Christofer Johnsson, has made quite a name for himself as the mastermind of Therion, one of the pioneering bands that started boldly experimenting with real orchestrations combined with metal and has even gone as far as playing with a full orchestra at the Hungarian city of Miskolc, with its prestigious orchestra. While Therion seems to be in relative dormancy for the time being, while Christofer is busy composing what can be best described as a full scale opera that however should fit in the canon of the band, unable to stay idle for too long our dear fellow is self-releasing the eponymous debut of Luciferean Light Orchestra, from his own Aldaruna label. LLO (for short is an elusive ensemble of musicians – some currently or formerly in Therion) that he leads and seem to indulge into 70s rock, with prog, doom and avant garde aspirations… but when the man himself made himself available to answer our questions we thought that he might be best qualified to do so...
Hi Christofer, congrats on your debut with LLO. Can you describe which were the reasons that prompted the “branching” of your creative efforts beyond Therion, into LLO?
C: Theoretically I could have released it as a Therion album (but then there would have been different people playing on it), but there are some good reasons why this didn’t happen. For a start it’s not very Therionish to base most a of an album on one vocalist. Also it doesn’t feel Therion to have such a vintage production with old Fender strats and stuff. It’s not a Therion sound. I also would have wanted to orchestrate it if it was Therion, I think these songs are better manifested with mellotrones and old vintage keyboards. And another big reason is that a Therion release requires a big promotional machinery, a tour and so on and I’m in the middle of creating a rock opera, so I don’t have time for that.
By the way how did you come up with the name ? (I suppose it alludes a bit to ELO, but sort of more evil!)
C: It was used as a working title with a tounge in cheek allude to ELO, but everyone involved seemed to like it a lot and I got used to it, so in the end I decided to keep it. It’s a good name, because people remember it and it sticks out.
You most recently had to do the “Flowers of Evil” covers album, outside your normal contract with Nuclear Blast... why was that?
C: Mainly because of copyright reasons as it was a cover album. NB didn’t think it was worth the hassle to get all permissions from all those French composers and publishers. I solved it by only releasing it in the US (where those permissions aren’t needed) and then import copies to Europe and put in distribution (that’s why it says End of Light Records as the label also on the European copies), but NB don’t want to work that way, so I did it by myself.
Has this whole stance made you reconsider your MO/business model? (It was a bold move artistically and paid back after all). Since you’ve been with them since forever, weren’t they interested in LLO, since it not all that “difficult” to market at least not as much an album of covers of old French pop songs could be...?
C: If you already have a strong brand to reply on and a product that makes people talk, then you have less need of a record label. If you have the cash to release it yourself of course. LLO will be more difficult to sell, as people don’t buy anything you do just because they like your other band. So a label is much needed here. But for financial reasons I still decided to release it myself. I spent too much on the recording and though I got some really good deal proposals, no label wanted to take that high risk. So I released it myself. I get more cash coming in that way even if I sell less than half of what a label would do. So it’s the safest way to get back what I invested.
For some reason only you and a lady are so far credited for LLO, with a vast number of collaborators remaining anonymous, including some current and former Therion members.
C: If I wanted them revealed, I would have credited them in the CD booklet. There are different reasons for not writing the credits on the CD. One is that it’s a total mess with who did what on the songs. Another one is that I don’t want the band to appear like a ”super group” with names from other famous bands. A third reason is that I like those mystic records from the 70s without credits and pictures. It always added an extra dimension to the band to me. If I could have afforded, I would not have revealed my own connection to the band.
There seem to be a bunch of number corresponding to the letters that make up the name of the band, on the last page of the booklet, but the numbers don’t correspond with the same letters, so it doesn’t seem to be some sort of Numerology, is it some sort of a riddle?
C: No comment!
How old exactly is the material in LLO's debut?
C: It’s material written from 1995 and onwards. The oldest track was recorded, but didn’t make it to the album though. The version wasn’t 100% the way I imagined it, so I’m gonna re-record it and release it in the future. If I waited 20 years to record that song it should bloody well be perfect.
