METAL-ZEN

As all good ProgPower USA fans know, Saint Deamon was one of organizer Glenn Harveston’s famous curveballs. Many of us hadn’t heard of the new Swedish/Norwegian power-metal super group (comprised of ex-members of Dionysus, Highland Glory, and Sinner) when Glenn booked them.

But, as is always the case, Glenn’s instincts paid off. The band has quickly become a PPUSA Forum favorite with their debut album In Shadows Lost From The Brave boasting an infectious sound and a singer (Jan Thore Grefstad) with a voice that some say is among power metal’s best.

I spoke with drummer and founding member Ronny Milianowicz (ex-Dionysus) on March 27th of this year. I was aided and abetted by bassist Magnus “Nobby” Norberg who hooked me up with Ronny and supplied all of the behind-the-scenes photos.

Shortly before our interview, Ronny sent an e-mail that detailed some of the many things going on in his life at the moment. In addition to a dizzying number of gigs and recording sessions, he concluded with this phrase:

Then I raise and change dypers on my 2 huligan children 1,5 year and 2 month.

/Ronny

I thought that was hilarious and couldn’t wait to mention it during our interview. As luck would have it, I got to do just that within the first 30 seconds.

Enjoy!

RM: Hello.

BM: Hi, is this Ronny?

RM: Yeah, hello.

BM: Hi, this is Bill Murphy calling.

RM: Yeah, super. Hold on a second. Let me take off my guitar here.

BM: Ok.

RM: Go to a different room. I have my children. They’re a bit loud.

BM: [laughs] Yeah.

RM: [laughs] Ah, super. Now I’m ready to go.

BM: Alright. Well, how are you doing today? And how are your two little hooligans?

RM: Yeah, they are super. Everything couldn’t be better. They are super, they were born healthy and nothing wrong with them, so everything is just fantastic. I have little time, but on the other hand, it’s really adding something else also, not only to the private side but also to the music side of everything. First of all, lyric-wise, it affects me a lot, actually.

BM: Oh really? In what way?

RM: I usually always write lyrics from my own point of view. But when…do you have children?

BM: No, I don’t.

RM: Ok. The funny thing is that when you get children, nothing in the world is a problem for you anymore. Because you’re always coming after your children. So everything that you were, how to say, everything that you worried about, at work, or whatever in life, all these problems just disappear when you get children, because they are always the first priority.

BM: Sure.

RM: So [laughs] in the funny way, you can say when you get children, you don’t have any problems anymore. Then you have problems with your children you’re raising. [laughs]

BM: [laughs]

RM: But your own problems kind of disappear, in a way. It’s really strange.

BM: Yeah. That makes sense, yeah. [laughs]

RM: [laughs]

BM: Well, first of all, congratulations on landing the opening spot on Saturday at ProgPower USA.

RM: Yeah, it’s, I couldn’t believe it when we got the news that we got this. Because I think to be very, to tell the history about it, the funny thing, we had our own band, Dionysus. We were playing, we were on tour, and we played in Hamburg. We played, I think it was a really funny gig. I think we played one week after the Wacken Open Air in Germany. So I think it was like everybody was still hung over from the week before, and I think it was like, guess 40 people there or something. [laughs]

BM: [laughs]

RM: So in the middle of the gig, we just stopped and we go out and, “Ok, now we take half hour break and we drink with you guys that came to this gig.” So it was a very special gig. It was really funny. Only with 40 people there. And for some reason, there was a guy there, and he was from the States. And he was the guy that recommends us now to try to get this ProgPower, and when he heard about that one band was canceling. So that was the history behind how we got it.

BM: Ok, cool. So you were surprised when Glenn called, did Glenn call you or send you an email? How did you know you got the position?

RM: Yeah, we got the emails first. And yeah, so many great bands played there over the years. I mean, for a debut band, I don’t know how many debut bands ever play there. I don’t know, but of course it’s a big thing for us.

BM: Good.

RM: It’s really huge.

BM: Well, what can audiences expect from you guys at ProgPower?

RM: From what I heard, from the people, source, we did the three gigs until now, and I think we booked 15-20 gigs now. I think the first thing that everybody say is that Jan Thore is singing incredible. He’s almost, people compare him to Ripper Owens or something. They can’t believe that somebody can sing that good live on this kind of songs. A lot of singers always go down an octave in some different part or something. But he really sing it like on the album. This is the first thing people say. And secondly, people say that we have a lot of fun on stage.

