EZ GOMÉR - Interview by Bridefan
http://www.bridefan.com/Ez_Interview.htm
BF: Mr. Gomer (or if I may call you Ez), first of all thanks for doing this interview with me.

EG: Ez is just fine of course. My pleasure doing the interview with you. I'm relaxed, having a glass of water and some candies. let's do it.

BF: For those who have been living under a rock (and don't know about the Jet Circus website) for a while, what has Jet Circus and yourself been up to?

EG: I have a new Jet Circus album out ­ LOOK AT DEATH NOW. The first release since Step On It 1991. The first single ONE DIME SCAPE GOAT did really OK.
One number one reported from an American radio chart and a surprising second place in Venezuela reportedly due to thousands of calls. That's very satisfying. Surprising because South America is new playground for Jet Circus.
So you can say I have a really nice and interesting time with the band again. The years in between I have been working with my marketing agency and my internet solutions companies. I like doing business and work in some form always keep me busy. I don't like to hang around with my hands in my pocket.
I like to stay awake, never sleep and get busy.

BF: Why so long between records?

EG: Basically I was just waiting year after year to get Terry into action again. Even if I always was the driving force in the band I thought Jet Circus is the two of us and never counted him out. In the meantime I built a professional recording studio to set the stage for another record and to have an easy situation to get going. It never happened, but I always had something else to do. And I didn't really miss the music scene too much for most of those years.
Then around 2002 I started to really feel it was time to act. I had one of the best recording studios in Sweden but no working music relation with Terry since he did not respond to the numerous times I asked him to come down and do some music. You know, we had this unfinished album NO MERCY FOR THE LIVING DEAD to finish, first of all. Then I wanted to write a new album as well.

BF: So what's the difference between LADN and No Mercy for the Living Dead?
Which one was supposed to be the original JC release and which was to be your solo album

EG: NO MERCY is an album we started to write and record between ­92 ­ 94.
The very slow working tempo that was sliding to a dead stop, began to show gradually those years. From the beginning I was enthusiastic and thought we could count on a good response from the record company, due to the success of STEP ON IT. When I instead felt they only were interested in the money, not in a good working relation I said hold it. I don't need those guys, Jet Circus don't need to be ripped off any more than we already were. I lost my interest of the whole thing because of the situation and the production ended there for a while. Time to think and look things over.
Me and Terry always were buddies but I couldn't get him to get into music again. Some of this is due to family health and some is lack of interest and belief being in the right place.
As I said, in 2002 I felt I don't want to wait no more and I decided to do a solo album called LOOK AT DEATH NOW. Then in the midst of this recording process Terry told me he wanted to quit the band, leaving me the only remaining member of Jet Circus with an album in the process. So, NO MERCY is a team work JET CIRCUS album, so far never finished and LOOK AT DEATH NOW is todays Jet Circus with only me left in the band.
I will finish what need to be done to release NO MERCY as well, as a kind of *from the archives* album some time 2006. But right now it's all focus on LADN.

BF: Now I know you read my review of the CD I did recently (and using it for promo stuff), but what is the main difference between Step on It and LADN?
Did I hit the nail on the head with the review?

EG: Yeah, It was a really good review and I was happy reading it. Not only great because you liked the album that much. I mean, 5 out of 5 is something to be proud of. I tip my hat!
And yeah, you did hit the head of the nail stating this was no Step On It part 2. But still hard rocking, straight ahead hooks with thought provoking lyrics. Thanks for mentioning the lyrics. They are as important to me as the music. I want to deliver a package of content. The total experience is the thing and I want it to have a certain flavour, whether it's a soft song or blows your top off.
It was also very rewarding you wrote all the other 80's and 90's metal band should check up LADN to see how it should be done today. I humbly bow down for those words.

BF: Recently you recorded a song for the new Liberty 'N Justice CD, Soundtrack of a Soul, called Killer Grin. How was that and what led to Justin wanting you for that song?

EG:Justin contacted me to ask if I wanted to sing a song on this album and it ended up with me writing and performing a song called KINGS OF HOLLYWOOD.
I wrote and produced the track in my studio Hypersonic. I kept the title and some few lines in a lyric Justin had sent over. The band line up is myself on vocals and bass, Mikkey Dee on drums, Sayit and Tommy Denander on Guitar.
The same guys I had for the LADN recordings that were going on at the same time. You will recognize the sound.
This is a great song! I think lots of people will appreciate and it's picked as the album opener. Great choice of Justin and an honour.
After this Justin got back to me and said he had a song they could not get into shape and asked me to help out. This song was KILLER GRIN. I recorded and produced the track, again in Hypersonic with almost the same band line up, except Michael Ulvsgard (ex Jerusalem) replaced Mikkey Dee. Then Stephen Pearcy of Ratt, did the vocals with Justins producer in the U.S.

BF: What is your most favorite memory of being a part of Jet Circus band?

