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Sarah Jezebel Deva - Interview

The master of dark metal, Sarah Jezebel Deva, is back after many years with Torn Between Two Worlds. Together with Chris Rehn (Takida, Dreamstate, ex-Angtoria, ex-Abyssos, ex-Evergrey, ex-Insalubrious, ex-Sargoth), with who she collaborated already in Agtoria, the two have extended all the sonic colours on their established palette to dazzling effect. Sarah Jezebel Deva is without any doubt a female vocalist with one of the most amazing portfolios since she was a part of some of the most important albums of symphonic, dark, black, gothic and extreme metal in the last 25 or more years. She was a part of Cradle Of Filth for 14 years and recorded with them monumental albums like V Empire Or Dark Faerytales In Phallustein, Dusk... And Her Embrace, Cruelty And The Beast, Midian,... Then, with Therion on the masterpiece Vovin, she worked with Mortiis on The Stargate and The Smell Of Rain, with The Kovenant on the stunning album Nexus Polaris. She was a session vocalist for Graveworm, Mystic Circle, The Gathering, Mendeed, Creation's Tears, Hecate Enthroned and much more. In 2001 together with Chris Rehn formed Angtoria, released the fantastic album God Has A Plan For Us All, then in 2009, she started a solo career under her name. Apart from a couple of session performances, she disappeared from the scene in 2012. Now Sarah Jezebel Deva is back, and I'm sure that we'll hear a lot from her in the future. I talked with Sarah about many things. If you want to know more details about her, the backgrounds, what was the reason for her absence from the scene, about her new band, about past times, the experiences she had in the music business, and about the plans, then you need to read this in-depth interview.

Interview with: Sarah Jezebel Deva
Conducted and edited by: Tomaz

Tomaz: Hi Sarah. It's nice to see you returning to the scene with a new project Torn Between Two Worlds. You were missed for almost ten years, except for doing some guest vocals with Hecate Enthroned on their last two albums. What kept you off for so much time?
: Basically I had enough of the scene, of all the lies, egos, attitudes, of false promises, of people ripping other people off. I'm tired of those who claim to support music. I just had enough of that. I got also married, I still am. You know, I love music, it was always my number one, it's my passion, it was everything I dreamed of as a young child, but there are some horrible people out there who would do everything they can to ruin it for you, and I'm not just saying for me but in general. There are so many backstabbing people out there who want to bring you down and watch you fall, and I kind of thought that I have enough, I can't do this anymore. I've been touring and doing music for well over 20 years. Then I had a child and he's my priority, always will be, I had some deaths in the family, one being my dad. It was a tough time and I just didn't have time and the passion for music. I still want to sing but I don't want the bullshit. I try to think that I'm a good, genuine person, and treating people with respect is my top priority. But many don't think so. There are so many that I came across who didn't know what respect is. Yeah, I still wanted to sing, even did a few guest spots, lately with Hecate Enthroned and Nader Sadek, for who I did a show here in England. Then the Covid pandemic happened, but I still had this urge to sing again and do music. I know very well how bad people can be, and I was thinking many times if I shall or shouldn't do it. Then I got talking to Lindsay Schoolcraft, who as you know was also in Cradle Of Filth for seven years I believe, she's amazing, and she said to me, "you need to start singing again, you are amazing, you are the queen,...", though I don't see it like that, because I'm just me, I just want to sing. She was saying all these things to me and how people miss me, how amazing I was and how good I was... also some other people said that I left a legacy behind me. After a pause I thought, ok, if this is how people feel, not everybody, of course, there are loads of people who are gonna hate it and not support what I do, but I had a very big fan base or at least big enough for a session singer, and yeah, I thought let us see where this goes. I bought the equipment and laptop, Chris Rehn started teaching me Logic Pro X, then I started talking to Mortiis again and so everything started to fall into place. That's where I'm right now, I know how to record myself finally and I'm loving it, yeah I'm still learning the ways how to record it, but I'm glad that I've done it. But I think that I needed that big break from music. I needed to forget how horrible it can be.

