First of all, Jorn, it's very good to see you back in the United States!

Thank you, I feel great about it too!

I had the priviledge of seeing you in 2001 with Ark. Tell me, how do you feel the ProgPower festival has changed since, from what have you seen so far?

This festival is obviously very important. It has become important for musicians and fans all over the world. Even though, obviously, it's not very big. But it's still very important and it definitely gives you some cred to play here. It is very good for me to be here, because it shows that I am now definitely on my own. I have not done many tours with my own band, and it's a good start for me. In the US things have been kinda low, but I am hoping to tour US in the future. I need to do more touring.

The festival has become a cultural phenomenon of sorts in the metal community.

That's why, I think, it's important to keep it going. Honestly, I wouldn't want it to become significantly bigger than it is. I like big festivals and all, but the atmosphere here is very unique. Very special, friendly. The people are amazing. They see it as a social thing, where they hang out, meet friends, and have a great weekend. As a European, I am fairly surprised to see how friendly people are and how dedicated they are. I think the whole thing is very flattering.

I think it's in part because the metal fans in the US have been starving for so long for real melodic music that, once this festival got started, they really embraced it.

For a while, it has indeed been "taboo," if you will, to play melodic heavy music. For example, Mike Terrana of Rage. He always loved playing double bass drums and he kicked ass at that too, but back in the 90s he realzed that he was, in fact, unemployed, because in the US nobody wanted that kind of drumming. So he moved to Europe and is now doing great!

From the vocal standpoint, I guess, you can also recall DC Cooper. He is American, yet plays in Europe, with Silent Force...

That's a very good example. There are a lot more opportunities there for people who like that kind of melodic metal. Now we're starting to see somewhat of a resurgeance in America, but, obviously, there are still a few miles to go.

As far as you not wanting this festival to grow much beyond what it is... I hold the same opinion. In the 80s metal was huge in the US, and ultimately it was hurt by its own popularity.

Yes, it's a fine line. Certainly back then some people were attracted to it for the wrong reasons, and the music suffered a little. I mean, the clothes! I would hope this festival stays exclusive and elite, if you will. Obviously, everybody is trying to expand, to make more money -- and I respect that -- but I wonder if the intial intent should suffer. Like The Ozzfest, you know? But this is definitely a start. And the venue is fantastic. Some places will always be special, just because of the atmosphere. Like Marquee in London, you know? It's the same sort of thing.

How difficult is it to make a living for a metal musician in Norway?

In the 70s and 80s it was easier, because the business was totally different. In the 90s it was very hard. In the past few years it has become better, I think, in part, because of the internet. Still, as a hard rock musician, I have to work more than, perhaps, have I been in other genres. I have been fortunate enough to be able to make a living playing this kind of music.

Let me ask you a very upfront question. The fact that you are and have been in so many bands and projects, is it really the artistic need to express so much or is it just to be able to make the ends meet?

It's a combination of the two. I like to be productive. I like to work! Time is limited, unfortunately. I am still young, of course, but I see the perspective that I only have so much time in this world, and I try to express what's going on inside me, to create as much as I can, while I can. While I still have the strength and the energy. But, of course, I realize that some day, when I am old, it would be nice to have a certain standard of living, a platform that I built. The record industry is what can make you money, if you can make it good albums. It's always a battle: to get deals, contracts, favorable conditions, adequate tours, and so on. And it's a fine balance between asking for too much and not asking for anything at all. It all comes with experience: how long have you been in business teaches you how far you can push the limits.

Which project has been the most lucrative for you?

I guess Masterplan's first album was. It even won a European "Boardbreakers" award a couple of years ago in Cannes, which is a big thing. We received it together with The Darkness, and that certainly an indication of success (laughs). It helped us a lot, gave us publicity on both sides of the ocean. As a result, we were able to get the work done for television for our next album. That was the video for "Back For My Life."

And then you walked away.

We did a very extensive tour, all over the world, and were very successful. We quickly rose up to the certain level of fame and success. But this business is strange. The second record was slightly different than the first and for whatever reason it did not sell as well as the debut. There was a lot of pressure on us to outdo the debut, not just from the record company, but also from the fans and the press. Even though the musicians were good and the quality of the material was certainly good, but something was not quite right. And this is when we ran into directional problems.

