For over 25 years, Guido Heijnens has operated the extreme metal label HAMMERHEART RECORDS, which paved the way for bands like Kampfar (and their predecessor Mork), Thyrfing, Primordial, or Aeternus. Since Dark Funeral and Borknagar recently brought the label into public disrepute because of alleged illegal re-releases, we took the opportunity to review the history of HAMMERHEART RECORDS with Heijnens as part of our label special series – from the most important releases to the name change to KARMAGEDDON (and back) and his view on said re-releases.
HAMMERHEART Records was founded 25 years ago. What was your motivation back then to start your own label?
Naïveté! Underground thoughts. Love for Metal, and especially the more extreme sub-genres. We started in 1995 with the Tumulus/Mock split CD. A true Underground classic. It was me and Peter [van Ool], who left HHR in 2012, who got together with money we earned on doing some part-time jobs, because we were still studying. Things worked out cool, we liked what we did so we decided to continue. This year is our 25th anniversary.
Why did you choose HAMMERHEART as name for your „baby“?
Bathory! Obviously, Bathory. Back then this was a magic album to us, probably the best album ever released. It was also that perfect mix between Black and Viking/Pagan themed music. Something that was very fitting to the thoughts behind the label, that was exactly what we wanted to do. I still love this album and maybe it is not the best album ever, for sure it is still an absolute classic and a unique release.
How did you get to the first bands you signed and how did you convince them of HAMMERHEART?
I got bands on the label that I was in touch with, simple as that. I was into tape-trading and the underground, so both Tumulus and Mock were asked and they agreed. Mock later turned into Kampfar. No need to convince, it was still the time when bands were happy to do a CD release, it was still the age of doing a demo on cassette.
Looking back, what was the most important album for the success of HAMMERHEART?
A very important, huge step forward was HHR 008, Aeternus‘ „Beyond The Wandering Moon“ album. It was the first real deal we did, meaning signing a band and having a budget to send them to Grieghallen in Bergen/Norway. We did it as a deluxe digipack, a fantastic double LP, and the band went out touring … in a nutshell, everything a label should do when really working with a band. The album started selling, became a minor classic, and remains a great album until these days. Aeternus has always had a special place due to this. This album has been reissued just these days by Soulseller in co-operation with the band. If you do not know it, get it! And also the follow up „… And So The Night Became“, an ever better album.
And which release are you especially proud of?
That Aeternus album, for example, would apply. But working for Primordial was killer as well. In recent years, I am really proud of the releases we do, be it new albums, be it reissues. Regarding the last couple of years,I remind you of new releases by Konkhra, Ereb Altor, Sammath, Sear Bliss, Isole, Cirith Gorgor, Pestilence, Phlebotomized etc. All done with true passion and love for our music.
Was there a specific highlight for HAMMERHEART that you always like to remember?
Working for and releasing Dismember, signing Chuck Schuldiner for the second Control Denied album. Taking Die Apokalyptischen Reiter on board and launching their career, working with the crazy guys in Macabre, working on the classic Pestilence catalogue, the list could go on for some time. (laughs)
Were there also lows, moments when you doubted the future of HAMMERHEART?
Sure. Financially we hit rock bottom when Chuck passed away. In 2002 and 2003, things were really tight, but we always managed to keep the boat afloat. We had a few doubtful moments along the way, but we managed to solve our problems.
In 2003 you changed the name of the label to KARMAGEDDON Media. Why, what was the idea back then?
It has to do with the answer in the previous question. We had to restructure, get out of some distribution deals, and to get that done we needed a new identity. That was basically the reason, and when all was fixed we decided not to use the name anymore.
In 2006 the chapter KARMAGEDDON came to an end. What had happened?
The problems that had started in 2001 were solved. We kept the label alive, although pretty much inactive when it came to new releases. Both Peter and I did some other jobs. Mine were all music-related. I did A&R for companies such as Mascot Records (I signed Volbeat, Heathen) and for Napalm Records (I signed Troll, Thulcandra), and was the European boss for Relapse Records from 2007 until 2011. Then I decided to resurrect my beloved Hammerheart Records.
In 2010 you did a restart under the old name. How did the re-entry go? Was it easy to find bands and get everything going again?
It was just the timing. It was the right time. The re-entry was hard work, but we’ve had a good catalogue and I slowly build it up again. I think from 2017 onward, we were completely back on track. It is always hard work to find and work with bands, but I have a lot of experience after 25 years, so I know the drill.
A few weeks ago a huge shitstorm came over HAMMERHEART because you announced re-releases you didn’t have the rights to. What went wrong?
I would rather call it a small storm in a glass of water to be honest. Borknagar was right, so that re-issue was cancelled. I am never into releasing something I am not allowed to, simple as that. The Dark Funeral reissue is 100 % legal and 100 % owned by Hammerheart. So basically nothing went wrong since Borknagar is cancelled. I am not trying to get away easy here, but that is all that needs to be said.
