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PAIN (PETER TÄGTGREN)

“PSALMS OF EXTINCTION” IS THE FIFTH PAIN ALBUM WHICH IS DUE TO COME OUT IN MAY. THE SOUND AND THE SONG WRITING HAVE CHANGED QUITE A BIT OVER THE COURSE OF ELEVEN YEARS. WOULD YOU SAY THAT THE NEW SONGS REFLECT YOUR VISION OF A PERFECT PAIN ALBUM THE BEST? I think definitely, I mean you constantly change in your mind and I guess that rubs off on writing stuff. But, I mean, my main thing has always been – with Pain – is to do my own thing, sit in my studio and don’t really care what’s going on in the world. I just have my visions and I put it down on the tape, mixing all kinds of stuff. It’s just a big experiment for me because since I come from a death metal and black metal background – but always been a sound nerd – it’s… I started listening to goa, and trance, techno like in mid-nineties and that really blew my mind with all the sounds and stuff like that but I’m also like in the beginning of the seventies and stuff like that, like Jean-Michel Jarre, because my dad was totally into him. So he was feeding me that every day, you know. So I’ve always been into keyboard sound or whatever you want to call it, and it’s just something that I really wanted to do. But I didn’t have any bands to try this stuff on, so I had to create my own band. And that’s really how Pain came out. And that’s how it’s been developing album from album, and hopefully it’s been sounding better and better because I learn more and more as I go, you know. WHEN YOU STARTED LIKE TEN YEARS AGO – ESPECIALLY IN THE BLACK AND METAL SCENE YOU JUST MENTIONED – THERE WASN’T REALLY ANY BAND THAT SOUNDED LIKE YOU. THAT HAS CHANGED IN THE LAST YEARS, NOW THERE IS A WHOLE GENRE CALLED “SYMPHONIC BLACK METAL”, ALSO A LOT OF DEATH METAL ACTS ARE EXPERIMENTING WITH ELECTRONIC SOUNDS NOWADAYS. WOULD YOU GO AS FAR TO SAY THAT MAYBE PAIN HAS RUBBED OFF ON THEM AS WELL – OR THAT YOU WERE INFLUENCED BY SOME OF THOSE BANDS? I don’t know. Not really. I mean for me it was more or less combining different kind of styles, you know. It was more like Billy Idol in the nineties kind of feeling, you know. I like that stuff. It’s easy, it’s AC/DC drums, very straight and you can definitely clap your hands to it. But then also you want it more brutal like PANTERA riffing on top of it, and then all these crazy layers of sounds that you have, yeah, from the techno scene, the goa trance, and also the industrial stuff. For me it was just a big experiment. The last thing that really was important was the song itself, but now it’s vice versa. Now I think more about the songs and then I try to write better songs and try to put in different sounds that I haven’t used before, like for instance, when I do a drum loop nowadays I make the drum loop myself. Before I was, you know, just taking it from drum loop CDs that you can buy and stuff like that. Now I can do drum loops of anything, like unplugging a guitar, you know, you get like a click or whatever. You start with that, you cut it up and detune it and also I started making drum loops out of everything: slamming doors, and dropping a spoon on the floor, whatever, you know, for the new album. So in a creative prospect for there was just going nuts, you know, and no boundaries. And that’s how Pain always been, you know. There is not a typical Pain song, you know, sound or whatever. I just try to develop all the time. THERE ARE SO MANY DIFFERENT STYLES ON “PSALMS OF EXTINCTION”. OF COURSE YOU GOT THE FUSION OF ELECTRO AND METAL PAIN IS WELL-KNOWN FOR, BUT SOME SONGS ARE ALMOST PURE METAL, WHEREAS A SONG LIKE “BOTTLES NEST” COULD BE AN UPCOMING “DRINKING CLASSIC”… DO YOU CONSCIOUSLY WORK ON THAT VARIETY? I mean, on this last album