I always want to change, creatively, try new things. I didn't want to repeat the first or the second album, which is what some of the guys in Masterplan wanted. Sometimes you start overanalyzing things, like "the first record sold more than the second record, and that's because of this or that, so the third record has to be done like this or like that." And it's another thing where you have to have balance. You have to be picky about certain things, of course, but it's dangerous to overanalyze little details in order to win financially. Money is what drives people and we all have to make a living, so sometimes people go into this way of thinking: oh, we have to sell more, and if we don't, we're screwed.

But it's impossible to predict! It's the "X-factor"!

Sure. But I was different in a sense that I did not want to overanalyze, I just wanted to make good songs! From touring, I learned that if the song is good, it is good live. If you feel good performing it every night, than it's a good song, and if not, it's not. I learned that certain Masterplan songs feel good to play, and I drew conclusions regarding the direction, which was, I suppose, different from the ones the other guys wanted.

Speaking of setlists, I'm really upset you're not playing my favorite song, "Christine."

We do a couple of songs off of Worldchanger: "Bridges Will Burn" and "Tungur Knivur." But "Christine" is a good song; my wife loves it, obviously.

Jorn's Worldchanger and Ark's Burn The Sun are my favorite albums of yours.

I am really proud of them. And the Ark record was definitely great. But right now there are different musicians that I'm working with. In the music that we do together, there are some progressive elements, but mostly it's a classic sound. More powerful, hard rocking songs.

Can you tell me what happened with Ark? Why did you leave?

I was always eager to move forward, to progress. I was involved with Ark for five years. During that time the musical climate began to change. After the second record -- and it was a great record! -- we had no support from the company, there was nowhere to move forward. We didn't tour. That meant that I had to start looking for work somewhere else. And when the band finally got together to record the third album, they wanted me to stop working on whatever project I was working on at the time, and that's when I had to make a choice. Tore Ostby makes his living elsewhere, he does not rely on music, but I'm a musician, that's my life! I just want to write and record songs, that's what I want to do, and if it involves working on several projects at the same time -- then all the better! Of course, we all would love to just have one project, but that's not always possible.

Another favorite song of mine is "Just A Little," and, of course, it does not go well live.

It's a good song. When you're diverse like that, you can go into different directions. I don't want to play the same stuff all the time. I want to keep people guessing as to what am I going to play in shows.

You have such an extensive catalogue, why do you concentrate so much on the later material? Why not play some stuff from the earlier or lesser known albums? Mundanus Imperium, for example?

Well, it also depends on the people I play with. They don't feel something is right, or I don't feel they would do a right job on certain songs. And it's difficult to keep everybody happy. Sometimes you play a new song, and take an old song out. You change things from tour to tour.

What about Mundanus Imperium? Was that a one-time thing, or do you intend to go back to it at some point?

It was a one-time thing. I knew the band, they were in the studio recording, and one of the guys in the band tried to sing, but it wasn't working out, so they just asked me. I was living nearby at the time. That was a very impulsive work. I just went straight into the studio and sang. Remember, I talked about "over-analyzing"? Well, this thing was not analyzed at all, we just went in and played. The lyrics about space and looking into universe, they were just my thoughts recorded right there in the studio. And we experimented. In some sense, I wasn't even singing them, I just spoke them, almost like a preacher. You can just feel the energy!

How do you feel the musical climate changed over the past ten years?

Right now anybody can make a record. At home, with a computer. People get their own record companies, their own catalogues, and distribute their own music through their websites.

Do you think internet helps or hurts musicians?

Well, it does not really hurt touring musicians. If you are a great band, if you're great live, people will still come to see you. If I was touring more, it would be better, and internet would not be hurting me (laughs).

I admit that if it wasn't for internet, I would not have heard of Jorn Lande. People have been saying how good Worldchanger and Burn The Sun are, so I first downloaded samples, then I bought both albums.