Following the accusations, you have stopped selling the Borknagar album and apologized to the band and their fans, but you ignored Dark Funeral’s accusations and continued to sell their mini CD. Why don’t you answer to their accusations? Mit dem Laden des Beitrags akzeptieren Sie die Datenschutzerklärung von Facebook.
We never sold that Borknagar album in the first place, it was not even put into production. Basically I did respond to the Dark Funeral Facebook post (which is a huge insult and very, very far away from the truth). You can read my answer on the Hammerheart Facebook page. When you read my post, there are no questions left to answer, I think.
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And why do you continue to delete every user comment on your Facebook page referring to Dark Funeral’s statement?
I did not. I will ask if someone in the Hammerheart team did. I am 100 % against censorship or deleting people’s opinions. Dark Funeral did delete my reply with the excuse that the message had all of a sudden disappeared. I would never do that. Simple. Nothing to hide.
Both bands stated that this is not the first case in which you sell illegal versions of their music („Unfortunately, this is not the first time this ‚label‘ has feasted on our stolen property, hence their previous reissue of the album. Their fraudulent and illegal actions has been notified to them by the band directly, as well as band representatives. Several times. However, they show absolutely no respect for our precious art and valuable property.“). Do you know which releases of your label they are referring to? Are the accusations true?
No idea, really. As said, I do not want to release music that is not at least by contract mine. Sometimes bands made a deal in 1997 or so, or like Lord Ahriman in 2001. And they want to ignore it after 20 years or so. So there are always people who claim something, but one needs to ask the question if it is right or true. Borknagar has some points here, so we decided to not go ahead, simple, I respect the band. Dark Funeral’s accusation is only one thing: nonsense.
Lord Ahriman furthermore shared his view on the work relationship between you and Dark Funeral founding member David Parland. He published an e-mail in which you call Parland a „horrible person“ and quotes you stating that „David is dead and can’t do shit, so I will keep it all“. This refers to Dark Funeral initially agreeing with you on getting back the rights to their music from you in order to sign a new deal with Century Media/Sony. Are these quotes correct and did you really refuse to give back the rights to Ahriman, once Parland had died?
David Parland was a sick guy at times. Both physically and mentally. We worked together on many occasions and on many projects through the years. That should give me some credibility. On the other hand, he left Dark Funeral in 1996 and you can read the in-depth interview in my Facebook post, it explains a lot, it is almost like David speaking from the dead. In the end, David was indeed a horrible person, he called me, sometimes very open-minded and friendly, and a few days later he was all over the place and he even threatened me and my family a couple of times when his demons were visiting him again. So when he committed suicide I found it sad, but it was something that had been coming for years. Did I mourn his suicide, nope, it was his decision and I respect it. All the people crying about that should ask themselves if they should actually relate to a Black Metal identity or attitude. I never made a deal with anyone to sell the rights (back). The rights on David’s label were not Ahriman’s ever, only the Dark Funeral EP was partly his, but he signed the contract to sell them to Hammerheart and he got paid well for this. He just sold the rights again to Century Media, which makes that edition actually illegal. See my Facebook post to clear up things.
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Are re-releases of well-known bands in general an important source of income for small labels today? Is this your strategy to market music in the long term?
Unfortunately this is the truth these days. And it is a huge part of what Hammerheart do. And we will keep on doing this, yes. We will also do new releases and support new bands. We need to, because if not, our scene would slowly die.
In general, it is getting harder and harder to sell CDs. Does that lead to big problems for a small label like yours?
It has become incredibly hard. But it is as is. Streaming is 2020, simple. No need to cry or become nostalgic. It is as it is. It could lead to problems, if the wrong calculations were made.
What do you need small labels for today, in times of Bandcamp etc.? What can you offer a band that they can‘t do themselves?
The reach promotion and sales wise of a label is much bigger. That is basically the difference these days. Most of the time a label is more professional.
How many people are employed at and earn their living with HAMMERHEART today?
If I count it in full-time jobs it is more or less 4 full-time people. A nice crew that I am really proud of, I say.
Let‘s dream: Which band would you like to have in the HAMMERHEART list?
Well, dreams come true sometimes. But let’s do this all out, a Bathory album would be a dream (meaning a good Bathory album). Or doing a release by Morbid Angel, Iron Maiden, Slayer etc. But with those names I mean an album that has the quality of years long since gone. These days I hear a lot of bands I would love to work with still.
Thank you for the interview! Please let us do a short brainstorming in the end of this interview:
Black Metal: Venom, Bathory, Mercyful Fate, Emperor, Beherit
Tapes: nice little niche-market item, sound-wise irrelevant
Vinyl: old school, big cover art, warm sound
CD: best sound still, but a very cold format
Streaming: 2020
HAMMERHEART in 10 years: still there, but no idea in what form.
Once again thanks for your time. The last words are yours – is there anything left you want to tell our readers?
Thanks a lot for this interview. For the readers: do not always believe what you hear or see, be critical and think for yourselves! Stay in good health and make the right decisions karma-wise.
12. Januar 2020 Moritz Grütz
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