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Exclusive Premiere: Side B of In Solitude's 'The World. The Flesh. The Devil'

In this final part of our exclusive premiere of In Solitude's upcoming album, The World. The Flesh. The Devil, we bring you Side B, which includes “Demons,” “To Her Darkness,” “Dance of the Adversary” and the epic, Seventies-esque “On Burning Paths.” (Check out Side A and the first part of our interview with singer Hornper here).

In listening to the last half of the album, it’s clear that the young Swedish five-piece isn’t interested in the latest retro trends. Instead, In Solitude are determined to push the boundaries of heavy metal into darker territories without falling into tired black metal clichés. Finally, read what Hornper has to say about working with producer (and ex-Dismember drummer) Fred Estby, analog vs. digital music formats and the album’s bleak cover artwork.

The World. The Flesh. The Devil is out next Tuesday, May 24, through Metal Blade Records. Be sure to be at the band's debut North American show at this year's Maryland Deathfest, set to take place from May 26 - May 29 in Baltimore (In Solitude will perform on Saturday, May 28). Get your tickets here.

[audio:,,,|titles=”Demons”,”To Her Darkness”,"Dance of the Adversary","On Burning Paths"|artists=In Solitude, In Solitude, In Solitude]

Production-wise, what made you choose to work with Fred Estby? Did he bring anything to the table or did the band already have a clear idea of where it wanted to go sonically?
Fred has a good ear for music, that's for sure. After the first meeting, we knew we wanted to work with him. We share similar preferences of how a rock album should sound and he also had a similar vision of how our album should sound, too. The ship sailed in a steady direction downwards the deep river, meaning, there were no arguments or any opinions that differed. We didn’t write the album during the studio session, so to speak. We were quite prepared but he came with a fresh ear and had many good ideas which ended up on the album. This is something we admire him for.

Was there any consideration for the album’s sequencing?
We wanted to have a track listing that was as dynamic as our material allowed and to recreate the journey we were on when we wrote this album in the best possible way.

What are you thoughts on presenting music digitally as opposed to analog?
I prefer an analog production and presentation of music. Though an album needs to function on MP3, vinyl and CD these days, I don't have a problem with that.

Finally, the cover art is quite ominous and bleak—can you give us some background information on it?
We had a lot of problems trying to find a suitable artist for the cover. We collaborated with different artists and explored many ideas but none seemed to capture the album’s essence in the right way. However, as we discovered the world of Jesse Peper, we felt at home, especially as we saw the specific shadow-portrait that the album carries on the cover.

Like I've said before, it was as if we stood face to face with something that had been present our whole lives and it symbolized a triggering and driving force into another step deeper into the darkness. We have come to realize that the painting depicts our guide in one of its many masks. I told you earlier about the "voice that is calling on you.” I think that this voice shows one of its many faces on our cover.

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