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SONATA ARCTICA INTERVIEW : Interview with Henrik Klingenberg - Keyboard Interview Date: Jan 10 2006 Interview conducted by: Clare B. Listen to this Interview || mp3
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RELATED LINKS : Interview with Tony Kakko - Vocals, May 2003 Interview with Tony Kakko - Vocals, April 2005 Interview with Jani Liimatainen - Guitar, Jan 2006 Interview with Tony Kakko, April 2007
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Being both a keyboard player and a huge Sonata Arctica fan, I was excited when our friends at Nuclear Blast offered the chance to interview Henrik Klingenberg, Sonata Arctica’s extraordinary ivory-tickler (or plastic-tickler, anyway). Klingenberg is a veteran of Rock and Metal, having played with numerous bands including Requiem, Silent Voices, Mental Care Foundation and Graveyard Shift but to name a few.
Most recently, this gang of Melodic Finns have released “Reckoning Night,” [2004, Nuclear Blast] their fourth studio album to date, and another milestone in their young career. Merely days after this interview took place, Sonata Arctica ventured to North America for the second time to electrify and energize audiences on an enormous tour.
I’d like to thank Klingenberg for his time, good humor and openness, and to our friends at Nuclear Blast for setting up the interview.
***EDITOR’S NOTE: This interview has been edited. Usually there is an option to obtain the full transcript, but due to a tenuous phone connection and poor sound quality, I was unable to transcribe the last ten minutes or so, hence the abrupt ending. So for all intents and purposes, this IS the full transcript.***
CB: How are you doing?
HK: Yeah, pretty alright. Waiting to get on the road. We’re going to leave on Thursday, so it’s like the day after tomorrow, so.
CB: So are you excited to be touring again?
HK: Yeah, of course. I love to tour, always. At some point of course you get tired and you want to go home, but [Both Laugh] otherwise I really like to play live, so I can’t wait.
CB: Well, congratulations on all the success that’s been coming to Sonata Arctica. Are you happy with the way things are going?
HK: Yeah. Well, we’ve got like eight months left of this tour, so after that we’re really looking forward to making the next album; it’s been a while since “Reckoning Night” came out.
CB: Do you know when that’s coming out or when you’ll be working on it?
HK: The plan right now is that we’re going into the studio at the end of this year and it would be out in late spring 2007. Meanwhile in this spring we’re going to release a live DVD, so that’s something.
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CB: Is that going to be released also as a live CD or just a DVD?
HK: Yeah, it’s going to be a CD and DVD, but it’s like—we don’t have the whole show on the CD. We just cut like seventy minutes of music from the DVD onto CD so it’s going to be basically the same stuff for both releases. |
CB: On the DVD there’s also extra stuff, like behind the scenes?
HK: Yeah, there’s not going to be too much of that because we’re going to make a historic DVD at some point and we wanted to save a lot of the footage for that; but there is a segment of like fifteen minutes or something like that when we are drinking and stuff like that [Both Laugh], or whatever stuff from that same tour where we recorded the DVD. And there’s going to be some short biographies and discographies and stuff like that, but mainly the show is going to be the main thing.
CB: You’ve played in a lot of different bands, symphonic stuff like Requiem, and the thrashy Mental Care Foundation, and Silent Voices and all that. Do you prefer having a wide variety of stuff to play?
HK: Yeah, absolutely. I’ve always been like that. I’ve played in bands for like ten years or something before I joined Sonata, so it’s always been, to me, I always got at least three bands going at the same time. I need to do different things. Now, of course, with Sonata, we have a lot of work, so as long as I keep clear which band is number one, then it’s no problem to have all these on the side whenever I have off-time or something, I can go and play with somebody else. It’s really cool, and for me it’s like therapy—and a lot cheaper [Both Laugh].
CB: You’re still playing in Mental Care Foundation and Silent Voices. Do you find it hard to find time for everything, to balance three bands?
HK: No, not really, because Silent Voices, I’ve been in that band since I was sixteen and I told the guys that this is the way it’s going to work: I’m going to make the albums, and if I have time I’ll play the live shows otherwise I have another guy who is filling in for me. So basically the only thing I have to do is play an album when we do it and that’s no problem. Actually we’re coming out with a new album in January or February. So that’s Silent Voices, and Mental Care Foundation was something I started when I came home from the “Winterhearts’ Guild” tour because I didn’t have anything to do. We actually just recorded our second album now, during the Christmas break from Sonata. Also, the [Mental Care Foundation] guys know my priorities and that’s cool, and the guys in Mental Care Foundation all have other bands anyway, so it’s not a problem.
