1. ARCH/MATHEOS: Sympathetic Resonance
2. ARTILLERY: My Blood
3. HATE ETERNAL: Phoenix Amongst The Ashes
4. MORBID ANGEL: Illud Divinum Insanus
5. BLOOD CEREMONY: Living With The Ancients
6. BLACK COUNTRY COMMUNION: II.
7. CROWBAR: Sever The Wicked Hand
8. CHARRED WALLS OF THE DAMNED: Cold Winds On Timeless Days
9. LAKE OF MIND: A Condemned Soul
10. ANVIL: Juggernaut Of Justice
11. ALARUM: Natural Causes
12. DEVIL: Time To Repent
13. VEKTOR: Outer Isolation
14. VALLENFYRE: A Fragile King
15. ENTRAILS: The Tomb Awaits
16. MORBUS CHRON: Sleepers In The Rift
17. V@IN: Enough Rope
18. STEEL PANTHER: Balls Out
19. VOMITORY: Opus Mortis VIII
20. TOXIC TRACE: Torment
Viking interview with drummer Matt Jordan - part 2.
The three songs of the demo made up on the debut record titled Do Or Die, at which point did you write the other tunes? How about the song composing, the song composing-process of Viking?
We wrote the songs together as we rehearsed every week. I remember playing drums on my chest as Brett wrote the riffs. We could be walking through a store, driving, hanging out, it seemed like we were always trying to come up with cool riffs. Ron wrote most of the lyrics. I did write some early stuff but it was mostly Ron who had the gift of writing the lyrics.
The album was recorded 9/87-10/87 at the Adamo’s Recording, produced by the band itself and Brian Slagel, how about the recording sessions? Were you prepared to record the material?
I have mixed emotions about the album Do or Die. We're we prepared? Yes we were. We were polished, fast, we practiced rigorously, and we had very high expectations for ourselves. Looking back almost 25 years later, I regret not having more discipline in how I played. The first song we recorded was Valhalla. I remember the engineer commenting how cool and fast the song was. I was very excited and wanted the drums to be brutal.. kick you in the chin fast. Unfortunately, the recording came across a little out of control and even too fast at times. The recording was high paced and had a since of urgency for some reason. I'm not sure what it was other than pure excitement. The album could have been so much better if we had someone in the studio with more production experience and could've reeled me in a little bit.
Most of the tracks are viciously fast with some incredible thrash breaks, correct?
The songs we wrote for Do or Die was classic speed metal. I have made it no secret over the years, that the recording is disappointing to me. I'm very thankful Viking fans over the years have embraced it as a classic thrash metal album. I have received a lot of positive feedback and appreciated all that has been said over the years. But those songs were so much better than that recording. I played those songs so fast they lost some of the detailed intricacies and cool riffs we worked so hard to perfect. I have recordings of Viking practices that blow that album away. I love the songs, I liked the album.
What do you think about, that the inevitable influences came directly from bands like Dark Angel and Slayer and this album develops its fury through 30 minutes of hyper fast and destructive brutal thrash metal the aggression is really present?
There is no doubt our influences were Slayer and Dark Angel. They were our heroes. We were so thankful Dark Angel embraced us as brothers. They were very supportive of Viking and I consider them friends. Gene Hoglan was my idol and hero. I learned a lot from just watching him. I still consider him my mentor and an old friend.
Do you agree with, that the nine songs are mostly played in a supersonic velocity, but the songs are catchy enough to turn not out to useless noise, fast pace, some slower moments, loads of riffs, catchiness and energetic vocals?
I like the speed of Do or Die on some of the songs. If I could do it again, I would like to see the speeds vary a bit. For the most part, the record is the same out of control speed which takes away from the catchy riffs and slower parts. I love all those songs and they are very special to me because they were written with passion and a love for music. I would have liked them to be more controlled and a little slower in the studio.
Do Or Die wasn't about song writing, it was about relentless speed and extreme intensity…
Do or Die reflected our mentality and view on life. We didn't care what people thought about us and wanted to produce an in your face bone crushing thrash metal record. The production sound could have been better, the tempo could have been slower.. we were young and excited to be recording. In those days, not every band had that chance to record their music. Now a days, with technology and the internet, music is more accessible and its easier for bands to record and distribute their material.
Are the guitar solos screeching in best Slayer tradition, Ron Erikssen sounds like a combination of Tom Araya and Don Doty and the whole sound is rough and unpolished?
No doubt Slayer and Dark Angel was a big influence. Bret and Ron were very fast when it came to their guitar solos. They worked hard and wanted to make eardrums bleed. I think the overall production of the album didn't give justice to how talented Ron is. Ron is a very accomplished and talented vocalist. Yes it sounds unpolished and rough, which people liked, but I think he was ripped off a little due to the fast pace and poor overall sound.
The song Warlord was featured on the The Best of Metal Blade, Volume 3, along with tracks from Slayer, Lizzy Borden, Trouble, how much did this record help the band getting newer fans?
We are very thankful for the Metal Blade compilation series. Viking has had a consistent fan base for 25 years. Metal Blade and the Metal Massacre series really helped us form that fan base.
The world-famous Dark Angel invited Ron into the studio to sing a duet with vocalist Ron Rinehart on The Promise of Agony (Leave Scars record), did it symbolize the friendship between the bands or…? How did that happen?
We were very good friends with Dark Angel. Ron Rinehart and Ron Ericksen had similar singing styles. I was not surprised when Ron participated in Live Scars. Ron Rinehart also helped us in the studio when we recorded Man of Straw.
How about the shows and touring after the release of Do Or Die? Did you give a lot of shows? Did you have the opportunity touring in Europe?
There were local clubs in the southern California area that were very supportive of Viking. We played a lot of local shows but really never made it outside the area.
The Promise Of Agony was Ron’s last recorded vocal work before becoming a Christian just three months later, correct?
I'm not sure of the time frame. I know Ron has had several studio recordings since his work in Viking. He is a very gifted and versatile musician.
At which point did you start working on the second album titled Man Of Straw?
We started writing Man of Straw right away. We had tons of songs that never even made into the studio. We were very excited to begin the recording process. Although Do or Die was somewhat successful, we knew it wasn't our best work and we were eager to get Man of Straw recorded.
Is it true, that before completing the second album, Ron became a Born-Again Christian, and thus Ron rewrote some of the lyrics on Man of Straw to be more Christian-friendly (though with the exception of The Trial, that is generally not overtly religious)?
I don't think that's true. I remember Ron rewrote some lyrics because the older style of writing was more juvenile in nature... the blood and guts and satanic lyric style didn't capture the attitude of Man of Straw. He wrote about things he liked and what challenged him in life. Great White sharks, movie set tragedies, bad relationships, and creepy TV shows... Ron had a lot freedom to write what he wanted and wasn't locked into the worn out death, blood and guts lyrics style.
Do xou consider Man of Straw an interesting album with some clear changes and concessions from the blitz of debut Do or Die?
Man of Straw was a great album. Looking back, I think it was a time of redemption from the sloppy recording of Do or Die. We used metronomes and had a concise plan when recording. Every song was planned out and rehearsed relentlessly. A lot of work was put into that album.
Was Man of Straw a step forward for this band, shows how much the band had matured since their debut?
Man of Straw was definitely a step forward. We matured as musicians and friends. We knew Do or Die wasn't our best work and were eager to redeem ourselves. We took our time and recorded in a better studio and really tried not to make the same mistakes we made when recording Do or Die.
The songs are more complex and still well structured, and the musicianship in general has improved immensely, correct?
We worked hard on the tunes for Man of Straw. I know Ron and Brett really worked hard when writing their guitar solos. Ron worked hard on keeping his gallop picking techniques tight.... I wrote the music for an entire song. Brett really helped me in construction the song Raped the Land and I was really happy with how it turned out. We rehearsed a lot and really came together as a band to make sure it was a tight controlled recording. All of us had input and I think it turned out well.
Did Man of Straw vary the tempos from song to song with some fast and furious riffing, as well as some more mid-tempo grooves?
I loved how our songs varied in tempo on Man of Straw. That is how we wrote the tunes and it reflected in the recording. Do or Die would have turned out better if we would have stuck with what we knew. Fast and furious with tempo changes and slower mosh riffs. When songs have slower breaks, the fast parts are more exaggerated and sound better.
Whose idea was covering the Pat Benatar song Hell Is For Children? Did it fit to your originals, to your own songs?
I think the motive behind the cover tune was to get radio air play. I'm not sure it worked. The song turned out good and fit the album. We actually recorded Roundabout by YES also. I remember that turned out really good although it didn't make the final cut. I would love to get my hands on that recording now. We had a lot of fun recording it.
In your opinion, is another big improvement over the debut the production, because this album was produced by Gordon Shumway pesudo name for Bill Metoyer and the production is far superior, with a great clear guitar tone, the sound is clear and sharp?
I know Bill was in the studio and contributed a lot to the project. Most of the improvement came from not wanting to make the same mistake twice. We knew we let one go when we recorded Do or Die. Those were really good songs that got away from us We knew we were better than that and wanted to live up to our potential.
In 1990, Metal Blade Records released a compilation Metallic Overdrive, an album of bands such as Viking, Heretic, Lizzy Borden, and Anvil, the Viking track featured was Man of Straw, what was the goal of this compilation? Did you find it as a good idea?
I always appreciated Metal Blade Records and their compilation series. It kept bands like Viking alive and helped the fan base increase.
