King Dude Biography

Archive of the interview with English Version “Let's just hang out! This is better than an interview, right? True, Sinmara had to be played very soon, and it turned out that we both were going to listen to them. In general, we had too little time to interview. And we really decided to just hang out. And then he gave me a tricky lecture on how Russians and Americans are similar to each other.

And then he told me how at one time he toured along with Watain, apparently when he played in the Book of Black Earth group. And then we spread a couple of phrases in Swedish. And then he hit the discussion of the complete failure of groups that are not able to play without electricity and a heap of instruments. And then I finally had the opportunity to insert a word, and I noticed that he could not play the songs from his last album.

And then he began to talk about the role of the theater - in the broad sense of the word - in the life of people. And then he told a bunch of everything ... Do not say that I was terribly sorry, that I did not turn on the recorder then: it was still a journey through the depths of consciousness. The interview that you now read took place the next day, and, in my opinion, it came out no less beautiful.

Among other things, TJ told how he seeks to write music close to everyone and everyone. I don’t know about music, but his interview is definitely relevant for everyone and everyone. All of you, pagans, all of you, Satanists, all of you, metallists, all of you, revolutionaries, all of you, those who are afraid of the future, and all of you, looking for love, - listen to what King Dud will tell you.

How do programs differ when you act as solo and when you perform with the group? I recently played 4 solo concerts in Australia, and I wanted to play a few songs from the last album. This, of course, returns her to the appearance in which she was on the demo, but it sounds cool, people like it. They know this song and, so to speak, fill in passes themselves - I think the same thing happens to me.

Other parties sound in your head because you heard an album. And it seems to me that it is great when there are different versions of some songs. I do not think that since we did something in the studio in a certain way, this is how we are obliged to play concerts. I do not see the point in this when there is an opportunity to play differently. Sometimes groups want to accurately recreate the sound of some recording, and there is nothing wrong with that, but this is simply not my topic.

I like great spontaneity in both music itself and in the act of its living performance. Yes, and in the studio too - I like spontaneous events. You don't like the sound too licked ... Yes, I don't like it at all. I am far from audiophilia. You understand, then I mean by audiophilia, right? I am not one of those who will release remasted versions of albums or at all somehow steaming about this.

I just want to sound the way I like it myself, and it is quite simple to do it. Sometimes I record my own albums myself. But even on that album, I myself was engaged in additional tracking, because otherwise the album seemed incomplete to me. But it is not so important what exactly you do for this. As we say, there are many ways to refresh the cat English. Many of these methods have not even thought of.

Every time someone does something wrong, a little rough, a little differently or just in his own way, this leads to mutations, and mutations are always good. And what's good in impeccability? And this is impossible. Only a fool tries to be perfect in everything and always. You just need to learn to accept the fact that you are imperfect. Yes, there are perfectionists, and they may even be able to do everything perfectly, but it seems to me that this is slightly detracted by the joy that they receive from life.

You drive yourself in very tense conditions and you can easily end with depression. We can do a lot of things to be happier. And the coolest that I have ever done for myself-and I say exclusively to myself-this is when I destroyed the feeling that I was sucking under a spoon. This is what people call "intuition", this is a feeling of a certain inner horror. It happens that you are terrible, and you don’t understand why: I had this when I worked as a bartender, and I had to go to work.

I have worked for many who I work, and no matter what work I gather for, my body seemed to make a tense “ah” like that, as if he had nothing to breathe ... this is a small attack of stress, it is very small, and it is easy to dismiss him. This is exactly the feeling when everything inside is compressed, which is why there is an expression “to smell a gut”. In the same place you have sensations when you fall in love.

When your heart breaks, you feel the pain there. This feeling is not here. In my life, I try to never experience this feeling, and I noticed that it really began to disappear. For the first time, I felt that it left when I abandoned the work of the bartender and took up my own business. It was very cool, and I am like this: "Wow, nothing more on my stomach does not sneak anything here."Then I joined the same group, a rehearsal was approaching, and I suddenly: "Oh, this feeling again." Soon I left this group.

I tied up with this group, because I realized that it was from it that I had this feeling, and it refuel my life. To make the mind listen to this feeling is a rather rare phenomenon, especially among men. They have very bad things with this, they do not follow intuition, because they are told that it is impossible, they are told to ignore their feelings. Not that I feel this feeling all the time, but if I feel, I try to listen to it.

And in the end, I feel healthier, I feel younger, I feel good, I do not feel ailments, I do not feel anxiety and generally stopped bothering because of some things. I like that I no longer need to worry, but it is interesting that I still need to make sure that I listen to my feelings. It seems to me that this is what kills people, which is why people have diseases.

I know that it sounds insanely, but when you feel not very good, the body seems to get out of order, the rhythm goes astray and then ... It seems to me that there are a lot of such people in the world. But this is my vocation, this is exactly what I should do, and I have no particular choice, so I devoted myself entirely to my mission. It was completely difficult to give it entirely to all herself, but this has its own charm, even a difficult part of all this is pleasant, even exhausting times are pleasant, because I know that I am going the way that I have to go, I follow my spiritual way.

This is the whole point. Yes, he's so cool! Yes, Niclas is cool. He is somewhere here, you should meet him, he is an amazing writer. Once I had the imprudence to call him a rock journalist, but he is not a rock journalist, he is very good in his business. I’m not in the sense that rock magazine is bad by definition, so don’t take an insult, but you know how terrible they can be ...

But you read the interview, and it’s great that you read it. Yes, I am not trying to please other musicians, or to sound engineers, or producers. How does their attitude to music are different? Oh, a lot of things, their attitude can differ a lot. But it wouldn’t hurt you myself if ... I want to say that they are musicians, but at the same time they are listeners.

You also find yourself in the role of the listener, and would you really not hurt if they said that they were not playing for you at all? Well, yes, but I don't play for them. I play for people who are far from them. I’m not here to impress the producer or the owner of the studio, do you understand what I mean? Obviously, it doesn’t come out very well for me, because my songs are not clinging to everyone, but I'm not trying to become a pop star.

What I'm really trying to do is to write songs that will be close to everyone. It can be a musician with an excellent studio training, and a person who did not do anything closely in his life. This is very important to me. In that interview, I tried to convey the idea that the recording industry was growing more and more to snobbery, and I find it disgusting.

It turns out that since they studied for a long time to become sound engineers, we must lay out a lot of money to them to record the album. But this is not true, this, his mother, is not at all! I love Van Records, my label, and I say this not just because you will publish it later - I really love my label. And I love him because the dude who leads him literally gave me a carte blanche: I can do whatever I want.

He has no recommendations for me. Well, that is, they are, but they are not in the spirit of "you need to write such and such an album" or "you must have such a sound." Whatever I bring him, he will let him into work, because he trusts me, and I - him. This trust is immeasurably more than what you can meet on a large label. In my opinion, major labels are the main evil.

They simply destroy groups, they destroy art, they destroy music. Aoooo rarely happens that a good group gets on the major label and remain the same, remains true to itself. And everyone in a sense knows this, they all feel it, and sometimes they start a barrelclass in the spirit “Oh, well, they most likely work with this producer, because they need a certain name on their album” or “They are recorded in this studio because it is prestigious”.