Norwegian band Audrey Horne released their sixth album, called “Blackout” via Napalm Records on 12th January. I had the opportunity to speak to lead singer Toschie via Skype the evening before the album was released. We chatted for around 30 minutes about the new album, upcoming plans for the band and more. That interview, along with 4 tracks from the new album, was included on the Friday NI Rocks Show on 19th January. That Show is now available on our MixCloud page -





Audrey Horne are Toschie on vocals, Arve Isdal (Ice Dale) and Thomas Tofthagen on guitars, Kjetil Greve on drums and Espen Lien on bass.

Check out the band’s website for more info -


The interview will be transcribed and posted here in due course.


Playlist for the Show


THE ROCKET DOLLS – None of This is Right

STONE BROKEN – Heartbeat Away

ROSCO’S RIOT – 30 Feet From Heaven

W.E.T. – Watch The Fire

AUDREY HORNE – Audrevolution

Interview with TOSCHIE Part 1 (13min)


Interview with TOSCHIE Part 2 (9min)

AUDREY HORNE – Nayslayer

Interview with TOSCHIE Part 3 (9min)

AUDREY HORNE – Satellite

LEAVE’S EYES – Across The Sea

ESTATE – Winter Kingdom


VOODOO CIRCLE – Running Away From Love


BLACK LABEL SOCIETY – Zakk Wyle Promo/Room of Nightmares/All That Once Shined


MYLES KENNEDY – Year of the Tiger


PRAYER – Silent Treatment

BEYOND THE BLACK – Night Will Fade

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NI ROCKS – Thanks for taking some time to talk to Rock Radio NI. Your new album “Blackout” is released through Napalm Records on 12th January. We just played the single “Audrevolution”. Tell us something about that track.

TOSCHIE – “Audrevolution”, when we wrote it, we felt it was kind of an odd one out for us. With all the classic, hard rock shit that we do, we felt that this was more like a punk rock vibe or whatever. When we wrote it, we liked it a lot, but we were a bit back and forward over whether we were going to record it or not. As we worked on it and perfected it, we realised that of course we had to have this song because it had such a great energy and it’s a catchy track. It’s not reinventing the wheel or anything, but it’s catchy and it’s fun to do. I think it’s going to be a cool live song. But we had some doubts, as we always do when we write songs. We’re always saying ‘does this sound like us’ or are we out of our territory. We try not to overthink things when writing, but I like this song. I was probably the one who was sceptical to that song for the longest time, but now I fuckin love that song.

NI ROCKS – Where was the new album recorded and who have you worked with for production, mixing etc?

TOSCHIE – It was recorded in our home town. The last three albums were done it our home town. We did our third album, the self titled album in Los Angeles with a guy called Joe Barresi and we thought that was excellent. There’s something about getting away from everything – from your friends and family – to get away and focus in a different way. But then we did “Youngblood” in our home town and after that we said for our next album we should go away and record; but we always end up recording in our hometown. This was recorded in a studio called Fort Knox which is in the docks at Bergen. It’s actually within a restricted area because it’s in the international shipping area where you get all these containers. So you had to provide ID and get permission to go in there as there are things there that haven’t gone through Customs. It was a bit of a hassle as we had to do that every day. We thought we may have been able to get a permanent thing for as long as we were recording; but no, we had to do that every day! We worked with a guy called Kato Ádland who we’ve known for many, many years. He’s a producer and brilliant musician. He’s an excellent guitar player. He does a lot of pop music – he doesn’t do hard rock at production-wise. But we’ve known him for years and knew he played every now and then in an Iron Maiden cover band and that he knows hard rock. I played with him in a cover band that we did for fun, many years ago. We had a band called Drums and Noises where we just did classic hard rock. So we knew he was capable of doing this, but when we asked him he was kinda surprised and said ‘I don’t produce hard rock albums’, but we just said it’s about time you did. I can safely say that he is one of the best producers that we’ve worked with. Not that he’s technically brilliant, but he is so efficient and he understands and comes up with all these great ideas. He is able to make us look at the arrangement from a different point of view. We re-did some of the arrangement . He actually wrote a part for us. We have a song called “This One” – the end, heavy part of that song was written by Kato. We had the song and we said it was supposed to be like this, just humping along, but he came into the studio and said I’ve written a part for that song. We listened to and thought ‘holy shit – that’s perfect, why didn’t we think of that’. So we just learnt it and recorded it. He was brilliant. He did recording and production, then he mixed it with a guy called Ivor Sandøy who we’ve worked with for the past three albums now. He was originally a drummer, but he is brilliant with the mixing and mastering; and he also mastered the album. So, everything was done here in our hometown.

NI ROCKS – When did work on the new tracks begin and is there a standard process for the band to write tracks or do they all come together differently?

TOSCHIE – We started the track “Naysayer” I think was written close to three years ago.  We’ve been writing all along, since we released “Pure Heavy”. We did some touring, then we started writing again. I think when we sat down with all of the ideas that we had, we had close to 70 ideas. That of course is not 70 brilliant ideas, so we shaved that down to 30 ideas. We picked out the 30 best songs because we’d had this idea that we shouldn’t work too much on a song, we should just come up with new ideas and record them and put them on a hard drive. We worked on the 30 best songs and ended up finishing 100% 15 songs. Then we went into the studio and recorded 13 and ended up trashing one of them. Not because it wasn’t a good song, but it didn’t come out the way we wanted it, so instead of continuing to struggle with it we said ok, let’s just leave it here, we can record it some other time. So we ended up recording 12 songs for the album. The writing can be a bit of a struggle – it’s fun, but it’s also a struggle because we don’t always agree. Then we record them and have our differences there as well. The true difference between us comes when we put together the track list because that’s when we really start to argue! That was one hell of a catfight with this one. Now everyone is happy with it; until someone says ‘why the fuck didn’t we put that song there?’  It’s an ongoing fight for each album.

NI ROCKS – A lot is made of the fact that the band’s two guitarists play for metal bands Enslaved or Sahg. The guitars on the recent album are more classic Thin Lizzy than anything metal. They must love the opportunity to diversify their performances?

TOSCHIE – I think the guitar work we have done on every album has been more and more classic hard rock guitar. I think that some of the stuff like “Naysayer” is fairly heavy metal. We do have a good mix between the two. They’re two amazing guitar players so they tend to shine whenever they can and do whatever they can to get in there. When I played the album for a friend before it was finished he said ‘there’s a lot of guitars on this album’ and I said ‘I know! That’s the way it has to be!’

NI ROCKS – The other single from the new album was a track called “This Is War”. We’ll play that track now, but before we do can you tell us something about it?

TOSCHIE – “This Is War” was one that when we wrote it we thought it was in the same vein as “Redemption Blues” and “This Ends Here” and “High and Dry” with a very obvious Iron Maiden influence. I think we’re very good at doing that – they’re very energetic songs. We wrote it and throughout the whole process felt that it was one of the strongest songs and from day one agreed. As I said, we argue a bit about the track listing, but from day one we agreed that this had to be the opening track. When we wrote it, at the guitar solo part where Thomas plays the solo, then they play this twin thing, then Arve plays his solo and it was straight into the chorus. When we were at the studio we asked the producer is this a bit too much; do we need one solo at each end of that twin part? And he was like, dude it’s not enough! So Thomas plays one, then they play one together , then Arve plays one and then you have to finish what you’ve started and come together again. So we have that last twin part which is a version of the opening riff. So that was another example of where having a good producer is so important. We’d felt that it was too long or too much. Were we over doing the guitar? And he was, no, quite the opposite, you have to put more guitars.

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Last Updated (Saturday, 24 March 2018 15:56)