if you like Colour Haze, that is.
Would you be selling your copy of Unidas Coping with the Urban Coyote to me against a blowjob review?
I wouldnt like to buy me a good review our records should get the reviews they deserve from their quality and if you dont see any quality, just tell it, I dont mind (though I would consider it useless to send you any more promo copies then ). So: No! Strange Idea mhm, even more strange when I think about what this must mean concerning your esteem of Unida vs. Colour Haze I should stop this interview already right now, good for you Im such a nice guy, he he... For the case itself: not that this record means especially much for me but I never give away any record once its in my collection! Which results in owning a big pile of records I never heard or I dont like at all. Unida is in the bigger pile of better records of course. Nevertheless, I wouldnt even give away any shit record as I always imagine someone might want to know e.g. why Saga or Mid-80s Genesis are disgusting I can show him within a minute. I guess Im suffering from a kind of collectors disease
A couple months ago you feared it would be nearly impossible to top the s/t album. Now with Tempel majestically roaming the soundwaves, what with the nearly part again?
For my personal taste the s/t still stands alone in its own way. Tempel is a different kind of record but also showed that there is always something that can be improved. It also showed that people have different favorites among our records according to their taste. We are always moving on and this way are also working hard on the music for the next album already.
The new album perpetuates the firmly embedded components of Colour Haze, the warm, vynil sound and fantastic threesome instrumental discourse. At the same time it is coming through less festive but more sober and lost in thought than ever before while remaining positive all throughout. At least thats my take on it. Do you agree with this part somehow? To you, does any specific factor, conscious or not, account for a mood shift in your music between the last two records?
I can see what you mean and, of course, Tempel has a different approach and overall content than the s/t, though both are meant totally positive. Anyway, where the s/t has a wide overall consciousness approach, Tempel comes back much more to oneself. Thats maybe also why songwriting and arrangements are more densely structured. These approaches are always under the influence of what moves us from outside and inside at a given time, but they are deliberately focused by purpose, never developed for their own sake. Its more something that just happens. Of course we try to set the happening in the right stream of information and kind of load it with necessity.
Overall, are you perfectly happy with the way Tempel turned out, both in terms of musical contents and layout? In retrospect, would you change anything along the way?
The process of making a record is always very complicated and there are so many things that hardly can be controlled. I would have wished the making of Tempel to come along with less struggling and difficulties (e.g. I suffered from a bad cold during the recordings). By contrast the making of the s/t had been much easier. Anyway, with the experience and hard work, I guess I brought it to a point where the troubles we had in writing, recording and producing hardly show to someone outside. And now I dont want to think about what kind of record it could have been if everything had run perfectly and more easily. I try to learn and improve things, and look forward to the next step. Also, as soon as the songwriting stage, Tempel was somehow more straining than the past records.
How do you conceive the role of vocals in your songs? It feels like theyre more meant to design leitmotifs, sustain dynamics or back the guitar chords than to bear a clear-cut weight of statement.
The vocals are meant to be part of the complete music, and therefore they get this placement. The other way, as is quite common in popular music, would be to treat the music as backing for the vocals, which doesnt fit our interests and view.
What is the share of improvisation in a regular Colour Haze composition? Roughly spoken, how much of an album is inked down on paper before entering the studio and how much arises from jamming around at the last minute or so? Are your songs essentially riff-based or do they rather grow around a rhythmic stretch?
A rhythmic stretch or riff goes along with the same sources in my view. There isnt too much difference between them. Our songs are often developed through improvising around themes or improvising themes upon grooves that settle with time to their final shape. When there is need to add a certain part like a chorus, bridge or ending later on, I often actually compose them. The idea is to let the music flow to its own ideal form through improvising and, once its settled, everything is pretty fixed and there is hardly room left for improvisations then. Improvising well on stage is a very difficult issue and Id rather play the music in its ideal form than to bore the people with some self-indulgent experiments actually I hardly have seen a band which created real musical excitement when improvising on stage (and the most stick with plain jamming anyway, which is a quite boring concept for my taste). However, we are aware of the special thrill a good improvisation can convey on stage, so we are trying to leave some space for this when the mood on stage is right, but playing a good show is always a priority. In some songs (e.g. Peace, Brothers & Sisters) the guitar solos stay in a roughly sketched form and are improvised more or less each time we play them other songs (e.g. Aquamaria) were improvisations when we recorded them in studio, and as that version turned out luckily we stuck to it from then on. And then, of course, we also have music that was composed in a more classical approch at home and then worked out with the band during the rehearsals (e.g. Solitude, Did El Itor Gold & Silver).