BM: [laughs]

RM: It’s like, it’s a really blast, and everybody say it’s a really, really great live show.

BM: Oh great.

RM: So this is what we heard after our gigs most of the time.

BM: Well, that’s really cool. It’s a great album. I’ll ask you, you’ve had a long and successful career already. I’ll ask you some specifics about the Saint Deamon band, but I’d like to talk with you about your career up to this point, so audiences—

RM: Yeah, sure.

BM: Well, first of all, go back to the start, just before the start of Saint Deamon. You were in Dionysus, and you released Fairytales and Reality.

RM: Yeah.

BM: And I’ll never forget the quote on the Dionysus website. You are quoted as saying, “This album is so good that you would throw away all other CDs you got only to have this one.” [laughs]

RM: [laughs]

BM: So you guys, a lot of people really liked Dionysus, and loved that album. Things seemed to be looking good for you when, suddenly, you leave. I read an interview with, I think it was Toya, who said that you, “probably left because you didn’t feel you were getting enough support from the other band members.” Is that true? Is that what happened?

RM: Yeah, I mean the music of Dionysus, that was never a problem. It was never some kind of musical different or something. But it was, this is also why I have the bass player from Dionysus in Saint Deamon. There were two people that wanted to work their asses off for doing everything.

BM: [laughs] Yeah.

RM: I mean, everything that you have to do as a professional band outside the rehearsal room, everything, the business side and the lawyers and shit and contracts here and there. And at one point, I felt that, “Ok, we can only reach a certain point with this band.” Which would be ok, I mean, we played with Saxon and everything was super. But it’s the wrong word in English to say I’m greedy, you know, it’s not that I’m greedy, but I really want to have higher goals and higher expectations for my band. And I saw that Dionysus could come to one point, but it couldn’t get longer than that, because then we had to do more work. So it was almost like, I had a good band, everybody is still friends and everything, but I felt like I wasn’t musically satisfied, I want to do more in some way.

BM: Was it the kind of thing where you had been talking about that with the other guys in the band up to the point, or were they just totally surprised when you said you had to go?

RM: No, actually I think it was even two years before I quit, I said it for the first time. And I said it on the Anima Mundi album, it’s an album I’m super satisfied with, the songwriting and everything. Olaf [Hayer] sang like a god on that album also.

BM: [laughs]

RM: And it also had some problems actually. It was a lot of songs we were not able, it can also have to be, I mean it’s not something bad about Olaf, but a lot of singers that sing this kind of high-pitched. I mean, when they start to get closer to 40 than 30, their voice start to suffer, and it was a lot of songs that we couldn’t even play live. And the people came after the show and said, “Hey guys, why didn’t play this song? I was waiting two years to see it, and you didn’t play ‘Time Will Tell.’” And this kind of question. And it was also, to be fair to the audience, we could go on with a smiling face, but behind, like backstage it was a lot of problems. And to do, I mean, we couldn’t give the audience what they wanted, actually.

BM: Yeah. Yeah, yeah. I know that feeling, because Queensrÿche, you know, Geoff Tate used to be able to sing those piercing notes. And now when you watch Queensrÿche on stage he doesn’t do that anymore, because he’s older.

RM: Yes.

BM: So I know what you’re talking about. Yeah. Well, ok, I’ll ask you about those albums in a second. Go back to Sinergy. You have a career where you are in a lot of bands that people really like. I mean, Sinergy, you kinda were brought in on Kimberly Goss, you crank out an album, and then you leave. Their first album for Sinergy, and then you decide to leave that band and start Dionysus. Why was that? Why did you depart Sinergy to form another band?

RM: Sinergy was, from day one, and that was something that I was totally aware of from the beginning, but Sinergy was and still is, I guess, Kimberly Goss’ band. I don’t know if they exist anymore, but she was on the contract. I was hired to play on the album. I got my money for it and so on, but it was not a real band for me. And the same for Sharlee [D’Angelo, bassist], he started to tour, at that time I think he toured with Dismember, and started to play in Arch Enemy. So I mean, it was like Italian football team. [laughs] It was good to play with them and I have only good memories, they were really good guys. But everybody had their focus on some other band. And the only person I couldn’t get along with was actually Kimberly. But it was not that we are enemies or something. But this is the only person I said I couldn’t play in the same band for 10 more years or something.

