Latest / Ghost Cult Magazine Podcast / PODCAST: Episode 757 - Jensen of The Haunted Talks "Songs of Last Resort" with Ojayy of Ghost Cult

Transcript

PODCAST: Episode 757 - Jensen of The Haunted Talks "Songs of Last Resort" with Ojayy of Ghost Cult · Ghost Cult Magazine Podcast

0:00
I like my brain to get bored so I don't when I'm like doing the
0:04
dishes or walking the dog. I don't listen to to podcasts or
0:08
music because my brain is bored. It needs to entertain itself so
0:13
it starts doing stuff. It gets creative so I I get my
0:17
best riffs from when I'm when I'm bored basically.
0:26
What's up everybody? This is OJ.
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I'm here with Jensen of the Haunted.
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Jensen How you doing brother? I'm doing good, thanks.
0:33
I am very excited to talk to you.
0:35
It's been a minute since your last record Strength and Numbers
0:38
came out in 2017 about I guess, you know, that thing happened
0:44
for a while so nobody was doing nothing and then everybody else
0:48
had, you know, the at the gates thing took off for a minute.
0:51
How long was this record ready or did you guys just have extra
0:55
time to record this? So this is going to be a long
0:58
answer. So I hope you have a lot of hard
1:01
drive space. So actually the other day I
1:05
noticed that the folder that we have on Dropbox, it says album
1:12
2020. So we were only, you know, going
1:15
to wait three years until we have the the new album out after
1:19
A Strength in Numbers. But Jonas wrote one at the Gates
1:22
album and then another at the Gates album.
1:25
I managed 2 Witchery albums in between.
1:29
I also had this idea that, you know, when The Haunted started
1:34
out, we always wrote everything in the rehearsal space like
1:37
everyone did. I mean, there were no computers
1:39
back then. And it was, it was a special
1:41
blend because we, we've always been 3D main songwriters.
1:45
So, you know, people can, you know, ideas shoot back and forth
1:49
and, you know, it's a creative brainstorming kind of thing.
1:51
And that's when I think, you know, we create the best music
1:56
because it's, you know, everyone contributes.
1:59
And also I'm not a fan of the rigid style that a computer
2:04
brings with the, you know, you have to play along to a certain
2:06
BPM and then the next riff you come up with doesn't work.
2:09
But if you had been with the guys, you know, a good band will
2:13
make it work. Sometimes it doesn't.
2:15
But, you know, oftentimes you'll just, you know, move into that
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the different tempo, but you know, instead of throwing all
2:22
those riffs away because they don't work anyway.
2:24
So exit exit wounds and the strength of numbers.
2:28
They were both written on on the computer.
2:31
We all live in different cities. Adrian lives in in London.
2:34
So since 99, since he joined Cradle Of Filth.
2:37
So I had this idea that we're going to meet up me and Adrian,
2:42
we're just going to, you know, jam it for a week and, you know,
2:44
crank out a couple of songs. So I, I had planned this for
2:50
2420, but then, you know, that thing happened so no one could
2:54
go anywhere. So he came over in 2021.
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I had a studio here for six days.
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We set everything up and we're going to start fresh the
3:03
following day. He comes down with a bad tummy
3:06
bug that night. I mean, it's bad.
3:09
So he's, he's on my, my couch knocked out.
3:13
And then three days later, I of course get it because it's a
3:16
tummy bug. And so those six days they just
3:19
disappear. Adrian has to go and take
3:21
everything down and fly back home without us having played a
3:25
single minute. So that kind of put a flat tire
3:28
on everything. So moving up to to 2023, I work
3:33
with making guitar plugins. I lead the guitar team, which
3:37
means that I decide what we, what amps to do, what cabs, what
3:42
mics, what producers to, to work with, to record the cabs and so
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on. And you know, colors, you know,
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all the buttons and effects and, and especially when it sounds
3:54
right, that's when I say, OK, it's this is good for a release.
3:57
So we were doing this plug in for a angle Savage app and that
4:03
was done in 20 last year in March.
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And I sat at home and was trying it out and notice that I could
4:13
play like I was in the rehearsal space, like I was sitting next
4:17
to my my my physical angle at and all of a sudden these riffs
4:21
started to come out. I mean, I get I get the question
4:25
during these interviews for the album that you guys sound like
4:28
you you did back then, like in the early days.
4:31
And I said it's no different mindset.
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I just didn't know that I needed a different tool to play through
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to just because I'm the kind of guy, if I have a guitar sound
4:43
that sounds like whatever Rolling Stones, it'll be beer,
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it'll be Rolling Stones riffs. Or if it's ACDC, or if it's
4:49
super thick and heavy, it'll be Caius, you know?
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So whatever guitar plug in I had prior to this it, that was what
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I got out of it. And I didn't know I was held
4:59
back by not having the right tool for me.
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So all of a sudden I could start writing riffs again like I was,
5:07
you know, on the first album. So between March and end of
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summer, so say September, I had written 11 songs for the album.
5:14
Ola always has music ready because he writes stuff for his
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YouTube thing. So he always has songs ready to
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go. Jonas hadn't written anything
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because he was burnt out and he was a bit, I guess a
5:25
disillusioned, you know, some of the years have gone.
5:28
He saw it as a Herculean task to write the album.
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So you know, in September when I was I was texting the guys that
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we're going to record this fall. Like I have 11 songs, you know,
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they didn't really believe me. But yeah, eventually Jonas got
5:42
going too and that's that's how the album came about.
5:46
Yes. A full disclaimer.
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I don't work at soft tube anymore that that put out the
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the angle of savage plug in, but I recommend you to check it out
5:54
if you want to play that style. It helped me.
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Maybe it'll help you. So now there's no need to fly
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Adrian in. I've already started riding on
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the next album. So I mean, I don't think there's
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even going to be 3 years in between, hopefully just two
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years. We have a lot of time to catch
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up. Yeah, and this is the 10th
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record, and you've been. You and Jonas have been
6:15
constantly there the whole way through.
6:18
And this sounds like. Yeah, that sounds to me, sounds
6:21
like the Haunted. It's like it feels like this era
6:23
of the band. Is it the third record with this
6:26
lineup? And it just evokes image for me,
6:29
a remote sound. It evokes the early days as well
6:33
as some elements of like the later second coming of dolving.
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It's got some of those elements there.
6:39
I can like, I hear it. And this is uh, yeah.
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You know, it's like, I was very impressed.
6:44
I'm very impressed that you guys were able to record digitally
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because I was wondering, did you guys do this the old school way
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or I guess the new school way of just, hey, you're over there,
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I'm over here and you made it work.
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That's how we we wrote it. But we recorded.
6:57
Well, I mean, the first album that was just no click.
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It was just, you know, a throwaway guitar playing along
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to the drums, you know, until the drums are right and then you
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start recording. This was the same approach.
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It was just the writing that had to be done in the computer.
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A lot of people have told me that this album reminds them of
7:18
1 Killed Wonder. I think that might be because
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you know, Marco is also singing on that album and it and that
7:25
album also has a thick brutality to it, a thick sound.
7:30
But I like you say, I also think it has its elements from
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revolver. So it it has some kind of mix
7:36
between revolver and one kill wonder.
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So it is that era 2003 through 2005 S Yeah, I agree.
7:43
Yeah, there's some songs like, like to me, it's like, you know,
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the the last track on here, letters, letters of last resort.