Compared to the mid ’80s, thrash metal started going out of fashion, a lot of thrash bands changed their sound and songwriting, such as Slayer,Megadeth, Metallica, Dark Angel and at this point started popping up the so called funky thrash outfits, such as Mordred, Ignorance etc. how do you view it?
I never got into the newer metal bands and sounds. It was either too fashionable.. too movie prop.. and some of it was over the top fast to where you could even understand the music. As I got older, I actually started listening to older thrash bands I grew up with. Slayer, Megadeth, Metallica, and Dark Angel will always be special to me because I grew up idolizing these guys. I also got involved in the local scene and supported many local bands. Bands who weren't interested in how ugly they looked, or how evil they were, but had a lot of passion and love for the music.
Although Viking had a six-album contract with Metal Blade Records and an upcoming U.S. tour, Ron knew that his young Christianity would not withstand the temptations of the road, so he quit the band in 1990 along with you who had also recently become a Christian, would you say that this led to the band’s split? Did with only two members remaining, Viking immediately disband?
I think it was a combination of a lot of things. Brett had joined Dark Angel on a tour and left Southern California for a while. Jim is a very gifted artist and wanted to express himself there. I was engaged to be married and my priorities changed. I needed to find a full time job that could support me and my new family. Ron and I felt there was something else bigger than music and we needed to figure it out in our own way. We were very young at the time and felt the need to move out of state and melt into the working world. Viking never really officially disbanded, our priorities changed very quickly in a short period of time and we went our separate ways. Viking was, and is, very special to me. Brett, Jim, Ron and I were very close friends and I still consider them my brothers to this day.
Brett Erikssen, having replaced Dark Angel’s Jim Durkin on a world tour, joined the band full time, and released Time Does Not Heal, but what about James Lareau? Did he remain in the music business and started searching for new bands or…?
Brett had a great time and was very successful with Dark Angel. Those guys were great friends and he had a wonderful life experience. I'm not sure if Jim joined any other bands. I know he works in the art industry and is doing very well for himself.
Did your life radically change, that you became Born-Again Christian? Would you tell us more about it?
A number of years ago I came to some personal conclusions that did change my life for the better. I realized there was something bigger in this world than just me. I don't call myself religious... and I'm not dogmatic... I don't do drugs, I don't drink, I love life and love interacting with people for who they are, no matter who they are.
Ron and you had moved to Oregon, correct?
Ron and I did move to Oregon and worked for large t-shirt company. We stayed close friends and played music together off and on.
Have you watched the development of Metal after leaving the scene? Do you care at least a little bit about modern Metal?
I have followed some of the metal scene over the years. There are some bands that are extremely talented and have a passion for the music. I got interested in the local scene rather than the exposed popular bands. There are some really good loacl bands out there that will never get the recognition they deserve. I will always love and care for the industry. It is, and always will be a huge part of my life.
In 2011, Ron Daniel Eriksen and you reunited for the purpose of creating new tunes, with Brett Eriksen completely out of the music business, Viking stage manager Glenn Rogers (founding member of Deliverance, and longtime member of Hirax) joined as the second lead guitar player, what were your reasons to reform the band?
Since Viking disbanded years ago, both Ron and I have continued to play music in lots of different settings. But thrash - specifically Viking's brand of thrash - has always been our true love. It just seems to be the way our brains are wired. We love the speed, the aggression, the brutality, and the simplicity of it. As far as the reforming, we've always had a steady trickle of fan mail and requests to reunite, but they really have intensified a lot in the last couple years. Maybe it's because of the internet, but I think we may have more fans now than we did in the 80s. And one day Ron and I were talking on the phone and throwing around the "wouldn't it be cool if we got Viking back together." It just seemed to click this time around. We couldn't think of any reason NOT to do it this time.
Your bassplayer is Tyler Von Moll, did you ask James Leareau joining again at all? Is he out of the music business too?
Our first choice was certainly to have Brett and James do this. For us it was always the perfect balance of push and pull to make the best tunes we could that wouldn't be possible individually. We really wanted them to be a part of it - and still do - but for the time being, they don't seem to be interested. To his credit, James has become a very accomplished artist. If you Google "James Lareau Sculptor", you'll see some of the amazing stuff he's made. We're hoping they decide to come out of retirement one day. And Glenn and Tyler have already told us they'd be totally cool with that, because they're fans of the original Viking too.
What about the brandnew tracks compared to Do Or Die and Man Of Straw? When do you plan to record the new tracks and to release the album?
The new tracks are phenomenal. They are exactly what I always hoped the third Viking album would sound like. It's not going to be as fast from start to finish as Do or Die was, but we had already decided to notch things back to a level where people could actually hear what was going on in the music back before we recorded Man of Straw. It will be fast, and the lyrics are brutal, the riffs are heavy, and the tunes kick. As for recording, we're having some scheduling issues. The logistics of us all being adults with families and jobs and all living in opposite corners of the country has been challenging. Getting everybody scheduled together in the studio at once is proving to be difficult, but we'll do whatever we need to to get this record done as soon as possible. And when it's done, we're pretty sure everyone will say it was definitely worth waiting for.
Do you know, that Man Of Straw was re-released by Lost And Found Records several years ago? Only 1000 copies was re-released…
I was very excited to see and hear the Lost and Found Records release. I have had a lot positive feedback and I think it was an intricate part in the recent reforming of the band. Over the last few years there seems be a renewed love for classic thrash metal and an interest in Viking. We are doing our best to give what the fans loved so much in the 80's. Raw in your face thrash metal. At this point in time, it just seems right to reunite and create what we grew up with.
Do you think that both Viking records are classics and had a great influence on today’s scene?
I know people from all the world have shown a lot of respect and love for Viking. I've been told Viking albums are classics. I really don't know, I'll let other people determine that. We were 4 guys in southern California who loved speed metal and wanted nothing more than to express ourselves through music.
How would/could you sum up Viking’s short career? What were the highlights and the lowpoints?
Viking did have a short career which I think adds to the mystic to the band. I could second guess myself and wish things had happened differently. But instead I cherish the memories and loved the experience. We were all great friends who are bonded together for the rest of our lives. We created fast, brutal, ear piercing tunes that I'm very proud of. I don't think there were low points in the bands short career because we loved what we did. We had some hard times and struggled through them as friends. But our successes out weighed any difficulties we went through. We started as kids who wanted to conquer the world with relentless bone crushing thrash metal and ended as musicians who loved the experience and what we accomplished together as friends. We had the opportunity to play with outstanding bands, famous venues, made outstanding friends, and had a blast doing it.
Can you perhaps write me about the recording sessions of the new album, about the songs how are they compared to the first two Viking records etc.?
Unfortunately my hectic schedule this summer prevented me from recording the new Viking tunes. I am very thankful my friend and mentor Gene Hoglan offered to help with the recording. I have heard some rough cuts and will say it is brutal, raw, and hardcore. It won't be over produced and is as old school as it gets. If you like fast, smash mouth, hardcore thrash metal, you're going to love this recording. Ron has worked very hard on this project and it shows. Ht is very consistent with the other Viking tunes... the guitar riffs are thick and loud, the drums are fast and in your face, the vocals are raw and vicious. Fans will love this!
Thanks a lot for your answers, anything to add that I forgot to cover?
Leslie, thank you so much for your continued interest in Viking. It means a lot to us. Please let me know if there is anything else I can do to help you.
We wrote the songs together as we rehearsed every week. I remember playing drums on my chest as Brett wrote the riffs. We could be walking through a store, driving, hanging out, it seemed like we were always trying to come up with cool riffs. Ron wrote most of the lyrics. I did write some early stuff but it was mostly Ron who had the gift of writing the lyrics.
The album was recorded 9/87-10/87 at the Adamo’s Recording, produced by the band itself and Brian Slagel, how about the recording sessions? Were you prepared to record the material?
I have mixed emotions about the album Do or Die. We're we prepared? Yes we were. We were polished, fast, we practiced rigorously, and we had very high expectations for ourselves. Looking back almost 25 years later, I regret not having more discipline in how I played. The first song we recorded was Valhalla. I remember the engineer commenting how cool and fast the song was. I was very excited and wanted the drums to be brutal.. kick you in the chin fast. Unfortunately, the recording came across a little out of control and even too fast at times. The recording was high paced and had a since of urgency for some reason. I'm not sure what it was other than pure excitement. The album could have been so much better if we had someone in the studio with more production experience and could've reeled me in a little bit.
Most of the tracks are viciously fast with some incredible thrash breaks, correct?
The songs we wrote for Do or Die was classic speed metal. I have made it no secret over the years, that the recording is disappointing to me. I'm very thankful Viking fans over the years have embraced it as a classic thrash metal album. I have received a lot of positive feedback and appreciated all that has been said over the years. But those songs were so much better than that recording. I played those songs so fast they lost some of the detailed intricacies and cool riffs we worked so hard to perfect. I have recordings of Viking practices that blow that album away. I love the songs, I liked the album.
What do you think about, that the inevitable influences came directly from bands like Dark Angel and Slayer and this album develops its fury through 30 minutes of hyper fast and destructive brutal thrash metal the aggression is really present?
There is no doubt our influences were Slayer and Dark Angel. They were our heroes. We were so thankful Dark Angel embraced us as brothers. They were very supportive of Viking and I consider them friends. Gene Hoglan was my idol and hero. I learned a lot from just watching him. I still consider him my mentor and an old friend.