Tomaz: Let us talk about Torn Between Two Worlds. The first single is out now, and the second is going to be released soon. If I understand it right, both are old songs done in the days of Angtoria but rearranged?
Sarah: I wouldn't say that we did these two songs in the Agtoria days. It's hard to explain. Things happened and I didn't know if we as Angtoria will ever do music again. You know, Chris and I formed Angtoria in 2002 after we met on the Therion tour. I was singing for Therion, he was playing with Evergrey, so we got together, we had all these ideas, we tracked down demos, and it was so well received. Then we started writing, Chris did all the music though, for the album God Has A Plan For Us All, the main and only album that we did as Angtoria, but we always planned on doing more music. I think that maybe I and Chris at some point were on a different page. I think that Chris didn't want to continue under the Angtoria name for reasons and I didn't quite understand why. We were still writing, well, he was still writing the music and I was writing lyrics, and we came to disagreement if we will release it under the name of Angtoria. Angtoria still exists, one day there could be another track or an album, but it won't be Chris and me. So, whatever happens with that name it has nothing to do with us. The demo had a track named "Torn Between Two Worlds", and I said to Chris that if we will ever going to write music again in the vein of Angtoria then I want it to link back to early Angtoria, so that's why I picked the name Torn Between Two Worlds. Yes, these two songs were written back then and we forgot them because life gets in a way. Chris has a big recording studio, he is a very hard working man, and as I told you I have a child, I'm married, I have so many things going on, but yes, songs were forgotten about. Then around the covid time, we were talking that we need to do something, we want to do something, just not under the name Angtoria. He said that I can call it how do I want but just not Angtoria. One of the new songs has been re-recorded, and the other one was the track that he managed to find, even though we assumed they were lost. I see it as a continuation of Angtoria, and if you compare this music, at least I and fans think so, it sounds like Angtoria, because Chris wrote the songs, he was Angtoria. I think it just sounds a bit more mature and fresher. I don't know if you agree, but many say that "The Beauty Of Deception" sounds exactly like Angtoria. For me that is good because Angtoria was our baby, you know, it meant so much to us, it just didn't go in the direction that we all hoped it will.

Tomaz: Yes, it does sound like Angtoria, but it has a better and much more modern production, as well I find it catchier. Does this mean that a new album is coming? Can you already reveal some details if this is true?
Sarah: I can't, because we don't know where life will take us, nobody knows. It's a sad thing to say but Covid-19 has ruined so many people lives. For Chris for example his work in the recording studio comes first, he also has a family, and everyone who's doing music, acting, or any kind of art, needs to earn money to feed his family, so we don't know where this will go. I can tell you that we are planning to do more music, we had an idea about what we were going to do but nobody expected Covid-19, nobody expected lockdown videos, so I will just say that there will be more but I don't know how yet.

Tomaz: I'm certainly looking forward to it. How did it happen in the first place that you and Chris reunited to make music after so many years? The last time that the two of you were working together was in 2006 for the album God Has A Plan For Us All.
Sarah: Yes, but we always stayed in touch. I mean, Chris is amazing and I love that man so much. I always loved Chris. We worked so well together and as I said, we had a plan. The moment when we did the "God Has A Plan For Us All" video we planned it all, but to be honest it was probably me who was holding everything back. I was with Cradle Of Filth, I was working for Mortiis, I was so busy and yet much more. I think it was stupid to put the session work before Angtoria, because Angtoria could have been big. Ok, however, you define big, but we got such a phenomenal response about the album, and it was amazing. I was probably too young, Chris was maybe too young as well, we had our priorities and that's why nothing else really happened, but we always planned on working together again, whenever it'll be Angtoria or something else. These two new tracks are about six years old. The song "All Eyes On Me" is re-recorded. I did the vocals in my home about a month ago. As I said, Chris and I were in touch, sometimes we didn't speak to each other for a year or something, but he was always on my mind. And again, the Covid-19 thing happened and done a lot of damage, but as well it has done some good things by putting us together again.

