Drawing Blood: An Interview with HaaN of Svarttjern and Carpathian Forest

HaaN, the renowned guitarist whose riffs have shaped the sound of Norwegian black metal band Svarttjern for over two decades, recently sat down with J. Donovan Malley of Frozen Moon Promotions for an honest conversation. The discussion follows a busy summer festival season for Svarttjern, which included major performances at events like Maryland Death Fest and the massive Wacken Open Air. HaaN reflects on these experiences, highlighting the significance of playing Wacken on his birthday and the exhausting yet rewarding travel schedule that had him flying from Germany back to his hometown in Norway for another performance. This relentless pace underscores the band's lasting presence and dedication to delivering their music with raw intensity on the global stage.

At the heart of the interview is a discussion of Svarttjern's most recent album, Draw Blood, which approaches its one-year anniversary. HaaN expresses deep satisfaction with the album's reception, confirming that several new tracks have become staples in their live set, connecting with audiences in an almost anthemic fashion. The band’s sound has always been a deliberate fusion of black metal's ferocity with the punchy, riff-centric traditions of heavy metal and thrash, a signature style HaaN succinctly describes as "a quick punch in the face." This approach is a conscious rejection of what he dismisses as "sissy, atmospheric junk," taking a no-bullshit philosophy where aggression and razor-sharp riffs reign supreme.

The conversation delves into the creative engine of the band, exploring the songwriting dynamic between HaaN and fellow guitarist Fjellnord. He describes a process built on jamming and a shared musical vocabulary honed by the band’s remarkably stable lineup, a rarity in the extreme metal scene. This long-standing cohesion allows for an efficient and intuitive creative process. HaaN also opens up about the profound influence of his late father, a music teacher and pianist, whose presence in his childhood home filled with music set him on his path. He poignantly shares, "I often think of him when I do stuff like Wacken, for example. That hurts even more that he’s not there," revealing a deeply personal layer behind his drive to continue in music.

While Svarttjern remains his primary creative outlet, HaaN also sheds light on his role in the legendary black metal act Carpathian Forest, a band he has been a part of for a decade. He clarifies that he consciously tries to keep the two projects separate, acknowledging that while he feels like a full member, Carpathian Forest is, at its core, Nattefrost's band. The interview concludes with pragmatic insights into the challenges of touring, particularly the logistical and financial hurdles of bringing a European band to the United States. Through it all, HaaN’s dedication to his craft and his bands’ uncompromising identities shine through, offering a compelling look into the life of a veteran musician who continues to thrive in the underground.

J. Donovan Malley for Frozen Moon Promotions: (FMP): How has the summer festival season been for you and the rest of the crew in Svarttjern?

HaaN: It really started with the Maryland Death Fest at the end of May, which was very good. It was really on my bucket list to play there, and I haven't played there since 2016. So it was a great experience. Of course, we also played Wacken Open Air, which is insane—the size of that festival is just incredible—and that was on my birthday as well. It was excellent, and we've also done Midgardsblot right here in my more or less hometown. I live about 20 minutes from Borre, where the festival grounds are, so that was convenient. I had played "Summer Breeze" in Germany the day before, so I had to get up at the hotel at 5 a.m. to catch the first flight from Frankfurt to Oslo. It wasn't very close, but once we finished, it was really nice to just shuttle back home in just a few minutes.

FMP: We're nearing the anniversary of Draw Blood, which was released almost a year ago. In December, it will be a year. Are you satisfied with the album's reception so far?

HaaN: The response has been outstanding, both from critics and fans alike. We play three tracks from the album live now, which really works very well.

FMP: Some new material is almost anthemic, likely causing thousands to chant with their hands in the air. That must have been cool. Was that the reaction to those songs?

HaaN: It really works well live. You can imagine it, but it's not always the case. When you're at the rehearsal space, crafting and creating songs, it's not always easy to get that. How will this be when we play it live? How will a crowd respond to this? I think we've hit very well. At least considering the whole album was not rushed, but we had a deadline from the label. But by our own choice, more or less, because we did this headlining tour in December, supporting the album. We knew we were booked for the tour, and then we thought, perhaps we should release an album, because it's been four years since Shame is Just A Word. We had material lying around, writing here and there. But when we got the tour, that was the thing that was like, okay, now we have to get it done.

I'm happy with the result. It's a good album.

