With the release of her 7th album under Metalville Records, Liv Kristine unveils her most personal and organic album to date. Crafted with emotional depth and musical maturity, the record showcases a band that skilfully and excitingly combines classic dark rock with elements of doom, rock, and pop, creating a soundscape that’s both haunting and exhilarating. Produced by Sascha Dannenberger, this release marks a defining moment in Liv Kristine’s career — a raw and resonant testament to her evolution as an artist.
Welcome Liv Kristine
Welcome, Liv, to Femme Metal Webzine. How are you, and how is this period treating you with all the promotion and working aside?
A little bit busy, but I’m enjoying this, and I’m so happy to release my seventh solo album on the 25th of April. I’m so excited. And so, yeah, it’s like a spring feeling in so many ways. And every Tuesday, sometimes also Wednesdays. On Wednesdays, I return from work earlier, and then I get the chance to talk to you guys, and I’m so happy that you are supporting me, my band, and you’re around. I’m glad. It’s such an honor and a pleasure talking to you. Thank you so much.
“Amor Vincit Omnia” + “River of Diamonds”
The process of making “Amor Vincit Omnia” was, as always, unique. This time, I know the recording sessions were shorter than the production phase, and it all came together after “River of Diamonds”.
So yeah, every time it’s different. The production for “River of Diamonds“, for example, took much longer. But that was also because I was still living in Germany at the time—and Germany, well, it was a completely different life. Beyond music, there were a lot of other things going on.
Of course, there was COVID. And I had to take care of my family financially. Since 2016, I couldn’t rely on music alone anymore. I had to focus more on my nine-to-five job, working as a tutor for children with special needs. Life in Germany was busy. There was no more income coming through music, even though I had lived from and through music for many years. So it was a new situation for me.
And then COVID hit, and I was just so grateful to have the security of my job, working with kids. I felt lucky in that sense. But naturally, all of that meant the production of “River of Diamonds“ took more time.
So, toward the end of the “River of Diamonds“ production, I started collaborating more closely with my guitar player—he’s also a composer and has been part of my band for many years. He said, “Hey, I’ve got some songs. If you’re interested, I can send them to you.” And I was like, “Sure, send them over!” He ended up sending me 22 songs over a year, and from those, I chose 11. By that time, I had also moved to Switzerland. Life here is different—you usually have one job, and while you work a lot, there’s more structure. That kind of stability made things a bit easier and gave me the space to set aside time for music again.
So yes, music is still very present in my life, but now it’s more of a bonus—something I deeply enjoy, rather than something I depend on financially.
“it’s a wonderful balance to have both”
It’s something you still truly enjoy doing, but you don’t rely on it anymore. Over time, you also experienced a bit of disappointment.
Yeah, exactly. I will use this word, you are right. You are so right. And now it’s, it’s a wonderful balance to have both. I can work with children with special needs, and I can, I can release albums and play a couple of shows now and then. And there is a fine balance. Months now, and I enjoy that, but you know, we will move to Norway in July, so there’s going to be a new situation. But the thing is that in Norway, we don’t work as much as we do in Switzerland. We have one job, and we don’t work as many hours being teachers. So in Norway, I’m looking forward to having even more work-life balance. That means more time for music. So I already started working on the eighth album.
Liv Kristine goes back to Norway
Okay, but are you also thinking about bringing your albums to the stage—performing them live? Because now you’re saying, “I’m moving to Norway, I’ll have a different kind of job and a better work-life balance,” so logically, I’m thinking—you might also have more time to tour, right?
Yes, you’re right—and I’m looking forward to that. You know, I’ve never played a single solo show in Norway. I’ve performed there with every other band I’ve been part of, but never with my solo project. And I’ve been doing this since 1998, since “Deus Ex Machina“.
My solo work has always been a bit in the background, because my other bands—Theatre of Tragedy and Leaves’ Eyes—were much bigger. The focus was always on releasing albums and going on tour with them.
But my little solo project has always been there, quietly alive—and I’m so deeply grateful it’s still here. Now it’s become my biggest thing, and that means the world to me.
