The Vault Blog
Auction: Signed Shift LP from 2004Posted: December 14, 2016 22:12:42 by Anders
The story: "Shift" was released on CD and LP during the fall of 2004. Basically immediately after the release we embarked on our first headlining European tour. In the meantime Burning Heart promoted the album and got a deal with the huge Swedish metal/hardcore magazine Close-Up where a number of signed Nasum items were supposed to be part of a contest.
Burning Heart had promoted "Shift" by pressing a few white coveralls with the "Shift" artwork a some employees in gasmasks and coveralls (similar to the look in the "Wrath" video) gave away Nasum t-shirts at a Slayer show. We got these coveralls and gasmasks and signed them along with five copies of "Shift". Mieszko and I signed the stuff with gold ink at Burning Hearts offices while Urban and Jon signed them with silver ink at the last Swedish show for the "old" Nasum, at Fellini, Uppsala, December 4.
Well, the stuff were never submitted for the contest before Christmas and you all know what happened then. Since then, the stuff has been in the vault waiting for the right moment. Well, the right moment is sort of here now.
For the last nine years the Swedish national radio (Sveriges radio) and the P3 channel in particular have spent one week in December doing Musikhjälpen (The Music Aid) where three presenters are locked up in a glass box for 144 hours playing music all around the clock in benefit for a certain cause. The project is supported by the entire Swedish music industry (and many others) who donates stuff to auctions. It's quite a huge thing, really. Read this article if you want to know more and what the theme of the year is.
This year Musikhjälpen is broadcasting from Örebro, the birthplace of Nasum, and I decided it was time to give away one of the LP's for an official auction. The auction ends on Sunday and is held at Swedish auction site Tradera, but it's open for international buyers. All you need is a verified PayPal account.
• The auction
• Sign up for international buyers
One final note: As I wrote the signatures are in two different colors, and it's basically because we couldn't find a gold pen for the second part of the signing - we are not sorting the members in gold or silver status!
SUPPORT A GOOD CAUSE AND PLACE A BET ON THE LP! Thanks!
Rehearsal videos from 2010Posted: October 3, 2016 20:05:49 by ANDERS JAKOBSON
On this very day, October 3, six years ago, Nasum had the second band rehearsal for the 2012 Farewell Tour. At that time we were still in "feeling the songs" mode as it was about a year left until we finally decided to do the tour once we had had a few "feeling the songs" rehearsal with Keijo as well.
So, to put this into a timeline - in July 2010 I met the Stockholm guys for a nice Indian meal before a Converge show and put forth the idea of doing a (as in ONE) final show to end Nasum on our own terms. As the discussions started and everyone slowly started to like the idea, it developed into a tour since it would take as much time to rehearse for one show as a tour.
The Stockholm guys then started to rehearse a few songs every now and then and having a few beers or some Swedish fika while I was in Örebro not doing that... And in September we had the first band rehearsal totally in secret. As the second rehearsal got planned I decided that I had to tell my fellow Coldworker members what was going on, and my bass player Oskar asked if he could film the next Nasum rehearsal. So he did, and from the very noisy clips I've uploaded seven songs in six clips to YouTube, six years later. Here's a playlist:
The lost (almost) Nasum recordingPosted: November 16, 2015 17:19:04 by
An 18 year old recording with "Nasum" that most Nasum fans didn't knew existed was released as a 7" EP last week. Something for the die hard collectors to track down at once, because only 500 copies exists.
I write "Nasum" because it's Nasum but it's not a Nasum recording per se. To be perfectly clear: It's Mieszko and I doing some Swedish death metal.
The band was called Bloodshed and it was something we fooled around with for a few rehearsals in the early version of Soundlab Studios. I can't remember all the details but I guess it was born out of funny jams we had while rehearsing some Nasum stuff. All of a sudden we had some songs and made a three song recording. I played the drums and sung, while Mieszko played the guitar and the bass. When it was mixed I made a sleeve for the demo tape and we came up with a four piece line-up where only my name was the only real name. It was sent to a few fanzines and we made copies to anyone who were interested.