Im always hard put when it comes to explaining to someone what Colour Haze is about, stylistically. Even though in the end your sound is fairly simple to grasp, there is a quality to it that makes it distinguishable from everything else remotely related to the stoner community. Obviously names like Jimi Hendrix, Black Sabbath, Kyuss always show up at some point. Maybe you could sort it all out in terms of your own?
Nah, thats your job, he he. For us, its just our very own music and I dont want to put any stickers on it. Of course we are influenced by everything we listen to and each of us listens to different music. Sometimes, the influences in the individual songs are easy to pin down and sometimes you would be surprised what we originally had in mind. Anyway we play all this in our own way. Kyuss of course was important, Black Sabbath never that much, Hendrix still is, but there is so much music around: from classical music through jazz to old schellack recordings of folk music from all over the world. Also much from the 60s of course, and then new stuff, more indie though hardly ever Metal
Your personal guitar technique is a trademark in itself. I gather you borrowed a lot from the 60s guitar gods, so please trace back how you eventually came up with this pretty matchless, warm and psychedelic yet abrasive grain.
Basically Im self taught. In an broader view, I just pulled out what interested me from one source and then went on to the next thing. I started by playing songbook stuff on acoustic guitar at the age of 11, soon started to create my own songs, got my first electric when 13, learnt scales from a book and for some years solos and riffs from play-along books with tablatures and tapes, starting with Hendrix solos, which I wanted so badly to learn back then (I practised those until my fingers literally bled, all day long). And then other stuff: riffs from Clapton to Mark Knopfler, Santana to John McLaughlin, Keith Richards to Robert Fripp played along with tons of records, mostly classical 60s/70s blues rock stuff from ZZ-Top, Taste, Peter Green to Ten Years After. I got a few lessons in classical guitar, which rapidly got annoying, so I just picked what seemed useful for myself, like a proper left-hand technique or using my other right-hand fingers for picking (along with the pick). E.g. I practised hard on a proper picking technique according to a play-along-set of Frank Gambale. I didnt want to play as fast as him as his music was just so awful, but his teachings concerning the movement of the pick seemed logic to me. Further, I learnt about musical theory from books and tried a lot of weird scales. Everything I learnt I tried to transfer in my own music. This way, I got to a pretty unique approach on my own, basically by diligently playing all the time and working hard on everything that interested me, and also lazily disregarding those things I wasnt interested in. Luckily for me, Im from a musical family. My dad (guitar) and uncle (drums) were playing in bands. My mother always bought new records, so there was always music around me. I was sent to some rhythmical lessons as a little child (which was a pretty new approach in the Mid 70s), played drums from the age of 4 and learned classical upright bass for a few years at school. My dad also influenced me pretty early about the importance of creating an individual style and tone. The actual concentration on tone and the right movements in expression really came in my mid-20s though, after I was through with all the technical and complicated stuff. Then I grew from a guitar-player into a composer, and from this on my next aim was to be a thorough musician. Maybe Ill reach this goal when Im 80. In between, I also set up a label and became and producer
One-word songtitles are another trademark of yours. Is there a deliberate purpose behind this fact? Is each song assigned a given theme or object, which aspects and nuances it is supposed to encompass in a kind of temple?
Actually, the one-word songtitles just became an obsession without purpose I havent really thought about this yet. Maybe I want to nail it down with just one pin.
It might strike some as odd, but if I were to pick a Colour Haze song to illustrate at best the sort of emotions the band conjures up to me, Id go for House of Rushammon on the 2001 Ewige Blumenkraft album. Is there anything special youd like to share about this song? Some story behind it or whatever?
Nothing that special. I wrote it back in 1996 when my life was shattered and I was living in the rehearsal place for a while. The lyrics were originally written by our singer Felix back then, I adapted them a little but I dont know what they actually mean, he he. Its just a good song and as there is still a demand for it, we started to play it live again on occasions, though this old stuff feels a little odd to us
Something rather abstract I keep asking myself (and bothering bands with): since youre now relying on a quite consequent discography and a steady fanbase, how do you envision the making of a new album in relation to those factors? I mean by that, how important is it for you to feel that an album stands in a faithful continuity to your older material? Are you taking into consideration what may or may not please the fans, or even draw new fans to join the ranks? In other words, do you picture any new music as another stone of your big house, or rather as the masonry of a new, even bigger one?