CB: So you’re not involved in any other bands or side projects right now?
HK: No, we made a demo with Jani [Liimatainen, guitars] from Sonata, maybe something will come off that. That’s it for now.
CB: What style would that be?
HK: Strapping Young Lad, Pantera, something like that. It’s a bit different.
CB: What’s something musically that you haven’t done yet but that you’d like to try, Metal or not, or a different style or something?
HK: Nothing, really. [Laughs] I’ve done everything I want. I started playing Classical when I was a kid. When I was in my early teens I was in some jazz bands and tried that out, but it wasn’t really my thing. I’ve played Rock, I’ve played Hard Rock, I’ve played Prog Rock, I’ve played discos and theaters and whatever. I did “Fame” in Helsinki for one month and all kinds of stuff, so really, I see it when it shows up if there’s something I want to try. For me, I just like to play and if there’s an opportunity to do something else and if I have time, of course I try it. No harm done and probably I learn something.
CB: So who would you say are musical influences, who do you listen to?
HK: Well, my musical influences and who I listen to is a bit different [Laughs]. But the thing that influenced me mostly when I was younger and started to play in bands was obviously Dream Theater, I listened to Rush a lot—actually, that was the first band that really did it for me and some King Crimson, some Progressive stuff like that. And of course, I found my Metallica and Pantera and Slayer, and it got heavier and so on. And then at some point I listened a lot to jazz bands like Miles Davis and [John] Coltrane and all that shit. Nowadays, if I listen to Metal it has to be something like Strapping [Young Lad] or Pantera or Soilwork or Messhugah or something like that. But I don’t listen to that much Melodic Metal at home anymore. When you do it all day you don’t want to listen to it anymore. I love the music, but sometimes it’s too much and I really like change a lot. Listening to any one band or any one style or any one artist just—only listening to that would kill me, I think, because there is so much great music around and so many great styles, and of course, so many styles I don’t like so I just like to suck it all in.
CB: When I interviewed Tony [Kakko, vocals] a few months ago after your show in Toronto, Canada, he said that he still mainly writes the keyboard parts. In the future do you think you’ll be writing at all for Sonata Arctica, either contributing to the music or actually writing your own songs?
HK: I don’t know. That’s still to be seen. On the last album, he still writes all the songs anyway, and some of the parts he has a clear vision of what he wants to do, and some of the parts we work out together. So I feel now that I can express myself enough. We’re just learning how to work together and check out which places we need a little more space for me and which are the spaces where I don’t need to do that. So I think on the next album we’ll find a better balance between the keyboard parts than before.
CB: Were you satisfied with the way your parts were on “Reckoning Night?”
HK: Yeah, at the time, but it came out in 2004 and now when I listen to it there are so many things, I think “Oh shit, we should have done this or that,” and it’s always like this for me, that’s why I keep making so many new albums [Both Laugh] as much as I can. Because always, when you do something, you get it ready then you listen to it like one year later and you realize, “I should have done this the other way” or something like that, because for me, this is just a learning process all the time, so in that way I feel that I hardly can wait to get to make another album so we can do something better and evolved. When we made the album I got to do whatever I wanted, and some of the stuff we threw away and some we kept. Yeah, so I’m totally happy with my contributions to the album.
CB: There was a lot of rock or Hammond Organ, that kind of thing. And that was your idea to do, right?
HK: Yeah, that was totally my idea. Tony was a bit skeptic about that in the beginning, but when we started putting it in, he like it, so we put it all over. And that is something that will be in the picture again; there is going to be organ on the next album as well.
CB: So why did you decide to put that in? Was it something you felt really fit, or that a sound that you just like generally?
HK: A little bit of both, actually. I used to play in a Deep Purple cover band when I was younger and that was something I picked up from there. I like it a lot and then it fits, I think, so.
CB: Have you had a chance to hear what Tony has been writing? Or is it not really in that stage yet?
HK: No, he has something ready, but we’re probably going to hear it on the U.S. tour, because he’s been writing some demos and I told him to bring it along so we can check it out just with the band and see what’s happening and what’s going on. And also it would be easier as a band to arrange the songs when we have some sort of idea of what’s going on. So I think we’re going to listen and he’s going to continue writing demos even if we are touring and then next autumn we start to arrange, record and rehearse the new album.
