DAMOKLES’ latest track, “My Freudian Slit,” is the second single off their upcoming third album, A Trophy Collection, a deeply unsettling yet elegant conceptual journey through the mind of a fictional serial killer. Chronicling snapshots of his life, each track presents a different layer of his psyche, and in “My Freudian Slit,” we hear his rationalization for his crimes — wrapped in the chilling form of a soothing lullaby to his victims.
The killer, as seen through Gøran Karlsvik’s lyrical storytelling, views his actions not just as violence but as a transformative process, part of a larger work of art, a gruesome “journey between existence and non-existence.
Karlsvik’s approach to the album marks a departure from his usual cathartic writing style, which typically serves as a vessel for exorcising personal demons. In this project, he takes a more observational role, telling the story of a character rather than his own.
As Karlsvik explains: “For once, I wanted to step out of my ‘comfort zone,’ or perhaps ‘discomfort,’ since my writing usually serves as a form of personal catharsis. This time, I’m focusing on telling a story — not my own.”
The overarching theme of the album delves into how a “monster” can be created, particularly through the “perfect storm” of nature versus nurture. DAMOKLES explores this complexity in A Trophy Collection, illustrating that behind every killer lies a human, shaped by their circumstances.
Karlsvik reflects on his own experience researching real-life killers for his previous journalistic work, notably his book on capital punishment in Norway, Grim Justis. Through this lens, he channels that insight into fictional storytelling, presenting a compelling examination of humanity’s darker side.
“My Freudian Slit” stands out musically for its contrasts. The band has dialed down their post punk and post-hardcore sound in favor of more subdued, atmospheric dynamics. Rather than an assault of raw power, the song employs restraint, allowing the listener to sink into the morbid beauty that DAMOKLES crafts so well. The juxtaposition between the catchy, accessible melodies and the macabre themes is deliberately jarring — a signature of the band’s evolution.
Karlsvik himself likens the album’s sound to a fusion of influences. The brooding drama of Nick Cave’s THE BIRTHDAY PARTY and THE BAD SEEDS can be felt in the band’s use of elegant melancholy, while elements of AFGHAN WHIGS, QUEENS OF THE STONE AGE, and DEPECHE MODE permeate the music. Each track is a novella in itself, filled with intricate layers and detailed storytelling, yet remains hauntingly catchy.
“We didn’t want to blast the listener with the fucked-up subject matter right away. Instead, we made something sincere and beautiful, allowing the disturbing themes to seep in slowly.”
DAMOKLES’ approach to “My Freudian Slit” and the entire album mirrors this tension between surface beauty and underlying horror. The serial killer, in Karlsvik’s words, is aware of the “temporary pain” involved in his actions but sees it as part of his greater life project. The chilling refrain, “You’ll bloom and blossom, you’ll be my orchid,” underscores this detachment, turning his crimes into a grotesque form of art.
As we dig deeper into DAMOKLES‘ inspirations, it’s clear that their vision is not simply shock value. It’s rooted in the complexity of human nature and society’s failure to recognize early warning signs. The comparison to real-life killers like Dahmer, Bundy, Gein, and Gacy adds a layer of disturbing realism, though Karlsvik is careful to point out that this character is entirely fictional.
But beyond the lyrics, the music itself speaks volumes.
“It was important for all of us to make this collection of songs feel tasteful.” – says Gøran Karlsvik.
“Tone down the aggression, turn on the beauty. Learn some new tricks. This is a touchy subject; we’re talking about portraying heinous crimes here, even though it’s fiction. I might have an angry hardcore punk kid as my inner spirit animal, but that’s not an option here, on this record. We’ll get
back on that track for album four… Sure, you will find some of our angular Fugazi-inspired post-hardcore leanings in some parts, but we were mainly thinking about atmosphere, dynamics and a true sense of dramaturgy in the songs. We didn’t want for the listener to get blasted in the face with
those actually very fucked up song subjects, but rather focused on making something sincere and as beautiful as we could ever muster within our powers.”
“With that subversiveness, it’s easier to swallow the actual intent of the songs, when you get them as earbuzzes. There is a strong focus on pop sensibility. We did our best at being catchy. And when you then dig into the melodies, the recurring morbid themes will seep in, as these small novellas from our killer’s perspective. As I said; each song holds a story.”
This story marks DAMOKLES’ third chapter. Expect to be disturbed, enlightened, and, oddly, comforted by the unsettling beauty they create.
Today, we have a pleasure to give you the band’s new track, as well as the band’s top inspirations that helped them craft their unique sound.
Damokles inspirations, words by Gøran Karlsvik:
Nick Cave
Both with his early work in The Birthday Party as well as the mega-classic Blixa Bargeld/Mick Harvey era of The Bad Seeds. I always dug that gothy crooner aspect, where everything, whether it be vocals or instrumentation, goes all in on the dramatics. A very elegant way to enter middle age. Gonna get me a nice suit and some sharp shoes.
Afghan Whigs
A.k.a. Sub Pop’s OTHER finest band. Lovely arrogant noisy swagger coupled with Motown soul grooves. Just a complete favourite, both with Greg Dulli’s vocals, guitars & lyrics, but also that complete ALL IN vibe here as well. Absurd rhythm section. Dramatic power ballads with bad endings.
Queens of the Stone Age
Killer guitar work and very, dare I say it; intelligent song structures. Super strong vocal hooks that can go on for days as earbuzzes. I know that the guitar bros Ronny & Fredrik really dig this band.
Depeche Mode
An all around favourite of ours, heavy gothy & gloomy synth work. We decided to dig deeper into the synth vibes on this record, which also leads us to another big band for us (or, mainly me)
DEVO
My fave band of all time. I have two DEVO tattoos. Experimental synth-punk new wave noise pioneers. No-one has ever sounded like them. Listen in on those early records, still sounds like the future. Analogue synths FTW.
The Beach Boys
Fuck the Beatles, The Beach Boys is where it’s at. Highly inspired by those intricate vocal harmonies and the sheer oddity on some of the undeniable catchyness.
David Bowie.
The Berlin trilogy especially. He made pop music into an art form. Big formative hero for all of us.
Fugazi
We have to mention Fugazi. Intelligent hardcore punk at its best.
DAMOKLES is: Jonatan Eikum, Ronny Flissundet, Gøran Karlsvik, Kristian Liljan, Fredrik Ryberg.
Gøran Karlsvik made sure to give special recognition to the entire DAMOKLES crew, starting with their new drummer, Jonatan Eikum, who debuted on this record with an incredible amount of energy, tackling a massive set of songs in just one intense weekend and adding his own unique flair to the band’s evolving sound.
He also praised Fredrik Ryberg for contributing a wealth of ideas and songs, calling for more from “that young stud,” while highlighting Kristian Liljan’s radical work as their bass player, producer, and mastering engineer, all crafted in his new Crystal Island Studio.
Karlsvik gave a shout-out to his “töxik twin,” Ronny Flissundet, for their late-night recording sessions, bringing wild ideas to life. Finally, he expressed gratitude for his bandmates for sticking with him, noting, “Peace to my Damokles bros for enduring a weirdo like me.”
Lastly, enjoy this playlist the band put together of inspirational tracks that they dug while recording the album:
