After more than two decades of career, Avatar continues expanding their universe with Don’t Go In The Forest, their tenth studio album, possibly their most ambitious yet. We spoke with Johannes Eckerström, the Swedish band’s vocalist and creative soul, about the symbolism behind the forest, the group’s artistic evolution, and the balance of darkness, humor, and emotion that defines their sound. In this conversation, the frontman reflects on the musical curiosity that drives them, the meaning of metal as an inner journey, the healing power of confronting one’s own demons, and their upcoming tour in Spain in February 2026.
Marcel.lí Dreamevil / David Aresté
M.S: First of all, thank you for your time. Congratulations on your new work — you must be very proud of it.
It feels like we’ve once again found the reason why this album was important to make. Above all, what matters most to us is simply getting to create another one. At this point, it’s become our job, which is great, but because of that, it would be easy to say, “We need to make another album because we need new t-shirts,” or “because I have to feed my dog.” But that’s not enough. We still need musical curiosity — something about this shared journey as a band that drives us to keep creating. We found that again, and it feels very special.
M.S: The cover of Don’t Go In The Forest shows you distant, surrounded by darkness and trees, holding a red balloon like Pennywise from It . What’s the meaning behind that image?
The idea behind the title is that, if you were one of those weird kids who always felt different, you’d know that when someone says, “Don’t go into the forest,” you’re naturally drawn to do exactly that. The warning itself becomes the temptation.
Together with that idea, there’s a little “film” that plays in my head — something I imagine being directed by David Lynch. Someone’s lost in the woods; it’s dark and cold, in the middle of the night. Suddenly, they see a light between the trees. As they walk toward it, they hear music. When they reach the clearing, they find a circus tent — it shouldn’t be there, but it is. Inside, there’s music playing. That’s the world of Avatar.
So there’s both the lure and the threat — it’s heavily inspired by horror.
For us, “the forest” represents what heavy metal often does: exploring forbidden places. Metal is this strange blend — the music can be dark and aggressive, but also empowering, exciting, and fun. For example, you might go see Metallica, beer in hand, shouting “Let’s go!” — and they play this incredible riff about a man with no arms or legs who wants to die. That’s the edge we walk on in heavy metal.
We use intense, powerful music to deal with dark themes. The forest can also be a psychological place — somewhere you’re afraid to go, a part of yourself you avoid. “Don’t go in the forest” can be something others tell you, or something you tell yourself when you don’t want to confront certain memories or fears. Through music, though, you can do just that — face the pain, grow, and heal. That’s what the forest is for us: the world of Avatar.
M.S: The current lineup is the same as your 2006 debut Thoughts of No Tomorrow , except for guitarist Tim Öhrström, who joined in 2011. What’s the secret to keeping the band so cohesive?
For us, the most important thing is friendship. That’s not just a nice thing to say — it’s very practical. Our job is to write and perform our own music; we don’t use outside songwriters or fake it in the studio. We want to write, play, and perform what’s truly ours — and do it in a way that keeps us friends.
Sometimes that means making decisions that might not be the best for business in the short term but are better for the band and our relationships in the long run. That’s always the priority. The longer we stay together, the more opportunities we have to grow — both personally and artistically. That’s the secret: we genuinely want to stay together.
M.S: About the new album Don’t Go In The Forest — where did the title come from, and what can we expect to find in that forest?
As I mentioned earlier, it’s psychological — about social taboos and the people who tell you “don’t do that,” “don’t eat the forbidden fruit.” But the way I read the Bible, the snake was actually the good guy, and Eve did the right thing by not blindly obeying. So “don’t go in the forest” also means you should go — you should face what others tell you not to.
It’s also about confronting darkness — and how “weird kids” are drawn to heavy metal. What’s in the forest? Growth, yes, but also one hell of a good time with Avatar.
M.S: How much did each member contribute to the composition of this tenth studio album?
It’s hard to measure. Our producer, Jay Ruston, often says Avatar is the most democratic band he’s ever worked with.
Traditionally, the main songwriters are Tim, Jonas, and myself. But the process is so collaborative that all five of us get deeply involved in finishing the songs.
Take the title track, for example: it began as a song Tim wrote, but we couldn’t make the full version work. Years later, Jonas brought back one of the riffs, added new bass and drums, and built something around it. Then I came in to clean it up, rearrange parts, add keyboards and a pulsing bass line — and everyone added something.
Each song is different. Sometimes one of us writes most of it; sometimes it’s a complete group effort. But the key is that by the end, everyone feels ownership — it becomes our song.
M.S: “Captain Goat” feels like a slower version of “The Eagle Has Landed.” The video is stunning. How did it come about, and what does the goat represent?
The goat represents a satanic figure, which ties back to Dance Devil Dance . That record dealt with certain themes that this one continues — but this album dives deeper into the subconscious.
Many of these songs were written intuitively, without overanalyzing them — just trusting the words and the feeling. Only later did I realize, “Oh, it’s about Satan.”
The video builds on that idea — a kind of odyssey. You’re in a boat with a captain crossing the River Styx into the kingdom of the dead. We played with Greek and Norse mythology — sirens, Loki chained to the rock, ghostly hands pulling people underwater — all part of this mythological hero’s journey. And of course, we threw in a touch of Pulp Fiction with the mysterious suitcase.
M.S: “Tonight We Must Be Warriors” is likely to become one of the band’s biggest hits. The video, directed by Johan Carlén, is full of theatrical and surreal elements. Who came up with the concept and set design?