there was only one goal that I really had to make the album more dynamic. Because usually a Pain album is like a wall of noise, I just wanted to put some more air into it and maybe sometimes turn away the guitars to get some room to breathe, and try to get this rollercoaster effect on the album. Like fast, slow, intensive, and then back to soft again and all just to make it more interesting. And same with the vocals. I put a lot of time into putting in different vocal styles into different songs or in different parts of songs just to make it more interesting for myself, because it gets boring to sing the same way through all the songs. And every song has its own vocal style I think. HATS OFF TO YOUR SINGING ON SOME OF THE SONGS! MY PERSONAL GUESS WAS THAT YOU TOOK SINGING LESSONS IN THE LAST YEARS. AM I CORRECT WITH THAT? No… ON „PLAY DEAD“ THAT’S SOME EXCELLENT SINGING… Oh, thank you! No, I think I got a little bit more self-confidence. Also in the mix I turned up the vocals for once because it’s usually buried in all the sounds. But this time it felt much better, and I put a lot of effort in to make it good, you know. Yeah, I had more confidence to put it in then, you know. HOW LONG DID IT TAKE YOU TO LAY DOWN THE VOCAL PARTS FOR THAT SONG? To do the whole album or…? MY GUESS WAS THAT „PLAY DEAD“ PROBABLY TOOK YOU THE LONGEST, BECAUSE I FIGURE IT MUST BE HARD TO SING SOMEONE ELSE’S SONG – ESPECIALLY WHEN YOU’RE COVERING A FEMALE VOICE… Not on „Play dead“. Actually that was one of the fastest songs. I mean, to do a cover is always weird, and especially when it comes to BJÖRK because she has a totally different style. But somehow it kind of clicked in my head, so that was one of the easiest ones to sing to be honest. Don’t ask me why. I don’t know how it’s gonna sound live but in the studio it was the one that was less stressful than the others. So I guess maybe it clicked in my head with her melodies and mine, you know. YOU ALWAYS SAY THAT YOU NEED TO HAVE A VISION OF A SONG. WHEN A VISION POPS INTO YOUR HEAD, DO YOU WORK ON THAT SONG OBSESSIVELY UNTIL THAT IDEA IS FINISHED OR WOULD YOU GIVE AN IDEA THE SPACE TO DEVELOP INTO SOMETHING ENTIRELY DIFFERENT? No, not really. I mean, when I get a vision of like a melody or a riff on the guitar, I have to lay it down on a track, and then I start building things around it, and see how it just builds up. And sometimes my vision in my head is not the same as it comes out. So I have to redo a lot of stuff and try new things and new sounds and new ways. And then after a lot of work, it’s: „Ok, now it’s good!“. But that was only like fifteen seconds of a song. And now it’s time to build on. So I mean, after the first riff is done then I have no idea how the song is gonna end, you know. I just go like, it’s like running in the woods naked, in the middle of the night. And you don’t know if you’re gonna hit a tree or if you come out to a big space or whatever. It’s always an experiment for me. I never know… There is only a few times when I have like: „Ok, I wanted to make this kind of song and it’s gotta be all these parts in there!“, you know. That’s very rarely for me. SO YOU WOULD GO WITH THE LINE: „A SONG IS NEVER FINISHED!