And I just want to say—thank you. You’ve been there all these years, supporting me, giving me the freedom to do exactly what I want with my solo albums. And each one is different, because of that freedom. You give me that freedom. And that’s honestly the reason I’m still here. Because let’s be honest—the music business? Most of the time, it sucks.
Liv Kristine: “reflects a point in my life where I’ve finally come home to myself”
And I was curious, because it has all these old-school elements, but also this brighter, more personal side of you. I don’t know exactly how to describe it—it’s just this big mix of everything. And yes, it is a mix—but you can tell that you truly love it.
Thank you. Thank you so much. I think you’re right.
This album—if I were to sum it up in terms of sound, influences, and creativity—reflects a point in my life where I’ve finally come home to myself. My life has settled. I’m no longer in survival mode, in so many senses of the word. There’s more time for me now, more space to be creative. And with that comes authenticity—the truest parts of me can finally rise to the surface, because I’m no longer driven by fear.
There’s more silence within me now, and from that silence, the ideas start to flow. I felt so productive, so inspired. It’s like something greater was moving through me—like this album, “Amor Vincit Omnia”, wasn’t just made by me, but happened through me. The beauty just manifested itself—I simply had to open up to it.
“It’s the darkness that manifests my true self.”
And because I’m not living in fear anymore, it’s so much easier to access that creativity, to be completely authentic. My mind isn’t caught in that anxious, restless monkey-mind state. That kind of peace usually comes after you’ve crashed.
We all crash at some point. We all have to go through the darkness—to clean up, clear out, and confront what’s hidden in our hearts, our bodies, our souls. I know you understand what I mean.
If you listen to “12th of February“, the last line says: “It’s the darkness that manifests my true self.” And I truly believe that. If you can walk through the darkness and survive it—if you can see it as part of your path, a deep teacher—and then come out the other side, into the light, you arrive back home to yourself with wisdom. And when you survive all that pain, you end up loving life even more.
But we have to accept that life is both broken and beautiful. Can we live with that? I think that’s why I connect with Buddhism—it teaches us to accept both. Like the yin and yang, we are both light and shadow. And that’s what life is: the dance between the two.
“Amor Vincit Omnia” brings it all together
I completely agree with you. It feels like you’re reaching for a deeper emotional path, and you’ve clearly grown from the experience. This album is your manifesto, after all.
You’re right. It’s like in “River of Diamonds”. I was telling so many stories—some painful, some filled with hope. “River of Diamonds” is really about being in the darkness. But it’s in that darkness that you begin to see the stars and the moon. You can only see them when it’s dark, shining out there, on the horizon.
This album holds many chapters from my life. It’s about finding light, about singing hope into the silence. It’s saying: we’re going to make it.
And then there’s “Amor Vincit Omnia”, which brings it all together—it says it was worth it. You could place these two books side by side on a shelf. They belong together.
The yin and yang in Liv Kristine music
Yes! “River of Diamonds” is the yin, and “Amor Vincit Omnia” is the yang. They complement each other, balancing darkness and light, introspection and expansion.
Exactly. Sometimes, afterwards, I go back and listen to my earlier solo albums. And honestly, every solo album has been a manifestation of where I was in life at the time. The lyrics are so deeply honest—sometimes painfully so. When I hear the words I’ve been singing since 1998, it can be pretty intense. It’s always been personal.
Listening to the old albums
What’s it like to listen to your older albums? Well, as you grow older and gain more life experience, you carry more on your shoulders—a whole package of memories, lessons, emotions. So, revisiting your earlier work becomes a way of confronting yourself. It’s powerful, but also risky. You never know what parts of yourself you’ll meet again.
Yes, it is a risk. But for me, art has always been something deeply authentic and personal. I don’t make music or write lyrics because I want the world to praise me, or to chase number-one hits, or to be liked for what I create. I can’t control the outcome—I can’t dictate how people will respond, or what they’ll say. And I’ve learned not to attach myself to other people’s opinions of my art.