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That does harken back to some of the some of the, IT sounds like
7:54
a doving error tone like, oh, this seems like it would fit on
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one of those records because like, yeah, like you've like you
8:00
guys, I feel like these, this record couldn't have been made
8:04
without going through all the records you have made to this
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point. You know, some records were
8:09
extremely heavy. Some had this really hardcore
8:11
feel to it. Some went in directions I wasn't
8:15
momentously prepared for at the time.
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And things grew on me, you know, like, these aren't as fast as
8:21
they have the mood. There's a you get to have a mood
8:24
to your overall music. That's always been constant, you
8:27
know, rather if it's fast or slow.
8:30
They're just you guys have a vibe.
8:32
That's the right way to say. It yeah, I get asked if we, you
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know, if we have decided on things before we start writing
8:40
an album. Like, you know, I guess fans do
8:43
that, you know, if it's going to be faster or heavier or
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whatever. But we've never done that.
8:50
As a music fan of myself, I like the the idea of an album being
8:55
some kind of document where the band was at at that point of
8:59
time. So, you know, if you if you talk
9:01
about Black Sabbath, like, you know, comparing A Sabotage album
9:05
to Volume 4, you know, you could go, you know, when you nerd out
9:09
with your buds like, Oh yeah, the first time in American
9:12
studio or you know, those kind of things.
9:14
So that was where the band was at at that point.
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And that's what I wouldn't say that that was a plan to do that.
9:20
It's just how things worked out with with the Haunted.
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So every album we've done was where the band was at at that
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point. And I like all of our albums and
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I'm happy that, you know, we have different people have
9:34
different favorite albums. I think that's cool.
9:37
But yeah, with for this album, just because of that plug in
9:40
again, it brought out my inner 16 year old again.
9:45
So, you know it's time to get riffic.
9:48
There are some heavy Atheros on this album and I I just, it's a
9:52
heavy, it's a, it's a well mixed record.
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Jen's did his magic on this as always, and it's like I I never
10:00
disappointed in his productions. So I was like, oh, of course I
10:03
know it's going to sound sonically good in the mix, but
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damn, you get a good pair of headphones or a good pair of
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speakers. Damn the low end on this record.
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It just it's so it's a full ass record.
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I actually think I'm going to blow up my speakers in my car
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because I crank it when I'm I'm driving like, you know, like a
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you know, I've done so many interviews, so I don't know what
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I've already told you or if I've told the whatever 40 guys before
10:29
you, but I usually don't listen to my own music because, you
10:33
know, at the point of after you've recorded it, you're so
10:36
fed up with it because you you just live to breathe it for so
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long. But with this album, when it the
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the mixes came back, we were kind of, you know, you, you
10:45
know, that you have good stuff entering the studio.
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But when the mixes came back from from Yen's, it was the
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first time we heard it with vocals and with solo.
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And then we were we started to text each other and we have a
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WhatsApp. We're like, like, isn't this
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sounding really good? Like, yeah, you know, it's not
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like we were surprised. We were just I don't know what
11:08
their right word will be. We were just, you know, this is,
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I mean, I think everyone played it at the top of the game for
11:15
this album. So we are as a band, we are very
11:19
proud of this album. And I gotta, I gotta compliment
11:22
the vocals like Marco. Marco's voice doesn't.
11:26
Marco's voice to me sounds timeless.
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It sounds just as strong as it did 20 some odd years ago when I
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first heard him and man, like I guess he he went to Bjorn studio
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to record these vocals and damn, it's like work with another
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singer at a singer studio. These it's just meant, you know.
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So this is a is a string of events.
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Actually, we recorded the the the album at the pool who studio
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in in Gothenburg, owned by and run by Oscar Neilson.
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I had gotten to know him through the Halo effects because he's
11:57
he's recorded their albums. He's a super great guy and as it
12:03
turned out, a great the Haunted fan also.
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So me having all those songs done, I was the one kind of the
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driving force. So we're going to record this
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fall. Even people in the band had
12:16
their talents and oh, November is it.
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I booked the studio. So when Adrian came in and he
12:22
put down the drums, Oscar is an old drummer and he loves the
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haunted. So he knows, you know, he knows
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what haunted drums need to be like.
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So he brought out the best of Adrian.
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When we put down the bass and rhythm guitars, we had a great
12:37
foundation to build upon. Marco had the previously
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recorded with a guy called the UK School.
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He was in a band, or is in the band called Clawfinger that had
12:46
a big hit back in the day. He did a great job with that.
12:50
But he had moved from Stockholm, so we were thinking who's going
12:54
to record the album or the vocals.
12:56
We were thinking that maybe since Marco and Ola live in
12:59
Stockholm, maybe Marco could go to Ola's YouTube studio place.
13:03
And, you know, he has all the stuff there, record the vocals.
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But being the singer, you know, your instrument is your body,
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and it's, you know, can be pretty touchy.
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And if you have a guitar player leaning back and folding his
13:16
arms and going, you could do that better.
13:18
You know, that wouldn't fly with Marco.
13:19
So I had this idea that maybe you could ask Bjorn because he
13:23
lives up there. He records his, you know, he did
13:27
all that stuff during the pandemic.
13:29
So yeah. So I asked Marco that would you
13:33
be into recording with Bjorn because, you know, they've known
13:36
each other so many years. They respect each other, you
13:39
know, So I thought it would be a great mix.
13:42
And I asked Marco, and he was like, man, I don't know.
13:48
You know, it would be. It's probably like telling me
13:51
like, you're going to be recording rhythm guitars with
13:54
James Hetfield. Like, man, I don't know.
13:57
But yeah. So he agreed to it and you know,
14:01
when they sent us the first batch of songs, like 3 songs or
14:04
something, it sounded amazing. And Marco was super happy.
14:09
Like he he we had a meet and greet yesterday in Stockholm,
14:13
you know, early listening for 20 fans or something.
14:15
And Marco said that Bjorn called him on a shit.
14:19
So when Marco was yeah. So yeah, this course is not, No,
14:24
it's not said Bjorn. I know we can do better and try
14:27
this and try that. And Marco was like, OK, and it
14:31
worked. And, you know, I guess with
14:34
every song and Marco feeling like this is really working out,
14:38
you know, every song got to be better and better.
14:40
So I actually I think that Marco's never sounded better.
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I, I, I agree with you 100% on that one.
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And it's like, I've listened to, like I've even tracked down some
14:49
of the face down records he's done.
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So it's like I like, hey, if I'm a fan of you, I try to go
14:54
through your whole discography of what you've done.
14:57
And I was like, OK, Marco is, you know, from that to the
15:00
resistance stuff, it's like, it's great to hear Marco's
15:02
voice. Like I'm so used to his attack
15:05
he has. It's like, it's great to, for
15:06
me, it's like, oh, whenever New Han Marco's like, this is the
15:09
voice I've missed for a long time and I'm glad he's back.
15:13
So let's see. I like to call this.
15:16
It's like, so look, I need to talk about Warhead.
15:18
I was like, I love a great song. Like in my head, I just joke
15:21
into just my own personal joke. It's Oh yeah.
15:24
It's like this. It's like the spiritual
15:25
successor to shithead like in my in my ears, like you like you
15:28
kind of A&B them back together. And it's a little to me, it's a
15:32
little OK, You carry these two songs over to each other and you
15:36
got to work with Patrick, you Yulius.
15:39
God damn. How do you say that?
15:41
How do you say his name? Julius.