“? No, I’ll sit and finish them. If it takes forever, cause I’m very stubborn. And then at the end when I have like fifteen or twenty songs I throw away maybe half and then I start (to) put vocals on the rest that I have good visions for the vocals on them. SO YOU’RE ONE OF THE MUSICIANS WHO CAN WORK ON A SONG FOR AGES UNTIL YOU’RE ABSOLUTELY HAPPY WITH IT? Yeah, definitely. I mean, I don’t like to give up. It’s not in my nature to give up things easily if I believe in things. I just do it. BUT HOW DO YOU DEAL WITH IT WHEN YOU GET STUCK AT A CERTAIN POINT – ESPECIALLY SINCE YOU’RE WORKING ALONE IN YOUR STUDIO. DO YOU EVER GET A „WRITER’S BLOCK“? Yeah. I don’t really have writer’s blocks, but I have maybe idea drain, that I don’t know what is the next part. And I’ll sit and I’ll try different things, and it could take me two or three days. I just keep on going until I get it. It’s like giving birth to a melon. TO A MELON?! YOU GOT SOME NEAT COMPARISONS: FROM RUNNING IN THE WOODS NAKED TO GIVING BIRTH TO A MELON…NICE! LET’S GET TO SOME OF THE SONGS HERE. „BOTTLES NEST“ IS OBVIOUSLY ABOUT DRINKING. I WAS WONDERING IF THAT INSPIRED BY A PARTICULAR EPISODE? IT SOUNDED KIND OF PERSONAL TO ME… Yeah. It is kind of… It’s people who know me they know it’s a biography of me, when I try to be sober and smart and so on, and then all suddenly: master of disaster comes out of me and then all hell breaks loose, you know. (laughs) And I just wrote about it. So I mean, most of the songs are like just either things that I think about, or things that I experienced or things that I really feel that I need to get out of my system. ON „PSALMS OF EXTINCTION“ YOU WORKED WITH A FEW GUEST MUSICIANS. IT’S WIDELY KNOWN THAT YOU’RE GOOD FRIENDS WITH CHILDREN OF BODOM, SO IT WASN’T SURPRISING TO HEAR ALEXI LAIHO ON THE ALBUM. BUT HOW DID YOU GET IN TOUCH WITH MIKKEY DEE? DID HE APPROACH YOU? Well, I’ve known,- not known, but it’s like a festival friend. You meet up at the festivals, like: „Heeey, what’s up?“, you know, drinking, drinking and talking. And then we did a tour in Sweden of „Dancing with the dead“ tour. And he was actually in Gothenburg checking it out. So he came backstage, and he’s like (imitating a drunken Mikkey Dee): „Yeah, I wanna play on the next album (hicks up)“.And it was kind of fun, we were just talking, having a good time. And then when I was doing „Zombie Slam“ I coudn’t get it to… the drums, I didn’t get the right feeling when I was playing it and stuff. And it just felt like it should me more rock ’n roll/metal kind of feeling into it. And then I was just like thinking. I was like: „Pling! Oh yeah, Mikkey Dee wanted to play!“ So I called him up and he came up a week later and put on the drums. And that style fitted in perfect I think. WHEN I FIRST HEARD „ZOMBIE SLAM“, IT REMINDED ME A LOT OF THIS CLASSIC SISTERS OF MERCY SONG „TEMPLE OF LOVE“: THE ATMOSPHERE, THE BEAT AND ESPECIALLY THE WAY YOU’RE SINGING IT. HAS THERE BEEN ANY INSPIRATION OR A REFERENCE LIKE THAT WHEN YOU CAME UP WITH IT? I don’t know. I mean, I sang a little bit like that on the second album with Pain, and I kind of lost the way of doing it over the last couple of albums. And I really wanted to bring it back a little bit. And the song itself is so – I don’t know – rocky, you know, rock ’n roll-ish kind of feeling to it. And so I was just trying different kind of vocal styles on it. And it felt most comfortable to sing like that. And it fitted the best to the song I think. I take song by song and I try to see the whole picture of the song. And that was the best picture I could paint of that song. So… WHEN YOU LOOK AT THE LIST OF GUEST MUSICIANS IT’S VERY OBVIOUS, THAT YOU JUST USED ARTISTS THAT ARE IN METAL BANDS: MIKKEY DEE (MOTÖRHEAD), ALEXI LAIHO (CHILDREN OF BODOM) AND PETER IWERS (IN FLAMES). HAVE YOU EVER THOUGHT ABOUT BRINGING SOMEONE IN FROM THE OTHER SIDE OF THINGS, ONE OF THE CHEMICAL BROTHERS FOR EXAMPLE? TRENT REZNOR? AL JOURGENSEN? Peter. I mean, it was all just a coincidence really. I mean, after Mikkey Dee played drums he went back to Gothenburg and I guess Peter from In Flames heard that he was up, so he called me up and like: „Hey, why won’t you let me play? I wanna play to!“ And I was like: „Yeah, sure! You wanna come?