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Ahead of their tour of Ireland later this month, Mike McGrath-Bryan sits down with God Mother drummer Michael Dahlström to reflect on a year of milestones for the metal quintet.
Swedish five-piece God Mother are a veritable onslaught of sound and fury, not only in the immediate sonic sense, but in the array of musical reference points that come the listener’s way over the course of new album Vilseledd, out now via Party Smasher Inc. Math, grind, and hardcore inflections all make themselves blisteringly apparent amid a satisfyingly substantial mix.
Drummer Michael Dahlström gives us some insight into the band’s creative and recording processes for this LP. “Writing songs for Vilseledd was a fairly simple process. We all had the same idea of where we were going with the album, and we wrote almost all of the songs together in the rehearsal room, which made things pretty easy arrangement-wise. We did all the recording of the album ourselves with some help of our friends: Staffan Birkedal, who helped record the drums, and Ove Noring who helped with the bass recording at Studio Ovett. Magnus Lindberg from Cult Of Luna later did the mixing and mastering.”
How did the process differ, if at all, this time around, compared to self-released recordings? “Even though we recorded it ourselves, we rented a really nice studio called Soundtrade Studios in Stockholm to record it in. That really made a huge difference to the drum sound. The drums sound huge, and great without any samples or digital reverb thanks to that really big-sounding live room. All the previous releases have been mixed by me as well, but this time we decided to have Magnus mix it, both because he is a great producer, and also to relieve ourselves from some stress.”
Vilseledd has been in the can for a few months now, and the band are fully satisfied with the result, having taken the time to live with the record over the past while. “We are really happy with how it turned out. We really gave it all we had, and think it came out pretty solid. This is probably the first time I am really 100% happy with something I’ve done creatively. We had a plan for everything from the cover art, to the songwriting, to the sequencing and production.”
The album was released via Party Smasher, Inc., the label run by the now-former members of mathcore pioneers The Dillinger Escape Plan. Dahlström outlines how the opportunity to work with heavy music’s foremost innovators of the last two decades came to them. “Party Smasher actually first came into the picture after the whole album was already recorded and mastered. We didn’t have a record label when we started recording it, so after we finished, we emailed some labels that we liked and would like to work with. PSI was one of the first that replied. They said they really liked the album, but did not have time to release it just then. They were supposed to play in Stockholm a couple of weeks later, and we saw that they did not have a support band booked for the show, so we asked if we could play. To our surprise we got both the Stockholm and Gothenburg show. After the second show, Ben Weinman came to us backstage, said he was really impressed with our live show and that they wanted to sign us to Party Smasher. We were of course a bit surprised, but very happy and our collaboration has led to many amazing things: getting to do a full European tour with The Dillinger Escape Plan, as well as playing on their final show at Terminal 5 in New York together with Mike Patton.
With TDEP disbanding after twenty years, and doing so accompanied onstage by a living legend of leftfield music in Mike Patton, he of Faith No More and many others, the bar had to have been sky-high for the young band heading into the latter experience. “It was a bit unreal, and totally amazing. I was very jet-lagged due to the fact that we just landed the day before from Sweden, and tried to fix that by drinking a great deal of caffeine, which just increased my heartbeat so the whole thing kind of felt like a weird dream, albeit a very sweet one. Getting the opportunity to play our first New York show together with Dillinger and Mike Patton at Terminal 5 in front of 3000 people was pretty great.”
There’s been a lot of positive critical reception for the album since, specifically from specialist press such as MetalInjection and the like – is it hard to shut out those external voices when it comes to the creative or the day-to-day of the band? “Not really, I mean of course you read some of the reviews and it’s nice that people like the album, but in the end you’re making music for yourself and for the band, not for anyone else. But with that said, it also feels great to have your music being heard and appreciated by people, and all those metal blogs of course help with the PR, and making more folks aware of our existence.”
The band is on tour in Ireland this month, and Dahlström collects his thoughts heading into a fairly full-on clutch of dates, with five gigs on the agenda in little over a week. “We are super excited to play in Ireland! I personally have never been to Ireland before, but always hear good things about it, and we love to explore and play at new places. Also, getting to to it with Ilenkus and some other great Irish bands make it even more fun.” The tour serves as a warm-up for what looks to be a banner year for the band. “We are still planning a lot of the year but already have a couple of shows confirmed, we will play at Complexity Fest in Amsterdam in February, and Obscene Extreme Festival in July. We have a lot of other tours planned, but more about that soon, stay tuned to our social media for updates.”
God Mother tour Ireland alongside Ilenkus and local supports this month at the following venues:
16th – Dublin – Whelan’s
17th – Belfast – Voodoo
18th – Cork – UCC Bar
19th – Limerick – Dolan’s
20th – Galway – Roisin Dubh