There are negatives and positives here. I also think that some people abuse their computers as far as writing music goes. They fully use them as an instrument, while it should be just a tool. I think some heart was lost on the way, because the music has become so computerized. You don't have to have power or energy or emotions. You have those simulators and compressors and stuff; they're not as good as the real thing of course, but they'd pass for the time being, and I think it's just an easy way out! I grew up with 60s and 70s music, that's where my roots are, and back then you had to have good delivery and integrity and charisma to succeed.

Any of the contemporary hard rock and metal artists you would like to point out as having those qualities?

I honestly am not that much into the new metal scene. I'm sure there are many great bands out there, but I just can't think of any. In the US I was never into that whole Linkin Park scene. I mean, I see what's good about them, I understand it, but it doesn't touch me. I like Velvet Revolver, Slash's new band. That one sounds very special, and I like the vocals there too. Audioslave I like. And King's X. As far as power metal, I can't say that I was ever into that music. I did work with some people from that scene, in Masterplan, for example, because I thought it would be interesting to cross my voice and my style over to that genre. But still we had some classical elements going, so I believe it made us somewhat unique.

You're quite a charismatic vocalist. Do you see yourself as a leader? Do you think you can change people? Change their lives?

(laughs) Oh, I don't know. If people can identify with what I sing, then -- yes! They can change. The purpose has been achieved. We're all in the same boat. Yes, we have different ideas about life, but in the end, we all face the same thoughts about life. If you're young or old, doesn't matter.

You're one of a few people that pay attention to their lyrics, and that's part of your appeal, at least to me.

To me, my songs are like overview. I look up or I look around, and this is how I see the world and my life, what I like, what I don't like. Also looking at how my life is measured. I don't like the fact that I'm mortal. I don't like the fact the world is, well, full of shit, to put it simply. So I want people to live together and try to find purpose to their living. I'm interested in society as a whole. I don't worry too much about myself in my songs. I'm not trying to write new stories or invent new concepts, because time repeats itself. I sometimes look at history and try to project it into the future. I also express my frustration with the fact that I have to live in the world and cannot really change it. If it makes a difference to the people, then the purpose is served.

The lyrics on your latest album, The Duke, are somewhat gloomy, you almost get a feeling of helplessness, but your attitude on it is far from defeatist, you give the sense of empowerment.

I think that we all have things that we can change. Small things, big things, we can change something. It's possible. In our capitalist society, people sometimes get too preoccupied with pursuing... Don't get me wrong, I like certain material things as much as anyone, I love Corvettes, for example (laughs). But it doesn't distract me from the big picture, from my vision. I don't chase trends.

What car do you have?

I have a 1974 Stingray. I do a lot of work on it... Oh, here's a story for you. Here, in Atlanta, I went to the Corvette showroom. I was blown away, because we don't have that kind of stuff in Norway. It's like American dream, materialized! And then Frude, my tour manager, walks up to me and says: "See, Jorn, if only you were half as good as Vince Neil, you could afford one of these!" (laughs). I guess there's always room for improvement.

Future plans?

I'm releasing a compilation album in December. 16 tracks that I remixed. It's mostly older Jorn stuff but there will be a couple of other songs there. Then there is another album with Russell Allen. I also intend to tour more. And then we'll see.

How much does it cost to hire Jorn Lande? For a gig or to make a guest appearance on an album?

Oh, it doesn't have to cost that much. If I have time and if I feel inspired by the material, I don't have to do it for a lot of money. I got the main thing that I'm doing and I make a living from that, and everything else is just on a side. I just have to find inspiration. And, honestly, the older I get, the harder it is, sometimes (laughs). It's harder to be creative, and you have to watch out for yourself, so you wouldn't repeat yourself.

If you could have an ideal band, who would you pick?

Kiss's Gene Simmons on bass, for sure. Then I would have Vinnie Appice or Tommy Lee on drums. They're totally different players, but I like them both. Toni Iommi on one guitar, Doug Aldridge on the other. Doug is one of the best new guitarists out there.

Thank you very much for the time, and I hope you'll have a great time at your own show!

Thank you!