Do you agree with, that the nine songs are mostly played in a supersonic velocity, but the songs are catchy enough to turn not out to useless noise, fast pace, some slower moments, loads of riffs, catchiness and energetic vocals?
I like the speed of Do or Die on some of the songs. If I could do it again, I would like to see the speeds vary a bit. For the most part, the record is the same out of control speed which takes away from the catchy riffs and slower parts. I love all those songs and they are very special to me because they were written with passion and a love for music. I would have liked them to be more controlled and a little slower in the studio.
Do Or Die wasn't about song writing, it was about relentless speed and extreme intensity…
Do or Die reflected our mentality and view on life. We didn't care what people thought about us and wanted to produce an in your face bone crushing thrash metal record. The production sound could have been better, the tempo could have been slower.. we were young and excited to be recording. In those days, not every band had that chance to record their music. Now a days, with technology and the internet, music is more accessible and its easier for bands to record and distribute their material.
Are the guitar solos screeching in best Slayer tradition, Ron Erikssen sounds like a combination of Tom Araya and Don Doty and the whole sound is rough and unpolished?
No doubt Slayer and Dark Angel was a big influence. Bret and Ron were very fast when it came to their guitar solos. They worked hard and wanted to make eardrums bleed. I think the overall production of the album didn't give justice to how talented Ron is. Ron is a very accomplished and talented vocalist. Yes it sounds unpolished and rough, which people liked, but I think he was ripped off a little due to the fast pace and poor overall sound.
The song Warlord was featured on the The Best of Metal Blade, Volume 3, along with tracks from Slayer, Lizzy Borden, Trouble, how much did this record help the band getting newer fans?
We are very thankful for the Metal Blade compilation series. Viking has had a consistent fan base for 25 years. Metal Blade and the Metal Massacre series really helped us form that fan base.
The world-famous Dark Angel invited Ron into the studio to sing a duet with vocalist Ron Rinehart on The Promise of Agony (Leave Scars record), did it symbolize the friendship between the bands or…? How did that happen?
We were very good friends with Dark Angel. Ron Rinehart and Ron Ericksen had similar singing styles. I was not surprised when Ron participated in Live Scars. Ron Rinehart also helped us in the studio when we recorded Man of Straw.
How about the shows and touring after the release of Do Or Die? Did you give a lot of shows? Did you have the opportunity touring in Europe?
There were local clubs in the southern California area that were very supportive of Viking. We played a lot of local shows but really never made it outside the area.
The Promise Of Agony was Ron’s last recorded vocal work before becoming a Christian just three months later, correct?
I'm not sure of the time frame. I know Ron has had several studio recordings since his work in Viking. He is a very gifted and versatile musician.
At which point did you start working on the second album titled Man Of Straw?
We started writing Man of Straw right away. We had tons of songs that never even made into the studio. We were very excited to begin the recording process. Although Do or Die was somewhat successful, we knew it wasn't our best work and we were eager to get Man of Straw recorded.
Is it true, that before completing the second album, Ron became a Born-Again Christian, and thus Ron rewrote some of the lyrics on Man of Straw to be more Christian-friendly (though with the exception of The Trial, that is generally not overtly religious)?
I don't think that's true. I remember Ron rewrote some lyrics because the older style of writing was more juvenile in nature... the blood and guts and satanic lyric style didn't capture the attitude of Man of Straw. He wrote about things he liked and what challenged him in life. Great White sharks, movie set tragedies, bad relationships, and creepy TV shows... Ron had a lot freedom to write what he wanted and wasn't locked into the worn out death, blood and guts lyrics style.
Do xou consider Man of Straw an interesting album with some clear changes and concessions from the blitz of debut Do or Die?
Man of Straw was a great album. Looking back, I think it was a time of redemption from the sloppy recording of Do or Die. We used metronomes and had a concise plan when recording. Every song was planned out and rehearsed relentlessly. A lot of work was put into that album.
Was Man of Straw a step forward for this band, shows how much the band had matured since their debut?
Man of Straw was definitely a step forward. We matured as musicians and friends. We knew Do or Die wasn't our best work and were eager to redeem ourselves. We took our time and recorded in a better studio and really tried not to make the same mistakes we made when recording Do or Die.
The songs are more complex and still well structured, and the musicianship in general has improved immensely, correct?
We worked hard on the tunes for Man of Straw. I know Ron and Brett really worked hard when writing their guitar solos. Ron worked hard on keeping his gallop picking techniques tight.... I wrote the music for an entire song. Brett really helped me in construction the song Raped the Land and I was really happy with how it turned out. We rehearsed a lot and really came together as a band to make sure it was a tight controlled recording. All of us had input and I think it turned out well.
Did Man of Straw vary the tempos from song to song with some fast and furious riffing, as well as some more mid-tempo grooves?
I loved how our songs varied in tempo on Man of Straw. That is how we wrote the tunes and it reflected in the recording. Do or Die would have turned out better if we would have stuck with what we knew. Fast and furious with tempo changes and slower mosh riffs. When songs have slower breaks, the fast parts are more exaggerated and sound better.
Whose idea was covering the Pat Benatar song Hell Is For Children? Did it fit to your originals, to your own songs?
I think the motive behind the cover tune was to get radio air play. I'm not sure it worked. The song turned out good and fit the album. We actually recorded Roundabout by YES also. I remember that turned out really good although it didn't make the final cut. I would love to get my hands on that recording now. We had a lot of fun recording it.
In your opinion, is another big improvement over the debut the production, because this album was produced by Gordon Shumway pesudo name for Bill Metoyer and the production is far superior, with a great clear guitar tone, the sound is clear and sharp?
I know Bill was in the studio and contributed a lot to the project. Most of the improvement came from not wanting to make the same mistake twice. We knew we let one go when we recorded Do or Die. Those were really good songs that got away from us We knew we were better than that and wanted to live up to our potential.
In 1990, Metal Blade Records released a compilation Metallic Overdrive, an album of bands such as Viking, Heretic, Lizzy Borden, and Anvil, the Viking track featured was Man of Straw, what was the goal of this compilation? Did you find it as a good idea?
I always appreciated Metal Blade Records and their compilation series. It kept bands like Viking alive and helped the fan base increase.
Compared to the mid ’80s, thrash metal started going out of fashion, a lot of thrash bands changed their sound and songwriting, such as Slayer,Megadeth, Metallica, Dark Angel and at this point started popping up the so called funky thrash outfits, such as Mordred, Ignorance etc. how do you view it?
I never got into the newer metal bands and sounds. It was either too fashionable.. too movie prop.. and some of it was over the top fast to where you could even understand the music. As I got older, I actually started listening to older thrash bands I grew up with. Slayer, Megadeth, Metallica, and Dark Angel will always be special to me because I grew up idolizing these guys. I also got involved in the local scene and supported many local bands. Bands who weren't interested in how ugly they looked, or how evil they were, but had a lot of passion and love for the music.
Although Viking had a six-album contract with Metal Blade Records and an upcoming U.S. tour, Ron knew that his young Christianity would not withstand the temptations of the road, so he quit the band in 1990 along with you who had also recently become a Christian, would you say that this led to the band’s split? Did with only two members remaining, Viking immediately disband?
I think it was a combination of a lot of things. Brett had joined Dark Angel on a tour and left Southern California for a while. Jim is a very gifted artist and wanted to express himself there. I was engaged to be married and my priorities changed. I needed to find a full time job that could support me and my new family. Ron and I felt there was something else bigger than music and we needed to figure it out in our own way. We were very young at the time and felt the need to move out of state and melt into the working world. Viking never really officially disbanded, our priorities changed very quickly in a short period of time and we went our separate ways. Viking was, and is, very special to me. Brett, Jim, Ron and I were very close friends and I still consider them my brothers to this day.
Brett Erikssen, having replaced Dark Angel’s Jim Durkin on a world tour, joined the band full time, and released Time Does Not Heal, but what about James Lareau? Did he remain in the music business and started searching for new bands or…?
Brett had a great time and was very successful with Dark Angel. Those guys were great friends and he had a wonderful life experience. I'm not sure if Jim joined any other bands. I know he works in the art industry and is doing very well for himself.
Did your life radically change, that you became Born-Again Christian? Would you tell us more about it?
A number of years ago I came to some personal conclusions that did change my life for the better. I realized there was something bigger in this world than just me. I don't call myself religious... and I'm not dogmatic... I don't do drugs, I don't drink, I love life and love interacting with people for who they are, no matter who they are.
Ron and you had moved to Oregon, correct?
Ron and I did move to Oregon and worked for large t-shirt company. We stayed close friends and played music together off and on.
Have you watched the development of Metal after leaving the scene? Do you care at least a little bit about modern Metal?
I have followed some of the metal scene over the years. There are some bands that are extremely talented and have a passion for the music. I got interested in the local scene rather than the exposed popular bands. There are some really good loacl bands out there that will never get the recognition they deserve. I will always love and care for the industry. It is, and always will be a huge part of my life.
In 2011, Ron Daniel Eriksen and you reunited for the purpose of creating new tunes, with Brett Eriksen completely out of the music business, Viking stage manager Glenn Rogers (founding member of Deliverance, and longtime member of Hirax) joined as the second lead guitar player, what were your reasons to reform the band?