Tomaz: After Angtoria you started the new band using your name Sarah Jezebel Deva. What happened with this formation?
Sarah: I signed for a company that didn't do things like I hoped they will do. It was pretty bad in places. Ok, some of it was good and some was horrible. That was my first taste of how horrible it can be when you are on your own and you put your faith in people. The production for the first album A Sign Of Sublime was just awful. My friend Dan Abela was asked to mix it and as soon as he got the material he said that it'll be really hard to mix properly this album because it is so over-edited and he couldn't do anything to save at least half of the stuff. He said that it's so badly produced, but I wanted to do something with it and he tried as much as he could. In the end, some of the songs came out brilliant. One or two songs were from the demo that I and Chris did for Angtoria, but Chris said that I can have those songs for my solo album. That was amazing because it was already made, it sounded great, but most of the metal songs in there, apart from "A Sign Of Sublime" were just horrible. It was horrible to hear it like that because I worked very hard as a session singer in all these bands, and my first solo album should be amazing but it wasn't. Now I can deal with it, there's always a story to tell and there's always someone who will not own it what they did. I moved on and was very lucky to get a deal with Listenable Records who are amazing, they are one of the very few companies for which I think they are honest and supportive. Lauren and everybody else with whom I had to deal with at Listenable Records was just amazing. They released my next album The Corruption Of Mercy and Dan Abela who was mixing A Sign Of Sublime became my guitarist. We wrote the album together and I loved it. We were so proud of The Corruption Of Mercy, but it suffered so many illegal downloads and consequently, our physical sales suffered. That way the record company can't keep you because it's all about the physical sales. Then we did Malediction, which is a three-track EP and again we loved it, but it was only a digital release. I have done a few tours under my name where again I dealt with so many people that were big liars and egos that I just can't stand. You know, we are all human, we are all here to help each other, or at least I thought we were. I will just give you one example of why I walked away from music. We were on tour and we were waiting for our t-shirts to come and on day four of the tour for The Corruption Of Mercy album we were still with no merchandise, and then it finally arrived. I opened up the box, the t-shirts should have the album cover printed but it was so white and you couldn't see any black or grey or any album cover at all. Somebody has ruined the design. There were at least 100 of them printed and sent to the venue. It makes you think,... surely somebody saw the first printed copy of the t-shirt and why would you continue to print it, why would you send them out, why don't you call the artist and say that it's something wrong? It was that kind of stuff constantly happening. On another show, the promoter said to me that the contract is on his desk but he didn't sign it, so he said that we can play if we want but we won't get paid. You know, all that kind of stuff made me think that we never got the support that we needed and deserved. There were just too many liars and I had enough. There were only a few very supportive people. For example at the female metal festival in Belgium, those people always supported me, and it was always amazing. So you think about why you don't get the support that you deserve. I had my theories and an idea of why I never got as much support as needed. We worked so hard and in the end, I just walked away and that's why there's been so much silence from me. I thought that there's much more to life than this. People playing to support people, and they don't, there's a hidden agenda and most of the time is only about money.

Tomaz: Everything and everywhere seems to be only about the money, music is far from being an exception. I guess the lyrics of the new songs are inspired by this kind of events, at least from what I read for the lyrics for "The Beauty Of Deception"?
Sarah: Yeah, every word that I wrote from Angtoria to my solo stuff and to this is all inspired by things that happened to me, that happened to people, situations,... For example, if you take the song "Sirens" from The Corruption Of Mercy. That is a fantasy song, and there are some songs that I found quite easy to write when it comes to fantasy, but I rarely write about fantasy themes. 99% of the time I write about people and the things that they have done, which makes for very good writing. Half of the time I don't tell people who's that about, cause it's probably best not to. Bad people make it for very good writing and I have still a lot to say.

Tomaz: I can imagine that. Let's return to Torn Between Two Worlds. I don't know how exactly to describe the sound, but sure it has to do with dark/gothic/orchestral metal, there are also some pop melodies, and it has quite a modern production. I'm interested in how do you describe the music of Torn Between Two Worlds?
Sarah: I have no idea what label to put on it. I think it's in the same category as Angtoria. If you want to call it orchestral metal, symphonic metal, symphonic pop,... I simply don't know how to call it. All I know it's that we are so happy with it, a lot of work has been done for it, especially by Chris, and it's music done with passion and heart. You know, it's not just something that we chopped together. Chris is an absolute genius at the things that he can do. So, I can't label it, and if anybody comes to me and ask me what would I put this under I don't know. I don't want to say that we have done something unique, though that Angtoria was pretty original, still, I don't think that we sound like anybody. There will be lots of people who'll say that we sound like Nightwish, or like this or that. I don't think that we sound like anybody else, but that's just my view, and there could be a million people out there who will compare us with other bands. I practically don't listen to any female singers in the metal scene for the plain reason that I don't want to be influenced. I don't want that people say that I copied any. Most of my influences come from bands and artists like Madonna, Mariah Carey, Alanis Morissette, Dead Can Dance, my influences come mostly from the 80s, 90s pop music and extreme black metal. Still, you can't compare me with any of them. It's very difficult to say, I could say one thing and you could say another. I think it's just music and you should enjoy it, and don't label it. If you like it you like it, if you don't then don't listen. I suppose that's the best thing to say.