CB: What’s the Finnish Metal scene like? North Americans seem to have this idea that it’s really popular and that everybody knows each other, just because the same people have been in different bands together. Is that at all true?
HK: Yeah, [Laughs] actually, it is pretty much all there is. It’s like—well everybody knows each other because there are just like five to ten major festivals in Finland and if you play in a band who does gigs and you do two or three festivals, then you’ve been to the same festivals as most other bands also. So the scene is pretty small that way, so that’s where we know each other from. And there are not that many labels and studios and stuff like that, so it’s just—if you play in a band for a while then you learn to know everybody. Compared to how many people we have in Finland I think the Metal scene is pretty strong, because Metal bands are on the charts all the time. It’s a small scene but it’s a strong scene, and we are actually getting along surprisingly well.
CB: Why do you think there is so much Metal coming out of Finland?
HK: I don’t know, I mean, of course, it’s dark and lonely and stuff like that, so maybe people like to play darker music that way, but one thing that I think which is important is now, the business side of Finland has evolved to a level where we actually work with people from the States and from all over Europe and that way, I think Finnish bands have a better opportunities now to go abroad, to go out of Finland and actually show up and people are starting to take notice that we have bands here. Because we have had Metal bands here ever since Deep Purple and Rainbow, and people trying to play like them; I think we always had some kind of a scene. But now, especially, when we know how to bring that out, I think the export has grown over the last ten years or so. So now, kids are getting really excited because they see an opportunity, that even if you come from Finland, if you play good enough and have a good band you can go and travel all over the world and stuff like that. So I’m really looking forward to the next generation of Finnish Metalheads. I think that’s the main thing, that now we know how to get our bands out of Finland so other people can hear it, and started to have the contacts to promote the bands.
CB: It’s funny, sometimes people here, they ask each other “What kind of music are you into?” and the Metalheads will say “Finnish Metal” because that, to some people, whether it’s Black Metal or Melodic, like Children of Bodom or someone like Sonata Arctica, people know that it’s a certain Finnish sound that a lot of people identify with. It’s almost like a whole sub-genre in itself based on geography. It’s really strange.
HK: That’s really funny! It’s funny, because it never struck me before now, just I mean recently, like the past year or so—people have said just what you said, like “I like Finnish Metal, like Bodom and Sonata” and I’m really wondering, because in Finland, if you listen to harder stuff, then you listen to harder stuff and softer stuff would be us and Stratovarius and Nightwish or something. So it’s really interesting that the same people that the same people would listen to us and Bodom. But it’s all good [Laughs] it’s all good. I mean, I don’t care, and I love the Bodom. I think they’re fun to drink with have really great records. It’s a really great band anyway.
CB: Sonata Arctica hasn’t been around –at least, commercially around that long, like “Ecliptica” only came out like seven years ago; but in that short time the band has become really popular. What do you think makes Sonata Arctica stand out among other bands? What do you think makes them special?
HK: I think it’s really the songs. Because playing-wise, they’re a lot of good people around who play all kinds of stuff. But I think in a band the main thing is first, the songs, you make the album, with the production—that’s pretty easy to get, nowadays—and after that it’s really playing live. That’s the ultimate thing for a band; that’s where you see if it’s crap or not. So mainly I think it’s Tony and Tony’s song, that’s the thing about Sonata that stands out.
CB: What do you think is special about the live shows? HK: With us? I don’t know! [Laughs] We kick ass! CB: Yes!! [Both Laugh] |
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CB: What do you think is special about the live shows?
HK: With us? I don’t know! [Laughs] We kick ass!
CB: Yes!! [Both Laugh]
HK: Yeah, no, I don’t know actually—you see, especially in the Melodic Metal scene, you see a lot of bands that play really sloppily and we’re not the tightest band in the world, but we’re at least playing the same song at the same time. That and one thing, of course, is Tony’s singing. He sings pretty good live. Because there are —at least, I’ve heard a lot of bands—who could be okay but the singer is way out of tune or something like that. But then again, there are a lot of really good bands, I mean, if you’ve seen for example, Children of Bodom, they totally kill live. It’s terrible that somebody can play that good! [Laughs]
CB: Do you prefer being on stage or [in the] studio? You said that you love touring, but at a certain point it gets tiring.
