For over 15 years, Swedish rock ‘n’ rollers Thundermother have ignited stages around the globe with their electrifying performances. Their sixth album, “Dirty and Divine” out on 7th February 2025, promises to pick up where “Black & Gold” left off—a blistering showcase of loud, proud, and groove-filled hard rock. This new chapter also marks an exciting evolution for the band, with the debut of two members: powerhouse frontwoman Linnea Vikström Egg and dynamic drummer Joan Massing, as well as the return of bassist Majsan Lindberg. To learn more about these changes and the album’s creation, we caught up with Linnea Vikström Egg for an engaging interview.
Preparing for the new upcoming European tour of Thundermother
Linnea, welcome to Femme Metal Webzine! How are you? Life must be quite hectic right now with all the promotions for your new album coming out in February and preparing for the tour.
Thanks so much! Life is treating me well. The weather’s nice today—sunny, though the ground is a bit wet. But overall, I’m feeling good and gearing up for the tour.
That’s great to hear! I imagine your days are packed…
Oh, absolutely. It’s been non-stop with interviews, rehearsals, and, of course, trying to memorize lyrics—which, ironically, I’m not great at!
You’d think that would come naturally for a singer!
You’d think! I guess I just never mastered it. Sure, I could rely on a lyrics screen, but I find that boring. I’d much rather internalize the songs and feel them.
“Dirty and Divine”: The debut album of Linnea together with Thundermother
Speaking of which, let’s dive into the album, “Dirty and Divine”. This is also your debut with Thundermother. How does it feel to make such a big debut, especially on a major label? I know you come from Therion and a very different style of music. This must be a major milestone for you.
It is. Honestly, it feels even bigger than I initially realized. What’s especially gratifying is how proud I am of the album. I wouldn’t change a single thing about it. Of course, not everyone will love it, but I can confidently say I do—and that’s what matters most.
Absolutely! You can’t please everyone, but loving your work is the ultimate win.
Exactly.
The challenge
Let’s take a step back—how did your journey with Thundermother begin? I know the band went through a significant lineup change. How was it stepping into this new dynamic?
It was definitely a unique challenge. I’ve been in similar situations before, like when I joined Therion at 18 and replaced Katarina Lilja. At that time, I made the mistake of reading YouTube comments, hoping for praise. Instead, I found negativity that affected me.
This time, I approached things differently. I decided not to read any comments or opinions about my joining Thundermother. I wanted to start with a clean slate, without being influenced by others’ drama or preconceived notions. It’s been two years now, and while I’ve inevitably learned more about the backstory, I’m still focused on moving forward and not getting involved in the past.
Avoiding criticism
That’s a wise approach, though I imagine it must be hard to avoid criticism entirely.
It is, especially when you’re the “new person.” There will always be comparisons, and some people will say, “Oh, I preferred the previous singer.” But I’ve learned to set boundaries for my own mental health.
Good for you! That kind of self-discipline is impressive.
Thank you. It hasn’t always been easy, but it’s been worth it. I mean, the first tour we did with The Scorpions I was nervous for the first few gigs. I’ll admit, I was nervous about how fans would respond, especially during our first headline show in Switzerland. I had all these catastrophic scenarios running through my mind—like, what if they boo me or throw bottles? When the show ended, and the audience was so supportive, it was like a huge weight lifted off my shoulders. I even broke down in tears backstage but in a good way.
That sounds like such a cathartic moment.
It really was.
Working on “Dirty and Divine”
How was it working on “Dirty and Divine” with the band? Coming from Therion, where the dynamic was more centralized around Christofer, this must have been a different experience.
Absolutely. With Therion, Christofer was the creative leader, and that structure worked perfectly for that band. Instead in Thundermother, Filippa is the bandleader, but the process is more collaborative. She involves us in songwriting, setlist planning, and even promotional work. It’s been refreshing to have a voice in the creative process.
So, a more democratic dynamic?
Exactly. Filippa has the final say, which is necessary for her vision, but we all contribute.
Learning through a new process
What’s one important lesson you’ve learned through this experience?
I’d say learning how to pace myself as the sole frontwoman. With Therion, we had multiple singers, so I had natural breaks during the set. Now, I’m onstage the entire time, so I’ve had to figure out how to manage my energy throughout the show.
That’s a big adjustment! I also read that the album was recorded live in the studio. That must have been a unique process.
It was! We recorded the foundational tracks—drums, bass, and guitars—live, which allowed the groove to develop naturally. The vocals were done afterward, and if there were any mistakes in the live recordings, we could fix them. But overall, it gave the album a cohesive, raw energy that I love.
The album recordings
And Filippa was pregnant during the album’s creation, right? How did that influence the process?
Yes, she was! It added a layer of complexity but also made the experience more special. She handled it like a champion, though I’m sure it wasn’t easy with the physical challenges of pregnancy.
I also read that the album explores more mature themes if compared to previous Thundermother’s records. Can you elaborate on that?
Of course. I think the lyrics on this album dive deeper emotionally and thematically. Previous albums sometimes leaned into more straightforward, fun rock-and-roll themes, which are great, but this time we wanted to explore more complex ideas and emotions.
The singles on “Dirty and Divine”
That makes sense—it’s about finding balance. Speaking of balance, the singles you’ve released so far, like “So Close” and “Bright Eyes,” are fantastic. How did you choose which tracks to release ahead of the album?
Thank you! It was tough to decide because we loved so many of the songs. Some singles, like “I Left My License in the Future,” were recorded earlier to introduce fans to the new lineup. Others, like “Speaking of the Devil,” came together spontaneously. It’s a good problem to have when you’re spoiled for choice!
As for “I Left My License in the Future,” I wrote it with my mom while she was driving for nine hours in a thunderstorm since I couldn’t drive. She suggested we write a song to keep her focused on the road. I sent it to Philippa, and she loved it, so we went ahead and recorded it. And then there’s “Speaking of the Devil,” which we came up with the hook for backstage right before opening for the Scorpions. We liked that hook, so we decided to keep it.
The upcoming European tour of Thundermother
That’s a great position to be in. Lastly, your European tour together Vulvarine and Cobra Spell, kicks off in March, including stops in the Netherlands. How are you feeling about hitting the road?
We’re so excited! There’s nothing like connecting with fans in person and bringing the new album to life on stage. It’s going to be an amazing journey.
I’m sure it will be! Thank you so much for your time, Linnea. Best of luck with the album and the tour!
Thank you! I appreciate it.