discaholic interview Reine Fiske 2017

Jun.18, 2017

Reine Fiske

Discaholic interview – 2017

 

 

Are you an official discaholic? Is there such a thing?

Do you need help with it?

 

Discaholics exists for sure. As with the other of the -holics. Well, among my closest friends and ”colleagues” I’m very much regarded as THE collector, but there are others whom I’m regard as more ”obsessive” I think – bless them. My friend Mikael Åkerfeldt in Opeth for instance; his collection of prog and psych is huge, incredible. He obviously has more money than I have, or at least he spends a lot more money on specific rare and expensive records than I could possibly do.

There was a time in the late 90´s that I could have had something of a habit – but there was always ”the music”. It can be sort of nerdy and lonely in a way, and eventually I felt stuck in the same kind of rut. It could turn into living in a ”micro-cosmos” sort of existence, never looking out of the box and that is where the so-called ”nerd” hides perhaps. I totally understand that people can end up there.

 

When did you start collecting?

 

I think I started to get into records for real around the time when I met Stefan Dimle of Mellotronen in 1989, then a rather small store in Stockholm. He eventually turned into a bigger business with his own label and eventually organising smaller festivals and gigs. He became a very important catalyst for me in terms of getting into different kinds of music – a lot of the European and British underground music and the rare hard rock stuff, but most importantly the Scandinavian scene from the late 60´s and early 70´s. He showed me all these mythical albums and they often had a special look of being RARE – I knew I would never get hold on many of them, but it created a big buzz in me. And much of the music and the sound of these recordings was amazing too. It was like looking into another dimension with all these bands that were around back then.

 

 

 

Was vinyl the first thing you collected?

 

I was into stamps and coins a bit – sounds very typical I know, but that was just being a kid, but there was something about things being old and sort of pristine, telling its story of a different time. I’ve always been into old things in general – they immediately have a story to tell. Like old books, of which I have very few though. Older instruments also has something magical about them.

 

 

What was the first piece of vinyl you got?

 

Probably a present for Christmas. Could have been a kind of lousy Heavy Metal collection with a dreadful cover – I was a Scorpions fan so I remember getting ”Love at first sting” in 1983/84. The first album I probably bought was Yngwie J. Malmsteen’s Rising Force – the first album. I had a massive affection for him for a year or so sitting in my bedroom trying to copy him.. I failed miserably.

What gives you the buzz? The hunt itself ? or finding the actual object? Do you still get the buzz finding rare records that you have been looking for?

 

The buzz is very much apart of it, of course, even when I actually decide to pay a lot for a specific record. That’s very much my kind of collecting really: to get the specific ones. But there are so many factors at play here; if you really dig in every possible crate you’re eventually gonna find stuff – some people are obviously very professional at that especially if that’s what you do and make a living out of, but in general nothing or anything out of the ordinary will pop up for someone like me – or it’s rare that it does, it’s very much the same records everywhere. If you’re not able to travel or talk to people about what they have in their homes it’s rare to find anything outside the stores. Sometimes you can get something at a good price, in stores I mean. This is the case in Stockholm anyway, BUT, I also know that this town is amazing in terms of finding records, but these records are tucked away deep in the homes.

Stefan Dimle once told me about a man he met at a record-fair who worked at the school were the fair was held. They started to talk and when going through some of Stefan’s rarer Scandinavian stuff he just said ”.. I have some of this stuff at home”. Eventually Stefan persuaded him to let him into his house afterwards and he had lots and lots of records. But in another room there was another smaller shelf. ”Oh, those are my wives records. It’s all ”womens-music”. Stefan had a quick peak through them later that night at some point, and there all the really rare stuff was like Forest, Comus, Julians Treatment and lots of various folk and prog-rock records.

Through my old work in the post-office I have had the luck in finding men in their ”bachelor-pads” who bought a lot of records in the 70´s and early 80´s and some of it has been amazing. Hard-rock rarities and some Swedish stuff. But I rarely have the time to go around the normal shops anymore – and when you eventually find something it’s usually very pricey. At a flee-market you can find things every once in a while but as I said before, there is no time for that, and it’s usually filled with senior peoples albums, people that never had an affection towards the records themselves anyway, that end up there – Christian records, the more common classical and ”dance-band” albums. And Pelle Karlsson of course.

 

 

 

 

 

Do you buy a lot of your records mostly on tour these days? Anyone else in Dungen that are into vinyl collecting?