Since Viking disbanded years ago, both Ron and I have continued to play music in lots of different settings. But thrash - specifically Viking's brand of thrash - has always been our true love. It just seems to be the way our brains are wired. We love the speed, the aggression, the brutality, and the simplicity of it. As far as the reforming, we've always had a steady trickle of fan mail and requests to reunite, but they really have intensified a lot in the last couple years. Maybe it's because of the internet, but I think we may have more fans now than we did in the 80s. And one day Ron and I were talking on the phone and throwing around the "wouldn't it be cool if we got Viking back together." It just seemed to click this time around. We couldn't think of any reason NOT to do it this time.
Your bassplayer is Tyler Von Moll, did you ask James Leareau joining again at all? Is he out of the music business too?
Our first choice was certainly to have Brett and James do this. For us it was always the perfect balance of push and pull to make the best tunes we could that wouldn't be possible individually. We really wanted them to be a part of it - and still do - but for the time being, they don't seem to be interested. To his credit, James has become a very accomplished artist. If you Google "James Lareau Sculptor", you'll see some of the amazing stuff he's made. We're hoping they decide to come out of retirement one day. And Glenn and Tyler have already told us they'd be totally cool with that, because they're fans of the original Viking too.
What about the brandnew tracks compared to Do Or Die and Man Of Straw? When do you plan to record the new tracks and to release the album?
The new tracks are phenomenal. They are exactly what I always hoped the third Viking album would sound like. It's not going to be as fast from start to finish as Do or Die was, but we had already decided to notch things back to a level where people could actually hear what was going on in the music back before we recorded Man of Straw. It will be fast, and the lyrics are brutal, the riffs are heavy, and the tunes kick. As for recording, we're having some scheduling issues. The logistics of us all being adults with families and jobs and all living in opposite corners of the country has been challenging. Getting everybody scheduled together in the studio at once is proving to be difficult, but we'll do whatever we need to to get this record done as soon as possible. And when it's done, we're pretty sure everyone will say it was definitely worth waiting for.
Do you know, that Man Of Straw was re-released by Lost And Found Records several years ago? Only 1000 copies was re-released…
I was very excited to see and hear the Lost and Found Records release. I have had a lot positive feedback and I think it was an intricate part in the recent reforming of the band. Over the last few years there seems be a renewed love for classic thrash metal and an interest in Viking. We are doing our best to give what the fans loved so much in the 80's. Raw in your face thrash metal. At this point in time, it just seems right to reunite and create what we grew up with.
Do you think that both Viking records are classics and had a great influence on today’s scene?
I know people from all the world have shown a lot of respect and love for Viking. I've been told Viking albums are classics. I really don't know, I'll let other people determine that. We were 4 guys in southern California who loved speed metal and wanted nothing more than to express ourselves through music.
How would/could you sum up Viking’s short career? What were the highlights and the lowpoints?
Viking did have a short career which I think adds to the mystic to the band. I could second guess myself and wish things had happened differently. But instead I cherish the memories and loved the experience. We were all great friends who are bonded together for the rest of our lives. We created fast, brutal, ear piercing tunes that I'm very proud of. I don't think there were low points in the bands short career because we loved what we did. We had some hard times and struggled through them as friends. But our successes out weighed any difficulties we went through. We started as kids who wanted to conquer the world with relentless bone crushing thrash metal and ended as musicians who loved the experience and what we accomplished together as friends. We had the opportunity to play with outstanding bands, famous venues, made outstanding friends, and had a blast doing it.
Can you perhaps write me about the recording sessions of the new album, about the songs how are they compared to the first two Viking records etc.?
Unfortunately my hectic schedule this summer prevented me from recording the new Viking tunes. I am very thankful my friend and mentor Gene Hoglan offered to help with the recording. I have heard some rough cuts and will say it is brutal, raw, and hardcore. It won't be over produced and is as old school as it gets. If you like fast, smash mouth, hardcore thrash metal, you're going to love this recording. Ron has worked very hard on this project and it shows. Ht is very consistent with the other Viking tunes... the guitar riffs are thick and loud, the drums are fast and in your face, the vocals are raw and vicious. Fans will love this!
Thanks a lot for your answers, anything to add that I forgot to cover?
Leslie, thank you so much for your continued interest in Viking. It means a lot to us. Please let me know if there is anything else I can do to help you.
Viking interview with drummer Matt Jordan - part 1.
So Matt, before Viking was formed in spring 1986, you were playing in Tracer, that included you on drums, James Lareau on bass, Ron Daniel on guitar and Spider on vocals, how did the band get together?
Tracer was in essence the beginning of Viking and was the start of something very special. Jim and I were in raw adolescent hard core garage bands. Ron was in The Hags and was already established and familiar with the club scene in Orange County California. Ron, Jim and I became friends through the music scene in that area and immediately had something in common. We wanted to express ourselves through music and become the band we always wanted to see.... a loud in your face locomotive. Tony Spider was brought in to do the demo and really never fit in. He was a good friend and helped us out. Tracer was the chance for Ron, Jim and I to become good friends. We used the time to get to know each other. We developed and matured as musicians forming a band that was very special to us.
As for your musical past/background, you were involving earlier in Barrier, Ron was the member of Hags, while James were in Lethal Gene, does it mean, that all of you were involved in the underground those times?
We were all involved in bands of some kind. I was in a sloppy garage band that really never satisfied what I wanted to do early in life. The guys I shared music with were more into playing heavy metal cover tunes, hanging out with girls and going to parties. As I developed as a drummer, those guys really couldn't keep up with what I wanted to do. I wanted to play heavier hard core songs that meant something. They were satisfied playing Iron Maiden and Black Sabbath copies then hanging out wasting time. That wasn't for me. Jim and I had mutual friends through the local punk rock scene. Jim was in a punk band and mostly played parties. Ron played guitar in The Hags and was more exposed to the club scene.
How did you discover music as a whole and at which point did you turn into the realm of metal? What were your early favorites?
Tough question... When I was 6 years old (1975) I fell in love with KISS. The attitude, smoke bombs, flames, blood... I've loved them as far back as I can remember. I've always loved music and was heavily influenced by music at a young age. When I was a kid in the late 70's I loved everything from Van Halen to Iron Maiden. In the early 80's I dabbled in the punk rock scene for a while before discovering speed metal. When I first heard speed metal I was in love... it was what I was looking for the whole time.
Being based in Los Angeles, what do you recall of the early/mid ’80s L. A. scene? Can you tell us more about it?
In the early 80's heavy metal took a turn for the worse in my opinion. At that time metal was more interested in hairspray and lip gloss than kicking your face in with killer guitar tones and out of control drum kits. I rebelled and melted into the local punk rock scene. I loved tons of bands like Sin 34, Dr. Know, and Manifest Destiny. I liked the attitude, the fast drums, cool mosh riffs, and heavy guitar tones. The problem with the L.A. punk rock scene in the early 80's is there was a division between punk rock and metal. There was almost an anti metal mentality in some punk rock circles. My problem was I had long hair but liked punk rock. I wasn't going to cut my hair or get some goofy hairdo for the sake of fitting in. For a long time, I would go to punk shows and stand in the back. I saw a lot of stupid fights because of hair length. I remember going to a GBH show at the Olympic Auditorium in LA. What attracted me to that show was the comment at the bottom of the flyer said "Heavy Metal welcome." Shortly after that I got a cassette copy of Metallica's demo. I also discovered early Slayer, Corrosion of Conformity and Artillery. I was hooked. This was what I was looking for. The heavy guitars riffs, fast locomotive drum kits, killer moshes... I was home.
Would you say, that the L. A. scene was divided into two parts, since there were the glam/hair bands (Steeler, Ratt, Dokken, Mötley Crüe, W. A. S. P. etc.) and there were the underground thrash/speed/power ones (Armored Saint, Metallica, Hirax, Sceptre, Slayer, Dark Angel, Vermin etc.)?
The LA scene was definitely divided into two parts. At the time, I really didn't care or even notice. There were certain clubs in Hollywood that attracted the heavy metal glam bands. There were a few clubs in Hollywood the thrash metal bands liked to play. I remember Ron and I went to a free Stryper show at Magic Mountain. Looking back it must have been a bizarre scene. Two thrash metal dudes with long dirty hair right in the middle of the lipstick and hairspray crowd. We were outcasts from the start. Before the first song (a ballad) was over, we were basically kicked out and ridiculed by some chick who had giant pink hair and makeup dripping off her cheeks. She had her hands on her hips and said in a snotty voice, "I suppose you like Slayer too." We laughed in her face and left.
Were the underground acts overshadowed by the hair/glam ones?
I really don't think glam bands overshadowed thrash bands. The thrash metal bands I knew didn't care what the glam scene was doing. I thought it was kind of funny. Some of these guys were more into glitter, hairspray, lip gloss and getting girls. We cared about the music. I remember Viking played the Whiskey A Go Go in Hollywood and the headliner was a local glam band. We were the last band after the headliner. I guess we were hired to clean out the club. It worked.. by the time we were done with our set the place was empty and we loved it. The club was full of hairspray that didn't know what to do with the attitude of Viking. I remember being in the dressing room and watching these guys color coordinate their clothes and wristbands. I thought it was hilarious.
Which clubs did start opening their doors for metal at this point?