I always consider any new music as a stone in a big house, as it wouldnt wipe away what was there before. The faithful continuity doesnt gain its importance for me in relation to older material, but to ourselves. Considering what may or may not please the fans in a way is a hindering factor, but I cant completely avoid it. This is a fairly new situation for me, as for most of my musical life, Ive been creating stuff that wasnt appealing too a lot of people. Hardly anyone in fact. But in the end, the only important factor is to do what we feel is necessary, sounds right and good.
What can we expect from a Colour Haze live set altogether? I would like to picture kind of a Woodstock feel, sunset closing in, desert sand whirling around, trance-stricken hordes of fine-looking hippie ladies and flower power all over the place... Do you prefer to play in clubs or under the open skies by the way?
We had some open air shows that meet that picture. We like club gigs, too. At least, everybody says we are better live than on record...
Will you be touring France, like, soon?
We tried to get two shows for our last December tour in France, which failled, though some nice people really tried hard to set something up. France seems to be a difficult place for bands like us to play...
Your label Elektrohasch certainly rings a bell to some elite few, but should be fairly new to those not quite familiar with the scene which standard it so gloriously lifts. Could you please give us an overview of the circumstances in which the label took form, what your main bands today are and how they sound like?
As no bigger label ever was interested in Colour Haze, we decided to release our records on our own. I t started with the Periscope CD-R and the LP issue of CO2 back in 2000. This way, I made contact with collectors, mailorders and shops. I also always did the biggest part of the promotion by myself, as the small labels we worked with after the succesful CO2 LP (Monsterzero, Nasoni ) werent capable of much. I also saw the demand for other good underground records among some music freaks and the difficulties other great bands like Hypnos 69, Rotor or Raw Jaw were having getting their music around. So I wanted to help out with whatever I could do. For that reason, I also started organizing concerts and tours within the underground network. This laid the foundations to create Elektrohasch when I became jobless in 2003. Elektrohasch is basically a label for heavy psychedelic guitar music. The range today goes from noise core à la Ugh! and space doom à la Phased, on the harder edge, to the early-Floyd oriented ambient soundscapes of Saturnia on the softer edge. Bands I sign have to fit in that range and have to be good or outstanding enough so that I love their records myself. They also should understand the mechanisms and necessities of the underground network we are working in and relying on. Our main bands besides Colour Haze are Hypnos 69, for me the best 70s-progressive-rock band of the recent years, and Berlins instrumental-groove-rock kings Rotor. I have a great cooperation with Mat Bethancourt (Josiah, The Kings Of Frog Island, The Beginning), who totally understands what Im doing and contributes a lot. Hainloose and My Sleeping Karma are important for the German scene too, also not to forget Gas Giant, Los Natas, Nixon Now and Sula Bassana
I know youve been (and probably still are) an admirer of Neurosis. How do you feel about the swarms of bands bursting forth from the nest theyve built, most of them currently developing into a more intimate, less vigorous approach? Have you spotted anything of great value within this scene often referred to as post-hardcore?
Actually, I quite lost track of that scene as this kind of music was important for me in a different phase of my life, which is so long ago now. As Im always hungry for new musical excitement besides some personal classics, my music interest always shifts from one style to another
Name a few bands and albums youve been listening to repeatedly these days and you feel ought to be checked out at any cost.
Moondog The Viking of Sixth Avenue
Hypnos 69 The Eclectic Measure
Shuggie Otis Inspiration Information
V.A. The Secret Museum of Mankind
Sgt. Sunshine s/t
Currently some Brahms, Mozart, Vivaldi
Theres this guy Adrian (otherwise known as NAD), whom I owe my knowledge and love of Colour Haze to, for he never tires of whoring the bands name around the Internet. Maybe youd be so kind to throw a handful of nice words in his general direction?
Well its people like Adrian or you or anybody else out there who in the end make all this scene and with it the music possible and happening. This is the way we always wanted to go, to be with you, with the people, as we are also just one of you no music business shit, no selfish rip-off, no rockstar-headfuck its just us on this tiny fragile wonder of a planet so thank you for getting together, you really got it!