“ So he came a week after that and he put bass on one song. And then we – it took him ten minutes and that was it, you know – and then we looked at each other and we were like: „Ok, what do we do now?“ And we were like: „Ok, let’s do another song!“. So he put bass on two songs. I took away my bass and he put it on. So I mean, it’s just a coincidence really. Of course it would be nice to have someone from the other side, but I really don’t know too many people from the other side, you know. And I mean, the whole idea of having guest musicians wasn’t really to try to sell the album. Because if I wanted I could have a guest musician on every song, or two or three. The whole point was just to do something different and really get their help. So it wouldn’t be a different vision. I mean, Alexi’s solo on this-, on the song that he did required a guitar hero solo, not my bluesy kind of solo. It definitely needed someone who knows how to play. And I only know one guitar hero, and that’s Alexi. So he’s the man, definitely when it comes to solos and everything. So it was just a cool thing that he wanted to do it and stuff, you know. IT’S HARD TO BELIEVE THAT YOU DON’T KNOW ANYONE FROM THE ELECTRO/ INDUSTRIAL SCENE. I THOUGHT MAYBE YOU COULDN’T STAND THE IDEA OF SOMEONE COMING IN AND TWISTING AND TURNING THE KNOBS AND CHANGING YOUR SONG…? No, that would be great but I don’t even think they would be interested, you know. (laughs) So… No, I’m always open for ideas, you know, definitely! LET’S GO FOR THE LIVE SITUATION. PAIN IS MAINLY YOU, BUT WHEN YOU WANT TO GO ON TOUR YOU NEED TO TAKE IN ADDITIONAL MUSICIANS TO PERFORM. ARE YOU CHANGING MUSICIANS FOR EVERY TOUR OR ARE YOU HOLDING ON TO THE MEMBERS? No, I mean, it sucks when you change people for live and stuff because, people in the audience, they get kind of confused: „Why is it a new person this time?“ And it’s… I mean, last time I had two girls from Germany and it was really hard to fit in with all the flying and stuff like that, since I live in Sweden, and to coordinate everything. That was really a shame because we had really good times on tours and stuff like that. But this time all three of the guys who are in the band, now for live, is all three living in Stockholm, ten minutes from each other. So it’s much easier to do things now, to just wake up and like: „Ok, we gotta go there!“ or „We gotta do this!“, you know. That was the biggest problem, you know.+ YOU DECIDED TO PLAY GUITAR WHEN YOU PLAY LIVE. DID YOU FEEL KIND OF NAKED WITHOUT ONE? Yeah. I don’t know, I was so paranoid the first time we went out with Pain in like 2000/2001. It was like: „Oh shit! I don’t know if I can sing this live! So I better not play guitar and just focus on the singing!“ And it felt very naked and uncomfortable and people were saying the same thing, so… And I’ve seen it, I understand that. And on the last tour I was just like: „Shit, man! I gotta start playing guitar again with this!“ And all suddenly, when I started playing guitar it felt more comfortable and I was actually singing better then of some weird reason. So it’s definitely gonna be guitar for me live. OBVIOUSLY THE MUSIC APPEALS BOTH TO THE METAL, THE ELECTRO AND THE INDUSTRIAL CROWD… And gothic people! YEAH, AND THE GOTHIC PEOPLE. SO YOU ALSO GET THE BEAUTIFUL GIRLS IN THE CROWD, NOT ONLY STINKY METAL HEADS… (laughs) Yeah, exactly! You know, that’s a bonus. ANYWAYS, THESE SCENES ARE QUITE DIFFERENT. IN HOW FAR ARE THEY DIFFERENT AS AN AUDIENCE? IN HOW FAR DO THEY APPRECIATE THE MUSIC DIFFERENTLY? I think especially in Scandinavia there is – in my audience – there is people that’s from six years old up to sixty years old up. It’s anything from bikers to gothic to death metal to rock