Even though Denmark is just a 20 minutes ferry ride away it feels as if I’ve been away from the national metal scene for way too long. CELESTIAL SON is one way back in. ©2016 Anders Ekdahl

You have one of these names that does not really tell what kind of metal you play. How hard was it to come up with the name?
– We’ve been known under the name Drone for more than 12 years and in the spring we decided to change it to Celestial Son. There were just to much talk about drones in our society and we felt that we were drowning a bit in the masses. The new name was quite hard to figure out both because of the toughness in changing a name that you’ve identified with for more than a decade and secondly I didn’t want us to end up in a similar situation in the future. So it took some time but then suddenly it came to me and it was so obvious that this was the name – that was a pretty nice feeling.

Could you give us a short introduction to the band?
– First of, I wouldn’t label us as a metal band in any ordinary sense. We’ve got passages with some of the trademarks for sure, but I think in this short introduction I will call it rock with some progressive and industrial traits merged with a grungy squint of the nineties.

What would you say have been the single greatest influence on your sound?
– Uf, jeez! That’s a tough one. Hmmm – I listen to a lot of music from all sorts of genres, so I think to narrow the big influences down to a single name would be quite impossible. I’ll rather mention a few in no specific order who’ve had a great impact: Nine Ince Nails, Porcupine Tree, Nirvana, King Crimson, Genesis (Peter Gabriel era), Tool and Alice in Chains.

What is the metal scene like in your area? Do you feel that you are a part of a scene?
– I would definitely say that we’re part of a growing hard rock scene in Denmark and especially in Copenhagen. There are numerous talented bands releasing and touring right now and that’s exciting. I think that history will tell us that trends return in circles and I think there’s a tendency both in music and fashion leaning towards the rock of the nineties and especially the type that primarily came out of Seattle. There might be all sorts of reasons for this but it’s definitely also through the work of labels like ours, Mighty Music, who’ve given some exciting new Danish rock bands a chance to be released.

Something I have often wondered about is if you feel that you are part of something bigger and greater when you play in a band, that you are part of a movement sort of?
– Yeah, sure! You work hard and you spent your days scheming with your comrades on how you’re gonna show the world the potential of the band and the quality of your music. That’s a movement alright. For me as the band leader there is a sharp defined line between the egoistic choices and the objectively right ones; because the band always comes first.

When you play the sort of metal you play I guess you cannot have birds and bees on the cover of your album? What is a great album cover to you?
– Hm, I guess it would be kind of weird…. Well, I think the cover and the artwork in generel is equally as important as the music itself. I love to see an album where the artwork works an extension of the music – for example the works of the great Lasse Hoile on almost all Steven Wilson’s records or Storm Thorgerson’s on Pink Floyd’s albums. I was so extremely lucky to be working with Lasse Hoile on the artwork for our new album and it was such a tremendous delight and I’m super proud of the result.

What is your opinion on digital verses physical? Is digital killing music?
– I hope the two can find a place to settle, ‘cos the digital shouldn’t completely replace the physical. I like the practicality of the the digital releases and I use it a lot when I’m out and about, but it would be such a shame to lose the feeling of having a freshly opened vinyl or cd in your hands. You can call me old fashioned but I think the hard work gone into making an album get’s a little less easy to discard and a little more important when it’s not only a file on a computer.

What kind live scene is there for bands like yours?
– We’ve played many different concerts on all sorts of venues and the place we’ve found ourselves in now is that we wanna focus on fewer concerts and make them even better and bigger on the production side. Like mentioned earlier I definitely feel the rock scene is growing here and thereby also the live scene.

When you play live is it a happening or do you see it more as a party?
– A bit of both maybe, but when we play concerts we strive to make the whole production an extension of the music. We use loads of lights and different installations to give the concert visual punch and at the same time we try to give people a true and raw experience that will linger in them. I’ve had plenty of people from the audience coming up after the show saying: ‘Normally I’m not into this music, but this I really liked….”.

What would you like to see the future bring?
– Well, we’re working on array of different things and goals for the band and we’re constantly trying to expand the franchise. We’ve just released our second album Saturn’s Return and I know it has potential to reach a broad audience around the world. I’ve put all my life in a period of more than 5 years into the making of the album, so like a child you’ve nurtured you would do anything for ‘it’ to bloom.

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