Would you be selling your copy of Unidas Coping with the Urban Coyote to me against a blowjob review?
I wouldnt like to buy me a good review our records should get the reviews they deserve from their quality and if you dont see any quality, just tell it, I dont mind (though I would consider it useless to send you any more promo copies then ). So: No! Strange Idea mhm, even more strange when I think about what this must mean concerning your esteem of Unida vs. Colour Haze I should stop this interview already right now, good for you Im such a nice guy, he he... For the case itself: not that this record means especially much for me but I never give away any record once its in my collection! Which results in owning a big pile of records I never heard or I dont like at all. Unida is in the bigger pile of better records of course. Nevertheless, I wouldnt even give away any shit record as I always imagine someone might want to know e.g. why Saga or Mid-80s Genesis are disgusting I can show him within a minute. I guess Im suffering from a kind of collectors disease
A couple months ago you feared it would be nearly impossible to top the s/t album. Now with Tempel majestically roaming the soundwaves, what with the nearly part again?
For my personal taste the s/t still stands alone in its own way. Tempel is a different kind of record but also showed that there is always something that can be improved. It also showed that people have different favorites among our records according to their taste. We are always moving on and this way are also working hard on the music for the next album already.
The new album perpetuates the firmly embedded components of Colour Haze, the warm, vynil sound and fantastic threesome instrumental discourse. At the same time it is coming through less festive but more sober and lost in thought than ever before while remaining positive all throughout. At least thats my take on it. Do you agree with this part somehow? To you, does any specific factor, conscious or not, account for a mood shift in your music between the last two records?
I can see what you mean and, of course, Tempel has a different approach and overall content than the s/t, though both are meant totally positive. Anyway, where the s/t has a wide overall consciousness approach, Tempel comes back much more to oneself. Thats maybe also why songwriting and arrangements are more densely structured. These approaches are always under the influence of what moves us from outside and inside at a given time, but they are deliberately focused by purpose, never developed for their own sake. Its more something that just happens. Of course we try to set the happening in the right stream of information and kind of load it with necessity.
Overall, are you perfectly happy with the way Tempel turned out, both in terms of musical contents and layout? In retrospect, would you change anything along the way?
The process of making a record is always very complicated and there are so many things that hardly can be controlled. I would have wished the making of Tempel to come along with less struggling and difficulties (e.g. I suffered from a bad cold during the recordings). By contrast the making of the s/t had been much easier. Anyway, with the experience and hard work, I guess I brought it to a point where the troubles we had in writing, recording and producing hardly show to someone outside. And now I dont want to think about what kind of record it could have been if everything had run perfectly and more easily. I try to learn and improve things, and look forward to the next step. Also, as soon as the songwriting stage, Tempel was somehow more straining than the past records.
How do you conceive the role of vocals in your songs? It feels like theyre more meant to design leitmotifs, sustain dynamics or back the guitar chords than to bear a clear-cut weight of statement.
The vocals are meant to be part of the complete music, and therefore they get this placement. The other way, as is quite common in popular music, would be to treat the music as backing for the vocals, which doesnt fit our interests and view.
What is the share of improvisation in a regular Colour Haze composition? Roughly spoken, how much of an album is inked down on paper before entering the studio and how much arises from jamming around at the last minute or so? Are your songs essentially riff-based or do they rather grow around a rhythmic stretch?
A rhythmic stretch or riff goes along with the same sources in my view. There isnt too much difference between them. Our songs are often developed through improvising around themes or improvising themes upon grooves that settle with time to their final shape. When there is need to add a certain part like a chorus, bridge or ending later on, I often actually compose them. The idea is to let the music flow to its own ideal form through improvising and, once its settled, everything is pretty fixed and there is hardly room left for improvisations then. Improvising well on stage is a very difficult issue and Id rather play the music in its ideal form than to bore the people with some self-indulgent experiments actually I hardly have seen a band which created real musical excitement when improvising on stage (and the most stick with plain jamming anyway, which is a quite boring concept for my taste). However, we are aware of the special thrill a good improvisation can convey on stage, so we are trying to leave some space for this when the mood on stage is right, but playing a good show is always a priority. In some songs (e.g. Peace, Brothers & Sisters) the guitar solos stay in a roughly sketched form and are improvised more or less each time we play them other songs (e.g. Aquamaria) were improvisations when we recorded them in studio, and as that version turned out luckily we stuck to it from then on. And then, of course, we also have music that was composed in a more classical approch at home and then worked out with the band during the rehearsals (e.g. Solitude, Did El Itor Gold & Silver).
