BLIND GUARDIAN Studio Report 3

During the late 2020 and at the very beginning of 2021 we did two separate studio reports about upcoming Blind Guardian album. Now, after a year and more after we have more information about the album since everything has been prepared for the releasing and the first songs (and single) was already released. But, this time Hansi Kursch and me did something special, we’ve talked fully about each and every song and details concerning the new album and the entire chat turned out to be 10 pages so. We’ve revealed us much as we could in this moment, since, you have to keep in mind that we’re still very limited to speak about all details. The first question, could you say to us the title and release plans for the upcoming album?

The second part I can somehow reveal, I cannot reveal the album title at the moment. That is a secret which will be revealed. Within the next month, I believe. There will be a few online singles released during the next few months, and if I’m not wrong, we have one scheduled for March. And that is not when we will reveal the album title. But there is another online single plan for, I think it was the beginning of May, and this is around the time when when we will reveal the album title. The second song, which is going to be released in March is the one which had a working title, American Gods, and the final album title which I cannot reveal at the moment as well, is not too far away from that. So, you will find the words American Gods in there. It’s one of the more epic songs. So far you have heard Violent Shadows, from the Wacken performance. And you have heard Deliver Us From Evil, as the third song. There is the first more monumental song, I think it’s has a very strong chorus, and was the first song we compose for this album. It contains a good amount of different elements. But as you know, the whole album, I consider it to be an easy listening album. It’s this song American Gods has some classical elements, which are not overblown, such as in Ninth Wave, for example, they are moderately used. But it’s mainly the band performance, which is you know, making this an outstanding song. And I can really imagine that a lot of people will dig into the chorus because it’s, yeah, it’s very catchy. And I don’t know why. But to me, this is a mixture of classical epic Blind Guardian songs and what you would probably expect if we decided to go into a more Dio, Black Sabbath like directions. So what I’m trying to say is that the song is more heavy than pushy.

If I understood well, in March we’ll have the song which is working title American Gods, and in May there will be Violent Shadows, or?

Violent Shadows had been released as the Wacken single, in May there will be the release of a different song, we go for, I think, for a speedy song there, which I again cannot reveal the name at the moment. I think it was Song Six as a working sheet and that’s how the song was also called when we did the production. Funny thing is even when things come to an end with regard to the production, and I already have decided to go for a title. Then, the ones who are involved in the production like the producer, Charlie Bauerfeind, or in this case, the mixing engineer, Joost van den Broek, they always relate to the song as Song Six, while for me, it already has a real name. The Song Six is the one I mentioned that with a lyrical concept was inspired by the Witcher stories.

So this song was actually based on the Witcher stories?

American Gods obviously follows an inspiration I’ve had when I read Neil Gaiman’s American Gods, and yeah, the song coming in May is that ominous Song Six, which is one of the more speedy songs. I don’t want to create too much expectations about that, but to me when we did the songwriting, it always reminded me a bit on Banish From Sanctuary, but that is more based on the beginning of the song than on the whole song, but it is a speedy song as I said. And the way Andre maintain the introduction, especially with the guitars, always reminded me on Banished From Sanctuary, a bit. But, but then it goes into so many different directions, but stays heavy all the way through, but has some thrashy, modern elements somewhere in the midsection, which I would imagine will surprise some people. I mean, it’s not that we invented Blind Guardian in new, with this one. But it has surprising elements.

Also, there is going to be a little video for that track, not the studio video, so to say like for Deliver Us From Evil, and the American Gods, which will be next. But for May, there is going to be a music video? Yeah, from what I can say now is that this song is going to have a video which we have to film in a few weeks. That is also a performance video, we just go for more or less, for performance video. There is a little exception, which I will tell you about right after this. But what we have in mind is band, so to say, live performance in a studio. And we have some special ingredients which make that more than just the studio video. The Deliver Us From Evil video was clearly related to be a studio video. American Gods is even more going this direction. It’s like something in between a live recording documentary video clips. So you see some insights basically from the production period, whenever we were here, and we have had a filming guy here, we you know, capture these moments and they are part of American Gods, but it’s mostly the band being filmed when doing the recordings. So it has very nice atmosphere, I think people will really appreciate that. We do a performance for some fixed assets. And that will be closely related also, to the topic to the title of the song. So I don’t want to tell you more about it. But all in all, that’s also an intense live performance of the band with no interferences by sections played by artist, or by a sort of storytelling, that is not going to happen there.

Is it going to be a straightforward song, actually? To make a long story short, you’re right. It’s a more straightforward song.