15:43
Julius yes, you got to work with him and with on that song and
15:47
fire were born. What took so long to work with?
15:51
Him. Yeah, that's a good question
15:52
because he's done every band from Gothenburg, actually pretty
15:56
surprising how we've managed to avoid them.
15:58
Not that we've actively avoided him, but I don't know.
16:02
And he's also. That was also like the same
16:04
story with Yen's boogie that At the Gates had worked with him.
16:08
So Jonas had the connection there with Yen's and sing with
16:12
Patrick. And he said of course we're
16:14
good, we need to do something together.
16:16
And it was really cool. It was fast.
16:18
Yeah, I don't know if you, I think you mentioned that you've
16:21
recorded a video yourself. Yeah, it's it's very tiring.
16:25
I mean, when you're on stage playing a show, you know, you do
16:29
a lot of music, does the talking.
16:31
But when you're recording a video, you need to be fucking
16:35
head banging like constantly for I don't know how many hours.
16:40
It's, it's bad. But yeah, he was so
16:42
professional. He had so many cameras, so he
16:45
captured so many angles at once. So, you know, we did maybe two
16:48
or three playthroughs and it was that was 1 video.
16:51
He's been doing this for so long himself.
16:54
He's been doing this for like 30 years.
16:55
So of course it's going to be quick with him.
16:58
Yeah, that's and he's, yeah, he's he's one of my favorite.
17:02
He's like one of my favorite directors out there of this
17:05
genre. It's like, of course, it's like
17:07
I can figure, I can, I guess 99% of the bands from your area he's
17:12
worked with at some point or another and just took you guys a
17:15
minute to get to him. There's going to be, I mean, the
17:18
album is out this Friday. There's going to be a third
17:21
video. Will you stop Friday?
17:24
So awesome, then I should hurry up and edit this video.
17:28
So let me get back to a fun part of the fun part of this record
17:32
for me is you have a great logo. Your logo is phenomenal.
17:37
And your covers are always, you always have some great covers.
17:41
And you've worked with. I forgot his name at this exact
17:45
second. Andreas.
17:47
Andreas. Yeah.
17:48
Andreas Peterson. Like, how did you start work
17:50
with it? Because this goes all the way
17:51
back to like, did he design the logo?
17:54
He's a childhood friend of mine, so he he got into designing
17:58
early. He even did I was in a band
18:00
called Satanic Water and which turned into witchery, but he did
18:05
the album cover for that. So he he was he went to art
18:10
school, I guess you call it at the most prestigious art school
18:13
in Sweden, won a scholarship, went to New York actually, and
18:18
did his internship there at some kind of mega whatever ad
18:23
company. So he's worked with big company
18:26
names here in Sweden. He, I mean, he's even, you know,
18:30
these guys have an idea for a bank.
18:33
He comes up with the name and the, and the home page and the
18:36
logo, the branding, everything. He's Andreas is also even he
18:40
came up with the title The haunted made me do it.
18:42
I mean, he's a great arts guy. So, so he does all this, you
18:47
know, you know, banks and whatever, and he loves to do the
18:50
haunted stuff because it's so crazy to him, you know.
18:54
So when we started the band, I asked him that, you know, we
18:58
need a logo, that this is what I told him.
19:01
We need a logo that everyone between 8 and 80 can read.
19:05
So he made it a huge block letters and he put the shadow
19:09
guy there. Then the second thing I said
19:11
that people need to be able to see that it's a haunted album.
19:14
You know, back then there you had CD walls and music stores
19:19
like if you're, you know, I don't know, feet 30 feet away
19:23
from the wall, you need to see, oh, that's must be a haunted
19:25
album. So he put it in the middle of
19:28
the cover. No, he that's, you know, total
19:31
concept branding, thinking, you know, like you wouldn't like if
19:34
you're going to sell a new brand of, I don't know, soda or
19:38
something, you know, just you see from afar that it has to be
19:42
that soda and which actually worked out when they when having
19:47
the logo in the middle. We did or actually Eric did a
19:52
compilation album called warning Shots where, you know, they took
19:55
the songs from the three first albums and the live album.
20:00
So he just cut the the cover in four pieces and put it together
20:04
and the logo just it centered. It worked still.
20:07
So he's an amazing guy and he was actually the meet and greet
20:11
I mentioned earlier. He was, actually.
20:14
There as the kind of the 6th member, So these 20 fans that
20:19
have won the early listening thing, they were pretty stoked
20:23
to get to meet him. Yeah, his covers are just I
20:28
like. He's a great designer.
20:30
He's got a he's got a wonderful eye.
20:32
And like, again, I've seen his work on on the Haunted Records
20:36
as well as all those witchery covers.
20:38
Yeah, he's, yeah, it's, I don't know.
20:40
I got no bad words to say to him, but just man, like I see
20:43
why you work with him. Like, because these covers,
20:45
don't they all, they don't, they go together, but they don't go
20:48
together. It's not like, all right.
20:49
They're all, they have their own unique voice.
20:51
Like every record, like, yeah, it's a time capsule.
20:54
Every record captures that moment in time and like the
20:57
covers are to me, just paintings.
20:59
It's like, oh, this would be a great, you can hang this
21:01
picture, you can hang this on the wall.
21:04
This is all it's all wall hangable artwork covers to me.
21:07
Yeah, and you know, the, the, the his albums because he's he's
21:12
so into, he's so good at what he does it it became a branding of
21:18
the whole, you know, all his album artwork.
21:21
They kind of like you say, they're different, but they all,
21:24
they have something in common. And they also differ from other
21:28
bands. I don't think other bands have
21:31
kind of that artwork that we do, which is a good thing.
21:35
He also pointed out something because him and I brainstorm a
21:38
lot and when we do the artwork, like because we start with a,
21:42
you know, a white sheet of paper and OK, what are we going to do
21:45
for this one? And he asks me what's the song,
21:48
what's the lyrics about and so on.
21:50
But he pointed out something that I hadn't thought about.
21:54
The first album is mainly about personal rage, you know, and it
22:00
has a black cover and then, you know, the fire.
22:03
And then the second album was about serial killers.
22:06
And then it just went from there.
22:08
And then Strengthen Numbers is about, you know, fascist states
22:11
about, you know, control of the masses.
22:14
And this one is about world warhead and, you know, the fear
22:18
of nuclear war and so on. So it's been in kind of like in,
22:22
you know, a level up all the time, like an escalation.
22:25
And I hadn't seen that connection before, which also
22:30
brings the question like, what would be the topic after nuclear
22:35
Holocaust? And maybe someone suggested
22:39
that, well, because you're called the haunted, maybe it
22:41
would be about ghosts because that's what what would be left
22:45
like. All right, Well, maybe.
22:47
There was this old Hanna Barbera cartoon from like the late 60s
22:51
called Fundar the Barbarian. I think that would probably be
22:54
what it it's about. It's kind of like like, yeah,
22:57
everything's in ruins. It's like a a century past the
23:01
bombs and the destruction of the world.
23:04
And it's like people, you know, kind of Tarzan ish and like
23:08
mutant creatures just like surviving in that world.
23:11
And it's like, Oh yeah, what is this?
23:13
And it's like, oh, it's like an old TV.
23:14
They don't know what it is because they've never
23:16
experienced certain things. So that you'd see like certain
23:19
items from that we would honestly, we would recognize.
23:22
They're like, Oh yeah, like I don't know what this is or
23:24
they're calling it something else because to them it's not
23:27
what we use it for. So that's a.