 

Everyone of us like to look for records, but it’s mostly me and Gustav Ejstes who are the ones going for that – when there is time. Mostly there isn’t. I like to have at least one goal hitting a new town and that is to find good coffee and the ultimate record-store to my tastes. In the U.S there are lots and lots of records and backwoods stores and thrift-stores or those ”barns” with millions of records in them but finding the right one demands some special knowledge I guess.

Are there any more vinyl projects planned for Dungen with Jack Whie´s Third Man Records?

 

No – that was just a one-of sort of thing. It was great meeting him though. It was fascinating how he had the whole process of actually making an album very much in the same building, down to producing the actual lacquer. We all jumped into his old white Cadillac and went for burgers at this late-night drive-in during the session. That little session was both fun and sort of tuff to do in a way; I remember sort of ”taking over” a bit ’cause Gustav sort of ”bailed out”. The ground takes sounded incredible but when the vocals were supposed to be done everyone was so tired and dozed up that it was difficult to sustain the original power of the song. The B-side was done the day after.

 

 

 

 

 

What is your dream re-issue project on vinyl?

 

There are some treasured recordings with Träd, Gräs och Stenar from 1970 that I want the world to hear, because it would very much change people’s view on them in a way. At that time they were at their very peak I think and few live-recordings from this year has been released, except for the Gärdet recording that we released almost 20 years ago.

Another one is Nisse Sandströms Grupp, a sort of free-form avant-garde project based in Stockholm between 1966-68 and this is something I know you have been into doing as well! I know about some rare recordings with them but it was such a long time ago that they could be lost forever.. I’m also trying to collect material from unreleased and more obscure Swedish bands from this era and and maybe put out a collection album of sorts.

 

How do you measure your collection? In meters? Kg´s? or by the numbers?

 

I have a lot of records but it’s not a ”huge” collection, I would like to have it more organised – parts of the collection is very well organised and other parts are just complete chaos. Again, time and space is the problem here. I sometimes get the urge of quitting with 20% at least just to get more space for the albums that I really love.

 

 

 

How do you sort your collection? Alphabetical? Genre? Chronological?

 

As I said it’s all over the place, really. I would call it in ”sections” – the Scandinavian section is probably the most organised, in labels and my ”psych-rock” section is alphabetical.

 

 

 

Are you a completist ? Do you wanna have complete collections of a certain artist or a label?

 

I’m not a completist, because it’s basically out of my reach. Though I would love to have all of the early Blue Note-albums or all the BYG releases just because of the incredible documents they actually are. I still and will always see myself as more of a ”fan” of music and a seeker musically and there is still so much to discover, so many genres to dig into deeper.

If there is a specific album that I totally freak-out about, then my sort of ”manic” side switches on; I HAVE to get the album. And it HAS to be an original descent playing pressing. M/M is not important here. If the music is delicate it has to be in good playing condition of course..

The only bands or artists that I sort of have collected or tried to complete are probably Terje Rypdal and Popol Vuh for some reason. I’m almost complete here; I even managed to find a Mint-copy of Djong Yun’s (singer with Popol Vuh 1972-76) ”Ave Maria/Du Solbst Leben” 7” on United Artists – now this is an extremely rare record, recorded simultaneously as the ”Hosianna Mantra” album in late 72´early 73´.

My biggest Rypdal-want is the one he released with his then wife Inger-Lise, a 7” on Warner Brothers in 1971, ”Tried to make you happy/Tough Enough”. It is so rare that only a few copies are known among collectors.

 

 

 

 

What single vinyl release got you going to start play the guitar?

What vinyl makes you wanna stop playing the guitar?

 

Vinyl came later – though cassettes was the thing that contained music in my early music years. My mom had so many of those and it was mainly 60’s music. All the great bands and artist.. I remember the sound of the Shadows. That spurred a sense and affection for a sort of big ”wall of sound” in me I think. If you listen to those early recordings with them and where Norrie Paramour did the arrangements it’s HUGE. I still find the sound of the production, and Hank’s sound, even though it can seem a bit cheesy, as spellbinding. After all it was Abbey Road and engineers in white coats back then..

There are very few records that I hate in my collection; some I still haven’t figured out, they could be a bit disturbing, but I still keep them out of curiosity.

