I think being able to play like that gives the music an organic vibe. So, we only had a few shots to place our guitar solos, and that’s what we did. – The studio we worked in at that point was hilariously expensive and our budget was very strict. When recording on analogue tape, he explained, there’s no option of playing solos note by note or tracking the lead part a thousand times over, keeping the best seconds from each take and then puzzling them together.
In last week’s feature, Malte of NECROS CHRISTOS pointed out how high the level of metal musicianship was in the 80s – using precisely MERCYFUL FATE as an example. It’s like going back to the good old days of MERCYFUL FATE “ Melissa”, for example, was played live in the studio. I don’t think many bands record like this these days. Holm – the bass player and drummer – they’re so skilled that I had no fear going in like this, I knew these guys would just nail it, you know, which is precisely what happened. And these guys, Flemming Muus and Bjarne T. – We used analogue gear partly, but the main thing is that the rhythm sections were all recorded live – bass, drums, and guitars were played together in the studio. You’ve mentioned having aimed for an ‘organic rock sound’ and so recorded the album in ‘the way it was done in the old days’ – is that to say you went analogue? Perhaps not when it comes to heavy metal, but he has a lot of 70s rock… all the PURLE albums, LED ZEPPELIN, BLACK SABBATH, all the music I appreciate. He even sent me a photo of his record collection, which was quite similar to my own. Actually, it was my record company, Mighty Music, who suggested Chandler Mogel – I looked him up on YouTube and immediately thought, ’Wow, this is exactly the type of singer I want.’ I got in touch and it turned out we share almost the exact same taste in music. To give “In Amber” this 70s flair I was after, I needed a more bluesy regular-voiced vocalist. Something more in the vein of classic heavy rock, you know, like the DEEP PURPLE and URIAH HEEP singers. Look, I’m a huge fan of JUDAS PRIEST and Rob Halford but I wanted a different type of voice for this one. – Many of the albums I made over the years was with vocalists who could pitch high. One of my first observations was that the vocals differ significantly from his more falsetto-oriented work with DENNER / SHERMANN and FORCE OF EVIL. “In Amber” is the November 2019 debut album of DENNER’S INFERNO, a new project courtesy of Michael Denner.
So, this time around, with my own band, I was able to do exactly that – which is why “In Amber” sounds the way it does. I’ve wanted to do an album entirely in my own taste of music for years now but when there’s more than one composer taking decisions in a band, you’ll be forced to compromise. Long before death metal, black metal, thrash, and all that I’m more into the doomier sides.
– I’m a huge record collector and have always been passionate about 70s heavy rock and the very early heavy metal. The same issue also includes features with FUNERAL MIST, DEAD CAN DANCE, DEATHSPELL OMEGA, SUNN O))), MYSTICUM, ADORIOR, Metalion, Dave Haley, OFDRYKKJA, NECROS CHRISTOS, TEITANBLOOD, and Wim Hof. Here follows the first part of this conversation, whereas the second – which is significantly longer and more in-depth – is published in Bardo Methodology #6. Legendary Danish guitarist Michael Denner gives a candid account of his long journey through heavy metal from a childhood ravaged by witchcraft to the end of Mercyful Fate and conception of King Diamond.
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