Forndom’s new album, Moþir (Nordvis Produktion), is an exploration of divine ambiguity, weaving together themes of creation, destruction, and renewal. The musical project of Ludvig Swärd, Forndom’s latest work forgoes purely modern elements in favor of an acoustic foundation, utilizing effects and textures to craft a sound that is both distinctive and timeless.
With a background in photography, Swärd brings a strong visual dimension to his work, often envisioning visual concepts while creating music. The music video for the album’s first single, “Tunridor,” features striking imagery and feels like a natural extension of the song.
Among the guest collaborators on Moþir are Swärd’s labelmates Thomas von Wachenfeldt (violin) and Janne Posti (vocal harmonies), both of whom contributed their specific talents to elevate the album’s sound. In an email interview, Swärd discussed his creative process and the making of Moþir.
Did you have a strong sense of the themes you wanted to explore going into the making of Moþir? Did the process of actually creating it drive the thematic direction in any way?
Yes! Truth is that I usually have the overall theme fully thought through as soon as I end the previous album – themes that is later divided into several subthemes all going back to the original. For the last two albums the two fundamental themes have been father and mother, but as one can imagine – these are rather wide themes that can be filled with several different meanings, not least if you put it in a philosophical and religious perspective. Thus, the greatest challenge is usually to find the right spots to highlight to create the fullness that you want to achieve.
In the past, you’ve utilized electronic instruments, but Moþir features entirely acoustic instrumentation. Could you discuss this shift? Are there ways in which your earlier electronic work influences how you approach acoustic music?
Yes, but in the same time I wouldn’t say that it is completely different from my previous work – even if it certainly has been electronical elements fundamentally, there has always been a great load of acoustic instruments featured too. My vision has always been to create music that not only transcends the listener but also gives a high atmosphere of something religious as well. Even though my music has taken on the acoustic approach more and more over the years, I still use effects of different kinds when painting my musical landscapes. Something which I’m sure that I will continue to use also ahead. But of course, the playing style is something that can highly affect the way notes are transmitted and perceived. If you take string instruments for example, there are loads of different ways to colour the sound, almost like a synthesiser would – thus I think that my way of thinking about the possibilities have rather just developed, rather than a will to shift between different styles.
But I also think that humans in general have a closer relation to concrete things such as a violin, cello, brass instrument of whatever takes on the role, and not least the emotions that is transferred through each and every instrument.
Could you talk about the collaborators you worked with on Moþir and what they brought to the project?
Yes, well even if there are many who have been working on this album if you cut it down to each and every instrument, there are two people that has been especially appreciated – Thomas von Wachenfeldt and Janne Posti – both being labelmates at Nordvis. Thomas has a PhD in musicology and is considered one of the foremost folk violinists in Sweden. Even if the majority of the melodies were already composed and meant to sound in a specific way – he added loads of additive voices and embellishments making it even better – some of these are hidden in the background, but the more one listens to the album, the more I’m sure the listener will hear these and find them just as amusing as the main melody. Not least am I impressed of how lovely he played the solo in the end of “Tunridor” where I just sent him a small example of the notes played on piano, but he absolutely made it to his own, adding layers in a way that only one truly experienced in the Scandinavian folk music can do.
Janne is perhaps more known with his metal project “Häxkapell” which I highly recommend for everybody into metal. But he is also a highly schooled and talented bass singer. It might not come to a surprise that I have a weak spot for bass sounds in general. But unfortunately I was not blessed with a deeper bass voice on my own. Surely it can go deep, and I often sing a bass octave on my own within my songs, but that is yet nothing compared to the low register that can be reached by Janne. Equal to Thomas, Janne was also adding loads of harmonies to the main part, making it sounds especially full, not least in a song such as “Urd”.
The video for “Tunridor” is very striking and has a unique editing style. Could you discuss your approach to music videos and the visual aesthetic? Coming from a photography background, do you generally have visual ideas in your mind while creating music?
Yes definitely, even though the subjects might be more abstract for some of the songs – I would say that I always have a visual idea in mind when creating them. As I have mentioned in many interviews before, the photography of mine was one of the reasons why this project started as well – even though I of course had musical experience from the past too. Due to the development of technology and the fact that the budget came to allow it – I was also able to update my gear into a camera that could also record excellent videography. And as this was a great way of combining the two mediums, it has quickly come to replace the photography. Of course I still capture photos, but I wouldn’t say that I have the same mindset about them as before. In this regards, music has taken over, and videography become a great companion. Working with video takes a lot more energy and time though, but in the end, with the final result at hand. It is so much more giving if there is something you want to express, not least together with your music.
Working with experienced directors such as Claudio Marino has also helped to deepen my understanding of videography as a medium. While editing the video I always try to get the perspective of the audience too. I want to say something with the video, and the atmosphere should be able to be understood by the greater audience – but yet I want the full understanding of the video to be limited to people who are well read and initiated within the subject in question – else it is not deep enough.
The culture, history, and landscapes of rural central Sweden form the essence of your work. Was this what initially inspired you to make music? If not, what led you to this conceptual and instrumental direction?
Conceptually – yes, I would definitely say that the culture, history and landscapes of my home country have been a huge inspiration towards the geist that is now Forndom. But I also think that the fact that I grew up in a family with a great interest for classical music prepared a lot for my later understanding of music. Expressing myself through music is something that always felt as natural as drawing breath though. It is something that I do not think I could ever live without. But I wouldn’t say that my interest is solely bound to the historical sphere – rather I would like to say that my interest have always laid within the human mind, and how we construct our mental world, mirroring the world of which we live in. Thus religion and philosophy; the abstract – have always been of a higher interest than the concrete things whether they are historical or not .
Your music frequently explores the cyclical nature of life and death. What personally inspires this focus for you?
As I mentioned in the last question, the human mind and religion have always been of close interest to me – So I think the focus on life and death came naturally as it is and will remain highlighted questions for humanity. On a personal level I think that my interest in death started to grow more and more throughout my teenage black metal years. Certainly it was there already before, but this is where I can remember as a first time of having a genuine interest for it. And ofcourse having family members dying around you, and how the sorrow affects you also came to form the interest and who I am today.
What is your approach to performing this material live? Does the instrumentation present any particular challenges?
I would actually love to perform it in a minor ensemble – however – having an ensemble traveling around would also be a question of money. So there is not so likely I will do that any time soon, even if it would be technically possible. However, there are still plans to bring parts of the contributors I mentioned before with me on the road within the upcoming year.
But all in all I have become more and more sceptical in performing live as I want the space where the music is performed to have the same atmosphere as the music itself. Thus churches are way more interesting performing at, compared to clubs and minor halls. I also have to confess that I am a person who hates traveling around with a lot of bulky luggage and gear, so I’ve become a lot more reserved in the places where I actually chose to play.
What are your plans now that the album is out? Live shows? Additional videos?
As soon as the album is out and released, I start thinking about the next full album and other small releases in between – rearrangement of songs and so on. For the summer I plan to release my own version of a traditional swedish folksong and perhaps work on a video for it! I also have two exclusive concerts in Czechia and Romania for 2025!
Purchase music and merchandise from forndom.bandcamp.com or www.nordvis.com/forndom.
For more info on Forndom, visit forndom.com.
