Nearly two decades on from revolutionary opus Slaughter Of The Soul (Earache) Gothenburg pioneers At The Gates are back with a new album At War With Reality (Century Media), a blistering release featuring all the hallmarks of their sound. Arguably the band who helped inspire the Metalcore movement, a scene the band are quick to disown, anticipation for the new record and subsequent tour has reached fever pitch. Lounging on the couch backstage at Manchester’s Academy, Tomas Lindberg takes a sip of Rioja as he explains what led to the genesis of the new album. “We are better listeners than we were in our early twenties. It was probably a big factor in our breakup. Everyone has a veto on decisions made concerning recording or touring. Working with other people, in other bands has helped us learn how to communicate more effectively. The idea of writing together came through Anders. He is the main songwriter and everything goes through him. Working with him again has been very fruitful.”
Considering the immense pressure and level of expectation which would preceed such a record after such a long time apart it was perhaps no surprise the group elected to begin writing and recording sessions in secret. “It could have been negative if we announced it to early. That way we only had to please ourselves.” The frontman pondered. “If we had got to seven or eight songs into the project and did not like what we heard we could have disbanded without anyone ever knowing. When we put the teaser video on YouTube back in February the album was more or less written. We had to be honest to ourselves and our fans and not second guess what we felt was right. That would be selling out.”
A teacher by trade, Lindberg does not rely solely on income from At The Gates to survive. An articulate and composed gentleman, he is happy to wax lyrical upon the concept behind At War With Reality which hinges on the works of a group of philosophers and writers who comprise a largely South American literary movement known as ‘Magic Realism’:
“I was inspired by the way these intertextual post-modern writers. I delved into post structuralism views about the perception of reality and how different people perceive it. These writers are often self-referential. A lot of the songs are influenced by their novels. The line from ‘Spanish song..’ is from a chapter in the book ‘From Heroes and Tombs’ of a nightmarish dream one of the main characters has about the concept of God. I felt it had to be read in this manic Spanish voice which Anton (Resseingger) delivered with such style. It takes you to a nightmare world!”
Indeed a couple of the song titles are derived directly from these tomes, ‘The Circular Ruin’ and ‘The Book of Sand’ both come from the works of Argentine writer Jorge Luis Borges. “I have been reading these authors for a while and found the concept (of Magic Realism) very inspiring. The French philosopher Michel Foucault wrote a lot of essays about structures of power but he wrote one book which was about how language could be used to alter people’s concept of reality which is ‘Death In The Labyrinth’ that song essentially explains what the concept of the record is about is in that song. There is not only one reality or truth but many.”
“The magic realism movement was one born out of oppression and frustration. The ideas of these Latin authors were presented in such a multilayered way as they wrote to criticise the oppressive states in which they lived in places like Chile, Paraguay and Argentina. In ‘Heroes In Tombs’ (the movement) was already questioning how the establishment was “perverting the hearts of men. At War With Reality is somewhat a cautionary tale, a warning against globalisation. They could not explain their ideas openly so they did it through their work. We are not a political band but we are criticising the materialistic, superficial culture of today.”
WORDS BY ROSS BAKER