Then we basically carried on with Nasum and finished the songs that would be the "Regressive Hostility" recording. Bloodshed was just a fun little project for a little while, nothing more. Until now.
One of the few people that got the tape back in the 90's was Jonas Granvik who at that time made the fanzine Metalwire and sung in the death metal band Without Grief. A few years after the recording Jonas contacted me and wanted the lyrics for one of the songs as his band wanted to cover it. He raved about the demo and I found it amusing.
Fast forward to 2013 and Jonas contacts me once again about Bloodshed. Currently he works for Sweden Rock Magazine and wrote to fact check a detail as Lawrence Mackrory from Darkane had spoken about the demo in a little feature. Jonas suggested that the recording needed to be put up on YouTube or something for the masses to hear it. That didn't happen.
Almost a year later Jonas contacts me again and tells me that he's going to start a label and wants to release the Bloodshed demo as a 7" EP, and obviously I couldn't refuse the biggest fan of the band! I started to track down a master of sorts. I had a tape copy that was slightly distorted but knew there was a DAT-master somewhere. Once located I borrowed a DAT-player and plugged it in the computer only to realize that only one of the three songs remained on the master... Damnation! The whole thing was polished slightly by Dan Swanö while I put the cover together.
In the spring of 2015 (!) everything was ready to go, but it took another six months to get the recorded pressed. Today I got it in my hand and it's as always quite a tingling sensation to hold a physical release that bears your name. I've loved it every time the last 25 years.
The 7" EP is released by Bone Records in 500 copies, 100 in red vinyl and 400 in black. The only way to get it right now is to write to firstname.lastname@example.org.
It's been quite fun bringing this out from the vault. It really feels like a lost Nasum recording, although it's death metal the way Mieszko and I liked it back in 1997... Have a listen to the first track here:
Among the tapes of the pastPosted: September 2, 2015 17:42:35 by ANDERS JAKOBSON
A few years ago I realized that tapes were back in style. Not that they replaced vinyls or CD's but tapes were definitively back on the merch tables. That puzzled me slightly. Who has working tape players anymore? Well, I have...
Back in the day I had crates of tapes and I still do. It was very easy during the tape trading days to send a tape to someone and get something in return. New musical experiences came through a cassette and not through a lyric video on YouTube. A part from that it was really easy to record something on a tape, copy an album from vinyl or CD or just simply record yourself. Preferably in the rehearsal room.
For many years I've been longing for the day that I can go through all my tapes and make digital copies of them. Hidden on many unmarked - of course - tapes are pieces of gold. I know that I have a number of rehearsals and studio outtakes somewhere but I don't know exactly where, so the task of going through it all and cataloging everything is quite a big one. But I have started.
A wrote a little bit about it on Facebook a couple of weeks ago. I shared the photo above and wrote the following text:
I'm digging through my many boxes of (mostly unmarked) cassettes in search of gold, and this is a prime example. This has an in-studio rehearsal recording of Mieszko and I working on songs for "Inhale/Exhale". There were 26 songs on the tape of which five (5!) never made it to the final record! It's not the studio outtakes I've been searching for but an instrumental guitar/drums rehearsal with excellent sound. On the other side of the tape there's a similar recording done for the "Regressive Hostility" songs AND a few hardcore:ish songs for a little project called Illuminate we fooled around with from time to time. This is prime nostalgia for me, going back 15-20 years in time.
In the future I hope to make some sort of companion thingy to "Grind Finale" with all this rare stuff I have on tape. It will not be a physical or even official release, but I want to do SOMETHING with all this stuff. Unfortunately, my tape player isn't really in it's best state so I have to find another one that will play the tapes in the best quality possible, or get mine cleaned and served. But I really want to share this stuff as soon as possible!
Well, now my tape player has been through some maintenance and it was totally worth the cost because it plays the tapes much better now and I can continue to look for the good stuff. Since the Facebook post I've found a few more rehearsals from some other sessions, most recently one featuring original drummer Rickard with Mieszko and I sharing guitar duties working on the songs for the Psycho split 7" EP and "Grindwork" recording. It hasn't got a crystal clear sound for sure, but it's something.