EG: We actually had a laugh all the time as I remember it. Humour and some social skills is essential to work as close as you do in a band. I can't pick one favourite being the big memory of so many fun occacions. But being told in the tour bus just before playing the Corner Stone Festival that Break This Jail was number one on the CCM chart is worth remembering. That felt great and inspiring and we needed that right then and there.
Another golden memory coming to mind right now, maybe not with the same dignity, is when I found Terry boots and watch left over in his abandoned hotel room. We had just have one of our few argues ever - this was about he was worked out and a bit angry I was telling everyone they were responsible to take care of their own junk and bring it with them themselves. We had no personal assistants.
So I decided not to tell him I brought them with me when I found them. Terry was already in the tour bus waiting to go. Then I just had to wait for the fun to start. The whole bus but Terry knew I had them picked up. About five hours on the road later there were suddenly a lot of activity going on, phone calls to make and UPS to send his boots to the show at a high cost.
Real funny action for everybody when you are tired and bored with travelling. Funniest thing and when I decided to hand the things over, was when he desperately tried to get the promotors wifes boots on. We had a laugh and no more discussions on the pick your own junk matter. And no Jet Circus with girley boots on stage.

BF: Now a lot of folks don't realize this, but you were originally part of Leviticus. How was that experience? What was the difference between them and Jet Circus?

EG: Leviticus was after all mostly a fine period as I wish to remember it.
There was a bad vibe in the end because Bjorn thought I was going to take over the band and I found him very suspicious and protective. I never wanted to run that show. It was Bjorns band before I joined and it was also too limited musically to make a great band of in my opinion.
I just wanted to make sure as long as I was to stay in the band, it should be about quality. I wanted to work professional, Björn thought they already did and so on. I think he felt I kicked his butt to much. Then me and Terry was not allowed to contribute with more than one song each on the Setting Fire.. album. That was decided ahead by Björn. This was as I see it the beginning of the end. When I later on saw what he came up with, just song embryos, it was an even more strange decision. The result was in the end OK to the audience but I never liked the Humpty Dumpty Rock n'Roll. I know it's often stated as the best album Leviticus ever made, so I leave it in peace.
The Suffering Servant is a great song though. Maybe I even have to get a copy with a sleeve some day?
Leviticus was Björns band, I was just a member for a while. In my mind a hired gun, having my own goals, which turned out to be Jet Circus. That's a difference of a world to me. We have no similaraties as I see it. We are both from Sweden, that might count?

BF: How as the response to LADN been? Better than expected or so-so?

EG: I didn't know what to expect. I just had to completely follow my heart and write the music I have inside. I'm not listening to music at all during periods when I concentrate on writing, I just want to dig up my own brand of music and I can't calculate with people liking it. I just hope they do.
Then, I know you got the Jet Circus newsletter where we used a lot of the reviews the album has got from all over the world. Those are great reviews and shows a fantastic response. I'm very proud and honoured to get that and I thank everyone involved for their support. LADN have been voted album of the month, album of the week and received almost only high scores. Im happy.

BF: So what's the future holding for Ez Gomer and/or Jet Circus?

EG: That's not easily answered. Sometimes plans are made and nothing happens, still you gotta have them. So, besides the immidiate projects right now which are, supporting LADN in every way, doing radio, internet sites and magazines interviews. I will have the whole LADN album remixed as a modern dance music.
Then I have a remastering of STEP ON IT in progress. Release early ­06. Then there is NO MERCY to finish as I said earlier. Released in ­06 as well. I also look forward to the release of SOUNDTRACK OF A SOUL where I contribute on two songs, I'm discussing shooting a video for KINGS OF HOLLYWOOD. It would be fun and I'm checking the possibilities. Then I will make a guest appearance with vocals and bass on a song named Witch Hunt for the Astralian band TEMPLAR's debut album. That's the list of things in progress.
Then planning ahead, I guess we will see Torb and Thomas Weinesjö of Veni Domine, who are a great friends of mine, on the next Jet Circus album. For the moment I talk to them about doing some JC shows as well, so they are digging their way into the JC song book right now.
Maybe we can play some shows in th USA during ­06. We are starting to look into that right now. 2006 is also a year to spend in the studio recording a new album.
I'm happy to co-operate as much I can with other musicians and I hope to make something out of the discussions with my fine friends Ronzilla of Monsterus, Christian Rivel and Jani Stefanovic of Divine Fire to name some.

BF: What do you think of today's Christian music scene/industry?