As a Scorpions fan I bought their first album ”Lonesome Crow” around 1986 or something, and I hated it.. I found the guitar player almost annoying and that he played really badly, like a drunk or something. Now I cherish it as one of the main German hard-rock/psych albums ever recorded. And that same annoying guitarist was Michael Schenker, then only 16-years old. It sounds like he is seeking a higher level of consciousness in his playing at some point..

 

As a guitar-player you obviously go through listening to many of them, and much of the musicianship on many of the classic albums that I listen to and always seem to fall back to are a source of inspiration, like ”grails” sometimes; it’s something you’re not supposed to compete with; I see the records and the music as treasures – and you yourself is sometimes an instrument that music sometimes want to use..

 

What was your first release at all on vinyl?

 

Landberk’s ”Riktigt Äkta” on the Norwegian label Colours in early 1993. Me and Stefan Dimle started as early as in 1990 to put together songs, just for fun. Later Stefan’s old friend Patric Helje joined and suddenly there was a possibility in making a record. Our influences was the Spring album on RCA-Neon, Trettioåriga Kriget, Swedish-folk and many of the other Scandinavian albums that me and Stefan were into. Like Haikara, Kalevala, Panta Rei, Saga Life and the likes.

 

 

 

Can discaholism be cured?

 

Whatever it is, I don’t think so. Or maybe.. It will just find it’s way leaping into other things I guess. It’s the same with playing music; even if you live your life out of the simple notion that music is sort of ”the highest” you simply have to find a space where the actual playing and the will and inspiration for playing coincides and works with everyday normal life. This can be hard sometimes I think. Collecting is also partly this kind of ”man-cave” phenomenon; there are female collectors too, but I think they collect somewhat differently. And perhaps they are more open with it in a way.

There is an extremely funny, clever and interesting book written about the subject by Brett Milano called ”Vinyl Junkies” that I love. Everyone should read this book I think. Every little thing about collecting is something that is a part of everyone; it’s about finding something ”other” in a way – a bit of an escape too. For me records are, or specific albums are ”major works” of art; just as a great novel or a big piece of music written by one the big composers. I am not into so-called classical music very much, but I know I need and want to dig into the more modern avant-garde or modern sides of it too, like Ligeti or Messiaen.

 

 

 

 

What record can set off a war?

What record would create peace?

 

I wonder what record could turn Putin into a beggar on the streets of Moscow giving his possessions away to his people in need.. He should be doped with hallucinogenics together with Trump I think, twisting the whole world-economy systems around towards a healthy, loving, political climate full of debate but with Peace and without unnecessary wars based on economy.

There is a lot happening in the various music-scenes today too, but it’s not like in the dramatic beginnings of hip-hop or amongst the sound systems of Jamaica – or 1966 in the U.K hip London-Underground.

Certain artists have a way of being a mirror of their present society, creating something that incapsulates the times it was created in and it comes back when listening to it. Whether it being during a specific era or out of pure frustration or anger in not being able to reach out more politically or spiritually. But new scenes are being developed out of frustration and the will for expression everywhere. I think the next few years will produce a lot of this because of the present situation now accelerating.

 

Like the first Suicide album – or Silver Apples. They are strangely and very obviously connected in a way, THAT is music out of the underground – and now it’s seen as totally groundbreaking and other-worldly – which it is. Music that wants to shake down the barriers and the walls of predictability. DOM and the album ”Edge of time” is also very important I think – practically unheard and un-loved – a highly spiritual psychedelic album.

As with Can’s ”Monster Movie”. It is out-of-this-world music; revolution. Free, open spaces.

 

It usually happens very much in the underground I think: ”Sgt. Peppers” wasn’t Underground, but they delved in that and was and very much wanted to be a part of it even though they were the biggest pop-group in the world. They created a very important bridge between those two worlds and also made it somewhat ”popular” through a ”major-work”. Pop music as art, and all of that..

Pete Townsend also had a lot to do with the scene in the U.K and how it sort of changed, or how he sort of saw it change and also created major-works in the rock-field around that fact in the post-psychedelic era.

It was music more created ”because of the wars” rather than starting one.

 

 

 

 

 

What record has changed your life most dramatically?

For the best ?

For the worst?