Consider this a first update on this tape project. Next time I will be more specific with what I have found and hopefully I will have found what I'm really looking for: the four discarded songs from the "Inhale/Exhale" recording. I know that they are somewhere...
The Studio Guestbook PagesPosted: August 20, 2015 17:32:43 by ANDERS JAKOBSON
In May I did a little recording with my new band Axis of Despair, and we did it in Soundlab Studios. The studio still exists and bands record there every now and then, but not as frequently as in the old days. While in the studio I flipped through the old guestbooks where the visiting bands wrote and drew shit while killing time in the studio. As did Nasum, and on the last day of the recording I brought a scanner to make digital copies of the Nasum pages in the books.
There were ten entries in the books, from the first real recording in Soundlab (the "Regressive Hostility" compilation tracks) to the final one ("Shift", obviously). Here you have them with some additional comments. Click on the images for larger versions.
Recording #1, June 1997
This recording was primarily done for the "Regressive Hostility" compilation and we recorded 16 tracks for it plus a Discharge cover for a tribute album. That's basically what's written on the page. It's pretty clean for a guestbook entry, and obviously I spent quite a long time drawing the Nasum logo as precise as possible.
Recording #2, December 1997 - January 1998
Oh yeah, it's the mighty "Inhale/Exhale" session! It was done on real tapes and the lengthy entry is actually a list of the three tapes it took to make the recording. The die hard fans can notice one thing - or actually four things as there are a couple of songs not featured on the album in the list. Track 13: "Truth Fed Through a Tube", track 25 "Need some…", track 27 "Dark Thoughts" and finally track 36 "Crash".
If you have read the lengthy liner-notes to "Grind Finale" you might remember that I couldn't find copies of these tracks in time for the production of the compilation, apart for one song, which I opted to exclude mostly because it sucks, but also as I felt it was incomplete without the other three. The song I found was "Dark Thoughts". I have slight memories of "Truth Fed Through a Tube" and "Crash" and no memory at all of "Need Some…". It's been well over 15 years since I heard those songs, but I am still looking for them. If I ever find them, I will make them public, even if they suck...
Yet again, these pages are pretty clean and with a good rendition of the logo...
Recording #3, October 1998
A "ten hour session", according to the page, where we recorded eight tracks. Four that we sent to Relapse for multiple uses (in the end they became the split 7" with Warhate) and four that were supposed to end up on a very exciting split 5" box set that never happened. Read the "Grind Finale" liner-notes for the whole story.
Pretty clean page this time as well, and the logo came from a promo sheet or poster for "Inhale/Exhale". Notice the old shortcut URL come.to/nasum...
Recording #4 - part 1, October 1999 and part 2, November 1999
The "Human 2.0" recording was divided into two two-week sessions and about a month between the sessions. The idea was an attempt to avoid destroying our voices, which didn't really work that well. The little word balloon in the lower left corner says that my throat hurts.
This is a weird entry. In a quite short form and with a Yodaesque language, it reports what we did and where we ate (!) each day. All righty, then… On day 13 we "show went", which meant we went to a show, and if I remember things correctly it was a Neurosis/Today Is The Day show in Stockholm. Imagine that.
According to the first page, Jesper recorded his bass tracks in just two days. That's good.
Recording #5, March 2000
This is the only recording session in the history of the band where we went into the studio solely to recording one song. It was a Carcass cover for the "Requiems of Revulsion" tribute. We recorded "Tools of the Trade" with the almighty Lord Mazza (ex The Project Hate) supplying a Bill Steer-ish quitar solo.
Most of the page is covered by the actual lyrics to the song and the logo was obviously made just for this page… Perhaps it should have been a t-shirt design?
Recording #6, August 2000
This was the recording for the Asterisk* split 7". Another quite clean page and this time a "Human 2.0" sticker was sacrificed to supply the logo.