EG: Over the years the christian business has not impressed me at all. You shouldn't for a second believe that the christian music industry is a cleaner business than the secular. Sad but true.
I know about the discussion that many christan bands are crossing over to the secular business, which is a natural way to go when you find deals are better and the quality higher on the secular side. And most of all, the logistic road lead out to the people you want to reach. Then if you at the same time sell your mission and your hearts desire it's something else.
I don't protect the christian music industry in general. It's not a holy cow. It's run by profite most of the time. I'm not picking on making money.
I talk about honesty when you do business in the name of christianity. No strange things.
As a christian musician, keep your eyes open and have no loyalty to people who are just trying to rip you off as a christian music company. Instead do what you can to get rid of them. They give the business a rotten name and occupy a space that a serious person or company could have. Nail it!
Because on the other hand you have guys like Christian Rivel on Rivel Records, dedicating their whole lifes to the work of God and do a good and honest job in the music biz, but those guys are in my opinion a minority and must in every way be supported. That's the best deal and cooperation but it's hard to find.

BF: How would you like to be remembered?

EG: OK, it's time to kill me now, after that answer? I want to be a person that lifts people up and makes them feel good about themselves and to be someone you can trust. If i die now you can remember that I tried.

BF: Last question, if you could put together your own dream band to record and do a tour, who would it be?

EG: John Bonham on drums and Steve Stevens on Guitar. There you go ­ A power trio.
...And Gavin Morkel in the kitchen doing the dishes?
And now for the word association gane:
Terry Haw - A fine, long time friend. Musically very gifted. And keep your boots on!
Björn Stigsson - Some quarrels, some good fun. Björn is serious and good hearted. History is history, I wish only the best for him and his family.
..But I liked when Björns butt cought fire on stage, sending smoke signals to the audience. Very artistic, doing a guitar solo at the same time!
Alice Cooper - Tons of respect! Decades of musical and lyrical splendour topped the last decade with a burning flame for the Lord. The Guy! Always.
Stryper - I like them a lot. But I never listened to them until I got Michael Sweets solo album TRUTH. Super album! Made me feel good and admire his work. Would be fun to do some music together some day. Feels like a musical match.
Gavin Morkel - Forgiven. Forgive and move forward comes to mind. The book is closed. ....But how about trust him with the dishes?
Doug Van Pelt (HM Magazine & Heaven's Metal) - A nice and dedicated guy.
Doing a great job. Support his mag!
Justin Murr - A guy with a vision and lot's of energy to make something happen. I like that. I wish him all the best with the new album. I had fun doing my part.

BF: And that's it.
Once again, thanks for doing this interview with me Ez. It's been a pleasure and an honor.

EG: My pleasure! Thanks for asking. I had a good time and the candies are now gone. God bless you and your readers!
Never sleep - Stay tough!
Ez

Ez Gomér - Interview by Heaven's Metal
http://habeascorpses.net/JetCircus.html

What has been happening with Jet Circus in the last year and a half?

I have to go back to the year 2002, when I decided to write and record a new album, I was fed up with waiting for Terry who never could make up his mind about what he wanted to do with the band. I wanted all those years just to get going again and create some music but I never actually felt any pressure that I must do it. So I waited and waited and finally I thought this was it ­ end of waiting. So I decided to make a solo album and I began right away, the same night as I decided to go ahead. No way back, that's what I wanted this time.
During November 2002 and November 2004 I wrote the songs and recorded the album. Then it was released in March 2005.
The reason it changed name from originally being named my solo album to be named JET CIRCUS is just natural as Terry told me he wanted to quit the band in the midst of the recordings of LOOK AT DEATH NOW. As the only member of the band my solo album and the next Jet Circus album is the same thing and of course I never wanted to drop the name of the band.
So what happened the last year and a half was the release of an extremely good and brand new Jet Circus album ­ LOOK AT DEATH NOW. It's been out for six months now and it climbes all the time and takes Jet Circus to new listeners in Brazil, Venezuela, Chile, Argentina, Mexico as well as to the old friends in the USA, Canada, Europe, Australia and New Zealand. The response is really overwhealming.


Why all the label changes?

There never was any label changes, but I took some time to check out the possibilities I had to get a good deal. I look into this business with a great portion of scepsis and I never wanted to rush into a new label trap.
It's my way or no way, so I don't rush it. I wanted to be safe from the wolves this time. If there is too much of a hurry, you should not do the deal.
I finally decided to go with my own label, Hypersonic Records and later on I made a deal with Rivel Records to get into their system. So on the album you will have both logos ­ Hypersonic and Rivel. This is a really good working cooperation based on a will to do good things for each other, not rip the other part off. Christian Rivel is really the best and I appreciate his work and good intentions.

Distribution changes?

Hypersonic Records have distribution the Rivel System, that means Mega Rock worldwide excluded Sound Pollution in Sweden. No changes so far. I discuss with several others as well but feel no panic to act.

Were any songs or recordings changed?

Some of the songs were first recorded as rough demos and we put them on the site to let people check out what was happening and to get a feel for the direction off the album. I think there were four or five demo short cuts like that. But when the real recording started there never was any change from the original idea ­ it growed like it usually does when you do it with the intention to do the real thing. I excluded one song I listed as a coming track just because I didn't have the time to finish it. Otherwise everything else was as planned.