HK: Yeah, well for me I’ve solved the problem with that by doing the thing this way. That’s one reason I have other bands, because with touring with Sonata, we always have one or two weeks off here and there and mostly I go into the studio and record something. You can’t have one without the other, and to me recording and arranging songs or writing songs in the studio and recording, that is really fun. But that is something that you do in your loneliness; that is just the band. Working on it, nobody knows—you know that you’re working on something; you think it’s going to be good, but nobody else knows anything about it. And then when you get to play live, that’s when you bring the stuff to the people and you go “Okay, this is what we’ve been doing,” and you get the appreciation—or they boo you out of the stage [Both Laugh]. That hasn’t happened yet. I’ll keep my fingers crossed. Then when get to you go on the road, that’s the reward for spending all those hours in the studio. But if I just would be a touring keyboard player or something like that, I don’t think I would like that. That’s the best thing of being in a band, that you can be at home and making records and go on tour, go back home and make another record. Circle of life.
CB: What’s been your best experience touring with Sonata Arctica?
HK: This tour as a whole has been the smoothest and most fun, I think. But emotionally, the thing that affected me the most was when I just joined the band and played like two gigs with them then went off to Japan for two weeks. For a Metal band we are doing pretty okay there. So for me, going from oblivion, playing two shows in Finland for five hundred or a thousand people, then going to Japan and playing sold-out shows, that was something that really blew my mind.
CB: You joined Sonata Arctica in 2002 or [200]3?
HK: Yeah, 2002 at Christmas-time or something like that. They were just finishing up the mixing of “Winterhearts’ Guild.”
CB: Did you find it easy to settle into the band?
HK: Yeah. I mean, I also live quite up in the North, so mentally alike, that was pretty easy to get along with the guys. And then I just listened to the records and learned the songs and it took like one tour. You don’t really know your bandmates until you go on tour. The “Winterhearts’ Guild” tour was pretty short; it was like fifty gigs or something. We played that, and then I felt, you know—we went into the studio to make “Reckoning Night” and then I felt “Okay, now I’m at home.” So it took like one tour to get used to, like, who was running where onstage and stuff like that.
CB: Do you have any favourite songs or songs you hate to play live?
HK: Yeah, I like to play “Misplaced,” because that’s when everything starts. We start the shows with “Misplaced” on this tour, and that’s fun because the waiting and doing interviews and eating or whatever, waiting for the show to start, and then when that tune hits, you know “Okay, we’re doing this.” So both for the song and for the placement in the set, that’s why I like it. And “The Cage” is pretty fun live, and “Black Sheep” is pretty fun live. I don’t know why—it’s simple and has a good beat to it. “Don’t Say a Word,” maybe. It depends on the night, I think. Some nights, some songs feel like “Oh, not this again!” and some nights it doesn’t, but mainly the worst thing in playing is when you have to rehearse and play the song fifteen hundred times. There’s nothing more boring in the world, I think. But you have to do it to get your chops up and when you play live, basically, then it’s alright. It’s really weird, something you’ve played a thousand times, then when you play live then it’s a whole different thing to have the audience there and have it going. I don’t think there’s anything that I really hate to play live. If there would be a song like that, that would be get me all screwed up, then I would talk about it with the band.
CB: Are there any songs you’d like to cover? I read you weren’t too thrilled with the Depeche Mode cover [“World in my Eyes”].
HK: Yeah, I wasn’t [Both Laugh], but it turned out okay. As an idea, doing cover songs, I think it’s kind of boring.
CB: So there’s nothing that you would suggest or really like to do?
HK: It would be cool to do some older stuff and how we could get that to work, some Rainbow or [Deep] Purple or something like that, but I don’t know. I really don’t care that much about the cover songs. Tony and Jani usually has really strong opinions about that, and I’m like “Yeah, whatever.” I usually care more about arranging the songs that Tony is writing and doing them well, as opposed to the covers.
CB: Do you find that audiences differ at all, like say, a Canadian audience versus someone in Sweden or something?