 

As sort of a dark and rather lonely soul of a person in my late teens I wasn’t into playing, like,  Grind-Core or Punk-rock or anything; I probably would have needed it in some way – but I was too shy and didn’t hang out with the tuff boys very much. For me the darker sort of ”woodsy” music created some kind of a mirror. The Swedish fiddle-music was one of them. Two violins, playing a minor-key polska is still the sort of ultimate music for me -

As far as specific albums go I was very much into Talk Talk’s ”Laughing Stock” and ”Jazz på Svenska” by pianist Jan Johansson with the bassist Georg Riedel. Those two albums are forever desert-island albums for me. It is music so far away from technique and flash that is so common to get involved with in the electric guitar-world too. It was great to have that as a mirror as well. And it’s more ”spritual” music too.

Before I even heard Miles I listened intensely to the early works of Terje Rypdal. My mother is Norwegian and I actually have a Norwegian passport, though I was born and bred in Sweden, so the link to Norway felt very important for me back then. His ”Whenever I seem to be far away” is still his ultimate album I think. And one of the No.1 Mellotron albums as well..

Van Der Graaf Generator’s ”Pawn Hearts” destroyed me totally; and then the footage of them playing in this cold, big white room that was a TV-studio in Belgium, shot for television in March 1972. I still regard them and that specific era in their existence as being the forefathers of goth and death-metal all together – I would trash things and listen to them. The most epic, insane, beautiful, aggressive music in rock ever.

And then we have the danish underground band Alrune Rod’s first album from 1969. That is a life and death album.

 

 

 

 

 

 

Describe a perfect vinyl hunting day!

 

I’d like to go on a trip through Europe and end in Turkey – or do one through the U.S sometime, to just try to hunt for records. In these small places, like a classic road-trip.

Nowadays I’m happy if I even find ONE record that I’ve really looked for. The internet has changed and opened up the whole thing for all collectors of all kinds of stuff, me included. But the rarest records are still shared between collectors of course.

A perfect vinyl hunting day is combined with having a good time with someone you share the ”obsession” and ”the hunt” with

The perfect vinyl hunting day is that sometimes you can sense that you’re gonna find something particular when walking into a place or a specific store. It’s rare though.

I have a new friend, Samantha ”Sam” Swig, who is very much into the same stuff as I am. She lives with her as-obsessive husband Eric Bosnik in Oakland, CA. She is a big fan of Dungen, and we’ve become great friends lately. She even put on a show for us in Nicasio outside Oakland near the Redwoods and it’s really a treat.

We’ve talked about the movie someone should make about two vinyl-junkies going on this kind of weird trip – but writing a script that isn’t just for the people of our kind demands something else to trigger the story I guess.. It would be great to fill it with music that few people outside the collectors-world would have heard of.

 

 

 

 

What records do I wanna steal from your collection?

What record do you wanna steal from the discaholic website?

 

I have a Mint-copy of ”Popofoni” on the Sonet-label w. the Jan Garbarek Quartet, Karin Krog, Arne Nordheim and Kåre Kolberg etc. The back-cover even has the taped-on correction with Karin’s name, I don’t remember the story behind that now – that says it all I think; how many copies could possibly have been corrected, and how many copies were even distributed, or even pressed? Who glued on that little piece of paper for all the copies that got sent away?

You would probably be interested in the ”Min Buhl” album – also a Mint-copy, but it’s probably in your collection, right?!

I recently purchased a cover-less copy of The Christian Yoga Church ”Turn on for the hip at heart” from 1967 which is probably one of the most unique and bizarre records from what you can call the Psychedelic era in the U.S; some sort of a christian yoga-commune outside of San Francisco that had connections to a spiritual centre in Virginia or something recorded a ”seanse” and released it as an album. The music is very weird and moody and totally unique. The fun thing is that Stefan Kéry has a cover that I’m gonna get from him. He is currently selling his copy for 1000 dollars.

I also have the ”Shh!”, ”One Point Music” and ”Samsa Trio” albums on the mythical Finnish O-Records, connected to the collective Sperm and their member Pekka Airaksinen.

I haven’t been around your site that much actually – I’m painfully unaware of the free-form movement too, but I know you have amazing stuff from all over the palette of musics.

 

 

 

 

Lathe cut, cassette, flexi, reel-to- reel or 8 – track… what is the best alternative to a regular vinyl release? If there is one….

 

I ’dunno – some reel to reel boxes looks nice, and they obviously sound great. As a format, an Lp or a 7-inch just looks good, just for the label alone. It’s the real thing. I have two smaller portable 78’rpm players stashed away somewhere so to try and get some nice old blues and jazz records for those would also be fun one day..