What's the current status of the band and this album's retail distribution?

Current status of the band is that JET CIRCUS is just me and the people I invite to play with me. As far as the reatail situation, I have to evaluate the retail selling from Mega Rock later on, and if I have another offer coming up, I'm not tied to my hands and feet. I can move on if I think it's the best thing to do for the band and for the customers.

What sort of feedback have you rec'd (if any) about the cartoon artwork of the bare-chested lady on the original art? Any flack from the altered version? What are your thoughts on that?

Well, you are talking about the promo stuff artwork. The idea was to show some of the characters that you meet in the lyrics. In MAN RULES I'm telling a story about the evil men do and then proclaim that there is no God. Man rules this planet by Gods will and on man's own responsibility. We take advantage of each other, rob and kill each other but when it's time for the big question, to sum life up it's very easy to ask how could there be a mercyful God when this happens? Without being cynical to all the crime victims and their pain I have to defend the biblical idea of man's own responsibility and God's wish for us all to love each other and do good, but we fail all the time.
So, in the forefront I had Beth, a prostitute from the lyrics that goes ­ Gold Tooth Fred is earning his bread / Selling Beth though she'll soon be dead.
I had one guy that was really disappointed, yeah really angry with me for having a cartoon figure showing a nipple. I listened carefully to him and said I will pray for this and think it over. There was no big deal for me to cover her up but I thought it was a bit easier to get the idea of the lyric the way she was from the beginning. Anyhow I told this man about my intentions and said, you can see she is crying where she is standing and selling herself, having that big blooddrained knife behind her. It's meant to say something to make you freeze if you look with a certain apetite.
Until then he just saw the nipple. Doesn't that say anything as well? You don't see a pair of crying eyes, rather stare at the wrong dressed boobs ­ then complain with a holy intention. I guess we're like that a lot.
I don't want to hurt anybody's feelings if I can avoid it, so I covered her up and I got a really warm response from the guy, wanting me to forgive his harsh words and saying he was impressed that I listened to him in a friendly tone and he had never thought an artist would change his work because of one guys opinion or one guy being hurt.
Yeah, thanks to you too, brother and God bless you, really. Life teaches us new things all the time.
Part from that I never heard anything else.

How was it recording vocals for Liberty N Justice?

It's a fine project. I wish Justin all the best with this and I did what I could to help out.
The songs I did for this albums was KINGS OF HOLLYWOOD and KILLER GRIN
KINGS OF HOLLYWOOD is recorded in my studio Hypersonic, Sweden with the same guys I had for LOOK AT DEATH NOW album. Meaning, me on all vocals and bass, Mikkey Dee on drums, Sayit and Tommy Denander on guitar. I wrote the music and the main portion of the lyrics and produced the track. It's a real killer track and ...it sounds like the rest of LADN. And it's picked as the album opener. I now discuss shooting a video for this one.
KILLER GRIN was a song Justin asked me to finish, produce and record as well in my studio. I did it again with the same line up except for the exchange of Mikkey Dee for Michael Ulvsgard. When the music was recorded and mixed by me and and Håkan Kristoffersson we sent it over to let Mike Layne record the vocals of Stephen Pearcy. It rocks for sure. A great song.

What perspective on politics or America in general could the USA learn from someone like yourself in Sweden? (an objective voice or commentary on US politics, perhaps?)

I always loved the US - with all it's good and bad sides, conclusion is that it's still a fantastic country. I respect the longing for freedom that buit your great nation and I see that freedom means a lot for the Americans still.
Sweden in opposite, takes freedom for granted. We have been spared from the two world wars, that involved our neighbours Norway, Denmark and Finland and we don't understand the fight for national values. I'm sorry to say it - We carry, in my opinion a blind idea of being safe, whatever happens. I can relate to the fight for freedom and and free values, but not everybody shares my view.
Therefore, I hope for all involved parts, that the situation in Iraq and the war against terrorisms will stabilize soon so lifes can be saved and the American economy can prosper as the motor it is for the world market. What the idelogic defenders don't want to see, is that in the end, the Iraq liberation was all about oil. The US will loose a lot of both respect and arguments if it in the end shows to be so. I can only hope not.

What are your plans for 2006 and beyond?

I have a remix project going on for LOOK AT DEATH NOW. All songs be remixed in modern dance versions. Release 2006. Please contackt my super organizer Ivar Lie if you are a professional producer and is interested of contributing. Mailadress: a-il@online.no
Then I will finish the long time, from-the-archives-album NO MERCY FOR THE LIVING DEAD. It's a great album that deserves to be available for the JC friends.
Remastering of STEP ON IT is in progress. This will also have some never released songs from the original sessions as well as both of the cover songs we did, Be Bop A Lula and Gene Vincent's Lets Dance. Remastering done by the superior Daniel Fossum, supervised by myself. Release 2006.
Then as we spoke I'm on two songs on Liberty N' Justice album Soundtrack of a Soul.
I will do one song for Australian TEMPLAR. Song is called Witch Hunt and is a super groovy hard rock piece.
An new album is in my mind, right now just sketches, but I work fast when I focus and decide to start it up, 2006 will be a writing and recording year.
I also hope to do some shows, maybe some US shows, I will check up the summer festival. It would be nice to play some of them.

