Interview mit Jonas von This Gift Is A Curse

Hello Jonas, thank you for taking the time! Let’s dive right in. For those who don’t know THIS GIFT IS A CURSE yet—who are you, and how has your band evolved since its formation?
THIS GIFT IS A CURSE started around 2008-2009. But I am not sure if we found a true form until like 2010 when we released our first EP. Before that it was a lot of noise making and just trying to play together. I moved to Stockholm 2008 from smaller town up north in Sweden. At the same time former drummer J-Rot did the same journey from another small town in the north. We met by semi-chance and started talking about music. We found out fairly quick that we shared common musical grounds. I had wanted to start a “dark noise punk project” to “pass the time” while adjusting to my new hometown. J-Rot that had never played fast music wanted to try his wings in this. I had met Lahzyaxe (Bass) some time before and brought him into the mix. He in his turn knew of a guitarist that was out of a band and wanted to play “Converge’escq” metal. This was Pacman (Guitar). We came from somewhat different musical backgrounds, but with overlapping. It worked somehow. Later on we wanted to expand our sound, so Dave (Guitar) joined in 2016. We parted ways with J-Rot in 2022 and later fooled C-Flex (Drums) to join us just before recording „Heir“. I think this form of THIS GIFT IS A CURSE is the best we have been and that is what you hear on our latest album.

THIS GIFT IS A CURSE – how did you come up with it, and in what way does it reflect your dark, brutal music?
I think the original idea behind the name is that it was supposed to be “annoying”. And maybe a bit like a “riddle”. Mind you that we started as an intent to be a “dark noise punk project”. We later evolved to something completely different. But the name kind of grew into the new form.

In 2019, you released „A Throne Of Ash“ — an album that heavily explores themes of annihilation and destruction. Just half a year later, the COVID-19 pandemic brought the world to a standstill. How did you experience that time, and did it influence your new album, „Heir“?
It was bad. I mean from a creative standpoint it affected us negatively, and it made the recording process take a longer “turn”. We had to find new ways to work. It took a while to get into that “new normal”. We also had a lot of shows and tour booked that all got cancelled in 2020. And then a lot of things just stood still. Now it feels in someways you are back to square one. But we didn’t succumb to the disease, so maybe we shouldn’t complain?

While „A Throne of Ash“ examines destruction in a broad sense, „Heir“ seems to present a deeper philosophical thesis: that only through destruction can something new emerge, that chaos and order are interdependent. Would you agree? Was this a conscious development or more of a natural process?
To be honest, „A Throne of Ash“ was in the beginning supposed to be like an EP (or something else than an album). But we changed our plans and wrote more songs which grew into an album. I think I felt more pissed off and angry when we wrote that one. It felt more like blunt force violence and harsh sonic warfare. When we wrote „Heir“ it was a longer process, so the themes and subject changed a few times. I felt really lost in the process and had to do over some of the vocal recording a couple of time before finding what was „Heir“. I think we go deeper with „Heir“ in our music writing as well as with esoteric philosophical themes. I tend to compare THIS GIFT IS A CURSE to swinging the medieval weapon of the morning star, in a darkroom. It’s heavy, crushing, unpredictable and full of shiny spikes to punch a hole in your reality. Because circumstances made the writing- and recording process longer, I/we also had more time to reflected and venture deeper into darkness. What we dragged out from that abyss is „Heir“. Really it is just longer and heavier swings with that THIS GIFT IS A CURSEC morning star.

This idea also resonates with the world we live in today – a time of upheaval, be it due to the global shift to the right, climate change, or ongoing wars. Did this grim reality influence your writing process for „Heir“?
I think humans get the culture and art they deserve. Or crave. More or less. In these semi- apocalypse times of despair, I think people tend to project their gloomy emotions unto culture and art. „Heir“ is part of that. But to me it is just timing. We have always done what we always done, so to say. The creative process of THIS GIFT IS A CURSE tend to be a somewhat isolated affair. This is done consciously because we as band/artists want to explore themes beyond the human physical experience. Time seems to repeat itself and man is true to his destructive nature (the song “Old Space” explore this theme closer). There will always new temples, but the gods are old… just with new masks and flags. Same with worship.

Speaking of the creative process—how do you write your songs? Do you work individually, or do you develop everything together in the rehearsal room?
It is usually Dave who writes the riffs and sometimes ideas of whole song structures. Then we press all that trough our “creative filter” and out comes a THIS GIFT IS A CURSE song. Everyone always gets their saying and input. To me this is a good way to work. We have also started in other ends. Like a drum beat or some of electronic part that someone bring to the rehearsal space. Sometimes it is like laying a puzzle.

How do you interpret the name of your album? In context, I would assume it refers to the heirs of humanity.
Exactly. Or rather: this is what we dragged out from behind the shadow of man, and this is what you inherit. Join us in this walk into “the red waste” (void)… or out from it, depending on your wishes and needs. Change or annihilation!