BM: [laughs]

RM: Then it was better to leave from the beginning and start something new. [laughs]

BM: Yeah.

RM: But I had nothing bad to say about that time. I mean, I still, Yens I still play with sometimes. I even celebrate New Year with him, so everything was super, it was nothing with personal side.

BM: Cool.

RM: But it was unbelievable nice. The best thing is that I had just the chance to play with so great musicians. I said that in some interview somewhere, but it was absolutely the best heavy metal school anyone can get. I was just thrown into this super guys, and we rehearsed, I don’t know, I think we rehearsed like 14 hours a day or something.

BM: Wow.

RM: It was unbelievable. So it was really, really great.

BM: Well, what do you remember most about that first Sinergy album [Beware the Heavens, 1999]? When you remember that time in your life, what stands out the most in your mind about that album?

RM: I think it must at least, the first thing I was thinking about was that we did an unbelievable nice tour in Japan with Children of Bodum and In Flames.

BM: Oh yeah.

RM: And I think just the memories to go out on stage with all this crazy Japanese fans, [laughs]. I think this will be something I will remember all my life. I also was like a newbie there, so it was the first time I spent in front of a huge crowd. And the first show in Osaka and in Tokyo the next day was [laughs] a totally different world.

BM: Wow.

RM: And before I played for, I don’t know, 200 people, you know, something. [laughs]

BM: [laughs]

RM: But also, I really like that album. When I listen to it today, it’s really fresh and everything. You can hear it was like, so many song ideas, and nothing is repeated two times. So it was, we had reached for almost three albums on this. Because to be honest, we rehearsed everything and I think we wrote all the songs in rehearsal room in eight days.

BM: Wow, wow.

RM: The whole album, yeah. And we had, everybody was rented to do this job, and we had to do it, and had to release an album. So it was really super way to work with professional musicians and just to be able to do an album in this kind of terms.

BM: Yeah. You left Sinergy and you formed Dionysus. What do you remember most about that first album, Sign of Truth [2002]? What stands out in your mind the most?

RM: [laughs] This is god’s honest truth. I can’t even put this album into my CD player. [laughs] Because when you listen to this album, you have to be aware of the history behind it.

BM: [laughs]

RM: We had, everything was fantastic. We were driving down to Germany, we recorded in the same studio, the same technicians like Edguy, and we had Tobias Sammet from Edguy, he was our producer. AFM records believed in us like hell, and everything was like, it couldn’t be better. Everything was super nice, free beers and everything.

BM: [laughs]

RM: We record everything there, and we think, “Now, we’re gonna be rock stars.” It was so satisfying. Then we came home and we got a phone call from the technician there. And they said that we had some synch problems when we mixed the album, so nothing was in the right rhythm. The drums did not fit to the bass and guitars and everything. So it was a total mess.

BM: Wow.

RM: So, Newt [Tommy Newton, mixer], I talked to him on the phone and he said this was the worst production he ever mixed in his whole life.

BM: [laughs]

RM: He said it was unbelievable. He had to manually put everything together, because there was no synch between the instruments or some reason.

BM: How does something like that happen to professionals in the studio?

RM: I can’t believe, I think this was also pre-ProTools system and stuff, so it was some horrible analog shit that they recorded. But it was not from Newt, the problem. It was before. But we were so satisfied when we went home to Sweden again. But then when we get the album, we couldn’t believe. I mean, there are drums still on this album I never played even. [laughs]

BM: Yeah, yeah. So it’s not even—?

RM: I think the songs are pretty good, but on the album, if you compare the first album to the second, then you hear how it was supposed to be played. [laughs]

BM: [laughs]

RM: I’m really satisfied with the second album. Everything was working super then.

BM: Well, tell me about that second album [Anima Mundi, 2004], then. What do you remember most about that, and were you kind of afraid the second time, the same thing would happen that it did on the first album? Or were you confident it wouldn’t?

RM: Yeah, we were super afraid. Was like, we were actually paranoid about it.

BM: [laughs]

RM: But then we had to, it was really strange, because first, you know, they have this expression, don’t walk over the sea to get water.

BM: [laughs] Yeah.