Recording #7, May 2001
The by far messiest page we did. It's quite embarrassing to read this. I tried to write something in the same style as many other bands who wrote funny journals about their recordings. This isn't really that funny, and today it just feels like a poor attempt to be cool. One funny thing is that a working title called "Krångel-Jeppe" is mentioned in the text, which most likely is referring to the Jesper written "X Marks the Spot" on the split 7" with Skitsystem, as it's that recording session. And "Krångel-Jeppe" himself drew the little guitar player saying "Naagnum" (a call back to a poster in Spain on the tour with Napalm Death back in 2000)...
Recording #8, November 2002 - January 2003
I believe I did the Napalm Death-ish logo, but that's my only contribution to the page for the "Helvete" session. The other stuff is the signatures from all the guests, Shane Embury, Jörgen Sandström, Rickard Alriksson and Mazza once again. Cool stuff!
Recording #9, June - July, 2004
As a sad ending to this story, the entry for the "Shift" session is quite sad in it's own way. I made the tape logo during the first days of the recording and then never wrote anything on the page. Mieszko wrote "A record to piss people off!", which it did when we switched record labels. The boss' name is on top of the page.
Before posting this I remembered that the old Unisound guestbooks were featured on unisound.se and in the "brown" one I found one Nasum page. It's not dated but by viewing the pages before and after this entry it's pretty clear that it was made during the "Smile when you're dead"/"Grindwork" session.
Not much to say, a pretty messy page, from a time when we had long hair and beards. Mieszko has written some anti-black metal remarks, and Rickard obviously had some issues with the band namn Crux Mortis, while I promoted my amp setup (yes, this was from before my drumming phase) - a Peavey bass amp and a Boss DS-1...
And by that, this little excursion in the vault is over!
A tale about Corpse, Flesh and GenitalsPosted: August 17, 2014 11:05:03 by Anders Jakobson
During the first couple of years of Nasum's existence, Mieszko was pretty new to the underground world. His way into the extreme music came from "overground" records, so as we became friends I educated him slightly making some copies of classic demos and such. Soon Mieszko felt the urge to contribute to the scene in some way, and decided to make a compilation tapes. In case someone doesn't know what a compilation tape is, it was a mix tape with songs from bands that decided to send a demo to the comp-tape producer who made up a track list, did an insert and gave it a cool name.
Mieszko's compilation tape was dubbed "Corpse Flesh Genitals", which was his humorous way to pin point the three main ingredients in gore related lyrics. So he contacted a few bands and got some songs. Looking at the track list today, it's a really good collection, but what made this particular compilation tape stand out is that it actually features a few - at least at the time - exclusive songs. The Edge of Sanity track "Pernicious Anguish" was one of the first songs they wrote in their early days, but this version was an unreleased re-recording (possibly from the "Spectral Sorrows" session) that didn't get officially released until 1999. Even more rare is the Necrony song "Protest and Survive" - a Discharge cover recorded at the same time as "Pathological Performances". It's so rare that it isn't available on YouTube!
I don't know how many copies Mieszko made of the tape, perhaps a hundred, but it was a cool release. I actually did the insert and a little booklet that I didn't find at the moment on my old, old Macintosh LC II. The "gore" you can see in the background was a photo of a squashed hedgehog that Mieszko found at the side of a road…
I remember that he planed for a second volume, with some international bands - all of the bands on the first volume were Swedish - and Nasum wrote and recorded a "theme song" for the compilation, of course entitled "Corpse Flesh Genitals". That song also remained in the vaults until "Grind Finale" was released, but it was never released as intended as the second volume was never made.
Later Mieszko started a fanzine together with a friend, the tabloid sized "Scenkross" and continued to contribute to the scene with the "Grindwork" compilation MCD. But it all started with Corpse, Flesh and some Genitals…
Nasum vs. American festivalsPosted: May 22, 2014 14:24:12 by Anders Jakobson
As many of you know, it's the Maryland Death Fest weekend. It's all over my Facebook feed and it made me think of when Nasum played there two years ago. This year Nasum is "back" as Jon is playing with Victims at the festival.