23:29
There's an idea for that post apocalyptic world or something
23:33
like a Mad Max thing. Yeah, but far-flung into the
23:37
future, though, you gotta can't make it too too close because we
23:40
don't need that that mental trauma.
23:44
So we're in your 20 plus years with Century Media records.
23:48
So far, so good. What made what makes them the
23:51
right home for the haunted? They've.
23:52
Always been super cool to towards us.
23:56
The people that we've worked with, the A and Rs we've had,
24:01
we've only had two A and Rs and they've really cared about the
24:04
band. We were very fortunate to get on
24:08
Century Media actually. I don't think we would leave for
24:12
any other label to be honest. We feel at home there and they
24:16
take good care of us so. And speaking since that you've
24:20
been there for 20 years with them.
24:22
This year it's an anniversary of a record we spoke about earlier.
24:25
This is the 25th anniversary of Made Me Do It, which blows my
24:29
mind because I remember that was like, that was like the record
24:34
of the decade for me, where when that record came out, I was
24:37
like, this is this intro, this everything on that record was
24:42
that record was life at that time.
24:44
There was nothing more. I was like, there was a haunted
24:47
kool-aid. I was drinking it back in the
24:48
day. And that record was, yeah, that
24:52
record holds such a special place in my heart just because
24:54
I've seen you guys play so much wrong that time.
24:57
And I caught the and the tail end of the first album cycle.
25:01
And I gotta say, man, that's like those records, those songs
25:05
still hold up. I listened to it like the other
25:06
week. And I was like, yeah, like these
25:08
records, these songs are timeless.
25:10
And I'm very, very glad I got to see them in those days.
25:13
And I can't wait to see it again when you guys get to America.
25:17
It's been a minute. I know you guys did that, that
25:19
cruise, that boat cruise a couple years ago.
25:21
But I need to, we need to get the Haunted back to America
25:24
because or I need to get my ass overseas because I miss you
25:26
guys. We also did Maryland Death Fest.
25:30
That was too. But yeah, absolutely.
25:32
I mean, America was our second home.
25:34
I mean, the year we toured the most, we were out eight months
25:38
that year, and I'm sure more than half of it was spent in the
25:42
US So we've done a ton of shows there.
25:45
So of course we want to go back. And I know we're popping up on
25:49
festivals and whatnot, and I guess with the anniversary of
25:51
that record, do we have any, like, thoughts of anniversary
25:55
shows with that record or, you know, 27 for the first record
25:59
and hell, like 1 kill wonders, 22 years, like, and yeah,
26:03
special plans to commemorate anything.
26:05
And it might be because festival season here in Europe,
26:10
especially after COVID, it all gets booked between September
26:16
and November the year before. So right when one season ends,
26:20
that's when you start booking for for the next.
26:22
So when our single first single came out in March, no one knew
26:25
that we had a new album coming out.
26:27
And I guess no one knew what was going to sound like.
26:30
So for this year, this summer, we've had to, you know, get on
26:34
the festivals that were still had slots available.
26:38
So actually 26 will be our festival summer for this album.
26:43
But we have a ton of shows this fall, so we're going to Japan
26:48
and stuff. So we're going to be doing a lot
26:50
of shows and we'd love to come back to the US, of course.
26:52
But about anniversary, special anniversary gigs, we haven't
26:58
spoken about this for this year because, you know, it's been so
27:02
long since we put out a new album that we we really need to
27:06
show that we were still alive and doing well.
27:09
But next year is actually the 30th anniversary of forming the
27:13
band. And I've been thinking on what
27:15
to do because we still got a year like it was in July 27th,
27:20
1996, me and Adrian rehearse the first time.
27:23
So I'm thinking like, what could we do?
27:25
You know, maybe a hometown show, but what would you play?
27:29
Because it's it's the anniversary of the band, you
27:32
can't really focus. If you focus on all albums,
27:35
it'll be like a normal game. You play the Best Song.
27:37
Or we should, would we do a live album maybe, you know, after
27:41
like a anniversary thing? Or yeah, if you got any good
27:45
ideas, you know all yours. I think I like like me
27:49
personally, like I was like, yeah, you could play though, you
27:51
know, this it's become like standard now to like, oh, here's
27:54
the whole record from front to back here at the first record,
27:57
you know, it's like, oh, you could you could.
27:59
I think what Testament did just now is like they did like a
28:02
evening whiff tour right now. So just them you guys could do
28:05
like a anniversary show in your hometown.
28:07
That's like, hey, do with two or three songs from each record and
28:10
in between and like, hey, this is what we were at.
28:12
This is where we were at this moment is the change if they
28:15
talked about like, you know, where they were at that time
28:18
between each record. So maybe something like that
28:20
would be cool because that was cool hearing like stories from
28:22
like then we first did this album.
28:24
This was blah, blah, blah, blah. We almost send you this one.
28:27
We this song almost didn't make the record for whatever reasons.
28:29
And I made it and, you know, stuff like that was kind of cool
28:32
just to like hear like, you know, a oral history of the band
28:36
basically, because you guys have a very interesting history and
28:39
everybody's like it's at the gates Junior are they're going
28:41
to play. Are they going to keep playing
28:43
all the all the at the gates songs?
28:44
I wouldn't, yeah. Cuz there was so much of yeah,
28:48
cuz there were so many of At the Gates guys in the band when it
28:51
first formed. You guys kind of got
28:53
grandfathered into their old record label, The Record Deal.
28:57
So I think something like that would be interesting for music
29:01
nerds and just like band stuff. Cuz yeah, 30 years is the
29:06
knowledge you have in your head not everybody has.
29:08
That that's a good idea actually, to do actually do it
29:11
backwards. So start with the newest album
29:14
and then, you know, so people, they get to hear more and more
29:17
stories that are, you know, fewer people have heard to kind
29:20
of build the suspension. And because with the Internet
29:23
these days and, you know, all the interviews I do for this
29:25
album, a lot of stuff gets revealed.
29:28
So you know that, yeah, it's a good idea actually.
29:32
Like a three hour show. What do you fly over for it?
29:34
I got to get my ass back to the DMVI, need to update my passport
29:39
because it expired and I forgot to renew it, and I got to get
29:41
this real ID. So once that happens, yeah, just
29:43
give me a little time, give me at least six weeks, Give me a
29:46
six weeks lead up, all right, That'd be worth coming out for.
29:49
Yeah. And if you decide to use
29:51
anniversary shows, I don't know how cool I don't know your
29:55
relationship are with the former members.
29:57
You know, maybe they could show up and say hi for a minute.
30:00
But I are you guys still cool with some of those with those
30:03
cats? Yeah.
30:04
I mean, maybe we could do a show like that.
30:06
So let's see. I mean, I need to convince the
30:09
other guys. We have everyone in the band and
30:11
nowadays has a lot going on, so I know.
30:15
Yeah. I mean, Ola might be the busiest
30:17
guy I know with, you know, the guitar brand and, and YouTube
30:21
channel and and bands and so on. But yeah, let's see if we can
30:26
pull something like that off. It'll be cool, super cool to
30:29
have old members join in. Yeah, man, cuz yeah, yeah, it's
30:32
like fun. Like Adrian is the drummer who
30:34
started the haunted. But like I've seen pair with you
30:38
guys more than anybody. So like, you know, that whole
30:42
yeah, that was, that was my era of the band that I like, I don't
30:45
say fell in love with, but yeah, the era, yeah, the era like I
30:48
was, yeah, whatever the record of the era, I fell in love with
30:50
you guys. So it's like, you know, certain
30:52
people hold a certain people just hold a sweet spot in my
30:55
heart and like, and have an Adrian back in the bath.