All our videos start with meetings between Johan and me. We share ideas, references, and images until something clicks.
The song itself is like a Manowar anthem from a left-wing perspective — an epic metal call to fight for what matters, but instead of glorifying kings or authoritarianism, it’s about unity, solidarity, and strength in numbers.
The video took a more surreal turn. I wanted to visualize some lyrics literally — like floating over rooftops, Peter Pan or Mary Poppins-style. From there, Johan developed the story: the band coming together, fighting monsters, and reaching this strange utopian place. We drew inspiration from Baron Munchausen and classic films, always putting our own twist on them.
M.S: Can you describe the new album in a few words?
That’s always hard! I’d say: melodic, surreal, aggressive, emotional, and dynamic — a surreal, emotional journey.
M.S: You started very young. Now, as you approach forty, do you live entirely off music, or would you ever go back to being a preschool teacher?
We love what we do, but the friendship part is essential. If it ever stops being driven by passion and becomes just a job, we’d have to reconsider, because then the sacrifices start to feel heavier.
As long as we keep that excitement, I’ll do this until I die. But I’m not closed off to other work — there are plenty of meaningful things to do in life.
That said, I love being a full-time musician. We fought hard for this. Avatar has always grown — slowly, but steadily — and that’s a good thing. It’s given us a loyal fan base and stability. Before, we worked two jobs: the band and paying bills. Now it’s the same job, and that’s a better quality of life for everyone around us too.
M.S: After teaching young children for a decade, has any of your former students ever greeted you at a concert?
Yes! I’ve seen people in the mosh pit whose diapers I used to change in preschool. It’s funny — a bit humbling, but cool.
M.S: You’ve been a band for almost 25 years. Did you ever imagine that? Are you planning something special?
We haven’t planned anything specific for the 25th anniversary yet, though we do have other anniversaries coming up that we’re working on.
Technically, the band started in 2001 as Lost Soul, but I joined in 2002–2003, and our first official release came in 2006. So that’s the year that feels right to count from — just like Black Sabbath started in the late ’60s, but their real beginning was with their debut album in 1970.
So maybe in 2031 we’ll celebrate 25 years. We’ll see!
M.S: One of your biggest achievements was touring with IRON MAIDEN. You were originally announced for their 2021 Spanish tour, which was canceled, but in 2025 you’re back. How has that experience been?
It was a dream come true. Our very first trip together as a band was to see Iron Maiden in Stockholm when we were 15 or 16.
We’d already played a few shows with them in Brazil, but the European run made us feel like kids again. I’d never truly been nervous before an Avatar show — until that one.
Opening for Maiden was intimidating; it meant the world to us. After the first show, we relaxed and started to enjoy it. It’s hard work performing before such a massive audience — trying to make them remember you on a night when they’re there to see Iron fucking Maiden. But it was incredibly rewarding. Everyone treated us well — the crew, the staff, everyone.
It even became a family affair: my mom saw us in Germany, my sister and brother-in-law came to Frankfurt, and my wife joined us for a week. That made it extra special.
M.S: On this upcoming tour you’ll be playing larger venues than before. Can we say AVATAR is still expanding after nearly two decades? You’ll also be joined by ALIEN WEAPONRY and WITCH CLUB SATAN — what can you tell us about them?
Yes, we’re definitely still growing — slowly, but always upward. Mexico City will be our biggest headlining show ever, and across Europe and the U.S. we’re playing the largest venues we’ve ever done.
Alien Weaponry are amazing — we’ve wanted to tour together for a while, and I’m glad it’s finally happening. They’re taking the world by storm. Witch Club Satan is a satanic, feminist black metal trio from Norway — they completely blew my mind. I think they’re fantastic.
Honestly, this is the most excited I’ve been about a lineup in a long time. I’m a big fan of both bands. The only downside is that I usually have to get ready while they’re playing, but I’ll sneak out to watch as much as I can.
M.S: When you headline, why do you skip songs from your first three albums? Are you not proud of your “first children”?
It’s not that we’re not proud. We’ve revisited songs like “War Song” and “Reload” before.
But Black Waltz marked a turning point — Tim joined, and we had a major change in attitude. I was 24 and felt like, if that was going to be our last album, we should make it exactly the way we wanted. Since then, we’ve approached every album that way: as if it might be our last, making sure we’re proud of it.
The early records feel like old photos — they capture who we were. I still value them deeply, and I’m sure we’ll revisit them again someday.
M.S: “The Clown” first appeared in Black Waltz (2012), along with Johan Carlén’s videos. Where did the idea come from, and who designs your costumes?
First of all, it’s not really a “character.” It’s just me. I’m not an actor — I’m a reactor and a performer.
When we filmed Black Waltz , we needed an image that fit the video — with glass-eating and fire and all that — and thought, “a creepy clown would work.” When we tried it, everything clicked. It felt natural.
I was the class clown in school, so it made sense. It’s influenced by Rob Halford, Alice Cooper, theater, comedy — and of course, circus culture. The clown became the embodiment of everything Avatar represents: theatrical, chaotic, and larger-than-life.
Our current costumes were designed with Linnea Bruno, who turned my rough sketches into something amazing. Before her, we worked with Mikaela Magnusson, who was with us for years. We come up with the concepts together, but they have the real skill to bring them to life.
M.S: Johannes, thank you again for your time. Congratulations on your new album. Any final words?
No, I think we’ve covered everything. Unless we had two more hours to dive into all my weird concepts, I’m good!
Thank you so much — see you in February!