Blistering.com: Indeed. Speaking of which, I read on the ‘net that you are never touring the United States again. Is that still true?
Johnsson: Oh yeah, we’re never going to tour the US again. It would be a miracle for us to do that again, like an offer we couldn’t refuse. I knew we’d do OK there, but the tours we did [both in support of Gothic Kabbalah] had total shithead booking. It was pretty miserable, never too posh. There were about 150-200 people a show and in this economy, it’s tough. Hard to get anywhere with this economy. I’m 40 years-old. We do well in Europe, great in Latin America. Some people think the United States is essential, but we’re not big in Africa either [laughs]. Not touring there takes away a lot of the legwork, and when you do all of that work to tour the States, it’s not worth it. Not when you’re 40. I have to cut down because I have a kid at home. We can go anywhere, it’s totally possible, but we’re doing it when we need to.
Blistering.com: So any chance of doing a one-off festival?
Johnsson: I can see us playing the U.S. only for a festival, yes. Like the ProgPower USA festival, very professional and organized, so we’d do that again. During our second tour there, we went through twice the amount of crap, and half the people. It’s like we caught all of the people we could have the first time, and we can’t do charity and put baby powder on my ass. It’s just a lot of effort, so why bother? Then people complain that we don’t come over. Well, it’s the lack of enthusiasm. We have die-hard fans, who I appreciate, but the attitude there is too laid-back.
Blistering.com: Any particular why the Niemann brothers weren’t involved with the new album? They were arguably your most trusted and reliable bandmates in a long time, don’t you think?
Johnsson: I think the Niemanns got too comfortable. You need to have knives at your throat to do this stuff sometimes; that’s where the cool ideas are born. Kristian would play guitar after his day job and that’s now how it should work. I know it would bring in more cash, and I could have said, “Look, if you do things differently, we’ll have optimal ideas for the next record.” But he quit the band for a small reason, and I know it’s not easy. It’s just a matter of how much you’re willing to risk.
Blistering.com: What about the whole Snowy Shaw debacle with Dimmu Borgir? Has the dust finally settled from that?
Johnsson: He’s a hired musician. I don’t know what the fuss is all about – he’s just one of many people. People start talking and whining [makes whining voice] like “Oh no, he’s going back to King Diamond. He’s going to leave. The sky is falling!” It’s ridiculous.
Blistering.com: Just by listening to the album, it sounds like Thomas does just fine on both the regular signing and opera parts.
Johnsson: Thomas can do many different things. He’s got the opera background, and he can write. He’s a strong songwriter and he’s a respectable and very good singer. I looked for members and he’s had exceptional interest in the whole process. We share a lot of responsibilities now.
Blistering.com: So is the burden lifted off you?
Johnsson: I’m not interested in doing everything [myself]. We’re handicapped because we don’t have the money for a classical singer in a traditional sense. You give them money and then they bring in a manager to wipe their ass. We knew of a Finnish guy who never made a proper demo, yet could sing, and wouldn’t have the slightest clue to turn it into the record company. A lot of them are like that.
Blistering.com: I would imagine taking a bunch of them on the road would be quite the problem. I can’t quite envision them cramming into a tour bus for a six-week tour.
Johnsson: Right, which is why something like ProgPower was the best experience for us. We could go there without a working permit and do things by the book. Our show costs a shitload of cash, and people would be there to see us and some cool bands. There’s nothing half-assed about it.