Heavily relying on mythology, Nordstahl’s latest album, “Ragnarök in Berlín” fully lives up to the band’s name. Meaning “North Steel” in English, Nordstahl values a certain Nordic hardness that it brings to its music, especially with this album, which adapts Norse mythology’s images of catastrophes onto the modern world. Though the images the album borrows are distant and hyperbolic, its urgency and immediacy arise from Nordstahl’s belief in the present collapse of the modern world.
- Before we get into the album, tell us more about yourself. Who is the man behind Nordstahl?
My name is Martin, I’m 46 years old and a former software developer who transitioned into music creation. My technical background influences how I approach music production, particularly in exploring new creative possibilities with emerging technologies.
- What did initially spark your interest in music? Did you always know making music is your call?
My passion for music ignited when I realized that soundtracks often carry more emotional weight than the visual scenes they accompany. Take films like The Matrix or Kingdom of Heaven (director’s cut) – their soundtracks alone can evoke the full emotional journey of the story. That power to convey pure emotion through sound is what drew me in completely.
- Nordstahl is a large one-man project. Which aspects in making a whole album by yourself do you find the most challenging?
Creating concept albums presents unique challenges. First, finding a theme with symbolic depth that resonates throughout the entire work requires extensive exploration. The most difficult part, however, is having the discipline to cut tracks that don’t serve the album’s vision – even after investing days fine-tuning them. Letting go of that work is painful but essential for the album’s integrity.
- In Norse Mythology, Ragnarök is not only the end of the world, but the series of impending events and catastrophes that are necessary for a renewal and the birth of a new world. Does this reflect your view on the corruption of the modern world?
I believe existence moves in cycles – some small, some so vast we can’t perceive their arc. Like day following night, destruction and renewal are eternal partners. The corruption we see isn’t permanent; it’s part of a larger pattern of transformation that will inevitably give way to something new.
- In the key track “Ragnarök in Berlin,” the speaker watches destruction with lines like “Mir doch egal—Ich mach’ mein Schnitt” and “Ich wehre mich nicht—helf sogar mit.” Can you tell us more about this position?
This perspective represents the worst possible response to injustice – passive acceptance or, worse, collaboration. Dark times only grow darker when good people stand aside. The song critiques this apathy, showing that true resistance requires honest people to stand up despite the consequences. Complicity is never the answer.
- You’ve mentioned seeking a return to mythological wisdom. Where do you see a lack in the modern world?
Look at our architecture – we’ve gone from buildings adorned with statues, paintings, and artistic beauty to distorted cubes. Our ancestors created art in everything they touched. Despite our computers and AI, we’ve lost something essential. We need to shed our arrogance and learn from both the achievements and mistakes of those who came before us. Our belief that we have everything figured out will lead to a painful awakening.
- In “Bifröst brennt,” the bridge between humans and gods is burning. Is this a symptom or cause of our modern ills?
The song doesn’t say there’s no way back – it describes “no end, just suffering” as our current state. This is a diagnosis of the present moment, not a prophecy. Everything could change tomorrow if we choose differently.
- The audio production of “Ragnarök in Berlin” is notable. Can you walk us through your process?
Since I work with AI-generated music, it’s an iterative process of refinement – adjusting style descriptions and lyrics, experimenting with variations, and exercising extreme patience. It’s equal parts creative vision and persistent experimentation until the output matches the emotional intent.
- The album is full of striking metaphors. Tell us about your writing method.
I often engage AI chatbots in theological and philosophical discussions, then let the conversations evolve organically. Some of these explorations find their way into the songs. It’s fascinating – though one must remember you’re conversing with perhaps the closest thing to a demon in our materialistic sphere.
- Do you have plans for music videos?
I created one for “Ankerkette,” but wasn’t satisfied – the visuals didn’t match the music’s intensity. When time allows, I’ll definitely explore more video work to properly capture the album’s imagery.
- Is the album informed by personal experiences or struggles?
Let’s just say I’ve witnessed too many people in positions of power who could improve the world but choose self-indulgence instead. That disappointment fuels the album’s urgency.
- Germany has a strong industrial music tradition. Who influenced you?
“Eisbrecher” is my primary inspiration in the industrial/metal realm, but I also draw from unexpected sources like “Santiano” and “Bannkreis”, who bring different energies.
- Are there contemporary intellectuals you read who resist society’s intellectual dishonesty?
“Thomas Sowell”, “Konstantin Kisin”, and “Nigel Farage” offer perspectives that challenge prevailing narratives and demand intellectual honesty.
- The album is a call to action. What actions are most urgent?
Start with yourself. Eat well, exercise, clarify your values. Ask yourself what you truly value and why, then determine how to protect and nurture those things. Personal transformation precedes societal change.
- Any upcoming gigs or tours?
Nothing scheduled currently, but I’m open to possibilities.
- Any future collaborations planned?
I’ve received record deal offers but prefer maintaining creative independence. My vision isn’t for sale.
- What are your thoughts on AI’s place in music?
AI democratizes music creation, allowing anyone to express themselves musically regardless of traditional training. I’m excited about a future where musical expression becomes universally accessible.
- Any fun facts from making the album?
Here’s a production tip: Never use the word “jammern” (whine) if you want a strong male vocal in AI-generated music. The system will invariably produce a female voice… or something close!