HK: People are all the same, basically in countries, so they are fans and enjoy the music, but different people show their appreciation in a different way. In Southern America—I haven’t been there, but I’ve seen the videos when the guys were there—in Southern Europe, for example, the people go really crazy, and [in] Japan also they go crazy, but then, in-between the songs, they are really quiet because they want to hear what you are saying. So it’s really weird because they go crazy during the song, and when the song ends, they end clapping and they stand quiet, watching what’s going on. And in Finland, Sweden, Norway and Scandinavia people tend to be a little bit laid back, but then, when they get drunk enough, they are as crazy as everybody else [Both Laugh]. But what was surprising to me about The States and Canada is that you’re almost like Southern Europeans, I mean, you go totally crazy; especially in French Canada—Montreal and Québec, people are totally fucked up. That was really fun to play because they are so loud. I think, basically, if you have a venue that is packed, that’s enough. Some people shout a little bit more, some people shout a little bit less. The worst thing, I think—I’d rather play in a three hundred [person] venue with three hundred people than a thousand person venue with three, four hundred people for example. If it looks empty, then it’s always a bit of a let-down. But this is our job, so it doesn’t matter that much. The show is going to be good anyway, so.
CB: Still, though, if there aren’t that many people, it is really discouraging to see that, so if they’re not into it, then it’s hard to get your energy up.
HK: Yeah. Yes and no. If the place is almost empty, then that’s difficult of course, but if you have the people there then it’s our job to get the people into it, so that’s not a problem. If they’re not into it from the start, then we have to work a little bit harder, but that’s okay. The only thing I’m worried about is if people show up; if they show up, then we do the rest, that’s not a problem.
CB: Here, in Toronto, last time I was really surprised because usually, people seem to really like this kind of heavier, Death, Thrash kind of stuff; but finally, more Melodic things, Power Metal, whatever you want to call it, is finally coming here. You guys sold out—or almost sold out—by the time the doors opened.
HK: Yeah, that was something that really surprised us also. We were supposed to come with Nightwish, as you know, and they cancelled so we did two weeks on our own, and we were, like, “Okay, we really didn’t expect anything,” and we come there and people were actually attending the shows and that was really fun to see that. I think there was just one or two shows that wasn’t that packed. So it was really great.
CB: I have some fan questions, some from the forum, through some other places and through e-mail and stuff. Some might repeat a bit, but... “What do you think about Jens Johansson, his works and Stratovarius?”
HK: I know the Stratovarius guys, they’re fun people and very easy to get along with. I’m not too much a fan of their older stuff, but this new one is pretty interesting. Then, Jens, of course, if you play keyboards, you have learned and or studied his work at some point. He’s the king—what more can you say? He’s really amazing and has really made a big impact with me. I listened a lot to when he played with Yngwie [Malmsteen] when I was younger.
CB: Also, “What are your feelings about the upcoming role-playing game ‘Winterhearts’ Guild’?”
HK: Well, at first it was like one or two years ago when people started talking about it, I was a little bit, like, “Yeah, whatever,” but then we had a meeting in the summer or something with the people that are making it, and we got to see some demos and everything, and that’s when I realized that they are actually doing a professional work of the game and they are really putting their hearts out. So after that, the whole band got really excited about it. But it’s going to take like one or two years so they get everything to work right, but I think it’s going to look pretty fun to play. And probably, also, the point was to make it also people who doesn’t know the band can play it and enjoy it as well, so it’s not just a game made for fans.
CB: And “Ask him what his favourite cheese is.”
HK: Cheese! [Both Laugh] I don’t know, maybe Cheddar?
CB: “Ask him what he thinks about mosh pits, if they are great or just pointless violence.”
HK: That’s a toughie. It looks funny from the stage, but I think if you don’t want to be involved in a mosh pit and get caught up in it, then that’s bad. But if it’s a group of people who wants to do it, then that’s cool. The only thing that I could think of that is negative is if somebody wants to see the show and has to stand on the edge of that and have to watch out for people jumping into your neck, that’s not that nice. But mosh pits is one way of showing your appreciation, and if you want to do that, then I don’t care.
CB: “Ask him if the lead sound he plays is the same as Mikko [Härkin, ex-keyboards]; they sound identical.”
HK: No, it’s not [Laughs]. It’s actually really different. I don’t know how somebody can think it sounds identical. But probably, if you think it sounds identical, then my sound will also be identical to Jens Johansson or Janne Wirman [keyboards, Children of Bodom] or anybody else who uses it. I don’t think that it’s identical at all. I actually talked about this with Mikko, and we decided that I would not use his sound, that I was going to use my own, to make a distinction. He has a pretty cool sound, actually.
