well any collaboration with iLDjARN is out of the question, cause just like he did with his iLDjARN solo project, I would want now to work out my own musical concept. I had two directions worked out and none of them would be under the NiDHOGG-name, since they don't really reflect norwegian nature in particular, as both Norse and Hardangervidda did. That's why we used the iLDARN - NiDHOGG moniker on Hardangervidda, although we didn't stamp the cover with a logo. When speaking of the stuff we did together (not counting Sort Vokter, which could in many ways just be considered a spoof, in my opinion, hence our attempts at wit in the few sentences we put on the cover), the songwriting and production varied along the whole scale of who made what. It is certainly not true that I mainly did production as I saw someone say somewhere. I don't think iLDjARN has said that either, or he has been misunderstood. So Svart Dag and Eksistensens Jeger are for instance both my tunes, and iLDjARN had nothing to do with them. But our moniker, with both names, fit such a collaboration as the compilation was.
Speaking of the end of Hardangervidda, the main direction I was going in before I relocated and everything was put on hold, was a concept album in the aforementioned classical orchestral style. I had most of the melodies, or riffs and ideas, if you will, ready for the first album which was intended to be called "Symphonies in a Starless Night", and the first song would actually tie well in with the end of Hardangervidda. The second one was also basically planned and I had perhaps 20 startingpoints for songs to pick from for that one, which was going to be called "Studies of Devils". iLDjARN came up with the original name for the project, SHOG, which I elaborated to Shadow Hungry Onto God. The icon image on my Thesortvokter channel on YouTube was intended as the cover for the first album, although in black and white.
Aquarius also asked me if the classical orchestral piece was using synth or real instruments.
Well, there would actually have been no need for real instrument. The synth we used for Hardangervidda was one I bought after working a whole summer in Notodden, where I lived and the album was made. It was a Roland XP-80, cost around 23,000 norwegian kroner and is quite a monster. Currently there's about 4 soundcards in it and about 1200 different sounds, and the possibility to have other cards to switch in and out. My favourite card is the classical orchestral one. Every instrument in that card is a REAL instrument sampled, so it's not digital sound per se. The "live" instrument feel to the doublebass opening on Night shows this, I think. Not only is every sound a real instrument sound from a full classical orchestra (about 250 instruments), each instrument is also sampled four seperate times. The reason for this is the touch sensitivity on the keyboard. Depending on the preasure and attack on the fingers on the keys, the synth produces a mix of these four sounds on a scale. So for instance if I chose one of the violins and hitthe key hard and abrupt, it would sound like a bow being hit hard on the string. Similarly, a soft long preasure on a key would sound like a slow soft stroke on the string. Quite an amazing instrument. It has 16 seperate tracks/channels with possibilities for polyphony, so it's basically like a 16 track reacording device. There is complete modulation possibilities on it, so you can personalize every sound as you please. The possibilities are in fact endless. So no real orchestra was needed. One song was completely finished and recorded, but currently I don't know where it's gone.
In the other direction I experimented in, I do have a song at hand, I just have to get the gear up and running and I'll post it on YouTube. This does neither reflect an aspect of norwegian nature, and therefore neither under the NiDHOGG name. Trying to describe it, I figure Psychedelic Necro Ompa would suffice, to give an idea of the sound. Labeling/not labeling, I don't care. There is energy to it like me and iLDjARN's metal stuff and some trippy shit going on. The picture I attached also should give you an idea of the sound, I think
I had two songs ready for a limited 7", but one day I lost the A-side down the "equipment failure-drain", so to speak. The intended B-side I have, tough.
Feel free to PM me on the YouTube-channel also, since I'm not often on forums.