FMP: It's a cool album that draws from the older-school heavy metal and thrash traditions. Talk about what draws you to that sound and what inspires you.

HaaN: It's always hard to answer this question about inspiration. But I think, in general, I personally listen to a lot more heavy metal and thrash metal than I do black metal, especially now. I believe the earlier years have shaped both my personal taste in music and my approach to writing music as well. We've always been a riff-based black metal band, if that's possible to say. We're not trying to get atmospheric and stuff like that. That's not that important. We just want riffs and aggression.

FMP: A quick punch in the face is what it feels like.

HaaN: That's put perfectly and describes our take on black metal very well. A punch to the face. I like that. Not this sissy, atmospheric junk, not our style. Both Fjellnord, the other guitarist, and I write a lot.

FMP: When you sit down to write, do you usually start with a riff, a rhythm, or an overall structure—and how does that initial idea develop into a full song?

HaaN: Maybe more build-up riffs after jamming. Often, Fjellnord, the other guitarist, and I jam just the two of us. If he has an idea, I can try to incorporate my style and vice versa. I think that works for us now.

In the earlier days, that was 100% jamming. We would meet up and have like 18 beers. We just met up at two o'clock in the afternoon and spent hours playing and drinking. Back then, you didn't have any responsibilities. That was a different time. We had this stable line-up, as I'm sure you know, in Svarttjern as well.

It's weird because I feel like I can now write drums. I know what Audun will play in a song, more or less. Not in detail, but I can imagine how he will do his part on it. That helps. We all share this in common – this – it's hard to put into words.

FMP: Like a vocabulary? A shared way of understanding music?

HaaN: Yes, very much so, that’s a good way to put it. I know what all the other guys like, and what I want. That helps a great deal, so we don't waste time. It has become significantly easier to write music in Svarttjern now.

We do a lot of rehearsal-based recording. We just used our phones to record the tracks. However, now that most of us have a good soundcard and inputs, we can handle some form of pre-production. The quality of the pre-production has improved somewhat, especially in this genre of black metal, where production is not the most crucial aspect.

FMP: Kind of a side note here. Your father was a music teacher and a choir conductor, correct?

HaaN: Yes, he was.

FMP: Do you ever notice your father's influence sneaking in at times? Growing up in a house full of music must have had a profound impact on your musical path. Are there ways your father has influenced or encouraged you to pursue a career in music?

HaaN: That’s a fascinating question. Yeah, it has meant everything, I think. With my childhood, as you mentioned, with music everywhere. The appreciation of art and music has a profound impact on me. And just the small things. My father was a pianist, a very good one. He played a significant role in my life throughout my childhood, youth, and early adulthood. Unfortunately, he's dead now. He got sick and died.

FMP: I'm sorry to hear that.

HaaN: I often think of him when I do stuff like Wacken, for example. That hurts even more that he's not there. I've had a couple of those, especially the bigger shows, and we also played a show at the Rockefeller in Oslo. So, he has inspired me, and still does to some extent, to continue pursuing music. For me, it's like there's nothing else. It's my family, my kids, of course, but then it's music. It surrounds my life.

FMP: You noted the band's stable lineup, which is impressive, given that many extreme metal bands have rotating members. You've kept four solid members since the early years, with only the bass player changing—one of whom is your brother, which could cause issues. How have you maintained cohesion for over 20 years?

HaaN: Yeah, it's ridiculous. I think it has to do with respect and the ability not to impose some big agenda or plan on the band. It's not like we don't have ambition. However, there's no ambition to grow, to become a bigger band, just for the sake of being “bigger.” We've always just done our own thing and been considerate of the needs of the other members. Because life is elusive, you know? It's really up and down.

There have been times when we haven't spoken in five or six months, due to various reasons, but there has never been a discussion about kicking anyone out or bringing someone new in. I would rather put the band down at this point than change the lineup. If one member were to quit, then we would be done as a unit. It's really key to who this band is. We work together.

FMP: Are there any US dates scheduled for 2026 or later? Anything sketched out?

HaaN: Nothing is booked yet. Mexico is the nearest option. We're heading to Mexico now in November. We're actually doing six shows in Mexico, Guatemala, and El Salvador. But there are no US dates, and crossing the US border can be nerve-wracking when entering your country. Even if you have all the paperwork in order, you never know when they might be difficult. If it were up to me and the process were easier, I would tour the United States if given the chance. However, as things stand now, it is unlikely.