Regarding LLO, what’s the plans for this “project”? More albums? Will you tour this? Is it an experiment?
C: There will be more albums. I will write the material and produce the records. But it will live like a band of its own. There will be festivals and tours.
Members of the Dragon Rouge order, were always prominent in some way in your work, from lyrical contributions in Therion to some of them providing backing vocals... care to comment?
C: Sufficient to say is that Dragon Rouge’s founder Thomas Karlsson is one of my best friends.
Also do you consider the influence of the Dragon Rouge, sort of essential for the way in which your music is manifested, had you followed a different “system”, do you think that your music would have sounded much different?
C: It definitely made me more open minded musically, which has kind of been the signum of Therion.
Also since you are involved in that order can you give us a bit of a generic outline of what it’s all about?
C: www.dragonrouge.net...
Having started a long time ago, what’s your take on the “current” state of the music scene/industry? Where do you stand as an artist in all this?
C: I’m open minded when it comes to the distribution of music, even though I personally prefer a physical format. As for illegal downloads, it was always a piracy with people burning CDs from each other in the 90s and recording to cassette in the 80s. It’s not the end of the world if someone rips our CD and share MP3s with a friend. But I think it’s not OK if you have a site with the sole purpose of illegal distributing of copyrighted material. Either you have a copyright law or you don’t, If you have one, then the law should be upheld. It’s not reasonable if big labels bring 14 year old kids to court for downloading some songs, but companies or private persons that create or offer web-pages with extensive illegal distribution should be shut down.
With streaming the big problem is that your incomes get spread over 20 years instead of having the majority from the 3 first months of sales. If all music sales would be via streams, no one would spend any money on proper recordings. As long as there’s a solid core of record buyers and streaming is complementary it works totally fine.
C: Theoretically I could have released it as a Therion album (but then there would have been different people playing on it), but there are some good reasons why this didn’t happen. For a start it’s not very Therionish to base most a of an album on one vocalist. Also it doesn’t feel Therion to have such a vintage production with old Fender strats and stuff. It’s not a Therion sound. I also would have wanted to orchestrate it if it was Therion, I think these songs are better manifested with mellotrones and old vintage keyboards. And another big reason is that a Therion release requires a big promotional machinery, a tour and so on and I’m in the middle of creating a rock opera, so I don’t have time for that.
By the way how did you come up with the name ? (I suppose it alludes a bit to ELO, but sort of more evil!)
C: It was used as a working title with a tounge in cheek allude to ELO, but everyone involved seemed to like it a lot and I got used to it, so in the end I decided to keep it. It’s a good name, because people remember it and it sticks out.
You most recently had to do the “Flowers of Evil” covers album, outside your normal contract with Nuclear Blast... why was that?
C: Mainly because of copyright reasons as it was a cover album. NB didn’t think it was worth the hassle to get all permissions from all those French composers and publishers. I solved it by only releasing it in the US (where those permissions aren’t needed) and then import copies to Europe and put in distribution (that’s why it says End of Light Records as the label also on the European copies), but NB don’t want to work that way, so I did it by myself.
Has this whole stance made you reconsider your MO/business model? (It was a bold move artistically and paid back after all). Since you’ve been with them since forever, weren’t they interested in LLO, since it not all that “difficult” to market at least not as much an album of covers of old French pop songs could be...?
C: If you already have a strong brand to reply on and a product that makes people talk, then you have less need of a record label. If you have the cash to release it yourself of course. LLO will be more difficult to sell, as people don’t buy anything you do just because they like your other band. So a label is much needed here. But for financial reasons I still decided to release it myself. I spent too much on the recording and though I got some really good deal proposals, no label wanted to take that high risk. So I released it myself. I get more cash coming in that way even if I sell less than half of what a label would do. So it’s the safest way to get back what I invested.
For some reason only you and a lady are so far credited for LLO, with a vast number of collaborators remaining anonymous, including some current and former Therion members.