people to pop people. It’s very mixed and I think it’s cool. It’s a little bit of this and a little bit of that everywhere. And also the fans, it’s not just typical metal people who listen to heavy metal or death metal or whatever, or gothic. You know, it’s just regular people that doesn’t look like they listen to distorted music. I don’t know, it’s hard to describe, it’s so mixed and I mean, I think it’s cool. I’M QUITE SURE NOT EVERY METAL FAN – OR EVEN JOURNALIST – UNDERSTANDS PAIN TO ITS FULL EXTENT. WHAT WAS THE WORST MISCONCEPTION SOMEBODY EVER CAME UP WITH? I mean, I’ve seen reviews that says like… they have to have a, you know, if it’s death metal or if… And it says „dance metal“ (laughs) „What?!? Ok…“ So I mean, I mean, some… I never really got any like pissed metal people because those who are just plain death metal people they are more like: „Ok, I like Hypocrisy, I don’t like Pain!“ And that’s it, and that’s fine. I don’t expect people who listen to Hypocrisy to like Pain because it’s just my own experiment that I’m doing. And it’s also the same with people who like Pain. They are like: „Oh, I don’t understand HYPROCISY! It’s just a bunch of noise, but I like Pain!“, you know, so… But there is also this crowd that really likes both bands. So it all depends how you are. And nowadays people are not so narrow, just: (lowers his voice) „Only black metal! Only death metal!“, you know. A lot of people listen to a lot of stuff. “THINK AGAIN” HAS SUCH A STRONG EIGHTIES FEEL THAT I COULDN’T HELP TO THINK OF BANDS LIKE PRETTY MAIDS OR SOME EIGHTIES HAIRSPRAY METAL BAND. YOU CAME UP WITH A PRETTY NEAT POWER METAL BALLAD THERE… Oh my God! THINK ABOUT IT…. Yeah, I just think about it. (laughs) No, I don’t know. It’s just a kind of a ballad. And, yeah, maybe it could be, maybe not. I don’t know. I didn’t think about doing like “Still loving you” with Scorpions, you know. (laughs) It’s just… the song is just based on so many violin parts and stuff like that. And that was the main thing. And then when I started putting on the acoustic guitar and stuff like that maybe it changed to the eighties, I have no clue. (laughs) BUT I CAN’T BE THE FIRST JOURNALIST WHO BRINGS THAT UP, THAT IT SOUNDS LIKE A POWER BALLAD… Oh, God! Yeah, you are actually the first one and now everybody is gonna be like that. NO, NO, NO, NO… I think it’s a good song. A lot of emotions and a lot of good melodies in there, and the lyric is pretty heavy also.. So… IN THE BIO IT SAYS “THERE IS NEVER ANY LUCK IN PAIN WORLD” AND THAT YOU HAD TO DEAL WITH A LOT OF BAD LUCK. WHAT WERE YOU REFERRING TO IN PARTICULAR? I mean, it’s just been really chaos with the record company and the management that I had until recently, it’s just been… I mean, nothing comes for free, you don’t get a free ride like some bands you see like, whatever.. You really… That’s what I said to the new manager: “Welcome to, you know, mission impossible!”, but it’s always how I felt with Pain. I had problems with Universal outside Scandinavia. I mean, Scandinavia has been very good, but outside of that it’s been hard for people to find Pain albums, also promotion-wise and stuff like that. It’s been really, really not on priority list for Universal. And also I had a management that didn’t give a shit. They didn’t want to do anything and-, But now it changed; now I’m on Roadrunner, good indie label and they are hungry to make this. Also a very good management, so I think definitely everything is looking brighter. HAVE YOU EVER BEEN CONFRONTED WITH A SITUATION WHERE YOU FELT YOU HAD TO CHOOSE BETWEEN YOUR THREE MAIN FIELDS: HYPROCRISY, PAIN AND YOUR WORK AS A PRODUCER? No, not really. I take everything as it comes. Right now HYPROCRISY is taking a long break