Some of the clubs that were very supportive was The Whiskey, The Waters Clubs, and Fenders Ballroom. There were several clubs in the LA area that were open to having us play. Back then, some of the clubs had the band buy tickets to their show a head of time. It was the bands responsibility to sell the tickets and fill the club with people. That way the club was guaranteed to get their money. Unfortunately, if the bands didn't sell any tickets, they would be paying a lot of money to play for an empty house. That inspired a lot of bands to make flyers and advertise their shows at other concerts. We sold tickets in the parking lots and left flyers on light poles and car wind. There was no internet back then so bands depended on flyers and word of mouth to advertise their shows.
You released a demo as Tracer, how was it recorded? How would you describe Tracer’s music? How did the band sound like at all?
The Tracer demo was recorded in a studio in the Orange County area. It was good a sound for what we were trying to do. Ron, Jim and I were still getting to know each other and we were still developing our musical style. I wouldn't call it a masterpiece by any means. I remember it being an exciting time in our friendship and we were proud for what we accomplished.
Was this demo spread around?
The demo was mostly distributed in the Orange County area.
You temporarily broke up because you couldn’t find a full-time singer, but restarted after Brett Eriksen (a.k.a. Brett Sarachek) began jamming with you, and Ron Daniel (a. k. a. Brett Eriksen) began singing, how did you find Brett Eriksen? What about his musical background?
Brett answered an ad we placed in a local paper. Brett was a breath of fresh air and we immediately bonded. His writing style, attitude, and skill level was exactly what we were looking for. We had so much in common it was like we were friends for years. He was a very gifted musician and great friend.
Did you perhaps audition some guitarist besides him or was he the first choice?
I don't remember if we auditioned other people for the position. If we did, it was before Brett. Once we all played with Brett there was no need for another. This was the guy. We had so much in common it was obvious we were going to be friends and band mates.
How about the band’s name? Who came up with it? What did you want to symbolize with it?
I think we all agreed on the name of the band right away. The Viking image was very appealing to us because of our Norwegian heritage. The Vikings wanted things: coins, treasures, spices, works of art, raw materials. They probably didn't want these things any more than other cultures did..... But with their skill at sea and violent tendencies, they often found themselves in a position to take whatever they wanted. Looking back... I feel that was our attitude towards the music we created together. It worked and just fit. There was no debate about it. Viking was an attitude and the name we chose right away. We were also fans of the artist and painter Frank Frazetta. His portraits of Vikings were brutally awesome and fit our mentality. Those paintings were very inspirational in our early writings.
What can you tell us about the rehearsals of Viking? Did you start writing originals or were you jamming on covers?
Those were good times... We rehearsed at Ron's house and customized his garage with a killer drum riser and stacks of amps. We even tried to make it sound proof which really didn't work very well. Ron's mother was very supportive and loved having us. Everyone called her mom... she is a fantastic person and we loved her a lot. All the neighbors knew we religiously rehearsed every Saturday and Sunday mornings and rarely got complaints. We had a skateboard ramp in the backyard and arcade video games in the living room. It was a great place to hang out and we all called it our second home. I think we started to write original songs right away. Brett and Ron wrote most of the music. I remember walking through a grocery store with Brett and coming up with riffs and chords right in the middle of the store. I would play drums on my chest and Brett would be writing cool riffs on the spot.
Viking entered the studio for the first time to record three songs (Hellbound, Prelude/Scavenger and Do or Die) that became your first demo, do you still remember how did the recording sessions go with the demo? How much experiences did you have at this point considering recording a tape?
Nowadays its easier for bands to record demos and even full length CDs. Recording studios are now very common and for a reasonable price, a band can record their material and distribute the music via the Internet. Back in the 80's, it was not that easy to share your music. Bands usually recorded demo's in a low quality garage studio with an 8 or 16 track recorder. These were transferred onto cassette tapes and distributed through word of mouth or sold at shows. Back then, there were no CDs. If you were fortunate enough to record on a major label, your material would be on vinyl and cassette tape. Viking was very fortunate to record our first demo in a high quality professional studio. We all pitched in and payed for the project. The tapes were mass produced and given away and became popular though word of mouth. At the time we were also playing local clubs in San Pedro and Hollywood. We would hit the clubs and hand out flyers advertising our next show. We sold and gave away many cassette demos and developed a large following in the area.
Can you give us details regarding the demo?
What an exciting day. It was the first time I had a drum tech set up and tune my drums for me. He set up all the mics and made sure I was comfortable with the recording. I remember we were all driving home together listening to our recording and thinking to myself I ruined the demo. I thought I played our songs too fast and felt it was a little out of control. Little did I know, our first full length album would be almost twice as fast as our demo. It was a great experience and we really bonded as a band. Those are great memories. We were great friends who felt we captured something very special.
Did the demo fulfill the needs of the thrash metal fans?
I'm not sure I would say our demo fulfilled the immediate need of metal fans. There were a lot of great bands at that time. We were very fortunate to be good friends with Dark Angel and played several shows with them. They were a great influence on us and we considered them our big brothers in the industry. I think our demo became more popular after the band split. We were very lucky our demo played a small part in the huge history of the LA metal scene.
Tape trading was huge in the 1980's speed metal scene, so fanzines began to brand this cassette as essential for every collection, and orders from all over the world began to come in the mail daily, would you say, that the demo helped to expand the band’s popularity in the underground?
It definitely helped expand the popularity of Viking. After the band dissolved, I think our fans craved more and discovered the demo later. It was a raw kick you in the head recording that is very appealing to fans. I'm honored people still love and ask about it. It was great time in the history of Viking.
Viking also appeared on Metal Massacre VIII with a song titled Hellbound, was this the choice of the band or of Brian Slagel? How did you get the chance being
featured on this legendary compilation?
It was an honor to be featured on Metal Massacre. I'm not sure who picked the song Hellbound for the LP... but it was good choice. It had killer riffs, shredding guitar solos, heavy drums, a smoking hot bass tone, and head pounding vocals. It encompassed all that Viking had to offer and was a good example of what our material stood for. We owe a lot to Brian Slagel and his loyalty to our music.
Was it a good opportunity to draw more fans attention to the band?
It was a great way to expand the popularity of Viking. For the most part, our exposure was limited to the southern California area. This was setting the stage for our full length album that would hit the shelves a short time later.
Do you agree with, that the Metal Massacre compilation series from Metal Blade Records has launched the careers of many bands, including Ratt, Slayer, and Metallica? Was/Is the label (Brian Slagel) very supportive of the underground?
I absolutely agree with the Metal Blade compilation series and the part it played in the success of many bands. It was a great way for talented bands to share their music. It's a different world now a days. With internet access, it's a lot easier to hear bands from all over the world. Back then we depended on major labels like Metal Blade to record and distribute songs from somewhat unknown bands who deserved to get their material produced. I appreciate Brian and Metal Blade in what they did for Viking. It was a great start to some great memories I'll cherish for the rest of my life.
Did the demo generate some buzz from Metal Blade Records that resulted in your signing and the release of the debut Do Or Die? Is it true, that the band signed a record contract after completing their second live appearance?
The demo definitely had some buzz around it. I'm sure it had something to do with our eventual signing with Metal Blade. I know Brian was at one of our early shows at the Whiskey in Hollywood. I'm not sure if it was our second show or not. It just proved you never know who is out there to watch and listen to your band.
The cool logo of the band was drawn by you, wasn't it?
Yes I believe I came up with the logo. Nothing too glamorous... I remember working for a trashy phone soliciting company and just sat there and drew pictures all day. Instead of making cold calls, I would draw pictures on the back of the cards. I still have some of the old calling cards with Berserkers... axes.. swords.. skulls.. whatever.. I drew the logo as if it was cut from stone then put the Viking horns on each side. We loved it right away and it stuck until this very day.
Tracer was in essence the beginning of Viking and was the start of something very special. Jim and I were in raw adolescent hard core garage bands. Ron was in The Hags and was already established and familiar with the club scene in Orange County California. Ron, Jim and I became friends through the music scene in that area and immediately had something in common. We wanted to express ourselves through music and become the band we always wanted to see.... a loud in your face locomotive. Tony Spider was brought in to do the demo and really never fit in. He was a good friend and helped us out. Tracer was the chance for Ron, Jim and I to become good friends. We used the time to get to know each other. We developed and matured as musicians forming a band that was very special to us.
As for your musical past/background, you were involving earlier in Barrier, Ron was the member of Hags, while James were in Lethal Gene, does it mean, that all of you were involved in the underground those times?
We were all involved in bands of some kind. I was in a sloppy garage band that really never satisfied what I wanted to do early in life. The guys I shared music with were more into playing heavy metal cover tunes, hanging out with girls and going to parties. As I developed as a drummer, those guys really couldn't keep up with what I wanted to do. I wanted to play heavier hard core songs that meant something. They were satisfied playing Iron Maiden and Black Sabbath copies then hanging out wasting time. That wasn't for me. Jim and I had mutual friends through the local punk rock scene. Jim was in a punk band and mostly played parties. Ron played guitar in The Hags and was more exposed to the club scene.
How did you discover music as a whole and at which point did you turn into the realm of metal? What were your early favorites?
Tough question... When I was 6 years old (1975) I fell in love with KISS. The attitude, smoke bombs, flames, blood... I've loved them as far back as I can remember. I've always loved music and was heavily influenced by music at a young age. When I was a kid in the late 70's I loved everything from Van Halen to Iron Maiden. In the early 80's I dabbled in the punk rock scene for a while before discovering speed metal. When I first heard speed metal I was in love... it was what I was looking for the whole time.
