that from me, for better or for worse.

Yeah, these last 3+ years have been interesting. We survived the pandemic, huh? Next game: World War 3. It’s fantastic. We are fucked. Seriously. Everything is getting shittier day by day and it’s been trending towards this for quite some time now, making it very obvious we are heading towards absolute disaster.

I seriously believe we are all fucked within a not-too-distant future.

It was surprising that the world survived Trump’s first 4 years as President. But he’ll probably get another shot at fucking shit up and meanwhile, there’s a zombie in the White House. We’ll hopefully survive that too.

My country, Sweden, just applied for NATO together with Finland. It’s not like we had any choice since Russia’s Putin has finally gone haywire. Hopefully, we’re still around as a country, and as a world, when this interview gets posted or I just spent hours in vain typing all this shit down.

Does any of this bullshit reflect on my music? No. I’m the same lovable, humble fella no matter the state of world affairs. Simply put; fuck everything.

As a respected scene veteran, what’s your view of the current state of metal? Are there any upcoming bands or musicians you are impressed with or keeping an eye on?  

I’m a respected scene veteran? That’s fantastic. What an achievement, really. Though it only means I’m old now. You can’t be respected when you’re 20. But at 48 and with my track record… I deserve it. Hail me!

In the past, I always wondered how musicians older than me could say in interviews that they don’t really know any new bands worthy of attention. There are literally thousands and thousands of bands starting up every fucken day, you know.

But now, at 48 years old, I understand them completely.

Nothing, absolutely nothing, grabs my attention today when it comes to new metal. The last band that really struck a nerve with me is Heart of a Coward. That was back in 2015. They are the kind of band I really shouldn’t like but I can’t help myself. Before that, it was Necrophagist with “Epitaph”, which was back in… 2005. I remember hearing this album for the first time as me and Dan Swanö were mixing “Armageddon March Eternal”.

So the next time I will hear a new metal band that impresses me will probably be in some 10 years or so. When it comes down to it, I get my metal fix pleased by creating TPH, simply becoz no one else can do this.

Nowadays when I hear something that speaks to me it’s stuff very far away from the metal realm, like Indila. Now that’s a voice right there… I always had a soft spot for female singer/songwriters, you know. 

I assume you are already gearing up for the next fan-funded project or are you taking some downtime and relax for a bit?- Though you don’t seem the relaxing type…. 

I don’t even wanna think about the next Donation Experiment right now. If it happens it happens. We released “Spewing” in November last year, can I please have a muthafucken break from music?

Right.

I don’t take breaks from this shit. I always create becoz I fucken AM this. This is what I do. I just have to. But does that mean I am already working on our 15^th album? Maybe I am, maybe I’m not. Perhaps I’m writing that elusive techno album I always wanted to compose? But be sure, I’m not sitting around being a Do Nothing Bitch. It’s not in my DNA. The world would be such a lesser place if The King wasn’t creating. I say that in the most humble of ways. 

Any final message for the haters? 

Sure.

As always, and I’ve said this a million fucken times, I wanna give them my sincerest thanx for the insane support they show me when it comes to the funding of the albums. This couldn’t be done without them, at least not at this level. If their monetary support wasn’t there with every TPH Donation Experiment I would be sitting here with decent-sounding home recordings including my fantastically shitty mock-up vocals and nothing else. That would be such a waste for everyone, so from the bottom of my humble heart; THANK YOU ALL SO FUCKEN MUCH! You people are the sole reason that TPH exists in the way it does, you all make it possible for me to run it like this. You are all TPH.

But that doesn’t mean you should ever absolutely fucken ever contact me with your brilliant ideas on how I should do TPH.

Also a kick in the nuts to you, Erik, for this interview. It was fun to do and you’ve supported my work for quite some time. It’s very appreciated.

If anyone is interested in purchasing our music, good luck with finding the CD’s. I do have a few copies left of our 2015 album “Of chaos and carnal pleasures” as well as a few of our latest masterpiece; “Spewing venom into the eyes of deities”. Just contact me through theprojecthate@gmail.com and we’ll sort it out so you can have your life fulfilled.

If you’re into the digital format, head over to www.theprojecthate.net and read up on how to go about ordering coz I can’t be arsed to type any longer.

Last off; listen to Bolt Thrower and Candlemass. Always.

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