This is a band that I have heard before I interview them. And since I liked what I heard there was no hesitation in doing this interview with LORD OF THE LOST Anders Ekdahl ©2018

A band name sets the tone for the band. With the right name you don’t really need any sort of declaration of intent. Was it hard to come up with a name? What does the name mean to you?
π: When this band was founded by Chris as a project in 2007, it was originally called “Lord” due to to the fact that Chris was referred to as “the little lord” when he was a child. To avoid any legal issues concerning the band name, e. g. with the band “Lordi” for example. We ultimately called ourselves “Lord Of The Lost”.
To me the name stands for a lot of positive experiences in my life, the best thing in the world, which is music and my best friends.

Who would say are the founding stones of the kind of sound you have? Who are your house Gods and how have they coloured your music?
π: It is very hard to pinpoint any “house gods” that are responsible for what we do. The musical origins certainly are found in bands like Rammstein, Nine Inch Nails, Marylin Manson, etc, but that changed over the years. We draw inspiration from a lot of things, where music is only one part. Historical events/periods, movies, books, people or even just talks and discussion that we have are also a big inspiration.

When you play slow do you have to think differently arranging the music than if you play faster and vice versa?
π: “Slow”, as in “The Lord Of The Lost Ensemble”? In that case, things couldn’t be more different, arrangementwise. It starts with the instrumentation for each part of the song and ends with fitting all that into a cohesive counterpart to the “fast”, or I should rather say “original” song.

Playing live is a totally different beast to studio work. How does your music work in a live environment?
π: Our music in a live environment uses the album versions, recorded in the studio, as a base, that we can build upon. It is a promise to the people that show up and to ourselves, that we will bring our very best to the stage every night, giving you the quality of the studio versions, while adding our joy for playing music, fierceness and raw energy on top of that.

How important is having a label to back you up today when you can just release your music on any sort of platform online? Are there any negative consequences to music being too readily available to fans?
π: Well, of course you could do anything yourself these days, but I highly doubt that each and everyone of us is an expert in promotion, distribution, marketing and everything else that a label can do for you in a much more efficient way, than you are able to do on your own. So on that note, I think a label is very important.
The negative consequences of that “easy-access-world” that we live in is, that music more and more becomes a short term consumable item, just like cigarettes, toilet paper or whatever fits into that category. It is being taken for granted too much and is considered a short term experience, hence the existence of compilation- and playlist-listeners. Don’t get me wrong, I also listen to premade playlists, but it shouldn’t be forgotten, that one song on that playlist is possibly backed up by a whole album, that isn’t just short term, but at least 45 minutes long and into which a whole lot of work, maybe over a year in time, went into.

I get the feeling that fans that are true to a band, is a lost thing with the easy access to music these days. Do you feel that this is a bad thing or are there any positive aspects of it at all?
π: I don’t think that this is necessarily the case. When I look at our fans, there is a solid fanbase that is very true to us, despite having easy access to basically anything musicwise.
A positive aspect of that easy availability of music is, that you are able to get to know a lot of artists much quicker than you used to. At this point you have to make sure to pay even just a small amount of attention to that artist, rather than considering his music as a, like I said, short term consumable item.

What to you is a great front cover? What should a cover have to make it great?
π: Basically anything that is able to stand out from the majority. Artwork plays a huge role in my opinion. Maybe don’t even put your band name on the front, but let the artwork speak for itself and let it draw the attention of the possible customer to the CD. It should also have to with the music or the atmosphere of that album, maybe in terms of colours or characters, that are shown.

Do you feel that you are part of a national scene? What is the climate for metal in your country?
π: We are part of the realms of Metal/Goth/Industrial/(Dark)Rock, there is no doubt about it.
Metal in Germany plays a big part in the music scene in general I think. I mean, we have the “Wacken”-Festival, the “M’era Luna”-Festival and many, many more that just show that there is a big crowd for Metal and all of it’s subgenres.

I use Spotify and Deezer but only as compliment to buying CDS (it’s easier to just have your phone or pad when you’re out) but I fear that soon music as we know it will be dead and buried. What are your worries as a band?
π: There no real worries that we have, rather challenges. The music industry is not dead, I think, it is rather everchanging. So I would call those worries “challenges of adaption”.

What lies in the future?
π: Quite an expansive tour for our album “Thornstar” starting in October in Germany, ending in April in Malta. It is spanning 13 countries already, including Russia, the Baltics, Finland, Ukraine, UK, Italy, France and Spain.

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