Forged in Chaos: Henric Liljesand on Avdagata, Cipher System, and 30 Years of Metal Brotherhood

Forged in Chaos: Henric Liljesand on Avdagata, Cipher System, and 30 Years of Metal Brotherhood

Few musicians embody the restless spirit of Swedish extreme metal quite like Henric Liljesand. From the dystopian visions of Avdagata’s new album The Apocalyptic Aeon (At Dawn Records), to the enduring legacy of Cipher System, to his stints with Nightrage and The Unguided, Henric has carved out a career defined by resilience, creativity, and brotherhood.

In this wide-ranging conversation, Henric reflects on three decades in the scene—writing through pandemics, launching albums via Kickstarter, touring the U.S. with Nightrage, and building lifelong bonds with fellow musicians. With candor and passion, he shares the stories behind Avdagata’s haunting singles, Cipher System’s thematic depth, and the lessons learned from years of pushing Swedish melodic death metal forward.

What follows is a journey through chaos, melody, and survival—told by one of the genre’s most dedicated craftsmen.

First of all, Henric, how did you become involved with Avdagata? It looks like everything started in the midst of the pandemic.
Yeah, me and the singer have been friends for maybe 25 years. He had some bands before, but things never really worked out the way he wanted. The sound wasn’t right, and he didn’t connect with them as much as he hoped. I don’t know all the details, but I know he wasn’t satisfied. So he asked me if we could start writing songs together, and we’ve been doing that ever since. As you said, it was around the pandemic. I had just released the first album with Night Crowned, and that’s when he reached out.

Is there an overall story or concept behind the album title and song The Apocalyptic Aeon?
Yeah, the whole thing is almost self-explanatory. It’s really about asking, what does our future look like? The artwork reflects that vision—an apocalyptic future we see unfolding right now. It’s not that we want it to be that way, but it’s how we imagine things could end up. Hopefully mankind will do better.

Absolutely. What a world we live in today. Let’s talk about a few of the singles before moving on. All Shall Become None was the first introductory single from this album. Tell me a little about that song.
I think it was the fourth song we wrote for the album, and right away I felt it should probably be one of the singles. But honestly, I didn’t expect it to turn out as good as it did. During mixing, Sebb Drago (vocals) said something was missing in one part, and I agreed. So, we asked a vocalist who was already recording for another track to add something. We just told her, “Do whatever you feel.” That’s probably the most creative thing you can say to someone who loves being creative. She ended up adding these haunting vocal lines—no words, just voice—and it made the song stand out. For me, it feels totally complete: great guitar solo, strong chorus, cool verses. It’s a memorable track.

And then let’s talk about the third single that just came out, As Humanity Fails.
Sebb writes almost all the lyrics on this album, and he’s really the driving force behind the band. He has unlimited energy and truly lives for this project. I’m more like his sidekick in this whirlwind of music we create. With As Humanity Fails, both of us wanted to bring in something from the ’90s—the era we grew up in. Back then, almost every album had acoustic guitars. So, we always ask ourselves, which songs should have acoustic parts? This one ended up with an acoustic intro riff, and we love those kinds of simple, melodic touches. It’s not over the top, just straightforward and effective. Then it kicks straight into blast beats, which creates a really cool contrast.

With all the members involved in so many different bands and projects, including yourself, is an Avdagata tour or live show possible?
Yeah, of course. Maybe one of the guitarists won’t be able to play, but we already have another guitarist lined up if needed. Most of us will be playing live once we get our first show. Right now, though, we don’t want to rush into venues that don’t have the right equipment to make us sound good. If we play one or two shows next year and the sound is bad, how many people will want to see us again? So we’re being careful, trying to get on stages with bands that can help us sound the way we should. But yes, we will definitely do some live shows next year. Night Crowned will be fairly calm, so we’ll focus on writing and recording the new album, which gives us time to make Avdagata happen live.

I was happy to see Cipher System has a new album coming out. How was it doing Kickstarter for this new release?
Honestly, we dreamed it might be possible, but we never really thought it would happen. We fought hard to make it a reality, and after working for a couple of years, it feels amazing to finally release this EP. It looks like it will have five songs—we’ve recorded four so far and will start mixing in a couple of weeks. The songs feel really strong. The guys in the band have done outstanding work: the vocals and guitars are excellent, and the drummer is just amazing. It’s a really cool feeling.