Tomaz: I'm interested in some more details about the recording process of the new songs. I suppose that was recorded and produced in separate studios?
Sarah: Yes, it's done in separate studios. Chris wrote the music in his recording studio in Sweden, and I did the demo vocals with my friend Dan Abela, who as I told you was the mixer on A Sign Of Sublime. Dan then joined my solo band Sarah Jezebel Deva, and he has a recording studio as well and I did my vocals there with him. As I said before, the tracks got lost, nobody could find them. Chris then surprisingly found the music for "The Beauty Of Deception" and he also found vocals. I didn't know about that, and one day while he was teaching me how to use the Logic Pro X, he said that I need to get my headphones on and that I need to listen to something. He said that I should turn it loud as much as I can and just listen. I had no idea what he was talking about because until that moment we were still talking about doing something, but Chris didn't have the time to write, so he kind of did a little lie, he kind of hid it from me. Anyway, I put the headphones on and it was the song that I've done with my friend Dan. I got very emotional, I was crying actually. He has taken my demo vocals, which I was not the best but he made them sound amazing, and he mixed them so very well. Chris re-wrote the song, did everything and here it is - "The Beauty Of Deception". I was so happy that finally, we were back together. Then we talked about the other song, "All Eyes On Me". This one will release on the 2nd of May. That song was completely lost, but he did remember how the song went, he knew the rough structure and how it sounded like. Then Chris managed to find some of my recordings and the writing, which I sent to him, so he sent that back to me and I started to remember the stuff. He made the music and I recorded the vocal part in my home, for which I worked hard until one month ago. I'm still not an expert with Logic Pro X, but somehow I managed to record my vocals and he was very happy. Then he took it back to his studio, which is also his home, I believe, where he mixed and mastered the song, and here's what you can hear today. Yeah, it has been done in separate places in about six years. I'm happy with it, and again I'm so happy to be back with Chris doing music together.

Tomaz: I find very nice and interesting the cover artworks for your new singles. Who designed them?
Sarah: Chris made them. He does everything. The only thing he doesn't do is write my lyrics, vocal melodies and he doesn't sing instead of me, haha. He's a very independent person and he knows what he wants. He works very hard to do things right. He's one of those people who don't rely on others. He has learned this skill himself and so, yeah, it's all down to Chris.

Tomaz: I must admit that I miss the operatic singing style of yours, the one we were used to hearing while you were still with Therion for example. How that you don't incorporate more of this operatic stuff in your bands? Ok, you've done it in your solo project...
Sarah: I did some operatic vocals on my solo album The Corruption Of Mercy and the EP Malediction. There were not many in Angtoria, and in my most recent stuff, but there will be probably also that in the future. You can't do the same thing all the time, you know, I spent so many years singing operatically that I wanted to do something else as well. I wanted to show that I don't do just operatic and high stuff, I'm very versatile, at least I want to hope that I am. I can sing in many different styles and different ways. I will still do the high stuff, and if you listen to the stuff I did on the new Hecate Enthroned album there's some high stuff. It's still there, still will do it, it hasn't been foregone with Therion. I want to be a little bit here, a little bit there so that people won't get bored with hearing the same thing all the time.

Tomaz: You worked with so many great bands and you were a part of so many monumental albums like is Vovin, Dusk... And Her Embrace, Nexus Polaris, The Stargate, actually too many to mention them all. Of which album that you took part in, apart from your projects and bands, are you the proudest of?
Sarah: The Kovenant's Nexus Polaris, this album is a masterpiece, the whole album from start to finish is amazing and every person involved in it is a phenomenal musician. We were all very young, I was 21 or 22. It was in 1997 when I was touring with Cradle Of Filth when I met Nagash, it was the tour of Cradle Of Filth, together with Dissection, Dimmu Borgir and In Flames. Nexus Polaris I guess was released a year later in 1998. I don't know but it just worked out, it was unique, it was different, and I still love it. Also Cradle Of Filth's V Empire and Midian. I'm so proud of those two albums as well. Those are my top three albums among the stuff I did for other bands. I worked on so many albums and with many different musicians, sometimes I listen to certain stuff and I think that I could have done that better, but still, I'm very proud of what I've done. I love The Stargate and The Smell Of Rain of Mortiis. In a way, it's very difficult to say which are my proudest moments. I did a track for Graveworm "Awake... Thy Angels Of Sorrow" and I fell in love with that song. I'm very lucky that so many people have given me a chance and let me ruin their albums haha,...