RM: So this one, instead of going to Germany and spend shitload of money with famous producers and shit, we were driving, I don’t know, three kilometers to our closest studio. At that point, it wasn’t famous. His name is Jens Bogren. Now he did Paradise Lost, and Opeth, Katatonia, Hammerfall, Dionysus, Saint Deamon. He did a lot of bands now.

BM: Yeah.

RM: But at that time, he was also a newbie. So it was just spur of the moment, just pure luck that we find it there. So it’s three kilometers from my home.

BM: Wow.

RM: And we recorded everything there, and it was, everything was super. But what I remember most about this album was probably the tour we did with Saxon for four weeks. So it was Saxon, Doro, and Circle II Circle.

BM: Yeah, yeah.

RM: So this also brings up some cool memories. So when we heard about that Circle II Circle was being in ProgPower there on Wednesday, it’s gonna be a blast, because we had a real nice time with that band.

BM: Oh great.

RM: We shared the tour bus in four weeks, so [laughs] we got to know each other pretty well then.

BM: [laughs] Well, tell me then about the second one, the final one then, Fairytales and Reality [2006]. Did you know going into that recording that it may be your last one with the band?

RM: Yeah, it wasn’t, one thing that I’m, today when I look at it, I’m quite honored. There is one song there on this album called “The Spirit.” Which were penned by our guitarist, Johnny Öhlin. And was, I didn’t know that when we recorded it, but later on the bass player said that this song is about me.

BM: Oh wow.

RM: And it’s about that I had, yeah, basically the lyrics is about they didn’t want me to leave the band.

BM: Oooh.

RM: So they sing in the chorus, they sing something about, so don’t lose the spirit or something like that. So I didn’t know when we record it, but later on they told me that, yeah. So it was almost like yeah, a little sad, because in one way, I really liked the guys and everything. But on the other hand, it was, you could say that people were a little too lazy, you could say. It was nothing wrong with the personality and the musician, it was just that, and there’s nothing wrong to just want to focus on the music. But I guess I find out the hard way, if you want to do any kind of money or at least survival to play this kind of music, you have to deal with all this other shit around it. You, I mean if you only practice your instrument and write good songs, you can get quite far, but you can never pay your rent with it.

BM: [laughs]

RM: And I have to. You have also what I call the reality.

BM: Oh yeah. Well, the end of Dionysus, then, you turned in your notice, you had to leave. It looks like you left on good terms, I guess they say it in the States. You said you’d tour with them through 2007, and you’re still friends with them. So you must have broken things up pretty well.

RM: Yeah, and also, after a while, I tried to get the bass player there. But he was also in, I guess a kind of strange position there, because he played with the guitarist. They played until I think from they were the age of 15 or something.

BM: Yeah.

RM: And I mean, now Johnny, he’s 40 now, so I can guess that wasn’t an easy choice for them. Because now today, Dionysus said on the AFM homepage that they officially split up now.

BM: Oh did they?

RM: But I think it was a very hard decision for our bass player to leave Dionysus, because he know that if he would leave the band, then yeah, eight years would be gone.

BM: So that’s news, then. I didn’t know Dionysus actually spilt up.

RM: I just got an email from one gal that works at AFM, that today we got the information from Dionysus that they officially split up. So I don’t know if they, I think they’re gonna release some kind of best of or something.

BM: Yeah.

RM: Later on. But what I heard at least is that now it’s totally dead now.

BM: Well, tell me about this. You leave that band, you want to start a new one, and I guess what you’re saying, and what the interview with Toya said, is you want people who are really into it, they want to put a lot of effort into it, you want them to succeed. How do you know this band that you just put together will be all those things to you?

RM: I think, how I can be sure about it, probably, if you start with Nobby, I played with him for eight years in Dionysus. And I know him so well, what he can do and so on. The guitarist, Toya, we actually started together in the music university, and I see him play every week. He play with a lot of cover bands. He’s one of the most hired guitarists in this area here around. And I mean, if you know that somebody’s always out playing and you know that he live from this also, then you know that he can take care of the music business side as well.

BM: Oh yeah, yeah.

RM: So it was like so natural, I didn’t need to check him. I just could see, ok, this guy he pays his rent by playing guitar, so [laughs] he doing something right there.

BM: [laughs] Yeah.

RM: And the thing with Jan Thore, he is actually still does now, he is actually still working on, it’s really funny, he’s working in this karaoke bar in Norway, in Oslo.

BM: Oh really?