CB: “Since Finland is a country where nature is respected, does he sort through his house wastes?” I guess meaning do you recycle?
HK: Yeah, I do. I hope… I’m not, like, a super freak or something, but I do some major choices.
CB: “I’m interested [in] what level of musical education he has, ‘cause his piano playing is excellent, flawless accompaniment. Just curious to where that came from. Get him to talk about his musical influences; Billie Holliday and Frank Zappa are awesome but not your standard Metal keyboardist’s influences.”
HK: Well, that’s something that we talked about before, me liking different styles and liking to do all kinds of stuff and listening to all kinds of stuff. But playing-wise, my technical background is in Classical music. I’ve played that since I was six years old. But I don’t think that my piano playing is flawless [Both Laugh], but I’ll work on it.
CB: “What are your plans for 2006 and the future?”
HK: The future! [Laughs] Well, [for] 2006—we are on tour until August, and the Silent Voices album [“Building Apathy”] is coming out; I’m going to try to get a deal to get the Mental Care Foundation’s album out. And then by the end of the year I think we’ll have recorded the next Sonata album. That’s my plan so far [but] you never know what comes up.
CB: “It would be really nice to know the reason why he applied to be Sonata Arctica’s keyboardist.”
HK: Well, I saw a chance to do it fulltime. I was studying in the university and was checking my e-mail, and I don’t know why it came to my head to think, you know, “What are those guys doing?” so I checked out the Sonata page, and they’re, like, “Ok the keyboardist is leaving,” so they’re applying for a new keyboardist. And then I just knew that I had to do this, so I just took some tracks from some albums that I played on and sent it to the guys and had an audition and I got into the band.
CB: And a similar question, “Ask him why the other Sonata members chose him to be their keyboarder. What did he have that the other people didn’t?”
HK: A stunning personality [Both Laugh]. No, I mean—I think it was a combined thing. We didn’t play that much at the audition, actually. First we drank a little bit then we played and basically they knew about my skills before that. So it was-- I think I was the one who was closest to them mentally and could get along well, and I think that was the thing. Because we are doing long tours now, for example we are going to The States, we are going for six weeks or something like that, and after you get your playing chops together, then the really important part is that you get along with everybody and stuff like that. If you are too different then it’s not going to work out, and if everybody is the same, then it’s not going to work out or something. It’s about being in a band, it’s about finding an entity that works together as a group.
CB: “Where is his name from? He sounds so German.” I think you probably get asked that a lot.
HK: Yeah, [Laughs] my ancestors are from Germany. But that’s like a hundred years ago or something like that.
CB: Okay, and the last fan question—I think we kind of went over this: “What does he think of Reckoning Night?”
HK: It’s good, but because it’s one year old, I think we can do a lot better. I just can’t wait to do the next one. I think we really learned a lot—or I learned a lot from that album. It was the first one with Sonata, so basically, for me it was learning how to work with these guys and mainly how to work with Tony. I think there are a lot of crazy ideas we’re going to cook up together on the keyboard. But it’s hard to speak about your own albums, especially now when we’ve been touring and have played like a hundred gigs and have sixty gigs left or something like that. So when you play a hundred and sixty gigs almost directly after the album, it’s about hard to know. If you asked me [in] ten years what I think of “Reckoning Night,” then I could tell you something pretty more accurate.
CB: What would you want to see on the next album, or I guess, hear on the next album? What kind of stuff would you like Sonata Arctica to do on the next album?
HK: I don’t know. I think sound-wise I think we should bring back some of their older keyboard stuff like Tony used to do, and then—I don’t know, really. It depends on the songs, also, a lot, what we can do. But basically there is nothing completely different that I would like to hear on a Sonata album. It’s pretty much all there, on “Reckoning Night” and on “Winterhearts’ Guild.” I think we all started to realize, now, what Sonata is about and how it should sound now. It’s up to us to make a better album. Maybe a tighter whole or something like that, make it work together better or something like that. I don’t know yet; I’m just excited to get my hands on Tony’s songs and start doing stuff and see how it works out. There’s nothing like jazz songs or whatever, that I’d like to hear on a Sonata album. Maybe some real strings and choir stuff or something like that.
CB: Well I’ll be very excited to hear what comes out of it.
HK: [Laughs] Well, me too!
Thanks again to Nuclear Blast and Henrik Kligenberg. Interview Conducted by Clare B.