Im always hard put when it comes to explaining to someone what Colour Haze is about, stylistically. Even though in the end your sound is fairly simple to grasp, there is a quality to it that makes it distinguishable from everything else remotely related to the stoner community. Obviously names like Jimi Hendrix, Black Sabbath, Kyuss always show up at some point. Maybe you could sort it all out in terms of your own?
Nah, thats your job, he he. For us, its just our very own music and I dont want to put any stickers on it. Of course we are influenced by everything we listen to and each of us listens to different music. Sometimes, the influences in the individual songs are easy to pin down and sometimes you would be surprised what we originally had in mind. Anyway we play all this in our own way. Kyuss of course was important, Black Sabbath never that much, Hendrix still is, but there is so much music around: from classical music through jazz to old schellack recordings of folk music from all over the world. Also much from the 60s of course, and then new stuff, more indie though hardly ever Metal
Your personal guitar technique is a trademark in itself. I gather you borrowed a lot from the 60s guitar gods, so please trace back how you eventually came up with this pretty matchless, warm and psychedelic yet abrasive grain.
Basically Im self taught. In an broader view, I just pulled out what interested me from one source and then went on to the next thing. I started by playing songbook stuff on acoustic guitar at the age of 11, soon started to create my own songs, got my first electric when 13, learnt scales from a book and for some years solos and riffs from play-along books with tablatures and tapes, starting with Hendrix solos, which I wanted so badly to learn back then (I practised those until my fingers literally bled, all day long). And then other stuff: riffs from Clapton to Mark Knopfler, Santana to John McLaughlin, Keith Richards to Robert Fripp played along with tons of records, mostly classical 60s/70s blues rock stuff from ZZ-Top, Taste, Peter Green to Ten Years After. I got a few lessons in classical guitar, which rapidly got annoying, so I just picked what seemed useful for myself, like a proper left-hand technique or using my other right-hand fingers for picking (along with the pick). E.g. I practised hard on a proper picking technique according to a play-along-set of Frank Gambale. I didnt want to play as fast as him as his music was just so awful, but his teachings concerning the movement of the pick seemed logic to me. Further, I learnt about musical theory from books and tried a lot of weird scales. Everything I learnt I tried to transfer in my own music. This way, I got to a pretty unique approach on my own, basically by diligently playing all the time and working hard on everything that interested me, and also lazily disregarding those things I wasnt interested in. Luckily for me, Im from a musical family. My dad (guitar) and uncle (drums) were playing in bands. My mother always bought new records, so there was always music around me. I was sent to some rhythmical lessons as a little child (which was a pretty new approach in the Mid 70s), played drums from the age of 4 and learned classical upright bass for a few years at school. My dad also influenced me pretty early about the importance of creating an individual style and tone. The actual concentration on tone and the right movements in expression really came in my mid-20s though, after I was through with all the technical and complicated stuff. Then I grew from a guitar-player into a composer, and from this on my next aim was to be a thorough musician. Maybe Ill reach this goal when Im 80. In between, I also set up a label and became and producer
One-word songtitles are another trademark of yours. Is there a deliberate purpose behind this fact? Is each song assigned a given theme or object, which aspects and nuances it is supposed to encompass in a kind of temple?
Actually, the one-word songtitles just became an obsession without purpose I havent really thought about this yet. Maybe I want to nail it down with just one pin.
It might strike some as odd, but if I were to pick a Colour Haze song to illustrate at best the sort of emotions the band conjures up to me, Id go for House of Rushammon on the 2001 Ewige Blumenkraft album. Is there anything special youd like to share about this song? Some story behind it or whatever?
Nothing that special. I wrote it back in 1996 when my life was shattered and I was living in the rehearsal place for a while. The lyrics were originally written by our singer Felix back then, I adapted them a little but I dont know what they actually mean, he he. Its just a good song and as there is still a demand for it, we started to play it live again on occasions, though this old stuff feels a little odd to us
Something rather abstract I keep asking myself (and bothering bands with): since youre now relying on a quite consequent discography and a steady fanbase, how do you envision the making of a new album in relation to those factors? I mean by that, how important is it for you to feel that an album stands in a faithful continuity to your older material? Are you taking into consideration what may or may not please the fans, or even draw new fans to join the ranks? In other words, do you picture any new music as another stone of your big house, or rather as the masonry of a new, even bigger one?