I also love tape – for all it is and what it does to sound. The old mix-tape. I have Logic in my Mac but I don’t know much about it really – I’m gonna try and start to learn more about doing some mere digital ”tapeless” recordings – It would probably be good for me. Splicing tape is fascinating. Mattias Glavå (lately the Dungen-producer) still splices 2-inch tape and it’s amazing to watch him do it. He rarely fails.

 

 

 

 

Do you have a favourite tool/ knife to open your packages (eBay/ trading parcels arriving w the mail)?

Do you have a routine / method  opening the packages – or do you just eagerly trash it all open?

 

Usually I just try to be gentle – with a knife and scissors. I take away all the tape just to be able to re-use the boxes sometime or to put them in the recycling. Lately I’ve been very lucky with the people who have sent me records. Some people don’t have the faintest about who parcels are being handled once they start the journey for their new and hopefully final address.

 

 

 

 

Is trading records the most fun you can have with your clothes on?

 

To be frank, I haven’t traded many records with anyone. The stuff I eventually had or finally got hold of is for the keeping very much;

I once traded a Mint copy of ”Icecross” AND a copy of Junipher Greene’s ”Friendship” for C.O.B’s ”Moyshe McStiff and the Tartan lancers of the sacred heart” though, and Claes Wohlin (R.I.P) of Funhouse Records was still kind to me ’cause he knew I loved that album so much.. He was a really nice guy, I really really liked him – he wasn’t the classic dealer kind of guy either.

Recently I let Sam have my ”Underground Failure” album, the one version that was only pressed with that specific brown Balalaika orchestra-cover in 50 copies, simply because I never listen to it and see it more as an ”fun” artefact, more than something I really treasure; she has given me so much stuff, so I just wanted her to have it. It’s not everyday that someone gives you a copy of Radiomöbel’s ”Tramseböx” – an album that I treasure. I recently found out that it was the very same copy that blew my mind some 20 years ago – Stefan Kéry was the original owner.

 

 

 

 

 

What is the first section you hit, while arriving to a vinyl shop, where you have never been before?

 

New arrivals. And I look at what’s stuck on the walls. There you sense what kind of stuff they hold. If it’s a huge store, they hold everything of course..

 

Secondly?

 

The prog/psych and then the folk-section.

 

Thirdly?

 

The jazz-section. Although I don’t know that much about jazz really… I look for Coltrane, Sanders and the likes – the interesting European free-form stuff.

 

The section where you would never look in?

 

12-inches. Hip-hop/rap and the techno-section.

My beloved girl-friend has a big collection of early Detroit-techno and electronica, but I never got into that. I love Aphex Twin though. And the stuff Mad Lib, Dj Shadow, Cut Chemist, J-Dilla and Mad Villan does with sampling – more turntable-ism’ stuff. Gustav got me into that.

 

 

 

 

 

What is your favorite record shop in the world?
Why?

Favorite city for vinyl hunting?

 

Mellotronen in Stockholm WAS my favourite store for obvious reasons.

Otherwise it’s hard to say. Maybe that store exists somewhere..

There are some really good stores in Stockholm, since they always buy up huge collections, and Stockholm is so full of records, but nowadays they’re also very aware of everything that comes through the store. Everything is more or less looked up on the internet price-guides.

I like the Amoeba stores though – but I rarely find anything ”rare” there. I just like the vibe. You need to find the smaller shops, or the ones that specialise in specific genres. Me and the family are soon going to Berlin so I’d very much like to find the place that holds a lot of the rare German stuff, of which there seems to be an overwhelmingly lot. But it seems that its gotten drained out there totally over the years. Now an original copy of ”Tago Mago” suddenly is around the 200 Euro mark, at least. Those albums end up in Russia or in Japan anyway.

 

 

 

Give us a list of your 5 favorite:

 

- International psych vinyls:

 

Freedom’s Children ”Astra”

Aguaturbia ”Volumen 2”

Julians Treatment ”A time before this”

Arthur Lee Harper ”Love is the revolution”

Dom ”Edge of time”

.. ”psych” it may be – or ”prog”, but just to name a few..

 

- Scandinavian psych vinyls:

Kalevala ”People no names”

Culpeper’s Orchard ”same”

Saga ”same”

Alrune Rod ”same”

Mecki Mark Men ”same”

.. same here..