C: If I wanted them revealed, I would have credited them in the CD booklet. There are different reasons for not writing the credits on the CD. One is that it’s a total mess with who did what on the songs. Another one is that I don’t want the band to appear like a ”super group” with names from other famous bands. A third reason is that I like those mystic records from the 70s without credits and pictures. It always added an extra dimension to the band to me. If I could have afforded, I would not have revealed my own connection to the band.
There seem to be a bunch of number corresponding to the letters that make up the name of the band, on the last page of the booklet, but the numbers don’t correspond with the same letters, so it doesn’t seem to be some sort of Numerology, is it some sort of a riddle?
C: No comment!
How old exactly is the material in LLO's debut?
C: It’s material written from 1995 and onwards. The oldest track was recorded, but didn’t make it to the album though. The version wasn’t 100% the way I imagined it, so I’m gonna re-record it and release it in the future. If I waited 20 years to record that song it should bloody well be perfect.
Regarding LLO, what’s the plans for this “project”? More albums? Will you tour this? Is it an experiment?
C: There will be more albums. I will write the material and produce the records. But it will live like a band of its own. There will be festivals and tours.
Members of the Dragon Rouge order, were always prominent in some way in your work, from lyrical contributions in Therion to some of them providing backing vocals... care to comment?
C: Sufficient to say is that Dragon Rouge’s founder Thomas Karlsson is one of my best friends.
Also do you consider the influence of the Dragon Rouge, sort of essential for the way in which your music is manifested, had you followed a different “system”, do you think that your music would have sounded much different?
C: It definitely made me more open minded musically, which has kind of been the signum of Therion.
Also since you are involved in that order can you give us a bit of a generic outline of what it’s all about?
C: www.dragonrouge.net...
Having started a long time ago, what’s your take on the “current” state of the music scene/industry? Where do you stand as an artist in all this?
C: I’m open minded when it comes to the distribution of music, even though I personally prefer a physical format. As for illegal downloads, it was always a piracy with people burning CDs from each other in the 90s and recording to cassette in the 80s. It’s not the end of the world if someone rips our CD and share MP3s with a friend. But I think it’s not OK if you have a site with the sole purpose of illegal distributing of copyrighted material. Either you have a copyright law or you don’t, If you have one, then the law should be upheld. It’s not reasonable if big labels bring 14 year old kids to court for downloading some songs, but companies or private persons that create or offer web-pages with extensive illegal distribution should be shut down.
With streaming the big problem is that your incomes get spread over 20 years instead of having the majority from the 3 first months of sales. If all music sales would be via streams, no one would spend any money on proper recordings. As long as there’s a solid core of record buyers and streaming is complementary it works totally fine.
If you were starting all over again, would you change something?
C: I would for sure have done music. How I would have been dealing with things practically I can’t say. But I’ve always been good at improvising and solving problems with the set of tools I’m given, so I think it would have worked out somehow.
What is the status of your “classical” Therion project/opera? How is that coming along? Do you have any deadlines?
C: Great, we’re progressing all the time. As far as having a release date for it, I don’t. It will take whatever time it takes. Art and deadlines don’t go well together.
And now for something completely different: A few “wierd” questions… If you were a God for a week, what would you do with your “power”?
C: Probably eradicate at least 75% of humanity. (Ooops!)
Weirdest dream – you’ve ever seen? (lucid or otherwise)
C: Nothing I would like to share.
What is the worst thing you can say right after sex *(with demons or humans)?
C: That it was bad sex I guess. Or that you have AIDS (if it was unprotected).
Which one of the seven deadly sins “describes” you best?
C: Lust…
Favorite 3 albums that influenced your sound?
C: If you refer to the actual audio sound production I’d say:
- Jimi Hendrix – “Are you Experienced”…
- Mountain – “Nantucket Sleighride”…
- Scorpions – “Virgin Killer”…
Thanks man... conclude this as you wish
C: Thank you very much. If you want to know more about LLO head on to www.luciferian-light-orchestra.com for more information.