Hej Stockholm! Guess who was back for a 5th visit?! I had many things on my to-do list, but let’s start with some metal.
One of my favourite things in Stockholm this time was the Total Metal exhibition in Kulturhuset, Sergels Torg. This exhibition about Swedish extreme metal (and hard rock) from the 80s onwards is only running from February to September. So you can imagine that it was imperative that I visited: I walked past it in February, but I got side-tracked talking to guess-who again!!!
And it was so good, I had to go twice!!!
Where do I start? So many cool relics! For me, the zenith was seeing the original Papa Emeritus papal robes (2010—2012) and the analogue mixing desk, which had the multi-tracks of Ghost’s “Rats” (2018). I could listen to the isolated vocals of Tobias Forge! The detail was incredible, I could hear the vocal layering much better: the man is a genius. And I could remix the song as often as I liked! So much fun for little old me, Richie said after that he never saw me so happy as when I sat behind that console.

It was amazing to see the recreations they installed. The typical metalhead teenage boy’s bedroom in the 80s/90s (in my mind, that was Mary Goore’s messy bedroom) was absolutely hilarious (complete with socks and underpants on the floor as well as “dirty” crockery beside the bed). The posters and flyers on the walls, the bass guitar thrown on the couch, the old typewriter on the desk, even the fanzine and art supplies beside that, the analogue telephone, the studded belts and chains hanging on the bed post, the stacks of vinyl, (some of which disgarded on the floor of course) and the old boombox. Reminded me of a couple of exes’ bedrooms in the 00s, except this was cooler, of course!

The House of Kicks record shop (1986) recreation was also brilliant. One could jump behind the old cash register and live out their record shop dreams! House of Kicks was located in Gamla Stan and was an important meeting place for metal fans: the importance of the record shop was rightfully highlighted in the exhibition. House of Kicks became Sound Pollution in 1993 and moved 50 meters to Stora Nygatan. It still stands today, and I have frequented it many times myself.

The relics were unbelievable. To see authentic fanzines, complete with the materials used by the youth who created them, homemade leather studded and spiked accessories worn by the pioneers, retro school copybooks with band logos scrawled all over them, collections of cassettes, vinyl, posters, t-shirts: my heart!!! I could wax lyrical about everything I saw!!!

Back to Ghost and Tobias Forge. Can you imagine how I felt when I clapped eyes on the white papal robes of Papa Emeritus I? I was unfortunate to have missed the start of Ghost (what was I doing then? I was starting my journey in college and starting my own exploration into recording and producing). If only someone showed me Ghost then! Anyway, I’m here now! The robes were stunning. Papa I often gets overlooked these days due to the sparkly shiny robes and accessories and slim fitting suits the later Papas have sported (Papa V, the current pope, is the most sparkly of them all so far), but his homemade mask and robes fit perfectly into the DIY culture of Swedish metal. Forge has mentioned painting the mask at home on his living room floor when his children were babies. The mask is on display in the VIP museum that tours with Ghost, as well as the other “dead” Papas (Nihil, I, II, III) and Sister Imperator. Thankfully, Papa IV is not dead and lives on as Frater Imperator offstage, grumpily watching his twin brother Papa V break records and sell out arenas.

There were two short films that featured Tobias Forge. One included his speaking about extreme metal culture, and the other included a clip of his retro death metal band Repugnant (1998—2004, 2010). A band I would have given top dollar to see live. His bloody Mary Goore persona is my top favourite of his.


And back quickly to recording music in extreme metal: I was pleased to see two small exhibits about the sound itself. The first was the electric guitar, Boss HM-2 pedal, and Peavy amp encased (entombed, haha) in perspex. The Stockholm Sound was contrived in Sunlight Studio, which became a staple of early Swedish death metal. More commonly referred to as the “buzzsaw” guitar sound for its defining chainsaw-like sound, along with the five-string guitar and the famous Boss pedal, which was a happy accident when all the dials were turned all the way up (thanks to Leif Cuzner) on Nihilist’s pre-Entombed) demo in 1989. The guitar on display was Cuzner’s own, the Boss pedal from Sunlight, and the Peavy amp was used on Entombed’s debut Left Hand Path (1990). How cool?!!

And the second exhibit about the sound itself refers to the Gothenburg Sound. The Gothenburg Sound on the west coast happened a couple of years after the Stockholm Sound. According to Daniel Ekeroth (2006) the Stockholm Sound was generally characterised as fat guitars, growling vocals, relentless production, and bass heaviness, as opposed to the Gothenburg Sound, which had traditional verse/chorus structures, more melodies, a clearer and less brutal sound, sterile drums and the vocals are screamed rather than grunted. On display in Total Metal is the two-mic setup pioneered by Fredrik Nordström for guitar amp recording. He aimed one of the mic straight at the speaker instead of sideways, and the technique became so popular that he even developed a mic clip for this. The 1995 album Slaughter of the Soul by At The Gates is one of the most influential Swedish metal albums ever, and Nordström has sold over 1,500 clips.

All in all, this was the coolest exhibition ever. And to experience it with my friends from Canada, the USA and Sweden who appreciated it as much as I did was amazing!
Extreme metal has a fascinating and bloody culture. Sure, it hasn’t always been pretty; it has a violent and nasty history, but the music, fashion, recording techniques, homemade DIY culture, humour, and sense of camaraderie within the genre are absolutely fascinating.
40 years of extreme metal continues. As the sign said at the end, “the future of darkness has never been brighter”.
Ekeroth, D. (2006). Swedish Death Metal. Bazillion Points Books, New York,