That’s something you have to learn, especially when someone says, “Well, I didn’t like your last one,” or “That one just wasn’t for me.” Okay—that’s their opinion. It’s not mine. It’s not my truth. And you have to be able to make that distinction.
“My music comes from the heart”
My music comes from the heart—it comes from my most honest, authentic self. And then I have to live with that honesty. But that’s okay, because it’s the only way I know how to be an artist. You can’t squeeze me into a dress I don’t want to wear, right?
That’s why I’ve always had a kind of conflict with the music industry—ever since the first day I signed a contract. Because too often, it stopped me from being myself. And I thought: “Wait a minute—I’m the source of this artistic work. You have to listen to me”. There’s always been this inner battle. The more money that’s involved, the harder it becomes to stay authentic.
That’s why I’m so grateful things are in our hands now—starting with “River of Diamonds“. We’re working with Metalville, a smaller label. And you know what? You can just call them and say, “Hey, can you help me with this?” And a real person picks up the phone, takes the time, and talks to you. It’s wonderful.
And my husband, Michael—he’s the one who takes care of all the stuff I find incredibly boring. [laughs] So yes—it’s great. Great.
“Amor Vincit Omnia” is an organic album
I mean, it’s your true dimension as well. And I also feel that this is such an organic album. It feels deeply connected to your life path—your journey. Yes, it carries your name, but behind that name, people are supporting you, contributing in their ways. That’s what makes it feel so much more organic and alive.
Yes, it is a very organic album, and I’m so looking forward to playing it live. I can’t wait for that. We’re going to start rehearsing this weekend—I’m traveling to Germany to meet up with my band.
The challenge around “Amor Vincit Omnia”
What was the challenge this time around with this album? You know, there’s always something you have to face—some obstacle or lesson. And with every challenge, there’s also something to learn. It’s always both sides of the coin. And yes, that’s true every time.
I have to say, it’s been a very smooth process. Even the fact that my band lives in Germany and I’m based in Switzerland hasn’t been a challenge, and soon I’ll be moving to Norway, which is even further away. But honestly, that won’t change anything.
For the pre-production, I recorded my demo vocals at home using my setup. Sasha, my composer and guitarist, keeps sending me material. Sometimes I have to tell him, “Okay, okay—just wait until I have a quiet moment to myself so I can sit down and listen to your songs!” [laughs] I’m very excited, and there’s such a positive, trustful vibe to it all.
Even when Sasha sends me 22 songs and I end up choosing 11, he’s never upset. He just says, “Thank you for choosing 11!” That kind of respect and understanding means a lot.
Yeah, it feels very organic to work with Sasha—organic. It was the same when I worked with Tommy on “River of Diamonds“. He’s been a friend of mine since the days of Theater of Tragedy. Now, I’m lucky enough to have two composers—what a lucky, happy person I am!
The lesson learn according to Liv Kristine
I’d also like to ask, what’s the lesson you’ve learned this time during the production of this album? Every album, every situation, always brings its lessons. So, for you, what has this one been?
Well, that’s something I’ve had to learn more about. For Michael, my husband, it’s something he’s been doing for many years—how to plan everything. If you want to take everything into your own hands—handling payments, orders, organizing everything to make sure the album is released on the exact date you want—it’s a lot of work. Michael has been taking care of that for me, and I’m grateful for it.
It’s something I hope I don’t have to deal with too much, as I’ve got enough going on. I’d rather spend my time being creative. But when you step away from the traditional music business and take everything into your own hands, you have to be very careful about planning. Especially after the COVID years—it’s been tough. Finding companies that can press your merchandise, your CDs, your vinyl, it’s not easy. Not all businesses survived those tough times. We had to switch some suppliers, but now I feel like we’ve finally settled in. We’ve found the right people to work with and communicate with. And I’m really happy to be working with Metalville. It’s the right size of label for me.
The new singles
I wanted to ask you a couple of things about your singles, which I really love. What can you tell me about “12th of February” and “Ode to Life Pristine”?