What do you see as the next big thing musically? What is impressing you at the moment?

Whatever it will be, it will be something easy to understand and fast to expire. That's the sprit of the time. Easy to chew so everyone can buy it.
Minimalistic and flat, far away from the introvert progressive rock of the 70's, that you at least had to pretend having brain to understand. Now, brain is gone and body is in and money is everything. Present the new music on that ground and you have a home run.
Right now for the day I'm impressed Billy Idols new album. A little ups and downs on this ride but still some great highlights. Good sence of humour.
Impressing that he still lives if you believe the drug rumours. I wish for a clean Billy that delivers for many years still. Impressed as always by Steve Stevens.

How important is sharing or fusing your faith with your art to you? Why?

It's not two separate things. One comes from the other.
I want to create art that springs from my faith, because it's from my most inner being and it's the only issue of everlasting value to handle.
There is no getting away from it. I want to deliver the most most precious thing I own which is my faith. Believing in salvation is the only thing I will hold on to when It's time to die.
I also believe true art should be honest. Something from the artist's inner being. We can argue about that, but If that is my reference, how can I feel satisfied just scratching on the surface and sing about chewing a gum? There also seems to be a mission to complete. I can't run away from it and still feel satisfied. I know I tried sometimes but I felt out of the will for my life actually. I lost the joy of creating.
There is no satisfaction for me with writing or reading empty poetry and rhymes. It's like a flair from a rose, wonderful and gone in seconds, leaving no trace. I want to leave a trace, so how do I do? I have to bring up the issues of life and death and hand over God's gift of salvation. Then there will be a trace in the soul of the receiver.
I talked to Jani Stefanovic of Divine Fire yesterday, we spoke about those matters and I told him standing at my mothers death bed in January, bless her, seeing the life run out and the soul leave for eternity, your thoughts are very far from selling records. Then and there eternity and all the questions of life is concentrated to some minutes. What I do with my life is the only concern, even the days when I don't see it.
I'll be there too and what do I bring with me? I have to trust in God's mercy for my souls salvation through Jesus Christ and I know I would like to sum up my life before myself and my maker, and honestly mean I did what I could to complete my mission in life.
I have all the freedom in the world to do whatever I want with my art - music lyrics, pictures and paintings and whatever and I don't see anything wrong with just making a living on it, if that's the only thing I did with this gift. And I won't ever judge anybody else on their decision.
But in my case I would feel I limited the effect of my gifts to a minimum and missed the point. Both on earth and in heaven.
In any case I feel I can do some good to inspire, lift up and bring people closer to a relation with God and his mercy. That's my mission. I feel good doing it and I don't feel forced. It's the way I want it to be.
Because of this I always stood totally free from people trying to make use of an artists usuall need to sell records and the artist's need of the record company's good will. I don't need anybodys good will. I just need to be right in what I'm doing to be satisfied.

Anything else you'd like to add?

Thank you very much for doing the interview, Thanks you who read it.
I hope to soon shake you all with a show on a theater near you.

Never sleep ­ Stay Tough!
God Bless!
Ez

Ez Gomér Interview by Nucleus - Argentina
http://www.nucleusprog.cjb.net/

JET CIRCUS
"The Purest Of Knight"
Interview with Ez Gomér
By Sergio Vilar

What did it impel you to form the band?

Jet Circus was formed directly after me and Terry Haw departured from Leviticus. We got to know each other while still in that band and it came very natural to me to begin form a new group based on the fine chemistry and over all good relations me and Terry had. I simply told Terry I had some ideas for it and he was in. I booked a studio and we began writing at the same time.
The main reason for having a band can be split into some different areas as I see it: It's absolutely a social thing to gather some friends around a band and have fun. It's s also a natural form for using your creativity and skills as a musician. This act of culture would be enough to give your mind and social being great satisfaction.
But most important to me is to satisfy my deepest inner being ­ my spirit and soul. I feel the deepest satisfaction by sharing the love of God through Jesus Christ.
Put it like this: When somebody comes up to me and tells me he or she loves my music I will be very, very happy and proud as an artist. But if somebody got their life changed by God by the seed I planted with the music and lyrics, it would be of eternal value for us both and I get a deeper sence of God given happiness right there, on the spot. That's the difference I see, feel and go for.

Jet Circus combines elements of progressive rock brilliantly and of heavy metal. Which your main musical influences are?