because we did five tours on the last album. That’s a lot. So we’re kind of fed up with each other, we need a vacation. Michael is gonna have a kid and Horgh is working with Immortal for some shows this summer. And I don’t know where that’s gonna lead also. And I’m putting a 100% into Pain right now. I don’t know if it’s gonna be for the next year or if it’s gonna be for the next two years or whatever. But another Hypocrisy album is definitely gonna come out. But we don’t know when. YOU STATED THAT WITH THE NEW PAIN ALBUM YOU WANT TO CONQUER THE WORLD AND MAKE THIS “THE BIGGEST FUCKIN’ BAND IN THE WHOLE GENRE”! THAT’S SOME SELF-CONFIDENCE HERE… Yeah, yeah, yeah. I mean, I’m ready, ready to go! It doesn’t mean in a bad way that I think I’m the best in the world. I just mean I’m ready to fuckin’ rape the world. Stick it down their throats! BUT I GUESS YOU DID REALIZE THAT PAIN HAS A LOT MORE COMMERCIAL POTENTIAL THAN HYPOCRISY? Yeah, of course, because it’s totally different elements. It’s a different kind of music than from Hypocrisy. But I mean it’s not really that. The problem was, like I said, it was lack of-, bad interest from management there and record company. That’s why it was so frustrating because if you look in Scandinavia it’s so much big difference, because there they really pushed it and they really got it to extreme. It was one of the biggest metal bands in Swedish history. And then you go outside of Scandinavia and then there is like: “Oh, I don’t know… We have to push BON JOVI, you know! We have to push EMINEM now so we can’t push you!”, you know. That’s… I don’t know, whatever. But that’s different now. Now it’s high priority here on Roadrunner and it feels good. DO YOU THINK IT WILL FLY IN AMERICA? HOW WOULD YOU GUESS ARE YOUR CHANCES ON THE AMERICAN MARKET? I don’t know yet. I have no idea. I mean, I get a lot of mails from people in America. And also when I’m there with Hypocrisy there is a lot of Pain albums coming out that they want me to sign and stuff like that. And right now they are working on trying to find the right label in America. We got some offers here and there but nothing that really is what we want, you know. But we’ll see. Maybe it works, maybe it don’t. We have no idea. It should be able to work, I mean, I don’t know. It’s the wrong person to ask. SOMETHING ENTIRELY DIFFERENT: I READ THAT YOU WERE ELECTED THE MAYOR OF A SMALL SWEDISH VILLAGE. HOW EXACTLY ARE YOU REPRESENTING THAT VILLAGE AND HOW DID THAT HAPPEN IN THE FIRST PLACE? No, no, no. It’s my village that I bought. It’s very small, so it’s no big deal and I don’t know about mayor. I mean, I own this shit so I guess… Nah, there is no mayor or anything like that. It’s just like, I bought a village where I want to live and where I want to die really. So… And I have some apartments and houses that I rent out. It’s very nice, it’s out in the woods by a lake, and that’s where I have my studio also, and nice and peaceful place. I mean it sounds crazier than it is. The village is about seven houses or eight houses. So it’s not a very big deal. So, it’s a good place to come back from touring. When you’re on tour, you’re always in main cities and stuff like that. And when I go back home it’s totally quiet, nice. So it’s good to have two different worlds: one rock star world and one daddy world. WOULD YOU SAY THAT NATURE IS ALSO A GREAT INSPIRATION FOR YOUR MUSIC? I don’t know. I always grew up in it so I have no idea if it inspires me or not.. It’s hard to say. It’s nice to have it, definitely. I think it’s a good stress reliever, definitely for people who always live in the big cities and stuff like that. When they come out they are like: „Oh, it’s so quiet!“, „It’s so nice!“. They are like. „Wow!