Tomaz: The first time I saw you perform live was on the Therion tour for the Vovin album, together with Moonspell, I think it was in 1998 or 1999. So, when was the last time that you performed live and how much do you miss the stage?
Sarah: Recently I did a couple of shows together with Hecate Enthroned here in England. The last time that I did a show together with Cradle Of Filth was in 2008, then I went solo and did some tours under my name Sarah Jezebel Deva. I also did a show with Nader Sadek in Bristol. Do I miss performing live? Hmm, I don't know. It's very hard, you know, when you are singing operatically you often don't get a good soundcheck and you end up with a very poor sound, or it might sound great on the soundcheck and then when the audience comes in it might completely change. When you are singing operatically and you don't have amazing equipment or someone to help you, it can be a horrible show. I had some very bad performances because of that. But I still do miss playing live a little bit, especially when the fans are amazing, yeah. I miss that, but everything else that comes with it probably not so much. However, now I'm working with Mortiis again. I'm doing something for him currently because the children are off for a holiday. I can't record when my son is here because he's six years old, and if he sees a microphone he would like to throw it out the window and think it's a toy, so I can't do anything when he's here. Well, I'm doing something with Mortiis now, and he will be touring with Mayhem when it can finally happen, and I'll do some shows with him on this tour. So, I'll be doing some shows and it scares the hell out of me, if I'm honest, to be on a tour bus again. I like my bed now, I like to know when I can take a shower. My shower is clean. I'll start to do some shows with Mortiis here in England, probably will do some more shows with Hecate Enthroned because I love them, I mean, they are amazing musicians but a very underrated black metal band as well. They deserve so much more.

Tomaz: And what about Torn Between Two Worlds? Have you made any plans to do some live gigs or a tour maybe?
Sarah: I don't know. I can't tell you anything. Chris is with the band Takida from Sweden and they are massive, they are huge, and so he has his priorities there and in his studio. We have talked about it but Chris said that we should see what happens. We want to remain as independent and free as possible because once we sign a deal we lose the rights to our music, something that has annoyed me in the past. If I try to upload a video of my music or a song for the people who support me, so they can listen to it, I get the e-mail back to me saying that I'm not the owner of the music and blah blah blah. You can't understand that, it can be the thing that pisses me off, because this is very wrong. So, regarding Torn Between Two Worlds, I also don't know if we will go for a record deal. Right now, if I'm honest, I like how things have gone with "The Beauty Of Deception". We are not on the front cover of any magazine, and not many people know about us. If there would be loads of money behind us, they would probably care a little bit more. But this music is for us, and it's also for the people who support us. I mean, all the people who used to buy our stuff over the years means the world to us, and we are doing it for them as much as doing it for us. If there could be any shows we would probably need a record company, so let's see what happens. But, for now, as I told you before there will be more and we will now put the main focus on writing music. Sure it would be nice to play this music, at least just once. Let us just see what happens, there might be another Covid-19 or some kind of plague might come back. We don't know what's around the corner, do we?

Tomaz: Yes you are right, we don't know what kind of surprises are waiting for us. Now, you already said some things about this but still, can you name me some of the vocalists that influenced you the most when you started singing or some that you respect the most?
Sarah: I think that Ofra Haza in "The Temple Of Love" by The Sisters Of Mercy was a big influence. Also Diamanda Galas. I remember when we were doing the V Empire with Cradle Of Filth what Danny said to me, that in "Queen Of Winter, Throned" I should go for the Diamanda Galas type of thing because she did a vocal line in Bram Stokers Dracula soundtrack. He said: "Try to do stuff like that, and like Ofra Haza in "Temple Of Love", try to get something like that in there". He meant to get that high "AAAA..." stuff, and then you can hear that in the end I'm trying to do that kind of eastern Ofra Haza thing and I loved it. They were two influences, very small in the beginning, but I never planned to be singing operatically. In fact, when I was growing up I hated opera and classical music, I was into 80s pop music. I can say that I grew up with Madonna, Mariah Carey and just pop music. Later on, I got into Alanis Morissette and I absolutely loved her, but when you hear me singing I don't think that you'll hear any of these influences in my voice. I try to be a little bit different, I don't know if it works but I just try to be me. I also got black metal influences. So, a lot of things that I've done had a huge Emperor's In The Nightside Eclipse influence, but it doesn't come through as one, and I doubt that anybody would ever guess that. That album is genius, and for me is the best black metal album in the world, I can listen to it again and again and again. The whole atmosphere of that album influences me when I'm singing operatically.