Well, the thought of Nasum's day at MDF made me think of all the American festivals Nasum appeared at, which aren't that many, and thought I'd share a few stories straight out of my memory bank. So here it is:
The Overly Long and Wordy History of Nasum vs. American Festivals
Part one: Milwaukee Metalfest XIII, July 31, 1999
This was my first show as a drummer in Nasum and it was Jesper's first as a bass player in Nasum and come to think of it, it was actually Mieszko's first show as a guitar player in Nasum. And it was Nasum's third show ever. What's up with that? Well, the first two Nasum shows ever had a quite odd line-up where I played the guitar (semi-poorly), Mieszko played the bass and we both shared vocal duties. Behind the drum kit we had temporarily put Perra Karlsson, a Swedish death metal legend, who did a great job. Well, that's really a story for another time - back to Milwaukee, IL.
Actually, back to Lancaster, PA. We had arrived in the US a few days prior to the first show of an eleven date long tour we did with fellow Relapse bands Soilent Green, Today Is The Day, Exhumed and Morgion. The festival wasn't really part of the tour, but it was the beginning of our first US tour. Anyway, we landed in Philadelphia and travelled for two hours to Lancaster where the Relapse offices were at that point. We hung out at the office for a day or so while the staff members packed a lot of shit to sell at the festival. Now, there's a pretty long distance between Lancaster and Milwaukee and I was more or less sure that we would fly there. "No, we're driving" they told us. "It'll take 16 hours". I was flabbergasted. I had never taken part of such a long drive earlier, but the Relapse guys acted like it was just another day at the office.
Well, 16 hours later we were in Milwaukee. Fortunately we didn't play at the same day as we arrived, but the next day if memory serves me right. Relapse had their own stage - and a backstage room were we hung out a lot - and I remember that we had some trouble with FOH who had been smoking something sweet smelling and wasn't really present to 100%.
Anyway, we played our show. We started with "Inhale/Exhale" which was planned as a warm up song and also a possibility to take a break after if the monitor mix was fucked up. It's embarrassing and weak to think of it today, but we were really new kids on the grind block and lacked the proper confidence and experience. I don't really remember much of the show in retrospect (especially not if we took that little break after the first song or not - we probably did!), but I remember that it was a great feeling when it was done. We had had our first show and the tour had begun!
Three nervous dudes and a quite pleased crowd
It was quite a good weekend in Milwaukee. I saw Nile, Neurosis and The Dillinger Escape Plan for the first time. I met Mark from the legendary Impetigo in that backstage room, and I also by my own will helped Relapse to sell merch and records at their table. It was a fun time for sure!
Part two: Milwaukee Metalfest XV, August 11, 2001
The second time we travelled to the US we went there solely for Milwaukee Metalfest, and this time we flew directly to Chicago and shared a ride with Anathema to Milwaukee (or, perhaps we shared that ride on the way back to the airport…). It was quite strange to be in the US for just a few days. I guess we got there, played the next day, and went back home the day after that. You don't really get rid of the jet lag in such a short time.
This time we weren't part of the Relapse party in the same way as the first time, although we met a few of them of course. Especially a new face - a guy called Greg, who will be important to this part of this long tale - and the next.
I remember even less of this show than the one in 1999. We had released "Human 2.0" and had done roughly 80 more shows since the first festival, so I would assume we had a completely different setlist without taking that safe road with "Inhale/Exhale" as the opening song… What I do remember, clear as yesterday, was that I had some equipment trouble. The bass drum moved around like crazy when I got blasting and I had to lift it back to it's original position when ever I could. The stage hands tried to adjust the legs and put some weight on it, but nothing helped. In the end I got the bass drum to stay in place thanks to Greg, who sacrificed himself and sat beside it holding it firmly into place during the remainder of the show! Now that's a record label employee for you all!