If I’m allowed to say so, “12th of February” is probably my favorite track on the album. It came to life in such a magical way. I received the instrumental version from Sasha in February 2024, and then I went for a walk with my dog through the Swiss forest. While walking, I had a complete download—melodies, lyrics, everything just came to me.
When I got back home, I opened my GarageBand app and recorded everything so Sasha could hear it. It truly felt like the song just flowed through me. And that walk happened on the 12th of February, 2024—so the date itself became the song’s name. The words I sing in that track have become a personal mantra for me—something I’ve been singing every morning since that very day. That makes it a very, very special piece of music to me.
“Ode to Life Pristine,” is also incredibly meaningful. It really captures what the album is all about: it’s an ode to life itself. It sums up the core message—honoring life for what it is. Sometimes it’s broken, sometimes it’s beautiful, but it’s always both. And that’s what this album celebrates.
“I’ve always felt deeply inspired by nature”
I completely agree with you, and that’s also why I love that song. It feels like—now you understand where you was coming from. And I’m not necessarily trying to fix it, but to find the right, honest way to move forward from it, you know? And yes, I really love the story of how you felt inspired by nature. At the end of the day, that kind of connection makes the music even more powerful.
Yes, I’ve always felt deeply inspired by nature—it’s something that’s been a part of me for as long as I can remember. I’ve always spent as much time outdoors as possible. Even when I’m working, I miss being in nature. But I understand that work is something we all have to do. Still, just coming home and walking with my dog through the forest here in Switzerland—that’s what really grounds me.
When I was little, I grew up in a remote part of Norway. I lived closely with the rhythm of the seasons, and I loved the contrasts each one brought. There weren’t many children around—actually, I was the only one for several years. So it was just my dog and me, exploring the world outside, and it was amazing.
I still remember lying in the grass, watching the clouds drift by. But in my imagination, it wasn’t the clouds moving—I thought it was me flying, and the clouds were standing still. My imagination was always so vivid, especially when I was surrounded by nature.
The new live shows and moving (back) to Norway
Yeah, I also wanted to ask—you mentioned earlier that you’re already thinking about your next album. But before that, you also told me you’re moving back to Norway after spending around 30 years between Germany and Switzerland, if I’m correct. That’s such a big shift!
So, what does this next period look like for you after the release? I know you’ve got a few shows lined up—four gigs, right? One of them in the Netherlands, which is really special since it’s been about 10 years, probably since 2014 or 2015. And then you have three shows in Germany, one of which is in Nagold, if I’m not mistaken. That’s a lot of change and exciting things ahead. So I’m curious—what’s coming next for you in this new chapter?
Well yes, like you said—the shows, and then the move. That’s right. And yes, I’m already thinking about the 8th solo album. Once we’ve settled in Norway, we’ll be living by the fjords. We’ll have a beautiful view of both the fjords and the mountains. It’s a wooden house—my father’s house—and it really feels like home.
I’ll continue working as a teacher for children with special needs, and my husband will keep working with old buildings, so we’ll both stay connected to our professions and daily routines. But at the same time, we’ll finally have more space and time for music, as I’ve already mentioned.
I’m really excited to see if we’ll be able to play more shows, and I’m especially looking forward to sitting down in nature, soaking in the atmosphere, and exploring the new compositions from Sasha. I think my band is also very eager to get out there and perform more—it’s something we’re all looking forward to.
Closing words from Liv Kristine
Well, that all sounds really wonderful—thank you so much. I want to sincerely thank you for taking the time to do this interview. I hope you have a lovely day, and once again, thank you, Liv. It was truly an honor to speak with you.
I’d like to thank you from the bottom of my heart for all your support. Without you, I wouldn’t be here—I would have left the music business a long time ago, especially back in 2016. But you’ve been there, and that means the world to me.
For me, it’s enough to know that there are people out there listening to my music. That’s more than enough. I feel truly grateful—that’s why I’m still here, still creating. So thank you for being there, and thank you for doing this interview with me. I wish you all the very best, and I really hope we can meet in person one day. It was truly lovely talking to you.