Tomaz: Interesting, I wouldn't notice that if you didn't say so. Do you still keep in touch with people from Cradle Of Filth, Therion, Covenant, actually with all those that you worked together? You already said that you are in contact with Mortiis...
Sarah: I had some kind of a crazy moment when I thought why do I have so many people here on social media. Is it because they are famous or because they are my friends and I did a lot of soul searching. I don't collect friends just because they are cool or because they are famous. I like to have friends if we have something in common, and because of that reason, I deleted a lot of them. In the case of Cradle Of Filth, I didn't speak with Charles Hedger (now in Mayhem) for a very long time because of things that happened in the band, you know, Charles is brilliant, and we got in touch again probably after ten years, he's a good person. Dave Pybus was at my wedding, he gave me away, he walked me down the aisle actually. A lot of the older guys like Martin Foul, James McIlroy and Gian Pyres were at my wedding as well. I still talk to a handful of people from the band, but many distanced themselves. About Therion, I haven't seen Christofer for many years, we don't talk anymore, I just lost contact. But I speak to the Niemann brothers, Kristian and Johan, and  I'm in contact with some other people who were singing in the band like Martina and Suvi. You are probably aware that Johanna Mårlöv passed away in 2013 because of cancer. She was at my wedding as well, it was her birthday the other day, and I miss her very much. So, there's a handful of people from Therion as well but the line-up has changed so much. I have no idea who's in the band right now. I also don't know who's in Cradle Of Filth anymore. I still speak with Psy Coma of The Kovenant but haven't seen Hellhammer for a very long time. There's quite a lot of people but at least you need to have a reason to say hi, and many of them are so busy in their lives. There's no bad blood, and there are few people that I would like to see, but also some that I don't want to see ever again.

Tomaz: I must thank you for such in-depth answers about every topic that I asked you. Is there anything that you would like to add at the end of the interview?
Sarah: Give a chance to Torn Between Two Worlds. If you don't like it, well, thank you for listening. But if you do like it keep supporting us, because all music right now needs your support, and don't judge by appearance but give it a try. Thank you for doing the interview for which I'm grateful. It means a lot that you actually wanted to talk with me. I've been gone for so long and I've set a distance with many people. I don't know if you'll understand this, but for many, I'm yesterday's news, if I was ever in the news at all. You know, not many people took me seriously or cared, but that's fine. So, I'm grateful to you for doing this interview with me and I hope that you'll continue to check out what we do.


Torn Between Two Worlds:
- The Beauty of Deception [Single] (2021)
- All Eyes On Me [Single] (2021)

Sarah Jezebel Deva:
- A Sign Of Sublime (2010)
- The Corruption Of Mercy (2011)
- Malediction [EP] (2012)

- Across Angry Skies [EP] (2004)
- God Has A Plan For Us All (2006)

Mad Dog:
- Howling At The Moon (1993)

With Cradle Of Filth:
- V Empire Or Dark Faerytales In Phallustein (1996)
- Dusk... And Her Embrace (1996)
- Cruelty And The Beast (1998)
- From The Cradle To Enslave (1999)
- Midian (2000)
- Bitter Suites To Succubi (2001)
- Heavy, Left-Handed And Candid (2001)
- Lovecraft & Witch Hearts (2002)
- Live Bait For The Dead (2002)
- Damnation And A Day (2003)
- Nymphetamine (2004)
- Peace Through Superior Firepower (2005)
- Thornography (2006)
- Godspeed On The Devil's Thunder (2008)
- Midnight In The Labyrinth (2012)

With Creation's Tears:
- Methods To End It All (2010)

With The Kovenant:
- Nexus Polaris (1998)

With Tulus:
- Mysterion (1997)

With Therion:
- Vovin (1998)
- Crowning Of Atlantis (1999)
- Live In Midgård (2002)
- Celebrators Of Becoming (2006)

With Graveworm:
- Underneath The Crescent Moon (1998)

With Mortiis:
- The Stargate (1998)
- The Smell Of Rain (2001)

With Mystic Circle:
- Infernal Satanic Verses (1999)

With The Gathering:
- Black Light District (2002)

With Mendeed:
- From Shadows Came Darkness (2004)

With Trigger The Bloodshed:
- Purgation (2008)

With Hecate Enthroned:
- Virulent Rapture (2013)
- Embrace Of The Godless Aeon (2019)

Various artists:
- Emerald / A Tribute to the Wild One (Thin Lizzy tribute) (2003) ("Southbound" with Therion)
- The Lotus Eaters (Dead Can Dance tribute) (2004) ("The Wind That Shakes the Barley")

Sarah Jezebel Deva links: Facebook, Bandcamp (Torn Between Two Worlds), Wikipedia