I'm glad you say so and I agree that there is progressive elements in the music I create in Jet Circus.
Most people don't seem to reflect on it though. When I grew up and began to learn to play bass I had already played piano for five years. I think, if that ever did me any good, it made me stretch a bit extra to be a great bass player. I always appreciated great musicianship and I avoided punk rock in every form when that thing exploded. But, everybody needs to have some fun so I'm not picking at anybody.
I grew up with all those wonderful 70's band like Uriah Heep, Alice Cooper, Led Zeppelin, Slade, NazarethŠ I was never a big Deep Purple fan like my friends were... Then there came a few years when I did not listen to almost any hard rock because I was too occupied with playing bass and I practiced a lot to Yes, and Rush. All of their albums over and over. I was a complete progressive music fan then. I did not listen as a listener, I listened as a musician all the time those years and I was always analyzing bass lines in my head. A bass freak if you want.
I never left the hard rock with my heart so after some years, I relaxed a bit about the bass playing and came around with a new luggage to the heavy rock music. For me it is as important to be able to play fast and technical as well as to contribute with some beautiful melodic bass lines, as well as to be steady as a hammer and punch hard when that's needed. It's all about having the capacity to flow with the music you play. I would not say that the the bass playing is life or death... but close to.

Do we speak a little about "Look At Death Now". Did you compose the songs with some idea it specifies in mind or did you simply let them to leave natural form?

I had set a theme for the album by first of all deciding the name of it - "Look At Death Now".
There was the theme for the lyrics.
Musically I had two main ways of writing the songs, 80 percent of the songs are written in my head without any instrument. I used every single spare minute to work on new songs in my head ­ to work through the riffs and leads and memorize them until I got a chance to get back to the studio to put down the bass lines as riffs and leads. This way I had most of it arranged for drums, guitar, bass and lead melody already in my head when I began recording the track.
When back in the studio, checking the song on my bass guitar the additions could be to compose a bridge, an intro or the solo parts.
The other 20 percent of the songs are just bass improvisations, playing to a rhythm pattern that I did first on a keyboard.
The title track "Look At Death Now" was such an improvisation. I told Ulf, the studio technician to open up a new track in Pro Tools while I just got a new idea playing around a drum beat that was playing in a loop. Ulf set up a new track for my bass and pressed the record button. Then I played continuously for some 2.45 minutes with the intention to complete a song and that is the bass track you hear in the title track. No clipping, adding or changing parts. The song was complete, I just had to add drums, guitar and vocals.
There is no must in working fast, but when you feel you have it right on, there's no problem having it fast and easy either.
My idea was just to keep it simple enough to make the drum and bass present the song for the guitar player so he could to get into the studio, understand the song and start to record. We did no rehearsals. Just record right away to the bass tracks. I thought I would later redo all the bass tracks because of that but I didn't redo any of them. It sounded just great the way it was and I felt people was starting to wonder if the album would ever be released.
You know playing to the drumbeats alone, trying to feel what the guitar player would do later is no dream, but the listener hears a complete band, rockin' on full throttle.
Same thing for Michael Ulfsgärd, the drummer. He had only the bass to play to, so I had to make it fill up like a guitar... but that's my style of playing anyhow. My bass doesn't play with the bass drum alone, it's playing with the snare drum even more.
Telling all that, for some it sounds strange. If you know I have a studio located right above my advertising agency, there seems to be no problem with taking your time for writing, rehearsals etc.
But the fact is that I had to do the complete album on spare time or in the middle of the night because I'm so occupied with my companies. After a working day at the office, I had to step up to the studio, trying to feel in shape for a nights work with the music. I usually worked in the studio until
3 or 4 in the morning get some hours sleep, take a shower and be at the office 9 o'clock following morning. And the same procedure over again.
All the lead vocals are night work and the backup vocals was made on my lunch breaks.
You see the competition of the album was depending on my ability to work 16 ­ 18 hours a day, so I did not want to complicate the songs and arrangements too much to pull the thing off at all.
I told this to my good friend Torbjörn Weinesjö of Veni Domine, but he ashured me that no one could complain about the songs being too straightforward and well, he is a guy who likes complicated arrangements. In fact he we was laughing a bit - in a nice way when I said wanted to have time to make the songs more complicated. I guess that's the artists problem, never wanting to stop to fulfill even more, all the time.
Main thing ­ The album is the greatest I've done and I get overwhealming response from all over the world. I'm very thankful and proud of it.

Besides the musical aspect, it got me a lot the attention the thematic of the lyrics. What type of situations did they inspire you to write them?