The EP is going to be called Torn Between Realities. Tell me a little about that title.
ipher System has existed since 1995, so we have to remember that when we were 15 or 16, we weren’t great at building a concept behind the band. Back then, we just wrote lyrics inspired by other bands. Around 2000–2001, I started writing lyrics myself, and that’s when a theme began to emerge. I had a family member who wasn’t well, and that affected me deeply. I started writing about those thoughts and struggles, and that became the lyrical theme for all our songs—mental illness, struggles of the mind, and psychological battles. That’s been our theme since 2000. Torn Between Realities continues that tradition, focusing on life struggles, especially for people facing bigger challenges than most of us, like schizophrenia and similar conditions.

Last year one of your Cipher System albums, Central Tunnel 8, celebrated its 20th anniversary. Looking back now, 21 years later, what do you think of it in retrospect?
That was actually my first album ever released. I started playing music at 13, and the goal was always to release an album. When we were 18, we signed our first record deal in 1998, but it took six years before we finally released Central Tunnel 8. The emotions around that release were huge. We thought we’d be out touring right away, but things didn’t turn out as we expected. We took some things for granted, which led to internal struggles about how much effort each member could put into the band.

Still, I’m very happy with the album. It’s not perfect, but that wasn’t the time for perfection. Nowadays, albums often sound flawless, but I love listening back and thinking, I wouldn’t do it that way today. The songs are still really good. I’ve thought about re-recording it, but Daniel’s vocals are perfect, and the guitar takes capture the emotion of that time. They may not be technically perfect, but they’re full of feeling. I’d only want to improve the production quality, but I’m proud of it as it is. I was 23 when it came out, and that’s really where my career in metal began.

That same year you did a split with a band called By Night. Do you still keep in touch with any of the members, or do you ever meet them?
Funny enough, I met the drummer just last night.

Really?
Yeah, and I also met our singer from that Cipher System album last night too. We hadn’t spoken in 10 years, so it was really cool. There’s no bad blood—it’s just how people grow apart sometimes. It’s not by choice, it’s just life. But it’s always nice to reconnect. I’ve actually played with the drummer in another band; he was a live session drummer for one of my projects. So, I’ve met him plenty of times over the years.

This year marks the 30th anniversary of Cipher System. Can you believe you’ve come this far?
We’ve had a lot of fun. One of my best friends plays guitar in this band, and as long as he asks me to do something with Cipher System, I’ll do it. I love him to bits. That’s what it is—a brotherhood. Bands can create bonds where you almost become like brothers, but with Johan it’s even deeper. We’ve been playing together for almost 30 years now, and we still talk almost every week. That means a lot.

Looking back on the two Nightrage albums you did—Descent into Chaos and A New Disease Is Born—what do you think of those records now, and of your time with Nightrage in retrospect?
That was a really cool period for me. When Cipher System released its album, all I wanted was to tour. I thought Cipher System could be the next big thing in Sweden—we had great songs, a strong singer, and I believed in the future of that band. But things didn’t go as planned. We didn’t get to play real shows, and it didn’t take off the way I hoped.

So when I got the offer to join Nightrage, I was thrilled. They had the same mindset I did: they wanted to tour, play as much as possible, and try to make music a living. That was my goal too, so we connected immediately.

I actually joined while they were already recording. The drums and half the guitar parts were done when I came in. I had just dropped by Studio Fredman to deliver some Cipher System stems to Fredrik Nordström, and Nightrage happened to be there. I had my bass with me, and even though I’d never met them before, they asked if I played bass. I said yes, and they invited me back the next day for a tryout. Marios Iliopoulos taught me some riffs, and I ended up getting the gig. Then I had 10 days to learn 14 songs for the recording.

So I wasn’t part of the writing for Descent into Chaos, but I was part of the recording. For the next album, A New Disease Is Born, I got to write songs with Marios, which was a lot of fun. We were serious about it—we did something like 100 to 150 shows in one year. It was hectic, but we had a great time. I really love those albums.