Musically, „Heir“ feels more structured and atmospheric compared to „A Throne Of Ash“, yet also more intense. Has your approach to songwriting changed, or was this a natural evolution?
We wanted to take a more dynamic approach and add more elements that made the musical journey through the album more varied and interesting for the listener. So, we talked a lot about build ups and bridges in and between songs. We always try to push and better ourselves in our songwriting and art.

Your music moves between black metal, hardcore, and sludge—genres that come from very different political backgrounds. While hardcore and sludge are often linked to left-wing ideals, the black metal scene frequently sparks debates due to ideological gray areas. How do you position yourselves within this tension?
Our aim with this band has always been to explore themes beyond the direct human experience and deep dive into the meta-physical sphere. I think human nature usually harbours hyper-realistic evil traits and deviance. I got tired to deal with the world of men a long time ago. I also feel there is a lot of musicians and artist that can high-light those themes in their music/art, better than THIS GIFT IS A CURSE ever could do. Although: I listen to a lot of political music and very interested in social science/politics/world events. It is just that, to us, THIS GIFT IS A CURSE is a “exploration vessel” into the comprehension of darkness and beyond. Like an exploration into the void of space and the human psyche. With that said: in my humble opinion if you are “right-wing” (or worse) and play metal/rock you lack basic historical understanding. That whole musical expression and vein of art has its roots in Afro-American culture and later in mixed culture fusion. We as rock musicians owe everything to Chuck Berry. To me this is so weird I can´t even grasp it. On another note: THIS GIFT IS A CURSE have members with ethnic cultural origins as well as political beliefs that would land us spot in any given workcamp in certain parts of 1940´s Europe. We are Entartete Kunst.

Speaking of societal developments—Sweden has been making headlines recently due to gang violence and crime. A shooting at an educational institution just occurred. How do you perceive the current mood in your home country?
That is a super complicated question. National media as well as international media has their take. It’s hard to say what the real “zeitgeist” in society is. Probably divided, like most societies right now. Time caught up with us? I guess there is a lot of countries that have the same kind of struggle and challenges. Sweden has been quite “innocent” and isolated here in the north. With a reputation to be a “democratic utopia” and an open society. There will always be threats to that kind of ideals. But I’m no politician so I don´t know the game plan forward. One can only hope for the better.

Not only your music but also your visual aesthetic is deeply rooted in symbolism. „A Throne of Ash“ features a salt circle with three keys, a candle, and a hooded figure with a scythe. On „Heir“, a cloaked figure sits on a horse, holding a decayed flag with the number 317. What is the meaning behind these motifs, and how do your album covers connect to your music?
Jonas: As I said before: it can be whatever you want to be. How does it speak to you? Where is it saying you should go? How can it please your desires. I do all the artwork in THIS GIFT IS A CURSE and it important to us to connect al entities of the art into one artistic motion. 317 (3 + 1 + 7 = 11) is a u/holy number to us and has followed us around for many years. You can see it in our lyrics and art. To me all these things a have a symbolic meaning. Esoteric paths through occult soundscapes.

Your video for Kingdom has a stylistic resemblance to The Blair Witch Project — dark, shaky, and menacing. Was this a deliberate reference, or did this aesthetic come about naturally?
Me and Karlberg (director of the „Kingdom“ music video) are really into indie horror movies and low budget/lo-fi films. I think that was the scope and lens we wanted to make that video through. Just one camera and a bunch of flashlights. Before writing the plot we talked a lot about David Lynch, „True Detective“ season one and movies like „It Follows“, „Mandy“, „Shining“ and „Hereditary“. We had such a good time there out in the dark that there are plans on doing a follow up video later this year, in the same vein. We will see what happens.

Horror Movies and Endtime Scenarios areca big Inspiration for music. Have you ever been influenced by something like this?
Not intentionally at least. I remember the band watched the movie „Mandy“ together and really really enjoyed the score/soundtrack. Maybe some of that music is not far from what we do in THIS GIFT IS A CURSE sometimes. I also know that Dave loves movies like „Blade Runner“ and „Alien“ and their scores. So, maybe? If you as a listener hear something familiar and cinematic – maybe you are right?

Where can people see you perform this year?
There are three shows booked in Sweden so far. We are working on getting us self out there so we can perform „Heir“ live.

Thank you for your time, Jonas! To wrap things up, here’s our Metal1 brainstorming session:
Opeth:I have no real relationship with their music. But they seem to be very loved, and the just won a Swedish Grammy. Good for them.
Philosophy: Lock, keys, tunnels and portals. Will you get free – or trapped in the fold?
Last non-metal release you bought: Nails – ‘Every Bridge Burning’
Scythe or lawnmower: Scythe every minute and second of the day
THIS GIFT IS A CURSE in ten years: In hell with all your friends and enemies, listening to Chuck Berry and quoting Hegel.

Publiziert am 15. Mai 2025 von Philipp Sorger