Swedish fuzz merchants Mamont know what they like. Their debut Ozium Records full-length, Passing through the Mastery Door (review here) is a collection of thickened stonerly grooves and heavy rocking jams, casting off the retro feel of the EP they recorded last year (review here) to take on a more modern style. It’s a time-tested formula, but the band use it to their advantage throughout the album’s eight tracks, chopping up familiar elements to recombine them into the massive stomp of “Mammuten” or the classic psychedelic quirk of “Stonehill Universe.”
The “new” recording aesthetic suits them well. The guitars of Karl Adolfsson and Jonathan Wårdsäter lead throughout with heavily Muff’ed distortion, bassist Victor Wårdsäter and drummer Jimmy Karlsson holding together the fuzzy expanses the music seems to be describing. They’re not quite through the mastery door yet in terms of settling the issue of their approach for once and all and thus halting creative growth — though the album is remarkably cohesive — but if the second-half jam of “The Secret of the Owl” is anything to go by, they’re enjoying the process of getting there up to this point.
With birdsong scattered throughout Passing through the Mastery Door, in the intro to the album at the beginning of “Mammuten” or before the penultimate interlude “Woods” takes hold with its sweet-sounding, acoustic-based serenity, Mamont offer a natural feel and never veer from that course throughout the record’s 42 minutes. Because this laid back vibe is pervasive, it’s easy to see them as aligned somewhat to the jammed-out sphere of modern European heavy psych, but Mamont are more straightforward in their songwriting and more traditionally stoner in their scope to really make that the case. In concept and execution, they stand out.
And in part, it was because of that that I hit up Karlsson with Six Dumb Questions, which he was kind enough to field with the answers below:
1. Tell me about the writing process for Passing through the Mastery Door. Was there something specific you wanted to do differently after the EP? It seems like the album came together pretty quickly. When were the songs written?
The plan was to first do a new EP with some songs that we had written last year. We liked the retro feeling on the old one, but we had started to experiment more with fuzz and wanted the next recording to have a more tone of stoner.
Then Ozium Records contacted us and wanted to sign the band. We said “fuck yeah” and started directly to discuss a full album. We didn’t have so much time to rehearse because I am studying in Stockholm (one hour from our hometown Nyköping), and we also had a lot of shows in the weekends.
Everyone seems to think that our old EP was released this year, but we recorded it 2011. It just got known to people outside Sweden earlier this year.
I came to live in Nyköping again in June and we had less than two weeks to prepare the album before we hit the studio. Three of the songs (“Creatures,” “Stonehill Universe” and “The Secret of the Owl”) were older ones that we have played a lot. The rest of the album was in fact done under these two weeks.
We then had one very intense week in Deep Blue Studios in Nyköping, the same studio where the EP was recorded. The song “Woods” is actually just the result of a jam in the studio. We wanted the album to land for a while, to then give you a punch in the face with “Satans Fasoner” (directly translated to Satan’s manners and means damn manners).
It was a bit of surreal feeling when the Swedish Armed Force had exercises in the area around the studio that week. Armed soldiers and tanks everywhere, and it was a hell of a job to record the beautiful birdsong we have on the album, because of the fucking helicopters.
2. One of the most striking differences between the EP and the full-length to me is the tone and how much thicker the album sounds. Was this done on purpose? What do you feel like a thicker tone gives to the band?
Yes, it was really on purpose. The three songs on the EP don’t have the heavy weight we want. And they’re much more stoner and heavy live. When we started the band the idea was to raise a creature that would become a big fucking runaway mammoth. The tone of the new album was set seconds after the song “Mammuten” (the mammoth) was written.
But we also really wanted to have the retro feeling and some psychedelic elements left. I think we have a good balance between the 70’s retro rock and the 90’s heavy stoner. A mix of everything we love.
3. I know the line is taken from the track “Stonehill Universe,” but what was behind choosing Passing through the Mastery Door for the album’s title? Was there something particular about that line or that song that stuck out in your minds?
That’s right. When we sat in the rehearse room Karl suddenly wrote the line on the over scribbled whiteboard. We looked at it and loved it. The album is a story and a journey, when you listen to it you choose to pass through the door. What then happens no one can know for sure. “Stonehill Universe” is the oldest song on the album and its lyrics and message reflect the entire album, the mastery door.
4. Sweden has a long history of so many great bands. Are there any Swedish artists who inspire what you do in Mamont? What is the heavy rock culture or scene like in Stockholm for a band like Mamont, releasing your first album? How has the response been to the band live?
A hell of a lot good Swedish bands inspire Mamont. Sometimes we feel very lucky to live in this small country that’s overfilled with really great bands. They’re everywhere and it’s awesome to get the privilege to play and get to know them.
Our influences come from both Swedish ‘70s prog rock and more modern stoner rock. Mamont is like a mix of the legendary band November and today’s Truckfighters. It’s a good description I think, if you want it on paper.
The heavy rock scene is really boiling right know in Sweden. In just a couple of years the stoner scene has grown as hell and a lot of underground bands have started to build up a wonderful family feeling with each other. The first album couldn’t come out in a better time. There’s a large wave of sand washing over right know and we’re on it. And yes, it’s sand. We played in a huge sandpit this summer. Krökbacken Festival was arranged by some dudes from Mushroom Caravan Overdrive. That place had a magical feeling and so much great underground bands. It really showed the face and future of the great Swedish heavy rock scene.
We have played the songs on the album live this summer and fall and the response has been fantastic. We’re from the small town Nyköping but we hope that we have built up a good reputation in Stockholm. The release party showed proof on that when it was packed full with a long queue outside the entire night.
5. There are a few shows coming up this month and in November/December, but will Mamont tour outside of Sweden to support the album? Are there any other gigs in the works maybe for 2013?
We have played really much recently and are now working on getting more gigs. Unfortunately we don’t have any shows planned for 2013, yet. We want to play as much as possible but right now we only can support the album live in Scandinavia.
But a discussion about touring Europe is going on right now. That’s our goal and we hope it will be true next summer or fall.
6. Any other plans or closing words you want to mention?
For the people that hate the CD format, we have some good news coming up.
Tags: Mamont, Nyköping, Ozium Records, Stockholm, Sweden