RM: He sings, I don’t know, 10 songs each night and get people up there. So he’s kind of showmanship. He’s like hired to do this kind of stuff, and do this every day. So he’s also professional in a way, and did this a lot of time. And I think this is also, I mean, everybody was already doing music full time, seven days a week. So this is also what’s different from Dionysus members.

BM: How long did it take you to come up with the name of the band? I read somewhere that it’s, the name sort of represents the dark and light sort of parts of your music. But is it true about that fictitious ship, the S. Deamon?

RM: Yeah.

BM: Really? How did you find that out? How did you find that information?

RM: I actually, when he had the, first of all, long, long, long before we had even Jan Thore in the band, we had a different singer called Tobias Lundgren. And he’s also a really, really good songwriter. He’s a professional songwriter. I don’t know, do you know about this Eurovision Song Contest in America?

BM: No.

RM: It’s a huge kind of melody festival every year that happens, and millions and millions of people is watching this. And this Tobias, he’s a really, really great composer, and he’s also one of the guys, I don’t know if you know this song, “Seven Seals” from Primal Fear?

BM: Oh yeah, definitely, yeah,

RM: Yeah, he was, me and him and Mat Sinner was writing this song. So he’s a really, really great guy. And he was actually, his nickname was Saint Deamon, so this is where we get the idea. But then later on, we had to find a new singer, because he was not really, really into metal and stuff, but he’s a great guy anyway. So we got the idea from his nickname, and then we, you could say that we construct everything around this name with this ghost, fictional ghostwriter, and we start to write lyrics about it. We said, “Ok, this is a cool theme. And we should do some kind of image about it.” But basically, what we say that Saint Deamon stands for is that, you could say that nothing is really black and white if you talk about people for example. I mean, everybody has a little evil in them or whatever.

BM: [laughs] Yeah.

RM: So it’s not always, yeah, and it’s also about what you bring out of a person. If that person will be something black or something dark or something great or whatever.

BM: Yeah.

RM: It’s little philosophical, maybe. [laughs]

BM: Well that’s cool. Is the, the band came together, was one of the first members Nobby?

RM: Yeah.

BM: Did you first start talking to him about the gig?

RM: Actually, I had I think, from the really, real beginning when I thought it, was actually two members, Tobias and one other guy as well. But when we start to compose songs and everything, found out that they were not so focused that they want to do this full time. They were still writing songs, but they said, “Ok, we write songs together.” We live nearby, so we’re like close friends from my town. But we have to find new members. Then I find Toya and Jan Thore and Nobby. So Nobby was actually playing on our pre-production before he was into the band.

BM: Oh really?

RM: Because he had to do this hard decision about Dionysus. So in his mind, he was already going to Saint Deamon from Dionysus, but it took a half year or something before he take the decision, talk to the other members.

BM: Yeah. Well, I think I’ve read in an interview or an article or something where it said you searched for a vocalist on the Internet? Tell me about how you found Jan Thore.

RM: There’s extremely nice and super talented A&R at AFM records, his name is Markus Wosgien, he was actually manager for Hammerfall before. And he was a huge part of the Hammerfall success with “Hearts on Fire” and all this songs. And he heard our earliest, earliest demo, with Tobias Lundgren on vocal, actually. And he really liked the songs. And when he heard about that we needed a new singer, he emailed me the name Jan Thore Grefstad, from a band called Highland Glory. And I have never heard about him before. So I just call him up and I was really, first what I was thinking, “Ok, this guy sing like a god. Why the hell nobody hired him before? Does he have two heads or something? What’s wrong? Why nobody took him before?” [laughs]

BM: [laughs]

RM: But to me, it was unbelievable. But then later on, I found out that he was actually doing a lot of stuff with famous musicians. For example, I think he did at least 150 gigs with TNT guitarist, Ronni Lé Tekrø.

BM: Wow.

RM: Yeah, so he was touring a lot of cover bands and stuff with really famous musicians, but he never had a chance to be in the real heavy metal band. He also, he did a lot of demos and stuff, but he never got the chance to do a really great band. He was actually quite funny. When Jorn Lande was splitting up with Masterplan, they were even talking to Jan Thore at that time, to be the new singer in Masterplan. And then Uli Kusch left and everything, so I don’t know what’s happening there. But it was, I think it was pure luck that we had the possibility to take him before someone else did.

BM: Oh yeah. So you hadn’t heard his Highland Glory albums?

