How’s the tour been so far?

The tour’s been great. Three out of four shows are sold out so far — it really couldn’t be going any better. We’re having a blast with our friends in Dodsrit and Lamp of Murmuur. The whole thing’s just been amazing.

You have a pretty unique story. What was life like before Blackbraid?

Before I started Blackbraid, I was building houses — I was a carpenter. I lived out in the middle of nowhere, so this has been a major change for me. The nearest city is two hours away, so being in cities every night is probably the biggest adjustment when we do big tours.
That said, I’m playing my own music in front of hundreds of people every night, so I love it. It’s a stark contrast from my home life, though — when I’m home, I’m kind of a hermit. I don’t see or talk to anyone.

What inspired the first project?

I’ve listened to black metal my whole life and played guitar for most of it too. It was always just a hobby — I never really attempted a solo album before. Eventually, I got to a point where I was finally happy enough with my riffs to want to record them.
It started with two singles — Ghost Dance and River of Time. I didn’t really know what I was doing; I just recorded them for fun. When they turned out great, I figured, “fuck it — I’ll make a band.” That’s how it all began.

What’s your approach to songwriting?

Honestly, I don’t really have one. Half the songs just flow out of me organically, and the other half I have to pull out of myself over months or even years. Sometimes I sit down for half an hour and a song just happens. Other times, it takes years to get it right.
For example, Tears of the Dawn started when I first began this band, and it went through three full album cycles before I felt it was ready. Some songs are painful; some are easy — I just channel whatever’s coming through.

Talk to me about the evolution across the three projects.

When I started, I didn’t really know what Blackbraid was going to be. The first album came together very organically — it was just the first five songs that felt right together. Around the same time, I was writing Moss Covered Bones from the second album, but it didn’t fit, so I saved it.
By the second record, I had a clearer vision and sense of purpose. The third album feels like a blend of the first two — refining the sound I was chasing. It’s the most complete, and the one I’m most proud of.

What comes next for Blackbraid?

We’ve got tours next year in the UK and Ireland, plus some European festivals. I might release some B-sides from the first three records that didn’t make it onto the albums. I definitely want to do another full-length one day, but there’s nothing planned right now.

How do you pick which patches go on your vest?

(Laughs) That vest has been with me long before Blackbraid. It was already covered in patches from bands I love — all good black metal. I didn’t make it for the band; I’ve had it for about ten years. It was already so beat up and rugged that it just fit the stage image perfectly.
Since the band started, I’ve only switched out one patch — I added a Vintertodt patch from one of my producer's side projects. Everything else is original.

What’s the connection between nature and black metal?

It’s hard to define because it’s not black and white. Black metal has always been rooted in nature. I live in nature — it’s part of who I am. I think a lot of that connection comes from black metal’s roots in paganism and its defiance of Christianity.
For millennia, Christians tried to stop people from worshipping nature or seeing it as sacred. Black metal rejects that, maintaining that nature is the true power in the world — something beyond man-made religion. Even the darker sides of black metal — the “evil” or Satanic elements — stem from that defiance and reverence for nature. It’s all connected.

What are your thoughts on the current state of black metal?

It’s like music as a whole — the internet changed everything. There’s more of it than ever, which means more bad music but also more amazing projects. It’s a blessing and a curse. Twenty years ago, I never could’ve put out my own albums and found success independently, but the internet made that possible.
Of course, it’s also made bad black metal more accessible. But you can’t stop evolution. There will always be great black metal — you just have to dig for it in different places now. That’s how it’s always been.

Thank you for creating these incredible projects and for taking the time to talk. What you’re doing for black metal — making it accessible and meaningful — is special.

Thank you, man. It’s been a pleasure. Hope you enjoy the show.