30:58
I was like, okay, that's exactly what I would have, would have
31:02
liked, you know, cuz it's hard to replace certain people if you
31:04
replace, you know, that's why I'm glad Mark goes back And it's
31:07
like, oh man, I couldn't think of a I couldn't, I can't hear a
31:10
third voice singing these songs besides either Peter or or
31:14
Marco. Yeah, it's difficult when a band
31:16
changes vocalists, and having a third vocalist would have been
31:20
a, you know, a tough sell. So we're very happy that Marco
31:27
chose to join the band again. And he was, he said he loves to
31:32
join the band earlier too. But you know, we had Peter in
31:35
the band and things were cool. And but then when the
31:38
opportunity came, because he left the band because he had
31:41
young kids at home and we were on tour so much and you know, so
31:45
there was no disagreements or anything.
31:47
He just had to prioritize. So yeah, very happy to have both
31:52
him and Adrian back in the band. And it's.
31:54
Like. Ola's a great guy in the band,
31:57
yeah. Yeah.
31:58
So it's like, yeah, the chemistry that these three
32:00
records have is again, again, it's very similar to the other
32:04
to the to the first error lineup because it's it's like the the
32:09
like you and Ola work really well together.
32:11
Like some of your harmonies in here are just OK, all right.
32:15
You know, there's some harmonies and I just make you smile.
32:17
It's like, Oh yeah, it's like I can't head bang.
32:19
I'm just like, I just sound. That's great, man.
32:21
Like I'm gonna talk about this record a little bit because I'm
32:23
gonna because I'm just I need a fanboy out about about this new
32:27
album. Like what is my favorite track
32:29
on here so far? It's like I like the bleed out.
32:32
The bleed out. I was like it's just so that
32:34
song to me that like the album is sequence great.
32:37
I feel like the bleed out, like I like the last track, but the
32:40
bleed out could have been the last track because it just has
32:42
the way the way it ends with all Adrian's little drum fills and
32:48
little nuances in there. The way that song just ended
32:50
that to me, that's a song I put on repeat.
32:52
I put that song on repeat more than anything else on this
32:54
record, but it just it just sound about like those little
32:58
moments in there and I just it just a great that's the song
33:01
that all right, turn off the lights and just hang out in the
33:03
dark and you can just vibe out to that song.
33:04
There's a story behind that song.
33:06
So that's, that's one of my songs.
33:08
Like I mentioned earlier that I wrote 11 songs for this album.
33:12
And usually I, I do the fast stuff and then the, you know,
33:15
the melodic stuff is handled by, by Jonas or, you know, Jonas and
33:19
Anders back in the day. But you know, when I was at song
33:23
8 or something, I was thinking, you know, I have written my
33:29
share of the album. You know, I'm, I'm good.
33:31
But I came up with the, the, the, the first riff when I was
33:37
out walking the dog. I, I don't, you know, I like my
33:41
brain to get bored. So I don't when I'm like doing
33:44
the dishes or walking the dog, I don't listen to to podcasts or
33:48
music because my brain is bored. It needs to entertain itself.
33:53
So it starts doing stuff. It gets creative.
33:56
So I I get my best riffs from when I'm when I'm bored,
33:59
basically. So I came up with this melodic
34:01
thing and came back inside and got the guitar and that yeah,
34:05
this is pretty cool. And you know, put it, started
34:08
recording it and then I came up with what is the chorus of the
34:13
song? It's a three harmony, 3 guitar
34:17
harmony thing and we've never had anything like that in with
34:21
the Haunted and we within the band, we call it the Thin Lizzy
34:24
part because it has three harm. And you know, I was thinking,
34:28
you know, I have my share of fast stuff.
34:31
Maybe I should just keep on writing this song and I finished
34:33
it and you know, I really like the vibe of it.
34:37
And from working with the Halo Effect, they have a guy, there
34:43
was a band, Swedish band on Eric called the Misery Loves Company,
34:48
the two man band and the guy that did all the keyboards and
34:52
synthesizers, he's the guy who does all the the keyboards and
34:56
whatever with the Halo effect. And since I've heard that stuff
35:01
so much, I mean, we've done 150 shows with Halo Effect.
35:05
I was thinking that, you know, this could maybe be something
35:08
for for Odeon to also work on and so send it off to him.
35:12
And he added a new dimension that we haven't had for the
35:15
haunted. We've never had, you know,
35:17
keyboards or anything in the background before.
35:19
I mean, we're a man's band, right?
35:21
But yeah, so that added also something I've always loved fade
35:25
out songs because, you know, when I was a kid listening with
35:28
headphones, but if there was a fade out, especially in the last
35:31
song, I'd be following with, you know, the volume knob.
35:34
Like I want to, I want to, you know, the circus is leaving
35:37
town. I want to go with it kind of
35:39
finding out what they're doing. Actually, if you do that with
35:43
the last song, Forensic, on the first album, if you go all the
35:47
way to the end, you'll hear that we we cut into a pretty famous
35:51
riff by another parent. There's a little Easter egg, if
35:56
you will. But yeah, so I also ended up
35:59
writing the lyrics for To Bleed Out.
36:02
It's a great song. I'm pretty confident that we
36:05
will play that song live because it's, you know, we need a varied
36:09
live set anyway, and I think it'll work great.
36:13
So it's one of my favorites too. Yeah, I, it's a, like I said,
36:17
like sequencing is very important and it's like some
36:19
records was like front loaded with all the fast stuff and it's
36:22
like everything. Some people just like keep the,
36:25
the different stuff at the end. I, I do like that it is kind of
36:29
like early in the, in the mix, in the in the set, whatever.
36:33
It's early in the, it's early in the listing of songs.
36:36
So like you get the nice wave, but I feel like your ears need
36:39
to wave. It's like you don't get tired
36:41
from this record. You put it on.
36:42
It's like it doesn't, it doesn't like exhaust you in the first,
36:45
like 2020 minutes, Like, oh God, there's still more songs.
36:48
It's like, OK, cool. You get a you get a chance to
36:51
breathe and continue this record And, and it's like, yeah, 'cause
36:55
you're going from that to like to hell.
36:57
Like, yeah, even a hell is wasted on the dead.
36:59
Like that ending. And again, like I'm a big fan of
37:01
endings and that's just one of those great yelling, screaming,
37:04
just bang, you know, those, you know, symbol stabs, like great,
37:07
I love all that. Just give me that.
37:08
You know, that's that's another wonderful ending.
37:11
Also one of my songs it's. Not Pig, it's just this
37:15
randomly. I'm just pulling out songs that
37:17
I like that I just. Oh yeah, that's all.
37:18
Yeah, that sticks out. Like the song that stick out.
37:20
Apparently I'm a fan. Of you.
37:22
Adrian actually texted me one evening saying that this is
37:27
because he was listening to the album at home.
37:29
And he texted me saying this is the Best Song I've ever played
37:33
on. Like what?
37:34
What? How drunk are you right now?
37:37
You know, he said he's, he said he wasn't drunk, but yeah, so
37:40
that's pretty cool. So you've been, you've been
37:42
involved in music for over 30 years.