 

- Fuzz drenched vinyls:

 

Dark ”Round the edges”

Human Beast ”Volume 1”

Taman Shud ”Evolution”

Amon Düül 2 ”Yeti”

Jimi Hendrix Experience ”Are you experienced”

 

And what is your all time fav Kebnekaise album?

”Resa mot okänt mål”. Incredible album. Two astonishing guitar-players on the same album with the old Baby Grandmothers trio letting loose in a slightly more rock setting for sure. Anders Lind had just gotten a new eq-filter for the 8-channel mixing console and he thought that improved on the whole sound, which is totally true.

 

 

 

 

And what is your all time fav Mecki Mark Men album?

Their first one. One of the most adventurous, original rock/jazz/psych albums with a heavy, drone feel that’s ever been produced. I had the privilege to remix it when Stefan Dimle and Mellotronen did a reissue some years ago – only to realise that I had panned the drums to the opposite channel than to the original LP-version. I tried to keep it as close to the original mix as possible, but everything already sounded as amazing on the original album anyway – I just put the faders up at the right tweak and level, everything on the album sounds as it was actually recorded. Some of the vocals were done as an overdub. Sometimes it was just 3 channels even. Mostly 4 though. I sometimes gave the guitarist more room, especially on the song where he is actually doing a solo. It was a magical moment for me..

Thomas Mera Gartz was supposed to be there but he was too busy. I had a hang-out with him and we listened to it afterwards though.. It was an incredible evening – we got smashed.

 

 

 

 

And what is your all time fav Träd, Gräs och Stenar album?

 

Hard to say. Since I have heard so many recordings that never saw the light of day on an actual record it’s even harder. All the albums, or I see them more as field-recordings that made themselves onto an album, especially the live-albums on Tall, have something on their own.

Perhaps the 1st one, IF I HAD to pick one. There is a clear meaning in there; it’s a somewhat darker album, and you can hear BoAnders nod towards Terry Riley in a way, even more..

And the Pärson Sound album that I produced and compiled. That is a totally different story though.

 

 

 

Is this interview too long?

 

No, I have time.

 

 

 

 

Who do you wanna see get interviewed in this serie of discaholic interviews?

 

Hmm. Stefan Kéry of Subliminal Sounds for sure, Mikael Åkerfeldt perhaps. that would be a treat for you I guess – or Paul Major in New York of Endless Boogie and his label Parallel Worlds.

 

What record is closest to sex?

Which one is no sex at all?

 

”This is soooo white!” as our tour-manager Chris Newmeyer once said about something he played in the van for us..

My girl-friend, Agnieszka Lewalski, is a genius in finding comparisons, metaphors or feelings about music and putting them into words and sort of describe them as pictures. Not that she’s into music for that fact, if it’s sexy or not, but some of the stuff from her collection is incredibly sexy. She usually points out specific sounds as particularly sexy – how songs change in tempo or mood. She sometimes have to remind me that some of the stuff I actually listen to is ”.. sort of sexy”. For instance a song like ”Forever my queen” with Pentagram; or even Human Beast Vol.1 on Decca. Sort of quirky facts.

I wouldn’t say that the music I listen to is un-sexy, perhaps it just falls into the ”thinking-mans” music vein too much. ”In the court of the Crimson King” isn’t regarded as a very sexy album. Neither is Comus ”First Utterance”. Tribal-sex perhaps. The sound of the Mellotron isn’t very sexy. It’s more sophisticated and doomy, etheral.

Sexy music doesn’t have to be funky, or even ”black” – pardon me – to be sexy either. Of course THE song ”Sex machine” is a hell of an anthem and a beat – and the group who’s actually playing that is one of the grooviest in the cosmos – it’s funky, but I don’t think it’s ”sexy”.

 

One hell-of a sexy album though is the first Funkadelic album. Sex laced with acid.

The Wendy & Bonnie album was very sexy once I remember..

I haven’t really experienced s sex together with music to be honest – but that is perhaps a fantasy on it’s own then.

Dungen isn’t vey sexy either. It’s more desperate – angst-driven, heavy or what have you. There is a different kind of mixed up or messed up feeling that deals with longing and getting somewhere in this beautiful yet so fucked up world, with love and out of love. Love for sound and recording, getting something across. Trying to keep up the true creativity and never get ”old”, ”soft” or ”boring” along the way.

When I get older I better find a kind of music that ”suits my age”. Perhaps running over guitars with vehicles and then record it and as an encore putting my record-collection on fire and record that too – dedicated to the Trump-regime.