Hello Ragnfalt, great to have the chance talking to you. Congratulations with your new album
‘Wielandstahl’ and thank you for mentioning our CD review at your social media. How are you doing?
Hello Vera! Thank you for the chance to answer to your exciting questions. I feel very good. We are enjoying now the release of our new album ‘Wielandstahl’. Even if everything is currently a little different than usual (fewer concerts, etc.), we are making the best of these times. These times have great potential for creative processes. So … we are in good spirits.

Why did you choose the Wieland saga as main theme of the album? What was it that attracted you in it and can you tell a bit more about this Germanic saga?
At the beginning I have to say: The Wielandsage contains very good material for a metal album. Topics like blood revenge, struggle, sinister beings, cursing, hate but also love and confidence are dealt within this old Germanic saga. However, the Wielands saga is rather an atypical representative of the Germanic saga spectrum. The “hero” is not a “hero” in the classic sense. Wieland stands for itself. Nor does he stand up for others or third parties. He is a sinister blacksmith who leaves us with a clear message: “Don’t let inner and outer chains hold you back. Do what you can as best and for as long as possible.” I could tell you a lot about the history, origins and structure of the parts of the saga, but I think the message is the most important. You can read everything else.

When did you focus on the writing process of this album and how did it develop into proper songs? Do you write alone in the first place or not? What were the first songs that came into being for this record?
The first ideas for ‘Wielandstahl’ arose directly after the recordings of ‘Seelenheim’, five years ago. I’ve been dealing with the Wielands saga for much longer. That’s why this time all the lyrics came from me. That we try to implement the Wielands legend, the decision was made five years ago. The first song we composed was ‘Nur Ein Vogel’. Funny that this song is the last song on the album. However, composing was preceded by a lot of work with our inner feelings about this topic. We had to get in the mood. For us, this is absolutely important for creative work. The compositions then mostly come from Heidenherz, Alraun and me. And so in the course of time one song after the other came about. We work completely without pressure. That’s why it sometimes takes a little longer to make a new album.

Indeed, Surturs Lohe seems to be a band that takes the time, no rush, quality over quantity, because we can welcome a new album every five years. Is that done on purpose?
As already mentioned: We take the time we need. In the end, it’s the result that is important for us. Nothing is worse than when there is a lot of dissatisfaction with the songs of your own. The good thing is that our record company (Einheit Produktionen) doesn’t put any pressure on us. So we can devote ourselves to our compositions quite extensively. That is definitely very unprofessional, but we insist on offering our fans something that we fully support. And we are very happy with ‘Wielandstahl’! It only became clear to us with ‘Wielandstahl’ that we are now in a five-year cycle. Sorry 😉

The album brims with lengthy mighty pagan hymns with sturdiness and epic grandness, but one song stands alone as rather classical music tinged: ‘Die Schwanenballade’. What can you tell about this serene song? How does it relate to the rest?
‘Die Schwanenballade’ is a classically orchestrated song. It is intended as a counterpart to ‘Von Albischer Hand’. These two ballads keep the rather wild album in ballance. In addition, there is still a good arc of tension over the album. Alraun originally composed this song on piano. This ballad shows an important side of Surturs Lohe, which is rooted in classical music (old music or renaissance music). Later we filled the song with a classical orchestra and powerfull choirs. This ballad is about the magic of love (but not in the traditional sense).

Concerning the lyrics, did you dive into a lot of research work to find out more about this saga of the blacksmith?
As already said, I have been dealing with the mythical variants of the Wieland saga for many years. The fact that we then decided to implement the Wielandsage conceptually, was a very deliberate step. Too often, sagas and myths were interpreted but also kitsched up. We definitely didn’t want that. We wanted to create a lyrical concept that honors this old legend. There are two variants of legends and some secretions. On the one hand there is the Thidrekssaga, on the other hand the Völundarkviða, the Völundlied of the Edda. Our interpretation sticks to the Thidreksaga.

You have been working together with the same guy for a long time to record the albums, but this time you engaged the marvelous Markus Stock to make your dream come true. Please tell us how you got in contact and decided to work together and tell us about this experience at Studio E…
You are not wrong. Although the Klangschmiede Studio E is only a 20-minute drive away, we were with Markus for the first time with the Wielandstahl production. Of course, we weren’t interested in the short distance, although it’s practical. We know and appreciate many productions that Markus had made up to now and we could very well imagine a similar warm and earthy soundscape for ‘Wielandstahl’. So we started an exchange with Markus, explained what is important to us and then it got down to business in a very structured way. We recorded the whole album with him within three weeks. In conclusion, we have to say that the time with Markus was a really great experience. Enrico Neidhardt has been with us as a producer since the end of the nineties. We learned a lot from him and we owe him a lot. Enrico delivered really first-class productions and we had great hours with him too.

Both producers obviously have different approaches. Markus integrates the band well for mixing and mastering, but then wants his space in which he can develop creatively and without external influences. The result stands for itself. Hear for yourself! I especially like the vinyl master.