Another thing I remember clearly from those few days was that it was the first time I saw and heard a little metal outfit called Mastodon. They had yet released their first EP, but was already the talk of the town. Obviously we had met Bill and Brann two years earlier as they were in Today Is The Day at that time, but the other members were new faces. I remember that Brett appeared crusty and drunk so when he introduced himself I became the introvert and reserved me and didn't really greet him back, whereas he set me straight: "You know, when some one introduces himself it's customary to say your name in return", he said (I'm totally paraphrasing now) with a smile on his face, and I felt stupid…
One final note. Look at the date. One month later the world changed…
Part three: Maryland Death Fest, May 25, 2012
Eleven years later, and some 80 shows more in our backs, we returned yet again to an American festival, this time the ever so popular MDF. It was the first confirmed show for the Farewell tour, and something of an early highlight of the tour. Some in the current line up of Nasum had been to the festival earlier, but for others - i.e. myself for instance - it was the first time.
Three dudes getting pumped up for the show
My first thought was that it was much smaller than I had expected, which isn't necessarily a bad thing, but it still was quite a surprise. There were two outdoor stages where no band I heard managed to get a proper sound. And then it was the big indoor stage where the sound was much better, and there we played. Thanks for that! No thanks for the heat though, because it was crazy hot during the show. Easily among the top five hottest shows on the entire Farewell tour. There were some Swedish black metal band performing at the stage just before us, in full gear with corpse paint and the works, and I could not really understand how they managed to get of stage without passing out.
Apart from the heat, which nearly broke me totally, I remember it as a fun show. We had Jason from Misery Index doing some guest vocals and we also had the son of Kevin Bacon on stage. Imagine that. But what about Greg? Well, Greg and his now wife Meghan got in character and appeared as Mr and Mrs Gasmask during the intro of the show. It was fun to bring that stunt to one US show, and extra fun that Greg was the dude as a follow up to his prior stage duties with Nasum.
It was also fun meeting a lot of people at the festival, but Baltimore as a city freaked me out. Urban and I went for a walk to get some food a few streets away from the venue, and even though it wasn't the seedy part of the town I was really tense all of the time. I've seen "The Wire" too many times…
Part four: Chaos in Tejas, May 31, 2012
Less than a week later it was time for the final American festival appearance and also the final American show at all. It was great to be in Austin, TX - the multi-venue-festival capital of the world. I remember fearing another insanely hot show, as the temperature in Austin was as high as that FOH in 1999. But the actual venue was cool, and it also was a cool place.
There isn't really that much to say about that day in Texas. The final show was good and it was a nice ending to the US part of the tour. I don't think anything went wrong. The FOH wasn't doped up, the bass drum remained in it's place and the heat wasn't an issue. A great day, indeed.
Farewell rehearsal with unused songPosted: April 24, 2014 21:01:29 by Anders Jakobson
During the 18 months or so we prepared for the Farewell tour in 2012, we tested a lot of songs from the Nasum collection. A few songs never left the rehearsal room, and one of those was "Evicerated (By the Fiend)", from the "Regressive Hostility" compilation.
During a couple of rehearsals we did some multitrack recordings of the songs on my little setup. Mostly because the equipment already were in the room, but also to listen to what we really sounded like. Keijo also did some demo recordings in Finland, first dubbing over the albums and then singing to these rehearsals.
This song, that was posted on Facebook a while back, is instrumental and one of my personal favourites of all Nasum songs. Enjoy!
The original Nasum logoPosted: April 17, 2014 14:26:16 by Anders Jakobson
One of the most frequent fan questions is: "What the font of the Nasum logo?". The answer is none. It's handmade and other than the five letters of the band name there are only a few extra letters available, and very far from the entire alphabet.
The logo was hand drawn back in 1992 and the inspiration came from Disharmonic Orchestra's logo. Here's the original Nasum logo and the one that inspired it:
Now one can argue that the two logos are not particularly similar, but if you look closely on the bit of paper with the Nasum logo you might see that it's patched together and that the N, A and S are drawn separately. There are even some dried out white-out in the S. As originally drawn the letters was more alike the Disharmonic Orchestra style, but as it didn't work out another approach was applied and thus the Nasum logo as it is know was born.
Well, that's not _entirely_ true as you can see that the black line is very thin and not as strong as it eventually ended up. A few versions were tested and ultimately the stronger-line version became the winner.
A close up on the patched part, and the flip side of the paper where one can see the original-original letters.