Yeah, the lyrics carries a big part of it all. They mean a lot for me and I hope they mean something out there for the listeners.
This album started as a little sneaking thought in my head. I wanted to finally make use of the fine studio I had built a few years back. When I own a first class professional studio, I found myself too busy with other things to work in it. This was the situation for some years. I wanted Terry, my former band colleague to come down to the studio to finish the "No Mercy" album we had laying around, almost finished.
So, one late night staring at my computer I decided that this was the end of waiting and I immediately pulled out a new site under www.ezgomer.com , telling I was making a solo album called "Look At Death Now". No way back now, huh?
This was what I needed to do to get going again. No more waiting for Terry and a new goal ahead.
So the lyrics, all of them are built around the theme I got that second - "Look At Death Now". The deafeat of death by Gods victory on the cross.
I told you in the beginning of this interview I want to carry out something good, because I have received goodness and my task is to give goodness.
Goodness, not from my own head or even my own heart, but from God himself.
That's the reason for living if you ask me. God is the source of love and we should carry it out to the people around us. Most of the time we see the opposite. Now we are getting to the lyrics. I always write from my own perspective as an ordinary sinner that have made a choice of talking it throgh with God.

Could you give me a brief impression of each song?

"One Dime Scapegoat": "Scapegoat" is the perfect album opener, rockin' from start to goal with the kind of swing to it that I look for all the time.
It's also the first radio single picked for the USA and climbes there right now.
It carries a nice melody and tells a story. It sets the pace and spirit for the whole album. It was one of the first songs I wrote for this album and is one of those I wrote sitting in a restaurant at lunch time, just memorizing the song in my head. Great guitar work all the way from Sayit.
The lyrics is about trying to save yourself through good deeds. About giving from your heart or giving to make yourself look good and maybe be happier than the poor soul that gets a dime from you.
I once saw an interview on TV, with a street bum that had cleared things up and he said he envied this specific lady the joy she got herself, by tossing him a dollar. That twist of the mind stuck in my head for years.
"Man Rules": A heavy cool song. With it's bending, cool riff it is one of my personal favorites on the album. The bridge in the middle ads a little progressive touch to this heavy rocker. Lyrically, this bridge carries for me also the most important lines on the album. It really moved me to sing those lines and I know the listeners can feel it.
I sing about murder, prostitution, robbery, lies, pride ­ all the evil that man does ­ high or low, young or old - simply because they wants to do that and then proclaim that there is no God.
"Godless Happiness": This one is the heaviest track on the album and one of the two rockers on the album with a keyboard.
I wanted a Hammond behind the guitar solo. I wrote this on the golf course and my wife thought I was far out and felt I was hard to talk to. And I guess I was. I finally had to say OK, I cant talk right now I'm writing a great song. There you have it. The keyboard enhances the little funky feeling in the groove that builds this song. It just keeps on rolling and when you really want a change there is a hooky big chorus and a bass / vocal break. The lyrics is about the pleasure of sin. I can't deny the pleasure it brings, but I think it brings an even bigger dose of unhappiness in the long run. I guess the doctors in Beverly Hills prescribes as much pills against depression as the doctors in general.
"Look At Death Now": I told you about how this song was made in one take as an bass improvisation. In a few days after that, I took my note book to a sunny outdoor restaurant and wrote the lyrics. This was a quick one to write.
It's a fast track that fitted drummer Mickey Dee (Motorhead) perfectly. His playing on this one really gives the song the maximum energy I wanted.
Mickey is a very nice guy and it was a pleasure to work with him. I had to buy another monitor amp because he liked to have it more than LOUD in his head phones. After half an hour the studio drum set was in pieces and everybody was happy.
The fast rhythm riffing of guitarist Stefan Elmgren (Hammerfall) works just perfect with the bass. And he blazes off a great solo as well. Stefan is also a very nice guy and I'm really glad he too was able to contribute.
"Lizard Love" : The most glam rocker of the songs. It's built around the groovy chorus with a high pitched and very seventies backup chiore. I wanted a kind of Slade sheerful song, but my way and not too far away from the sounds of the other songs. And I think it works fine. It's a little different then the rest, just enough to enhance the range of the songs on the album and make you feel good.
Lyracally it's not as sheerful, about chasing love. The never ending chase of love and never get it depending on the own unsatisfied mind.
I placed it right after the title track to bring down the rocking tempo a few steps just before the ballad.
"The Way You Bless Me" : I wrote it to my family to say thank you for being there and meaning the world to me.
One of the two ballads on the album. A soft song with a beautiful melody and the arrangement grows all the time in strength. I think this one has a real potential for a great audience. I would like to see it end up in a film.
I worked together with Kjell Bjurling from the Swedish Radio Symphony Orchestra for the string arrangement. He got my input and we tested our ideas and set up the main frames for the strings. Then he took it all and in a few weeks he worked out a wonderful arrangement that together with the strings of the orchestra means a lot for this song. Even the Piano, played by Joakim Holgersson band member of Swedish jazz legends Putte Wickman and Arne Domnerus must be mentioned for creating the atmosphere. A great job of everyone involved that I am happy for and the song gets attention all the time.
"Shooting Star" : This is a powerful heavy rock n' roller that will make a superior, sweaty live number. The keyboard marries fine with the vocal harmonies that lights up the song. It boasts and rocks all the way and seems to fit the Americans well. They comment this one frequently so it might be a radio single.
The song carries much energy from the approach of the rhythm section. But that's the cord of the sound of Jet Circus. I want the listener to feel pumped after hearing it. The lyrics is based on an interview with one of the top names on the rock scene. This man is often spoken of as a Satanist and he told a story on when he was doing Heroin and got a bad fix. Here he was freightened to death, riding a big white whale and thought he was dying, I guess. This bad experience he said, thought him to stay away from this specific drug, but still the real frightening experience of an even worse caliber is waiting in eternity when you choose evil as your partner. The devil himself is what you need to get out of your life in the first place and the rest will follow. I say this in love, not to point finger. I believe we all can get saved by Gods grace. I'm sure Satanists get saved every day.
"Skull Of The Poet" : This song demands a bit of the listener. It's not the ordinary rock'n'roller by the way it's performed and arranged for the instruments. Here we go busy all the time. It's wild and you can feel it almost explode in every direction to suddenly get together for the chorus and bridges. I'm surprised it appealed to the US listeners. Maybe here they got that real crazy Jet Circus nerve. I'm a bit surprised but of course happy and not just a little impressed of the listeners. It's almost free form Jazz in a heavy rock costume. Hey, there is really hard music lovers out there as well, ready to take a strange ride.
"Fears Of Tomorrow": This is a very atmospheric piece of music. I wanted to have it almost like a string quartet, with the cello in the fore front before the violins. It's basically a melody I wrote while attending a movie not interesting enough. I was very satisfied when I had it all worked out when it was time to turn on the lights. The lyrics came later. I lay my voice in a deeper register to get that real soft touch, then it takes off in a bridge. The lead vocals, the melody and strings is everything here and I feel I couldn't have a better ending for the album. It leaves the listener in a kind of thought full mode.
The lyrics is a thought on the eternal life and how you as a human being feels not worthy to enter the happiness but you humbly receive it as a gift of God.