Let’s move up a decade to The Unguided, a band you were in for almost 10 years. Looking back on those albums, what do you think of them now?
My favorite is Lust and Loathing. I think that’s where we really nailed the songwriting, production, and performance. It had everything I wanted the band to have—fast songs, slow songs, all the elements balanced. It was inspiring to write, and everyone contributed. I even recorded some guitars on that album, which was really fun. Working with Jacob Hansen was great too. If I had to choose one album to show someone, that would be it.

The Unguided also had members with experience from other bands, so we had a lot of contacts and it was easy to get gigs. We toured quite a bit, and it was a lot of fun. Some of those guys I’ve been friends with for a very long time. Roland, who played guitar and sang on the first couple of albums, just called me when they were in the studio recording their first EP and asked if I wanted to join. Of course I said yes—I wanted to play with him. That’s how it all started.

Have any of your bands ever toured in the States? And if so, what was that experience like?
Yeah, we’ve toured almost in a circle across the country. We started in Detroit, went down through Florida, then across to San Francisco and Los Angeles, and back up again. It was pretty much a full loop of the U.S. That was with Nightrage, touring alongside God Dethroned and several other bands—five in total. It was a diverse lineup and a really cool experience.

What did you think of Southern California?
I’d been there before for work, but on this tour we had a great time. I don’t really have a favorite part of the U.S.—I like the whole country because it’s so different from Sweden. The cultural mindset is different too. In Sweden, if you say you play in a band, people might just tell you, “Okay, that’s cool. Now go cut your hair and get a job.” In the U.S., people are more like, “That’s awesome, follow your dream.” That openness is inspiring. Of course, touring there is expensive, so you need to go multiple times before it becomes profitable. But I really enjoyed the experience.

Do you think any of your bands might come back over here?
It’s possible. Our drummer Janne Jaloma tours a lot with Dark Funeral, so the cost for us would be lower since he already has his visa through them. If someone can’t make the trip, we might even bring in a U.S. musician to fill in. We don’t rule it out—we have connections with promoters and bookers over there, so we’ll see what happens.

Can you imagine Dark Funeral and Avdagata on the same bill? That would be awesome.
Yeah, we’ve actually talked about it. But Janne couldn’t handle two gigs in one night—it would be too much. We even had a crazy idea of combining the bands into one set, with two different vocalists, but I don’t think that’s realistic. Still, it’s fun to imagine. If we ever did two shows in one night with the same members, Janne definitely couldn’t do both. He’d be completely drained after the first gig.

Are you involved with any other current bands or projects we haven’t talked about?
Yes, but they’re not official yet. I have two projects in the works. One has more of an old-school death metal vibe, but still melodic—that’s what I really love in music. Think more Edge of Sanity than old In Flames. We’ll see how they develop.

Do you have any messages for fans of your various bands here in the States?
For me, writing music is something I do for myself. But when people come up and say they enjoy what I’ve done with a band or project, it means the world. That kind of support keeps you going, even though I’d still do it without the recognition. I don’t think about how people will react when I write a song—I just focus on what I feel. And I think that honesty is what makes people connect with the music.

So I just want to say thank you to all the listeners and fans who follow us and share in the music. Your support has been incredible, and we truly appreciate it.

IN CONCLUSION

Henric Liljesand’s journey through Avdagata, Cipher System, Nightrage, The Unguided, Night Crowned, and beyond is more than a résumé—it’s a testament to endurance, creativity, and the bonds forged through heavy music. Whether writing apocalyptic visions during a pandemic, revisiting the raw emotion of Central Tunnel 8, or dreaming of future tours across the Atlantic, Henric remains driven by the same force that started it all: a love for melody, chaos, and honest expression.

As Avdagata’s The Apocalyptic Aeon ushers in a new chapter, and Cipher System celebrates three decades of existence, Henric shows no signs of slowing down. With new projects on the horizon and a deep gratitude for fans worldwide, his story reminds us that metal is not just music—it’s a lifelong brotherhood, a relentless pursuit, and a voice that refuses to fade.

(Interview by Ken Morton)

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