Being based in Los Angeles, what do you recall of the early/mid ’80s L. A. scene? Can you tell us more about it?
In the early 80's heavy metal took a turn for the worse in my opinion. At that time metal was more interested in hairspray and lip gloss than kicking your face in with killer guitar tones and out of control drum kits. I rebelled and melted into the local punk rock scene. I loved tons of bands like Sin 34, Dr. Know, and Manifest Destiny. I liked the attitude, the fast drums, cool mosh riffs, and heavy guitar tones. The problem with the L.A. punk rock scene in the early 80's is there was a division between punk rock and metal. There was almost an anti metal mentality in some punk rock circles. My problem was I had long hair but liked punk rock. I wasn't going to cut my hair or get some goofy hairdo for the sake of fitting in. For a long time, I would go to punk shows and stand in the back. I saw a lot of stupid fights because of hair length. I remember going to a GBH show at the Olympic Auditorium in LA. What attracted me to that show was the comment at the bottom of the flyer said "Heavy Metal welcome." Shortly after that I got a cassette copy of Metallica's demo. I also discovered early Slayer, Corrosion of Conformity and Artillery. I was hooked. This was what I was looking for. The heavy guitars riffs, fast locomotive drum kits, killer moshes... I was home.
Would you say, that the L. A. scene was divided into two parts, since there were the glam/hair bands (Steeler, Ratt, Dokken, Mötley Crüe, W. A. S. P. etc.) and there were the underground thrash/speed/power ones (Armored Saint, Metallica, Hirax, Sceptre, Slayer, Dark Angel, Vermin etc.)?
The LA scene was definitely divided into two parts. At the time, I really didn't care or even notice. There were certain clubs in Hollywood that attracted the heavy metal glam bands. There were a few clubs in Hollywood the thrash metal bands liked to play. I remember Ron and I went to a free Stryper show at Magic Mountain. Looking back it must have been a bizarre scene. Two thrash metal dudes with long dirty hair right in the middle of the lipstick and hairspray crowd. We were outcasts from the start. Before the first song (a ballad) was over, we were basically kicked out and ridiculed by some chick who had giant pink hair and makeup dripping off her cheeks. She had her hands on her hips and said in a snotty voice, "I suppose you like Slayer too." We laughed in her face and left.
Were the underground acts overshadowed by the hair/glam ones?
I really don't think glam bands overshadowed thrash bands. The thrash metal bands I knew didn't care what the glam scene was doing. I thought it was kind of funny. Some of these guys were more into glitter, hairspray, lip gloss and getting girls. We cared about the music. I remember Viking played the Whiskey A Go Go in Hollywood and the headliner was a local glam band. We were the last band after the headliner. I guess we were hired to clean out the club. It worked.. by the time we were done with our set the place was empty and we loved it. The club was full of hairspray that didn't know what to do with the attitude of Viking. I remember being in the dressing room and watching these guys color coordinate their clothes and wristbands. I thought it was hilarious.
Which clubs did start opening their doors for metal at this point?
Some of the clubs that were very supportive was The Whiskey, The Waters Clubs, and Fenders Ballroom. There were several clubs in the LA area that were open to having us play. Back then, some of the clubs had the band buy tickets to their show a head of time. It was the bands responsibility to sell the tickets and fill the club with people. That way the club was guaranteed to get their money. Unfortunately, if the bands didn't sell any tickets, they would be paying a lot of money to play for an empty house. That inspired a lot of bands to make flyers and advertise their shows at other concerts. We sold tickets in the parking lots and left flyers on light poles and car wind. There was no internet back then so bands depended on flyers and word of mouth to advertise their shows.
You released a demo as Tracer, how was it recorded? How would you describe Tracer’s music? How did the band sound like at all?
The Tracer demo was recorded in a studio in the Orange County area. It was good a sound for what we were trying to do. Ron, Jim and I were still getting to know each other and we were still developing our musical style. I wouldn't call it a masterpiece by any means. I remember it being an exciting time in our friendship and we were proud for what we accomplished.
Was this demo spread around?
The demo was mostly distributed in the Orange County area.
You temporarily broke up because you couldn’t find a full-time singer, but restarted after Brett Eriksen (a.k.a. Brett Sarachek) began jamming with you, and Ron Daniel (a. k. a. Brett Eriksen) began singing, how did you find Brett Eriksen? What about his musical background?
Brett answered an ad we placed in a local paper. Brett was a breath of fresh air and we immediately bonded. His writing style, attitude, and skill level was exactly what we were looking for. We had so much in common it was like we were friends for years. He was a very gifted musician and great friend.
Did you perhaps audition some guitarist besides him or was he the first choice?
I don't remember if we auditioned other people for the position. If we did, it was before Brett. Once we all played with Brett there was no need for another. This was the guy. We had so much in common it was obvious we were going to be friends and band mates.
How about the band’s name? Who came up with it? What did you want to symbolize with it?
I think we all agreed on the name of the band right away. The Viking image was very appealing to us because of our Norwegian heritage. The Vikings wanted things: coins, treasures, spices, works of art, raw materials. They probably didn't want these things any more than other cultures did..... But with their skill at sea and violent tendencies, they often found themselves in a position to take whatever they wanted. Looking back... I feel that was our attitude towards the music we created together. It worked and just fit. There was no debate about it. Viking was an attitude and the name we chose right away. We were also fans of the artist and painter Frank Frazetta. His portraits of Vikings were brutally awesome and fit our mentality. Those paintings were very inspirational in our early writings.
What can you tell us about the rehearsals of Viking? Did you start writing originals or were you jamming on covers?
Those were good times... We rehearsed at Ron's house and customized his garage with a killer drum riser and stacks of amps. We even tried to make it sound proof which really didn't work very well. Ron's mother was very supportive and loved having us. Everyone called her mom... she is a fantastic person and we loved her a lot. All the neighbors knew we religiously rehearsed every Saturday and Sunday mornings and rarely got complaints. We had a skateboard ramp in the backyard and arcade video games in the living room. It was a great place to hang out and we all called it our second home. I think we started to write original songs right away. Brett and Ron wrote most of the music. I remember walking through a grocery store with Brett and coming up with riffs and chords right in the middle of the store. I would play drums on my chest and Brett would be writing cool riffs on the spot.
Viking entered the studio for the first time to record three songs (Hellbound, Prelude/Scavenger and Do or Die) that became your first demo, do you still remember how did the recording sessions go with the demo? How much experiences did you have at this point considering recording a tape?
Nowadays its easier for bands to record demos and even full length CDs. Recording studios are now very common and for a reasonable price, a band can record their material and distribute the music via the Internet. Back in the 80's, it was not that easy to share your music. Bands usually recorded demo's in a low quality garage studio with an 8 or 16 track recorder. These were transferred onto cassette tapes and distributed through word of mouth or sold at shows. Back then, there were no CDs. If you were fortunate enough to record on a major label, your material would be on vinyl and cassette tape. Viking was very fortunate to record our first demo in a high quality professional studio. We all pitched in and payed for the project. The tapes were mass produced and given away and became popular though word of mouth. At the time we were also playing local clubs in San Pedro and Hollywood. We would hit the clubs and hand out flyers advertising our next show. We sold and gave away many cassette demos and developed a large following in the area.
Can you give us details regarding the demo?
What an exciting day. It was the first time I had a drum tech set up and tune my drums for me. He set up all the mics and made sure I was comfortable with the recording. I remember we were all driving home together listening to our recording and thinking to myself I ruined the demo. I thought I played our songs too fast and felt it was a little out of control. Little did I know, our first full length album would be almost twice as fast as our demo. It was a great experience and we really bonded as a band. Those are great memories. We were great friends who felt we captured something very special.
Did the demo fulfill the needs of the thrash metal fans?
I'm not sure I would say our demo fulfilled the immediate need of metal fans. There were a lot of great bands at that time. We were very fortunate to be good friends with Dark Angel and played several shows with them. They were a great influence on us and we considered them our big brothers in the industry. I think our demo became more popular after the band split. We were very lucky our demo played a small part in the huge history of the LA metal scene.
Tape trading was huge in the 1980's speed metal scene, so fanzines began to brand this cassette as essential for every collection, and orders from all over the world began to come in the mail daily, would you say, that the demo helped to expand the band’s popularity in the underground?
It definitely helped expand the popularity of Viking. After the band dissolved, I think our fans craved more and discovered the demo later. It was a raw kick you in the head recording that is very appealing to fans. I'm honored people still love and ask about it. It was great time in the history of Viking.
Viking also appeared on Metal Massacre VIII with a song titled Hellbound, was this the choice of the band or of Brian Slagel? How did you get the chance being
featured on this legendary compilation?
It was an honor to be featured on Metal Massacre. I'm not sure who picked the song Hellbound for the LP... but it was good choice. It had killer riffs, shredding guitar solos, heavy drums, a smoking hot bass tone, and head pounding vocals. It encompassed all that Viking had to offer and was a good example of what our material stood for. We owe a lot to Brian Slagel and his loyalty to our music.
Was it a good opportunity to draw more fans attention to the band?
It was a great way to expand the popularity of Viking. For the most part, our exposure was limited to the southern California area. This was setting the stage for our full length album that would hit the shelves a short time later.
Do you agree with, that the Metal Massacre compilation series from Metal Blade Records has launched the careers of many bands, including Ratt, Slayer, and Metallica? Was/Is the label (Brian Slagel) very supportive of the underground?