37:45
You know, from, from from what the sand stuff to to satanic
37:50
slaughter to, to witchery and the haunted.
37:54
Like you said, when you pick up the guitar and the guitar tone,
37:57
are you are you, Do you have to be in a mood to write for a
37:59
certain band? When you pick up the guitar like
38:01
oh, I'm I'm in haunted mood today this or I'm in witchery
38:05
mood today, or they just start playing like oh, this song
38:07
should be for the haunted, but it could go to witchery.
38:10
Or vice versa. And it's happened.
38:12
So there's a good example all of that.
38:15
There's a, you know, the first instrumental track, the first
38:21
song on the haunted made Me do it album dark intentions.
38:24
That is so the haunted that it's almost become the doorbell, you
38:29
know, signature of the band. And this must have been in 99.
38:35
I guess Witcher was going to do a show, a festival I think in
38:40
Finland, just a one off show and the drummer at the time couldn't
38:44
do it. So Adrian jumped in to do it.
38:46
So we were at a Witcher rehearsal with Adrian.
38:50
And so this must must have been right before Adrian left to join
38:56
Cradle Phil. So it has to be.
38:59
And you know, people were tuning their guitars or something.
39:03
And you know, I just got this idea.
39:06
Then asked Adrian, can you just do that thing?
39:10
And then I played the riff and I have this thing if if a song won
39:15
to be written like the the the following riffs just come, you
39:19
know, by themselves, then you know, you have a good song that
39:22
that song is a minute and a half.
39:25
I think it took me 3 minutes to write it.
39:27
And that's also one of the reasons to why I like rehearsing
39:31
instead of coming out with something.
39:33
Get the computer going, pull in drums, play the riff, and then
39:37
you've kind of lost your your frail thought to the next, you
39:40
know. But anyway, the other guys in in
39:42
the witchery, they chimed in because they they saw what I was
39:45
playing and they followed and they everyone, yeah, this is
39:48
super cool. And I was like, yeah, so I think
39:52
this sounds more like the haunt that they were like Boo.
39:58
Yeah. So funny story that went to the
40:01
haunted and. Me and Adrian wrote that song or
40:04
I wrote it with Adrian and Adrian didn't play it on the
40:08
album cuz pair played. So, a little funny story.
40:12
Yeah, I gotta figure, like some of those songs, Yeah.
40:15
I didn't think about it back then, but I was like, yeah,
40:17
yeah. When he went to go cradle, I
40:19
don't know how soon. I don't know how soon those
40:22
songs were in the works before he left for made me do it, so
40:27
it's only it's. Only that song.
40:31
We were pretty disillusioned back then because we were on
40:34
Eric and they we, we didn't. I think we only played twenty
40:37
shows prior to Adrian leaving on an album that made it, you know,
40:43
best newcomer all over the place.
40:45
We had, you know, great buzz going, but we didn't we couldn't
40:48
get out to play shows. So he had left for for cradle.
40:52
That's when we got the offer to open up for a testament.
40:55
And that's when we asked pair because we knew Invocator from
40:59
from Denmark. And when we had done that tour
41:02
with the testament, we asked pair to would you want to join?
41:06
He said yes, So actually sit only September to December those
41:13
what is that four months by 4. That's what we wrote haunted
41:18
maybe do it because we entered the studio in January.
41:21
So yeah. Yeah, and I was and I I remember
41:25
I said I saw that show at the Birch Hill for all our New York,
41:29
New Jersey fans. It's like, yeah, the virtual.
41:32
I saw the haunted with testament at the Birch Hill.
41:34
And I think it was Marco's first time too.
41:36
It was like Marco and pair there was both like the new kids on
41:39
the block for that record. And yeah, you guys have been
41:44
that line up just like was etched in my brain.
41:47
I was like damn. That was a great tour.
41:49
I mean, people say people say that The Haunted, that first
41:54
album helped bring thrash back. I think I think the combination
41:58
between that album, because it was a new band, so it caught,
42:02
you know, people who like to discover new music.
42:06
They had that band and it was the same year that The Gathering
42:10
came out by Testament. So established thrash band
42:15
brought back. It was had also made a great
42:18
thrash album and that tour we did together was like, so
42:21
there's something from for the, you know, the old cats and the
42:24
the new kids. I think that worked together and
42:28
you know, because times were rough in the 90s for thrash.
42:31
So 99 was a good year for thrash.
42:33
And since then, you know, a lot of thrash bands came back.
42:36
I'm not saying it's thanks to us, but they're back.
42:39
And if you know, they've never. You guys definitely inspired a
42:43
lot of bands. I'll definitely say that from
42:46
from that era. You guys definitely inspire a
42:49
lot of bands. All you a couple of nickels, you
42:52
know, and I look at the haunted, the first record.
42:54
I look at the self-titled like that's very like I, it's a very,
42:57
to me, I hear as a crossover record and it's like, I hear
43:00
like odd, like, you know, So there's some hardcore elements
43:02
to it. There's some thrash stuff.
43:03
It's like a heart. It's like a melodic hardcore
43:06
album. Like in a lot of moments here,
43:08
which I'm like, Oh, there's like guitars here because it's like
43:10
there's vocally, it sounds like a hardcore singer like to like
43:14
the New York hardcore style in my in my ears.
43:17
And then there's a lot of like cool.
43:18
Like some of the songs have this just like kind of punkish
43:21
hardcore Y kind of vibe to it. And then there's like, Oh yeah,
43:24
that's some melodic like guitar work.
43:26
I've been here and it's like, oh, and then you guys went to
43:29
made me do it. And that just was like a thrash,
43:33
thrash, a palooza on that record.
43:35
And I was like, Jesus. And then one kill wonder.
43:38
Then we got to 1 kill wonder. And for me, it was just like, it
43:41
was heavy. It was it's, it was just a dark
43:46
record. It was, it was just, it felt
43:48
cold, but still heavy, like in a negative way.
43:50
But it was, it just felt the mood in that record was a very
43:52
cold, gave me a cold feeling. And the production, yeah,
43:56
production was great. Songs are wonderful.
43:58
There's Mars of, of, of, you know, clean vocal, clean, clean
44:02
singing Marco, you know, and it was like a very, it was just,
44:06
yeah, it was just a, it was just a rough record, like a hard,
44:09
brutal, but it wasn't like all the way fast all the time, you
44:12
know, Cuz of course, like DOA, it's the big, the big stand out
44:15
for everybody on that record. So yeah, it's you guys made some
44:19
smart videos. You guys made some fun videos
44:22
back in the day. Those serial killing days are
44:25
great. We deliberately wanted to make a
44:28
dirtier album because we thought the hunter made me do it.
44:32
It sounded good, but it was too clean and lacked the the the
44:36
bottom end. So when we recorded one kill
44:40
wonder, we told Fred that we need to make this dirtier and,
44:45
you know, a bit more grim, if you will.
44:47
And I know that the pair drummer pair had a thing about this
44:52
album because it's it has amazing drumming on it and you
44:56
can't really hear what he's doing.
44:58
So that bummed him out a bit. I I remember.
45:00
But yeah, it served its purpose. It was the the natural evolution
45:05
of things, I guess. And then we with the revolver,
45:08
of course, the developing was back.
45:10
So, you know, there's other things to explore.
45:12
Like I, I mentioned that we every album is like where the
45:16
band is at that point. So that that was what we wanted
45:19
to write. And yeah, like for a minute I,
45:22
you know, I was like, oh man, like these records to me, like
45:24
for a minute, like what happened?
