Entering the Swedish multi-instrumentalist's war zone of a mind.
Among the solid release date of October 16th was HENRIK PALM's Poverty Metal (Svart Records), a richly layered effort of boundless post-punk proportions. Poverty Metal, which stands as a display of Henrik's elite musical prowess, is exemplary in scope, bridging hard-hitting doom-esque riffs with a palette of charming melodies to groove to. One can't accurately describe the elements present on the record within the length of a paragraph, but let Sebastian Murphy's densely packed cover serve as an introduction to the experience that awaits. With involvement in GHOST, IN SOLITUDE, SONIC RITUAL, PIG EYES, and more, there's no question as to why Poverty Metal is as interesting with every subsequent listen.
We talk to Henrik Palm about all things Poverty Metal:
Three years from ‘Many Days’ and you’ve returned with ‘Poverty Metal’, a free-spirited record that can very loosely be defined as post-metal. Seeing as you’ve been involved in countless musical projects of different styles, where are you now as a musician?
Palm: Haha, wow. Post-metal? Really? That makes me think of bands like Isis and Pelican. Personally, I feel that I have more in common musically with Aerosmith than with those bands, haha. But yeah, fair enough. I get your point.
Now to your question: Well, today as a musician and a music fan, I am exactly where I've always been, which is just being in the now and trying to explore, digest and, hopefully, pervert the sights and sounds I love. And having fun of course. “Poverty Metal” does not deviate from that path. I still see myself more as a music-fan than a musician. And everything comes out of that really.
There are definitely some valuable connotations associated with the album title, which will have many people scratching their head if they think it has to do with the literal meaning of it. How did you come about titling the record?
Palm: It's a “term” I loaned from the Canadian heavy metal-band, Cauldron. My close friend Henry Yu