“ They can’t believe it. And that’s, I guess, since I’m used to it, since I was a kid I had no clue. USUALLY WHEN AN ARTIST WRITES AN ALBUM IT USUALLY REFLECTS WHAT THAT PERSON HAS BEEN EXPOSED TO IN THE ONE OR TWO YEARS BEFORE THAT. ARE YOU ABLE TO TOTALLY BLOCK OUT YOUR ENVIRONMENT WHEN YOU WRITE MUSIC? ARE YOU IN YOUR OWN LITTLE WORLD OR IS THERE STILL OTHER INPUT? Like I said, since I live in a very small village I really don’t look what’s hip, what’s in and what’s not. The music is always different and inspired by different things that I hear, or things that I want to take Pain to a different way. I mean, when I write a song I have no clue where it’s gonna go until it’s done. But when it comes to lyrics, yeah, lyrics are pretty much for the moment, what happened the last two years, or things I don’t like, people I don’t like, or things that I see that are bad, or whatever. I usually write that down. AS EVERYBODY KNOWS YOU STARTED OUT AS A PURE METAL HEAD IN THE EARLY EIGHTIES. LATER YOU GOT IN TOUCH WITH GOA, TRANCE AND TECHNO. CAN YOU REMEMBER YOUR FIRST IMPRESSIONS WHEN YOU LISTENED TO THOSE STYLES FOR THE FIRST TIME? DID YOU LIKE AND UNDERSTAND IT RIGHT AWAY? No, I hated it. I could not understand how you can play a seven minute long song and make it interesting, you know. So that was weird. But, like I said, in the seventies my dad always played Jean Michel Jarre and all the other weird stuff, the old synthesizer mad wizard people. But when the techno and stuff like that came out it was like: „What the fuck is this?`“, you know. „It’s so boring and shit!“ And then I start… A friend of mine was always playing this shit. And I don’t know what happened. I just started getting into it more and more, and I started listening to the sounds and stuff like that. And it just grew on me, and I was stuck. That was crazy. ONE LINE ON THE ALBUM SAYS: „YOU HAVE TO FEEL REAL BAD TO FEEL REAL GOOD AGAIN“. WAS THAT BASED ON PERSONAL EXPERIENCE, THAT IT’S ABOUT A LESSON LEARNED? No, it’s actually, you really have to know what feeling bad is to appreciate the good feeling. I mean, it could be in a different way. People who is always happy, and blablabla, they have no clue, because their life is always happy. But, I mean, for having these mood swings, you definitely have to know what happiness is. You have to really been down on your knees and been totally feeling like shit to appreciate the happiness in life. DO YOU GO THROUGH MOOD SWINGS? Oh yeah, definitely. I’m Mr. Swinger! (laughs) No, but I mean, I definitely don’t take anything for granted and I’m not really a positive person. But some people… That’s how some people are sometimes. And that really reflects in my music. It’s usually always pretty dark. And that’s how I am, and it doesn’t matter, you know. It’s (clicks his tongue) the way it is. Some people are happy, some people are just more like moody, you know. ANY PLANS FOR TOURING FOR THE SUMMER? We’re working right now on a couple of tours in September, October, which we are gonna open up for. So, the album came out so late, close to summer, so the festivals are not really into it because it’s usually only booked in January and stuff. And we didn’t know when to release it until like a few months ago, so… And also, it’s a new beginning for me because the whole Pain stuff has been so bad worked from managements and from labels and stuff. So it’s like a new beginning for me. But I’m very confident that we are gonna have some good tours in September, October. We are already talking to a couple of big bands, so we’ll definitely be here a couple of times before Christmas. RECORDED AT ROADRUNNER OFFICE COLOGNE ON MARCH 20TH 2007

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