45:25
Like what happened to like the aggression?
45:27
The aggression just metamorphosized into a different
45:32
mood. It was still there.
45:33
It just wasn't like, oh, I wanted to be like just fist
45:36
banging like, you know, angry thrash metal.
45:39
But with some of those records like like, like Revolver kind of
45:43
remind me of the first record and it kind of had, it had like
45:48
that kind of, it was bright, but not.
45:50
Yeah, it was a bright. It felt not like hopeful, but it
45:54
felt like, you know, I just, I gave your record nice.
45:57
You left that record feeling like, yeah, I feel kind of good,
45:59
you know? Yeah.
46:01
Like, 99 is on that album and that's a like a party song
46:04
almost, Yeah, you know, drink beer and destroy your, your,
46:09
your house. So I guess that I see what you
46:13
mean with it being a a happier, lighter album maybe.
46:18
Yeah, and it's like like, yeah, I'm, I'm like, I do enjoy the
46:21
dead eye. Like I I enjoy the day, like the
46:23
medication. That's a great, that's a great
46:25
song. That record.
46:26
I like everything is like the with that record, everything is
46:29
this, the this, the that. And I thought that was a it's
46:33
like like a interesting concept record to me.
46:37
I don't know if you guys can see what a concept record, but it
46:39
gives like a feeling. It gives like a an interesting
46:43
cycle of from every song, the first song to the last song on
46:45
that record, a nice yeah. You feel like you get a complete
46:49
little story, like a mental story in it, just by the mood
46:53
that record gives off. Yeah, it is my favorite haunted
46:57
album. It has a dark mood to it, but
47:02
the songs, it's not a concept album, but I absolutely know
47:06
what you mean by it. It feels like it because the the
47:10
whole production, it's kind of, I don't know, complete in a way.
47:14
You can't take certain elements out like or certain songs.
47:17
It just this is. You should listen to it in its
47:20
entirety. Yeah, there's, it's not a record
47:23
for singles. You know, some people like, oh,
47:24
like you can listen to this song and that song and the rest is
47:27
filler. It's like that whole record has
47:29
its own like an inner purpose to be played together.
47:33
And then it's like, what do we got next?
47:34
It's like, I'm just like going through the whole history
47:37
because I I got you for a minute.
47:38
So it's going to run through like, like the verses, like,
47:42
what were you at, like when you guys were doing verses?
47:45
And the cover does like, it's like a, to me, it's a little
47:47
subtle throwback to the first album cover, you know, just
47:50
because it's got the same kind of splotched look to it.
47:53
And, and it's like, yeah, like, you know, Moronic Colossus.
47:56
Like I remember. Like again, it's like, yeah,
47:58
like it gave me and it was like, yeah, there was cool.
48:01
There's still elements of what I wanted person just like a me
48:04
person. It's like I wanted, like I just
48:06
wanted more aggression. And it's like, huh, we're
48:07
getting it, just in a different form.
48:10
And I don't know how I it was hard for me to process that one.
48:14
Yeah, it was. I think we were kind of at a
48:18
crossroads there. Maybe some of the band members.
48:21
Me and Jonas have always been into metal. him and I were
48:25
always the one. Yeah.
48:26
Both were put out a new album. Or Saxon.
48:28
They were coming to town. We got to go check and the
48:31
others maybe not so much. I think we were getting close to
48:35
what that lineup had in terms of metal.
48:40
So we I think we ended up writing 21 songs for that album
48:44
and I think we recorded them all too.
48:46
And we we were a rehearsing band for way longer than any of our
48:51
Arthur Gothenburg contemporaries.
48:53
They start rehearsing. They only rehearsed the maybe
48:56
before the album recording. And before tour we were, you
49:00
know, if we were home, if not every day, so every other day.
49:04
Once we had gotten the sound with two Madison, we recorded
49:08
all those songs live in two days, 21 songs.
49:12
So that album is live in the studio.
49:15
Well, solos came afterwards, of course, and and vocals.
49:18
But yeah, we were that well rehearsed at that point.
49:22
But and it was also a challenge to choose songs.
49:25
I remember, yes, there's a compilation CD that came with
49:30
some kind of package. I don't know, something damage,
49:33
I think it was called something, I can't remember, Collateral
49:37
Damage actually, 6 songs that didn't make it on the album.
49:41
So like that, you know, that's almost a full album extra that
49:44
came out afterwards and the songs are very different.
49:48
And that is what led into Unseen because that was where the band
49:53
was going, so things were changing.
49:55
And then after Unseen, there's a lot of great songs done in Scene
49:59
2, but after Unseen, that's when we kind of hit the roads and for
50:04
many members, and that's why 33 members left, left me and Jonas
50:08
though the heavy metal or the metal guys left and we got the
50:12
other guys back and they are all all into metal.
50:15
So that's why Exit Wounds sounds like it does, yeah.
50:19
I remember when I first heard Exit Wounds, I was very.
50:21
I was just a happy little kid again.
50:23
I was like, Marco's back. I was like, I perked up.
50:25
I was like, what? He's back.
50:26
It's like, OK, like Adrian, that's like, he's never played
50:29
on anything since the first record.
50:30
Oh, snap, you know? And then again, I was like, I'm
50:32
also like, I'm like one of those guys like, yeah, this is, this
50:35
is your catalog. And I'm a big legacy person.
50:38
So like, I, I hate when bands like just forget certain errors
50:43
of their career. I was like, no, no, like those
50:45
records are part of your catalog.
50:47
Like you should, you know, like every record is somebody's first
50:50
record basically, you know? So I was like, you never know
50:52
what fan is there for what era. Some fans are either older
50:57
school fans for you guys, somewhere newer.
50:58
But yeah, there's people in the middle that were there.
51:01
It's like, you know, and it's again, I do like, I don't call
51:03
it a challenge, but it's always, it's always interesting.
51:05
I like hearing interpretations like, you know, Marco's
51:08
interpretation of, of, you know, Peter's songs, you know, and
51:12
like now it's cool to hear like drumming interpretations of
51:16
Adrian playing Paris songs, even though it's the same band.
51:20
It's like, okay, cool. How close is he playing it to
51:23
his version? You know, and like that?
51:25
Thing but yeah, he's he's playing, he's putting his own
51:27
touch on it. That's the literally you have
51:30
when you you know you're the only person playing that
51:32
instrument, like you know, the bass or the drums when you're on
51:36
the guitar, you need to to play what the guitars do because
51:40
it's, you know, such a riff oriented music and me being
51:45
still in the band, you know the guitars are what they are.
51:48
So Ola had to adapt solos. Of course he could do his way,
51:51
but I'm. Trying to remember what song was
51:53
it? I think it was, Was it 3 times
51:55
or bullet hole? I'm trying to like, yeah, it's
51:58
bullet hole. Like yeah, that one part in
52:00
bullet hole where Peter just just fires out that one verse
52:04
and you guys are just going slow.
52:05
And I remember Marco just put the microphone in his pocket and
52:08
just go like this, you know, And that was like, that was so
52:12
clever. It's like, that's a lot of words
52:14
to like to, that's a lot to get through.
52:16
And he was like, I'm coming back for a victim.
52:18
Victim. I was like, like, yo, perfect.
52:22
Like he was. Yeah.
52:23
That's like one of my. It's like some little memories
52:26
like this, like fun, fun memories I've had of this stuff,
52:28
man. Like, dude, I appreciate your
52:29
time, man. I'll let you go soon.