I absolutely agree with the Metal Blade compilation series and the part it played in the success of many bands. It was a great way for talented bands to share their music. It's a different world now a days. With internet access, it's a lot easier to hear bands from all over the world. Back then we depended on major labels like Metal Blade to record and distribute songs from somewhat unknown bands who deserved to get their material produced. I appreciate Brian and Metal Blade in what they did for Viking. It was a great start to some great memories I'll cherish for the rest of my life.
Did the demo generate some buzz from Metal Blade Records that resulted in your signing and the release of the debut Do Or Die? Is it true, that the band signed a record contract after completing their second live appearance?
The demo definitely had some buzz around it. I'm sure it had something to do with our eventual signing with Metal Blade. I know Brian was at one of our early shows at the Whiskey in Hollywood. I'm not sure if it was our second show or not. It just proved you never know who is out there to watch and listen to your band.
The cool logo of the band was drawn by you, wasn't it?
Yes I believe I came up with the logo. Nothing too glamorous... I remember working for a trashy phone soliciting company and just sat there and drew pictures all day. Instead of making cold calls, I would draw pictures on the back of the cards. I still have some of the old calling cards with Berserkers... axes.. swords.. skulls.. whatever.. I drew the logo as if it was cut from stone then put the Viking horns on each side. We loved it right away and it stuck until this very day.
Viking - Cult american thrash band
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Morbid Angel, Necrophobic, Benighted, Nervecell - Illud Divinum Insanus European Tour - Budapest, Club 202 - 2011. 11. 27.
MORBID ANGEL
NECROPHOBIC
BENIGHTED
NERVECELL
Szokásomhoz híven ideje korán (két órával kapunyitás előtt) érkeztem a klubhoz és meglepve konstatáltam, hogy rajtam kívül írd és mond egy szál emberke toporgott a hidegben. Gondoltam, később csak megérkezik a rajongók hada, de nem, ¾ 7-kor nagyjából 30-an mentünk be a klubba.
A helyzet az, hogy nagyon gyér volt a koncert látogatottsága. Saccra negyed ház (kb. 200-250 fő) lehetett, amelynek véleményem szerint (egyik) oka a floridai death metal veteránok idei, a rajongótábort alaposan megosztó, Illud Divinum Insanus műve volt/lehetett. Feltételezem, sokan azt hitték, hogy a csapat erre a lemezre fekteti majd a hangsúlyt, amolyan lemezbemutató buli lesz, pedig nem az volt. De erről majd később.
Egy-egy nagyágyú előtt hálátlan szerep az elő zendkar szerepét betölteni, főleg akkor, ha egy relatíve ismeretlen csapatról van szó. Annak ellenére, hogy a dubai illetőségű NERVECELL 1999-ben alakult, csak idén került be az európai underground köztudatba második, Psychogenocide lemezüknek köszönhetően. (Webzine-ünkön amúgy Dehumanizer kolléga méltatta a korongot szeptemberben). Roppant kevesen voltak rájuk kíváncsiak, ettől függetlenül a kvartett mindent megtett annak érdekében, hogy maguk mellé állítsák a fanatikusokat, illetve, hogy megalapozzák a buli alaphangulatát. Brutális, technikás, floridai és európai hatásokkal egyaránt tűzdelt death metaljukat viszonylag hosszú dalok (pl. All Eyes On Them, Vicious Circle Of Bloodshed) formájában vezették elő, úgyhogy annak, aki először hallotta/látta a bandát (mint jó magam) feladták a leckét a zene befogadását illetően. Az mindenképpen lejött, hogy felkészült, technikás zenészek alkotják a tagságot, Rami H. Mustafa és Barney Ribeiro gitárosok az intenzív riffeket, itt-ott dallamokkal, szaggatott témákkal kombinálták, feszes, precíz, pontos műsort vezetett elő a banda. Jó benyomást tettek rám.
Másodikként a francia BENIGHTED következett. Nevükre emlékeztem, mivel annak idején hallottam Insane Cephalic Production lemezüket, de a muzsikát, ha agyon ütöttek volna sem tudtam volna felidézni. Öreg motorosoknak tekinthetők ők is, hiszen 1998 óta léteznek, ettől függetlenül/ennek ellenére nem hiszem, hogy komoly hazai rajongótáborral rendelkeznének. Suffocation, ős Cannibal Corpse hatású death metaljukban grind tempók, blastbeatek éppúgy találhatóak mint dallamok, groove-ok, mely utóbbi arra engedett következtetni, hogy a mai modern színtér sem hagyja őket hidegen. Becsülettel daráltak, tekertek, Julien Truchan énekes mezítláb nyomta le a műsort, valamelyest sikerült a jelenlévőket megmozgatniuk, bennem azonban nem hagytak mély nyomot.
A klasszikus svéd death metal intézmény a NECROPHOBIC a jelen underground színtér egyik legjobb, legmegbízhatóbb alakulata. Véleményem szerint a másodgenerációs svéd death metal hullám legjobbjai, korai lemezeik egyértelműen a műfaj klasszikusai közé sorolandók. Műsoruk tetszett, azt azonban mindenképpen meg kell jegyeznem, hogy a brutális, de tiszta hangzás (ez egyébként mindegyik csapatra jellemző volt, semmiféle probléma sem volt a megszólalással) elvette azt a jellegzetes klasszikus svéd ízt, soundot, dallamokban, harmóniákban gazdag muzsikájuk nem úgy jött le, mint lemezen. Bő háromnegyedórás programjuk gerincét a Hrimthursum korong szerzeményei (The Slaughter Of Baby Jesus, Blinded By Light, Enlightened By Darkness, The Crossing, Age Of Chaos) alkották, egy dal erejéig (Taste Of Black) megidézték a Bloodhymnst, három tétel (For Those Who Stayed Satanic, Celebration Of The Goat, Revelation 666) hangzott el a Death To All-ról, míg a múltat (értsd korai időszak) csupán egy szám (The Nocturnal Silence) képviselte. Értelemszerűen rájuk már többen voltak kíváncsiak, mint az előző két zenekarra, ami nem csoda, lévén ismertebbek, jobbak és többet tettek le a death metal színtér asztalára, mint a Nervecell és a Benighted együttvéve.
Szerintem nagyon sok MORBID ANGEL fanatikus fejében megfordult, hogy mi lesz kedvenc csapatukkal, ki lesz az új dobos, amikor kiderült, hogy Pete „Commando” Sandoval porckorong kopása miatt nem tudta feljátszani az új korongot. Amikor értesültem a hírről, hogy Pete helyett Tim „The Missile” (rakéta) Yeung lett az új ütős elégedetten dőltem hátra, hiszen tudtam, hogy szemernyi csalódást sem fog okozni. Nemcsak a lemez, hanem a Club 202-ben átélt, letaglózó, gyilkos másfél óra is bizonyította, hogy Tim Yeung napjaink egyik legjobb dobosa, játéka pedig nemhogy nem hagyott kívánnivalót maga után, hanem lenyűgözött. Ahogy fentebb utaltam rá, a show nem az új anyag bemutatója volt, a csapat egy olyan szettet adott elő, amely minden Morbid Angel rajongó igényét kielégítette, nem hiszem, hogy valaki is elégedetlenül távozott volna a helyszínről. Tulajdonképpen le se kellene írnom a látottakat/hallottakat, elég lenne felsorolnom a setlistet. Maga volt az őrület a műsor, a death metal legfelső szintje került prezentálásra aznap este, a hangulat pedig olyan volt, mint az intenzívosztályon: eszméletlen. Az Immortal Rites-szal nyitottak és onnantól kezdve nem volt megállás, egymás után jöttek az olyan alapvető death metal klasszikusok, mint a Fall From Grace, a Day Of Suffering, a Blasphemy, a Maze Of Torment vagy a Lord Of All Fevers And Plague. Kell-e valamit ehhez hozzáfűznöm? Esetleg annyit, hogy az Altars Of Madness-hez hasonlóan a Covenant album felét is eljátszották, az Angel Of Disease és a God Of Emptiness nélkül gyakorlatilag elképzelhetetlen egy Morbid Angel koncert. A rend kedvéért, a Rapture, a Blood On My Hands és a World Of Shit (The Promised Land) csendült fel a Covenant-ról. Azt viszont a mai napig nem értem, hogy a Domination-ről miért csak a Where The Slime Live és a ráadásban előadott Sworn To The Black fér bele a repertoárba, személy szerint nagyon szívesen vettem volna az Eyes To See, Ears To Hear-t, ahogyan a Thy Kingdom Come-ot is, de ez legyen az én gondom, nem igaz? Mindenképpen meglepetés volt a Bil Ur-Sag felbukkanása a Formulas Fatal To The Flesh-ről, lévén azon nem David Vincent énekelt. Mindösszesen két dal (Existo Vulgoré, Nevermore) képviselte az új anyagot, tehát az új album death metal(os) szerzeményei. (Kötözködés: eljátszhatták volna a Blades For Baal-t is). Ahogy Milán Péter barátom még 1997-ben a Psychotic Waltz koncert beszámolójában említette, nem lehetett olyat kiemelni ezen az estén, hogy a legjobb nóta, mert itt mindegyik a legjobb nóta volt. Trey Azagthoth és Thor Anders Myhren, alias Destructhor átszellemülve, magukat egy az egyben átadva a muzsikának pengették a klasszikus, death metal mérföldköveknek számító riffeket és szólókat, David Vincent énekes/basszusgitáros jókedvűen, szimpatikusan irányította a műsort, Tim Yeung pedig… Ahogy már utaltam rá, elképesztően játszott, a 150-160 cm, kerti törpe alkatú srác valóságos dobbemutatót (headbangelt, ujjai között forgatta a dobütőt stb.) adott elő. Mellesleg aznap ünnepelte 33. születésnapját, melynek tiszteletére David Vincent előadta a happy birthday örökzöldet. A ráadásban a Chapel Of Ghouls klasszikus adta meg a kegyelemdöfést, a beteg angyalok pedig diadalittasan vonultak le a színpadról. Nem vitás, hogy az év egyik legjobb koncertjét láttuk az egyik legmeghatározóbb zenekartól.
