Back in 2011 a group of teenage Danish punks released their debut record New Brigade to some seriously high acclaim.

Now at the tender age of 20, the members of Iceage have unleashed their sophomore album You’re Nothing on the world, which has been received with equally as much praise as its predecessor.

Of the success and attention that their first album received, Iceage guitarist Johan Surrballe Wieth says that the band was “quite surprised that it got around the way it did. It got swept up into a certain hyped whirlwind – it was definitely not expected.”

Of the bands’ hometown, Copenhagen, Wieth notes that “it’s growing and it’s very creative at the moment. A lot of new bands are coming out.”

I would say that the underground scene is better than it’s been in a long time. It is very diverse. All kinds of music. From electronic, to industrial, to rock. Everything I guess,” says the guitarist calmly.

For someone speaking in a language that isn’t their first to a music journalist on the other side of the world, late into the night of their own time zone, Wieth sounds surprisingly attentive.

For Iceage, says Wieth, a career in music was never really part of the plan for the band: “We didn’t really try to start a career. We just played music together. You know, there was never really the intention to become what it’s become now. But I think the music industry in Copenhagen is good as any other place [to be an up-and-coming musician].”

The four piece’s chaotic first album was an angst driven collection of senseless and abrasive anarchy that was celebrated and widely acclaimed. They followed it up with tours around Europe, North America, and even heading out to Japan for a couple of gigs.“If it’s genuine – this urge to act out – it’s a big compliment. But I also hope that people aren’t acting out because they heard that when Iceage play you’re supposed to…” – Johan Wieth

When writing and recording material for the second album, Iceage weren’t put off by the idea of releasing a failed follow-up to their first. What’s often a daunting task for other bands, for Iceage, was barely a factor.

“We were very eager to record and we really like recording,” says Wieth plainly. “I think we just wanted to get started and we were positively surprised at the results we were getting from when we started to when we finished. It was just a nice experience. (We had gained) more experience and we have a better output and ability to shape things in our lives better.”

Where debut album, New Brigade, was recorded “in the city [and so] was kind of like a 9-5 way of working,” You’re Nothing was recorded “outside the city.” The band removing of themselves from the harshness of the urban environment and relocating their recording process to a more natural setting had a bigger impact on the record than first thought.

You’re Nothing displays that the band have been able to achieve a certain sense of heightened emotional intellect where the tracks seem to constructively channel the band’s rage as opposed to having it thrash all over the place. Wieth agrees that the debut “was very abstract and nothing really made any sense.”

The new album is still quite raw and emotive but also manages to maintain a sense of structure; a more driven and organised sort of chaos.

Wieth observes that “the writing process was pretty much the same [and that] we still do it the same way. I just think we definitely know each other better and so after playing all the shows we’ve played I think we understand each other better as musicians. So naturally, like the band, the creative process has definitely changed.”

In regards to lyrical themes throughout the record he notes “that’s the way Elias [Bender Rønnenfelt, Iceage frontman] has been writing lyrics now, much simpler and more direct – outspoken. The lyrical content of You’re Nothing all comes down to it being all about emotion, different emotions, strong ones,” he concludes.

So with all the buzz surrounding Iceage it was no surprise to hear that their latest album was to be released with independent label megastars Matador Records. Having been approached by a multitude of labels all fighting to sign the Danish punks, Iceage finally decided to release with Matador on the decision that “they seemed not to interfere,” explains Wieth.

“We felt they wouldn’t intervene or touch on any creative points that we had. They didn’t say ‘hey, change the mix’ or anything. Which we had experienced with other labels.”

Following the release of You’re Nothing the band have embarked on a massive European and Northern American tour that will take them into late June.

Despite looking forward to promoting the new album to international audiences Wieth acknowledges that “touring for too long is probably in a way also quite damaging. But I think we have learned enough about each other, us four. We never really yell at each other and get seriously angry and that’s probably the most important thing.”

“We always get along and we’ve found people that we tour with, our managers and sound technicians, who all get along with how we are and our own weird personal quirks,” he adds.“…A record is a picture that’s framed and I think live it’s not a picture; there’s no frame, there’s just the core of the picture.” – Johan Wieth

Further regarding their live shows, Wieth compares the intensity of their recorded material to the ferocity of their live performances through analogy: “When you have a record it’s like you have a frame and a canvas. A record is a picture that’s framed and I think live it’s not a picture; there’s no frame, there’s just the core of the picture.”

Some audience reports describe the band’s live shows as ‘carnage,’ exemplified by pictures of riotous gigs and bleeding band members on the group’s own blog.

Wieth is eager to explain that “there’s been a lot of talk about violence and what-not at our shows and I think people have an image that there’s blood everywhere and that there are people beating each other up. And this happens, we have shows that are very energetic and people get into it very physically,” he admits.

“On the other hand we also experience some shows where people just listen and just focus. I think that if it’s genuine, that people feel this urge to act out, it’s a big compliment,” he confers. “But I also hope that people aren’t acting out because they heard that when Iceage play you’re supposed to act out and jump around. So I can definitely appreciate both types of shows in many different ways.”

In Wieth’s opinion a good show usually includes “this one moment where you kind of just feel like you’re not really playing. Like you’re just standing on the outside. Everything mashes together and it’s like you’re standing on the outside looking in.”

So will Australia be fortunate enough to experience the increasingly hyped-about Iceage live show anytime soon?

“We have had some offers but there are no actual booked dates for Australia, but we’ve talked about it. It would be very nice to go,” says Wieth. “You’re just so far away.”

One can only assume that Iceage would be exactly the type of band that Splendour organisers would be keen on recruiting. Let the speculation begin.

You’re Nothing is out now through Matador/Remote Control, read the Tone Deaf review here.

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