52:31
I just have a few more for you. And like, so like, yeah, you've,
52:36
you've done feeling work. I've seen you.
52:38
You've done feeling work and at the gates for a moment a few
52:42
years ago when somebody had to leave and you had to fill in for
52:46
a Halo effect because somebody can't.
52:48
You know, somebody shouldn't be on tour for a while, you know,
52:52
and you know, all respect to you for doing both jobs.
52:54
How do you come into established bands?
52:58
Like I'm just playing guitar, I'm just feeling and you know,
53:01
it's not as mentally stressful. You have to write anything.
53:03
But how do you, how do you just like work on that stuff and make
53:09
it feel authentic to the band? I tried to, you know, the Halo
53:14
effect. I I stay true to their vision
53:17
because you know, that Halo effect is not so much.
53:22
I mean, they're they're great rips, great songwriting, but
53:25
they're not such a riff orientated band compared to the
53:29
haunted. So, you know, it's the more the
53:33
music as a whole and you know, Mika Stein stunning on vocals
53:37
that you know, the it's a different kind of fan, I think.
53:40
So it's pretty cool. It's pretty different.
53:42
I mean, probably my experience from Halo effect that opened up
53:46
the you know, the to beat out song, you know, or else I
53:49
wouldn't have thought of it at the gates.
53:51
I have four days to learn the sets and and also luckily their
53:56
first was it no, their last show on that run.
54:00
I think it did 5 shows or something with them that was in
54:03
Japan and it, it takes a long time to get a visa approved for
54:08
Japan and the they were going to play the Love Park festival, one
54:12
day festival. And so say there's 5-6 bands
54:16
playing that night. Luckily enough Halo Effect,
54:19
we're playing that festival as well.
54:21
So I had a visa so it worked out perfectly that OK, you do it, I
54:26
can do it and you know, flights were booked and everything.
54:29
So you know, yeah, I'll do it. And, you know, some of the songs
54:33
we played live like World of Lies and Blinded by Fear.
54:38
So then I knew I sat playing along to the album and, you
54:42
know, great production absolutely on that album.
54:45
But sometimes you can't really hear what the rhythm guitar is
54:48
doing. And I knew it was Anders
54:50
playing. So I was going now Anders would
54:52
probably do something like this and, you know, just did whatever
54:56
with my because I've been playing his riffs for so many
54:58
years. It just, you know, locked in
55:01
with the music I was playing along to.
55:03
I just knew this was probably be what Anders would do and then it
55:07
was just there. So learning that stuff was
55:09
really easy. Easy.
55:11
But it was. I had four days Halo effect.
55:14
I had a few months so. But yeah, I like jumping into
55:19
doing stuff. I also filled in for a machine
55:22
head. Yeah, yeah, I had to.
55:23
They were playing a show in Stockholm opening up from
55:26
Metallica sold out biggest indoor place in Sweden.
55:29
They're built by bass player had to Adam his name is right or at
55:33
the. Time.
55:33
Yeah, at the time, yeah, Adam. He had to find back home for
55:37
some, I don't know, some reason and they have my number.
55:42
Asked me for number for Swedish bass players.
55:46
They got them. Me and the Haunted had played
55:49
the festival. So me and Jonas flew back and
55:52
into Stockholm actually. And when we got there, Machine
55:55
Head were there picking up their instruments off the belt and I
55:58
went like it. Did you did you find anyone on
56:02
the home? And you know, I could maybe try,
56:06
you know, if if you're desperate, which they were.
56:09
And yeah, 45 minutes sets had to learn there's the whole set in
56:15
two days on a base. And it was a round stage, you
56:20
know, to Metallica's round stage.
56:22
Never played that before. Never played with in ears
56:25
before. The in ear monitor guy didn't
56:28
know what I needed. I didn't have, you know, those
56:31
molded in ear things. So I just had the, the whatever,
56:36
you know, the ear protection, the squeezy kind.
56:37
They popped out. I couldn't hear anything.
56:40
But I only played one mistake and that was a very noticeable
56:44
mistake. So the last song they played was
56:48
Hell Be Be Thy Name by Iron Maiden.
56:50
And, you know, it starts out very calm, you know, boom.
56:53
And you know, it's, I don't know, 40 open a strings, boom.
56:59
And then they go, you know, at 5:00, you know, that's where you
57:04
change. I can hear any vocal.
57:06
Sally, am I on 38 or 39 now? You know, I don't know.
57:10
OK, it's here. I just had to decide.
57:12
It's here. Like, no.
57:15
So yeah. But yeah, pretty good with just
57:18
two days prepared. I also played with Bruno.
57:21
Yeah, you've you've gotten around live man, I gotta and
57:25
that makes you I think that that versatility of being able to
57:28
learn stuff that short notice and you know, obviously more
57:32
time it's better, but you know, that does make you very useful
57:35
to be able to do that short notice stuff.
57:38
Hard worker and I don't have to play solo so that you know, that
57:42
helps. Nice, so I gotta ask what what
57:46
got you? What made you pick up a guitar?
57:48
So I grew up in Canada and there was this phone salesman that
57:53
called the house one day and the, you know, for, for music
57:57
school. I was 70 years old at the time.
57:59
And, you know, it does young Patrick want to learn an
58:02
instrument? And I said yeah.
58:04
And they had two instruments to choose from.
58:07
And I had a really hard time choosing.
58:09
It was the guitar and the harmonica.
58:12
Squeeze box accordion. Yeah, accordion.
58:16
And I had a really hard time choosing, believe it or not.
58:19
But I chose guitar because I had seen Elvis Presley on TV and I
58:23
knew that he played guitar. So OK, I'm going to play guitar.
58:26
And that class, even though we were so young, everyone had an
58:29
electric guitar. So I got my first electric
58:31
guitar when I was 7. And yeah, played guitar there
58:36
for a year or two. We moved back to Sweden.
58:40
I had to the music school then it only had acoustic guitars and
58:43
you had to sit like this and, you know, play with your
58:46
fingers. And I thought it was super
58:49
boring. So I I just stopped going.
58:51
And then a couple years later, when I started 7th grade,
58:57
something had happened that summer.
58:58
Everyone came back and had Judas Priest and Iron Maiden patches
59:02
everywhere. And yeah, I borrowed, I think it
59:04
was for those about to rock, that vinyl I borrowed from a
59:07
friend, put it on an O and heard, I mean, it's chorus, it's
59:11
ACDC. And this is stuff I know.
59:14
So I found the old guitar and brought it out and I can play
59:17
along to it. And then from then on, you know,
59:19
I was, I was hooked. Cool.
59:22
Well, if you happen to have in your archive of of merchandise,
59:25
if you happen to have any double X like Swedish ass fuck shirts
59:29
or any of those shirts, Yeah, yeah.
59:33
My ex had, I had the hoodie from back that I had the black hoodie
59:36
from back then. My ex had that that that's gone
59:39
to the ether. And I was like, oh man, I'm
59:41
going to be hunting on eBay for stuff.
59:44
You never know what turns up. Yeah, All right, man.
59:48
Mr. Patrick, you have a good night, man.
59:49
I appreciate you again so much. And yeah, man, it's really nice
59:53
catching up and I'm excited for this record and.
59:56
It's all good. I had a fun time.
59:59
That was cool. Thank you so much bro.
1:00:00
And I'll see you. We're going to play New York
1:00:03
sometime.