What vision do you have now of the album that it is already published? Was the final result the one that you waited?

My vision now stops at thinking it will be a new album made soon. I have learned a lot from this experience of making it almost by myself. It was a steady walking up the hill experience. Everything that needed to be done I had to do myself just because I am so stubborn and felt it was the right way to do it this time. Maybe, if I get what I long for, it would be having the possibility to really work the next one trough without the hazzle of running three other companies at the same time. I could also add that I want to get out there and do some touring and meet the people who likes my music.
The result is, especially if I measure it from the earliest days of the production, over whealmingly good.
Yes of course I am satisfied. I can hear, even though I am picky on my own work, that this is a really, really great album. If someone has their taste headed for this kind of heavy rock, it's a top notch album. It's satisfying enough to have it out there and the best reward I get for making it, is not money. It's the feedback I get from the listeners. Nothing can compare to a loving word or two when you feel you did leave something of yourself to be valued out there.

Are you working on new material for a future disc? Of being this way, do you have a tentative date for their exit?

Yes, I have just begun to try out for a very soft start for the next one.
After talking a while with Torbjörn Weinesjö of Veni Domine about having him on guitar and see what comes out of this collaboration. We just started to work a little on a song I wrote a while ago. He is a friend of mine and a very nice fellow. My hopes is that we will find it fun for the both of us to create some extraordinary heavy music. It feels like a match.
No dates yet, but lets hope for a new album made in a year.

Have you thought of carrying out in some moment a conceptual album? Could a good idea be, keeping in mind your style and artistic concept?

Well, a conceptual album like "Look At Death Now" or even more conceptual, could fit in. No decisions made on this yet, but I am quick to decisions when it's time to move.

A last question Ez. Besides the activity in the band, are you working in another project?

Besides the business projects I'm involved in, which are a few and have nothing to do with music but it keeps me alive, there is an American All Star project that I have contributed to make. It's the new album of American Liberty Œn Justice which contains about 16 singers like Lou Gramm (Foreigner), Fergie Fredericksen (Toto), Ted Poley (Danger Danger), Oni Logan (Lynch Mob), Phil Naro (Peter Criss Band) doing one track each. I wrote, played bass, sang and produced a track called "Kings Of Hollywood" for this album backed by the same guys as on "Look At Death Now" (Mikkey Dee - drums, Sayit, Tommy Denander ­ guitar).
Then the guys liked it very much and asked me to co-write and play on another song named "Killer Grin". This is sung and co written by Stephen Pearcy (Ratt) This album will be out early 2006.
Read more on http://www.libertynjustice.net

Thank you. Do you have some final message for our readers?

Thanks a lot for your interest and I hope to meet you all. Get a copy of Jet Circus "Look at Death Now" so you can rock your butt off with style!