I always consider any new music as a stone in a big house, as it wouldnt wipe away what was there before. The faithful continuity doesnt gain its importance for me in relation to older material, but to ourselves. Considering what may or may not please the fans in a way is a hindering factor, but I cant completely avoid it. This is a fairly new situation for me, as for most of my musical life, Ive been creating stuff that wasnt appealing too a lot of people. Hardly anyone in fact. But in the end, the only important factor is to do what we feel is necessary, sounds right and good.
What can we expect from a Colour Haze live set altogether? I would like to picture kind of a Woodstock feel, sunset closing in, desert sand whirling around, trance-stricken hordes of fine-looking hippie ladies and flower power all over the place... Do you prefer to play in clubs or under the open skies by the way?
We had some open air shows that meet that picture. We like club gigs, too. At least, everybody says we are better live than on record...
Will you be touring France, like, soon?
We tried to get two shows for our last December tour in France, which failled, though some nice people really tried hard to set something up. France seems to be a difficult place for bands like us to play...
Your label Elektrohasch certainly rings a bell to some elite few, but should be fairly new to those not quite familiar with the scene which standard it so gloriously lifts. Could you please give us an overview of the circumstances in which the label took form, what your main bands today are and how they sound like?
As no bigger label ever was interested in Colour Haze, we decided to release our records on our own. I t started with the Periscope CD-R and the LP issue of CO2 back in 2000. This way, I made contact with collectors, mailorders and shops. I also always did the biggest part of the promotion by myself, as the small labels we worked with after the succesful CO2 LP (Monsterzero, Nasoni ) werent capable of much. I also saw the demand for other good underground records among some music freaks and the difficulties other great bands like Hypnos 69, Rotor or Raw Jaw were having getting their music around. So I wanted to help out with whatever I could do. For that reason, I also started organizing concerts and tours within the underground network. This laid the foundations to create Elektrohasch when I became jobless in 2003. Elektrohasch is basically a label for heavy psychedelic guitar music. The range today goes from noise core à la Ugh! and space doom à la Phased, on the harder edge, to the early-Floyd oriented ambient soundscapes of Saturnia on the softer edge. Bands I sign have to fit in that range and have to be good or outstanding enough so that I love their records myself. They also should understand the mechanisms and necessities of the underground network we are working in and relying on. Our main bands besides Colour Haze are Hypnos 69, for me the best 70s-progressive-rock band of the recent years, and Berlins instrumental-groove-rock kings Rotor. I have a great cooperation with Mat Bethancourt (Josiah, The Kings Of Frog Island, The Beginning), who totally understands what Im doing and contributes a lot. Hainloose and My Sleeping Karma are important for the German scene too, also not to forget Gas Giant, Los Natas, Nixon Now and Sula Bassana
I know youve been (and probably still are) an admirer of Neurosis. How do you feel about the swarms of bands bursting forth from the nest theyve built, most of them currently developing into a more intimate, less vigorous approach? Have you spotted anything of great value within this scene often referred to as post-hardcore?
Actually, I quite lost track of that scene as this kind of music was important for me in a different phase of my life, which is so long ago now. As Im always hungry for new musical excitement besides some personal classics, my music interest always shifts from one style to another
Name a few bands and albums youve been listening to repeatedly these days and you feel ought to be checked out at any cost.
Moondog The Viking of Sixth Avenue
Hypnos 69 The Eclectic Measure
Shuggie Otis Inspiration Information
V.A. The Secret Museum of Mankind
Sgt. Sunshine s/t
Currently some Brahms, Mozart, Vivaldi
Theres this guy Adrian (otherwise known as NAD), whom I owe my knowledge and love of Colour Haze to, for he never tires of whoring the bands name around the Internet. Maybe youd be so kind to throw a handful of nice words in his general direction?
Well its people like Adrian or you or anybody else out there who in the end make all this scene and with it the music possible and happening. This is the way we always wanted to go, to be with you, with the people, as we are also just one of you no music business shit, no selfish rip-off, no rockstar-headfuck its just us on this tiny fragile wonder of a planet so thank you for getting together, you really got it!
NAD's gonna love getting namechecked...