RM: No, no. I have never even heard about the name. I don’t know why, but I think it’s something with the new climate in Sweden. It’s really strange. It’s a lot of super good bands from Norway, but they never get a chance to be played in Sweden. I don’t know why. Maybe it’s a little brother complex or something between these countries.

BM: [laughs]

RM: Because, I mean seriously, so many good bands I find out now from Jan Thore that I never heard about before. And they know everything about Sweden, so I guess Swedish people is little and narrow-minded, maybe.

BM: [laughs]

RM: Yeah, something. [laughs]

BM: To my ears, Saint Deamon sounds like a cross between Highland Glory and Dionysus. It’s got his powerful voice, of course, and riffs galore, but it’s got sort of that power metal sound that Dionysus had. So it sounds like both bands put together, almost.

RM: Yeah, maybe, maybe.

BM: Well, tell me about, you’ve played some gigs live now with your songs from the first album. Which one is the real kick-ass one? Which song surprises you to play live that the audience just goes crazy over?

RM: Ooh, I think “Ride Forever” is one, or at least when it’s really packed with people, and people are [laughs] drinking beer like crazy.

BM: [laughs]

RM: But I think that song is, we have some, at least live, it gets almost some kind of AC/DC vibe to it. It’s quite basic, but I think it sounds even better live than on the studio album. So maybe that one. But even now, the album isn’t that long, so now we actually rehearsed two Dionysus songs, the “Anima Mundi” song and “Illusion of Life.” And then we also rehearsed “Forever Endeavour” with Highland Glory. So we actually have two Dionysus songs and one Highland Glory song to play live now.

BM: That is cool.

RM: Yeah. Because a lot of people always ask us about, “Oh, but can’t you play some Dionysus or Highland Glory? I never had the chance to hear it before life.” So actually, we didn’t plan to do this from the beginning, we said, “Ok, we are a new band with our first album, let’s promote that.” But now everybody know that this is not a side project or whatever, so we decide that, since all people always email that, “Is it possible that you play at least some song live from Dionysus, and Highland Glory.” So we said, “Ok, if the people want it done, we will do it. No problem.”

BM: So you play “Illusion of Life” and “Anima Mundi”?

RM: Yes. And “Forever Endeavour” from Highland Glory.

BM: Man, those are great songs. Yeah.

RM: Yeah.

BM: Good deal.

RM: And we also, I don’t know if we’re gonna do this, but really strange idea, but it’s turned out to be great. When I was visiting Jan Thore in Uster in this karaoke bar, he was singing, this was one of the biggest moments in my life when he was singing this, then I heard, it was actually before we start to record the album. And I was just going there to check him out and just know him socially and everything. And he was singing a Christina Aguilera song called “The Voice Within.”

BM: [laughs] Really?

RM: In the original key, for a girl.

BM: [laughs]

RM: And it’s high, like hell. And I was sitting with my beer, and I was thinking, where does the sound come from? It can’t be live, it must be recorded or something. It was so unbelievable.

BM: [laughs]

RM: So we actually rehearse the song now with Saint Deamon, just for fun. So we’re gonna do it live also sometime.

BM: Really? [laughs] The Christina Aguilera song you’re gonna do? [laughs]

RM: [laughs] Yeah.

BM: That’s great.

RM: Yeah, but he do it in his own way. It’s a famous song, but it’s really a song where he gets a chance to shred like Yngwie can do on his guitar. Here he has his chance to shred with his voice kind of.

BM: [laughs] Oh, that’s cool.

RM: Just to show his unbelievable vocal performance. You get goose bumps when he do this.

BM: Wow.

RM: And it’s so good when he do it, you don’t think it’s, it’s almost untrue. You’re really like, “Wow, how can he do it in the original key?”

BM: Wow.

RM: Unbelievable.

BM: [laughs]

RM: [laughs]

BM: Tell me about the songs on the first Saint Deamon album. Which ones did you come up with first, and which ones were the most difficult to create? Or were they all really easy?

RM: Yeah, from the songs, I can take from the beginning. “My Judas” was from original made for Saint Deamon, and also to get a little different. And the first thing I was thinking about when we start to compose this was that I want have a lot, not a lot, but some songs that was different from the kind of

- end part one

NOTE: The entire interview can be found in the ProgPower USA IX program given to all attendees at this year’s metal fest.

Tags: Interview //