NECROPHOBIC
BENIGHTED
NERVECELL
Szokásomhoz híven ideje korán (két órával kapunyitás előtt) érkeztem a klubhoz és meglepve konstatáltam, hogy rajtam kívül írd és mond egy szál emberke toporgott a hidegben. Gondoltam, később csak megérkezik a rajongók hada, de nem, ¾ 7-kor nagyjából 30-an mentünk be a klubba.
A helyzet az, hogy nagyon gyér volt a koncert látogatottsága. Saccra negyed ház (kb. 200-250 fő) lehetett, amelynek véleményem szerint (egyik) oka a floridai death metal veteránok idei, a rajongótábort alaposan megosztó, Illud Divinum Insanus műve volt/lehetett. Feltételezem, sokan azt hitték, hogy a csapat erre a lemezre fekteti majd a hangsúlyt, amolyan lemezbemutató buli lesz, pedig nem az volt. De erről majd később.
Egy-egy nagyágyú előtt hálátlan szerep az elő zendkar szerepét betölteni, főleg akkor, ha egy relatíve ismeretlen csapatról van szó. Annak ellenére, hogy a dubai illetőségű NERVECELL 1999-ben alakult, csak idén került be az európai underground köztudatba második, Psychogenocide lemezüknek köszönhetően. (Webzine-ünkön amúgy Dehumanizer kolléga méltatta a korongot szeptemberben). Roppant kevesen voltak rájuk kíváncsiak, ettől függetlenül a kvartett mindent megtett annak érdekében, hogy maguk mellé állítsák a fanatikusokat, illetve, hogy megalapozzák a buli alaphangulatát. Brutális, technikás, floridai és európai hatásokkal egyaránt tűzdelt death metaljukat viszonylag hosszú dalok (pl. All Eyes On Them, Vicious Circle Of Bloodshed) formájában vezették elő, úgyhogy annak, aki először hallotta/látta a bandát (mint jó magam) feladták a leckét a zene befogadását illetően. Az mindenképpen lejött, hogy felkészült, technikás zenészek alkotják a tagságot, Rami H. Mustafa és Barney Ribeiro gitárosok az intenzív riffeket, itt-ott dallamokkal, szaggatott témákkal kombinálták, feszes, precíz, pontos műsort vezetett elő a banda. Jó benyomást tettek rám.
Másodikként a francia BENIGHTED következett. Nevükre emlékeztem, mivel annak idején hallottam Insane Cephalic Production lemezüket, de a muzsikát, ha agyon ütöttek volna sem tudtam volna felidézni. Öreg motorosoknak tekinthetők ők is, hiszen 1998 óta léteznek, ettől függetlenül/ennek ellenére nem hiszem, hogy komoly hazai rajongótáborral rendelkeznének. Suffocation, ős Cannibal Corpse hatású death metaljukban grind tempók, blastbeatek éppúgy találhatóak mint dallamok, groove-ok, mely utóbbi arra engedett következtetni, hogy a mai modern színtér sem hagyja őket hidegen. Becsülettel daráltak, tekertek, Julien Truchan énekes mezítláb nyomta le a műsort, valamelyest sikerült a jelenlévőket megmozgatniuk, bennem azonban nem hagytak mély nyomot.
A klasszikus svéd death metal intézmény a NECROPHOBIC a jelen underground színtér egyik legjobb, legmegbízhatóbb alakulata. Véleményem szerint a másodgenerációs svéd death metal hullám legjobbjai, korai lemezeik egyértelműen a műfaj klasszikusai közé sorolandók. Műsoruk tetszett, azt azonban mindenképpen meg kell jegyeznem, hogy a brutális, de tiszta hangzás (ez egyébként mindegyik csapatra jellemző volt, semmiféle probléma sem volt a megszólalással) elvette azt a jellegzetes klasszikus svéd ízt, soundot, dallamokban, harmóniákban gazdag muzsikájuk nem úgy jött le, mint lemezen. Bő háromnegyedórás programjuk gerincét a Hrimthursum korong szerzeményei (The Slaughter Of Baby Jesus, Blinded By Light, Enlightened By Darkness, The Crossing, Age Of Chaos) alkották, egy dal erejéig (Taste Of Black) megidézték a Bloodhymnst, három tétel (For Those Who Stayed Satanic, Celebration Of The Goat, Revelation 666) hangzott el a Death To All-ról, míg a múltat (értsd korai időszak) csupán egy szám (The Nocturnal Silence) képviselte. Értelemszerűen rájuk már többen voltak kíváncsiak, mint az előző két zenekarra, ami nem csoda, lévén ismertebbek, jobbak és többet tettek le a death metal színtér asztalára, mint a Nervecell és a Benighted együttvéve.
Szerintem nagyon sok MORBID ANGEL fanatikus fejében megfordult, hogy mi lesz kedvenc csapatukkal, ki lesz az új dobos, amikor kiderült, hogy Pete „Commando” Sandoval porckorong kopása miatt nem tudta feljátszani az új korongot. Amikor értesültem a hírről, hogy Pete helyett Tim „The Missile” (rakéta) Yeung lett az új ütős elégedetten dőltem hátra, hiszen tudtam, hogy szemernyi csalódást sem fog okozni. Nemcsak a lemez, hanem a Club 202-ben átélt, letaglózó, gyilkos másfél óra is bizonyította, hogy Tim Yeung napjaink egyik legjobb dobosa, játéka pedig nemhogy nem hagyott kívánnivalót maga után, hanem lenyűgözött. Ahogy fentebb utaltam rá, a show nem az új anyag bemutatója volt, a csapat egy olyan szettet adott elő, amely minden Morbid Angel rajongó igényét kielégítette, nem hiszem, hogy valaki is elégedetlenül távozott volna a helyszínről. Tulajdonképpen le se kellene írnom a látottakat/hallottakat, elég lenne felsorolnom a setlistet. Maga volt az őrület a műsor, a death metal legfelső szintje került prezentálásra aznap este, a hangulat pedig olyan volt, mint az intenzívosztályon: eszméletlen. Az Immortal Rites-szal nyitottak és onnantól kezdve nem volt megállás, egymás után jöttek az olyan alapvető death metal klasszikusok, mint a Fall From Grace, a Day Of Suffering, a Blasphemy, a Maze Of Torment vagy a Lord Of All Fevers And Plague. Kell-e valamit ehhez hozzáfűznöm? Esetleg annyit, hogy az Altars Of Madness-hez hasonlóan a Covenant album felét is eljátszották, az Angel Of Disease és a God Of Emptiness nélkül gyakorlatilag elképzelhetetlen egy Morbid Angel koncert. A rend kedvéért, a Rapture, a Blood On My Hands és a World Of Shit (The Promised Land) csendült fel a Covenant-ról. Azt viszont a mai napig nem értem, hogy a Domination-ről miért csak a Where The Slime Live és a ráadásban előadott Sworn To The Black fér bele a repertoárba, személy szerint nagyon szívesen vettem volna az Eyes To See, Ears To Hear-t, ahogyan a Thy Kingdom Come-ot is, de ez legyen az én gondom, nem igaz? Mindenképpen meglepetés volt a Bil Ur-Sag felbukkanása a Formulas Fatal To The Flesh-ről, lévén azon nem David Vincent énekelt. Mindösszesen két dal (Existo Vulgoré, Nevermore) képviselte az új anyagot, tehát az új album death metal(os) szerzeményei. (Kötözködés: eljátszhatták volna a Blades For Baal-t is). Ahogy Milán Péter barátom még 1997-ben a Psychotic Waltz koncert beszámolójában említette, nem lehetett olyat kiemelni ezen az estén, hogy a legjobb nóta, mert itt mindegyik a legjobb nóta volt. Trey Azagthoth és Thor Anders Myhren, alias Destructhor átszellemülve, magukat egy az egyben átadva a muzsikának pengették a klasszikus, death metal mérföldköveknek számító riffeket és szólókat, David Vincent énekes/basszusgitáros jókedvűen, szimpatikusan irányította a műsort, Tim Yeung pedig… Ahogy már utaltam rá, elképesztően játszott, a 150-160 cm, kerti törpe alkatú srác valóságos dobbemutatót (headbangelt, ujjai között forgatta a dobütőt stb.) adott elő. Mellesleg aznap ünnepelte 33. születésnapját, melynek tiszteletére David Vincent előadta a happy birthday örökzöldet. A ráadásban a Chapel Of Ghouls klasszikus adta meg a kegyelemdöfést, a beteg angyalok pedig diadalittasan vonultak le a színpadról. Nem vitás, hogy az év egyik legjobb koncertjét láttuk az egyik legmeghatározóbb zenekartól.
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