Additionally, the cost of visas has skyrocketed, and the band is responsible for covering all these expenses upfront. You start a tour massively in debt, I found out, just by doing these interviews. Many fans don't realize how bands put themselves in a tight spot at the beginning of a tour—every piece of merchandise counts, stuff like that. Every damn thing counts, given how in debt you are. It's really risky.

FMP: I know you're involved with Carpathian Forest, a legendary black metal band, and do production and engineering work. Is there feedback between Svarttjern and other projects, or do you keep them separate? Do you prefer this approach?

HaaN: I try to keep them separate as much as possible. I've been with Carpathian Forest for 10 years now. However, Svarttjern will always hold a more special place in my heart. It's usually my songs. With Carpathian Forest, even though I feel like a full member, I still understand that it's Nattefrost's band, more or less. But it's cool to have both.

FMP: What's been one of the biggest challenges you've faced in your 20-year career?

HaaN: For me, I had this leader role – in both bands, actually – and that can be very challenging. There have been periods when it has been difficult always to know what's best for the band.

Not to mention what's best for the members. In my role, I have to view the other team members on a different level than they view each other. I need to know more, which has sometimes been challenging. It’s a fine line to make progress without pushing too hard—something like that, maybe. It has been difficult at times, and it still is to some extent. It can be a small thing, like knowing if a member has health issues, for example.

FMP: I know it can be translated into English, but I'm referring to the band's actual name, Svarttjern. It means “Black Tarn”, based on a painting by August Copland that reflects darkness and wilderness. Please share the personal meaning of the band's name, as something seems lost in translation; when I hear ‘Black Tarn,’ I'm unsure what it refers to. How did that artwork inspire you and your brother, and shape the band’s vision over twenty years?

HaaN: For me personally, it has a lot to do with the love for nature. At least for a Norwegian, you're born into it. It's very common to go hiking and visit the mountains with your parents from an early age. That could be a subconscious reason behind our decision to choose the band name. It's a tribute to Norway and its natural beauty. It has nothing to do with Black Tarn. It's about the artwork and, to some extent, also the painter, who was somewhat of a rebel and died very young.

That's as much as I can explain. We were 15 years old when we chose the name. It wasn't very deep. Maybe on a subconscious level, the interest in nature was there.

FMP: What are some musical influences on you that you think people might be surprised by?

HaaN: Oh, that list can be long. For me, there are only two kinds of music: good and bad. I'm not tied to any specific genres. It's probably a bit surprising, but I love '80s pop, such as Depeche Mode and similar bands. It's much darker than any black metal album, and I really enjoy that kind of music. I also like Madrugada, a Norwegian band, and just about everything else. My playlist and vinyl collection are filled with a wide range of music.

It depends on what I want to listen to that day. I can definitely listen to black metal, but not as often anymore. The last concert I attended in Oslo was by The Dead South. I believe they are Canadian. It was really fun.

HaaN’s reflections reveal an artist for whom musical passion goes beyond genre lines, rooted in a simple dichotomy: there is only good music and bad music. His appreciation for the dark synth-pop of Depeche Mode and the rustic sounds of The Dead South, whom he notably saw live recently, shows a creative mind drawing from a wide and eclectic range of inspiration. This broad taste is not a departure from his work in black metal but a core part of it, shaping the nuanced aggression that characterizes Svarttjern’s riff-driven attack and keeping the band’s sound dynamic and personally meaningful.

Ultimately, the conversation circles back to the core principles that have supported Svarttjern for over twenty years: a strong DIY ethic, a deep respect for the unbreakable bond among its members, and a steadfast commitment to their collective vision. HaaN’s honest discussion about the financial dangers of touring and the bureaucratic challenges of international travel highlights a practical understanding of the music industry, one that values artistic integrity over reckless ambition. The band’s upcoming tour of Mexico and Central America exemplifies this careful approach, opting for meaningful shows in places where their influence is most direct.

As Svarttjern looks beyond the success of Draw Blood, the future is guided by the same resilient ethos that has always defined them. Whether through his foundational role in Svarttjern or his respected position in Carpathian Forest, HaaN embodies the spirit of the underground veteran—a musician driven by genuine passion rather than trend. His final thoughts, echoing his father’s enduring influence, leave no doubt that for him, music is not just a career but a lifelong, indispensable force.

You can stream the band’s newest album Draw Blood and all their records on the band’s Spotify.