Let’s begin this talk actually about Deliver Us From Evil, which we all know actually. What we actually hear in this song is that it’s natural process, natural musical step, like it’s Beyond The Red Mirror, but more focus this time, production wise, on guitars. So it’s a natural step actually from the Beyond The Red Mirror. Do you agree with me, and how do you look on the other songs? Yeah, I would agree. It is a natural step. The vibe is there. The the progression has been showcased over the last, I don’t know, maybe 20 years. That is somehow the sound structure we feel most comfortable in. What we did here was a technique which we also use partly for At The Edge Of Time. We try to create a musical structure, which is easier to comprehend than on Beyond The Red Mirror. Beyond The Red Mirror is strongly woven, you know. Everything has the meaning of course, but they are lots of information, side information, at each and every part. Now with a Deliver Us From Evil, and with most of the songs of the new album, you have a limited amount of information, not saying that it is really easy going music, and that there is not a lot to discover. But the space we have given for the instruments to shine and the elements to shine is larger, because of less information at these particular spots. And therefore I think that Deliver Us From Evil, as the whole album, will be easier to be consumed. It’s not mainstream, it’s by no means mainstream, it’s very aggressive in the way we produced it and recorded it, which also has been the case with any of the album. But still, I think because of the majority of the input you have had on Beyond The Red Mirror, that one came out more confusing and more complicated than it actually is. And with the album, which is going to be released in September, it is the opposite. It’s a tricky songwriting album. But as a listener, you get a nice feeling. You will discover a lot of stuff over the years, I would say when listening to it. But it just sticks in your brain from the beginning. That’s the difference. You don’t have to think about it two or three times before you decided, well, I like it, or I do not like it. You will have, I think a very, very nice and warm feeling from the beginning. Not saying it’s a friendly album. It is not. There are some very dark elements on the album.

It’s easier for listening. Easier for listening from one hand, and on the other, like Deliver Us From Evil, has its complexity, there is no question about it, it’s very complex song. But it’s definitely less complex song than some that appear on Beyond The Red Mirror. And the structure is quite clear, you have a clearly indicated chorus part, which is catchy and maybe easier to sing along then a lot of stuff, which is happening on the Beyond The Red Mirror. Ninth Wave would be a good example. It’s very nice chorus. But it’s not so easy to sing along, I would say. And with Deliver Us From Evil, It would be more entertaining for people when we play this one live by joining us and singing it. Maybe I’m wrong. But this would be my impression at the moment. And this is going to be the case for the majority of the choruses and the songs in general.

Please, could you tell us something from the lyrical point of view when it comes to Deliver Us From Evil. What was the lyrics based on? Deliver Us From Evil is strongly related to Arthur Miller’s The Crucible. And I mean, that has a political meaning. And, you know, whoever digs into the story will probably know what I’m talking about. It’s about witch hunting.

Let’s talk about Violent Shadows, which you have already released. This is definitely different song, comparing to Deliver Us From Evil. We’re still waiting for the full version when it comes to fuller production and everything. Please could you tell me your opinion about that track. Have you changed something comparing from the Wacken version? And feel free to speak about the lyrical point of view for the song. It’s different. A song with very essential elements at every part, and it’s very aggressive, maybe even more aggressive than Deliver Us From Evil, and maybe even more related to early Blind Guardian stuff, in a more intense way. For me it shows Andre’s passion in music in the band Slayer. I have a strong feeling even though we’re working a lot with triplets and triplets. I’m not sure if Slayer is doing that because they are more binary I would say. But Andre likes triplets. And so they play a role there. Make the musical demands for the performance a little more difficult. But it’s a very nice song, clear structure. It is inspired by Brandon Sanderson’s Stormlight Archives, which I also used on the third Demons and Wizards album, on the song Final Warning. In Violent Shadows, I’m talking about Kaladin Stormblessed. And about the bridge four. Bridge man is, you know, he’s part of a coalition of slaves, which play a very important role in the story from the beginning. And I’m dedicating this song to this part of the story or to this group of people in the story. And it’s a very aggressive song. Stormlight Archives is a very intense book in general, but especially the life of these Bridge men is very, very, very, very dark and very, very desperate. And I try to involve that in the song. So there was a clear relation when I heard the first elements and came up with my vocal arrangements to drive the directs into a similar direction. When comparing it to the Wacken version, I would say, it does not differ too much. It’s simply everything is at point, even though we were in good shape when we played the Wacken show. This stuff, this fast stuff is very tricky to be really precise. And obviously on the album, we are precise, it’s a very vivid open song with lots of air for everyone to shine. Yes, of course, I added some harmonies to the chorus part. But other than that, it’s pretty much straightforward. And so the vocals stayed as they were, and Andre, and the rest of the band did pretty much the same when recording the stuff but it’s just preciser, and due to the fact that all the sounds are nice up, you will still have a strong improvement. It’s like, I would say, at least 25% – 30% better than than the Wacken performance from the music itself and from the production staff as well, and mixing, it’s an even higher upgrade. So I believe that is going to become one of the face for the people. And for us also a good chance to involve that into our life program. When we played the shows in 2021, I think we played Violent Shadows, the first two occasions in Krefeld. And then when we came back for the other three shows we were able to play in 2021, which makes it a massive touring for the situation. We play Deliver Us From Evil and I’ve had the feeling that even though the people were not really familiar with the song, they enjoyed listening to it, and they will become essential parts of our live program for sure. Even though when we do the touring in this year, and I hope that will be festivals and that the September tour is finally going to happen, then our main focus will be on Somewhere Far Beyond, of course.

Now actually, we have already talked about this, one year ago or even more, but I have the, at least first titles at that time. So there is a song No Return. Did the title stayed for this one? No Return, yeah, it has a completely different title. I think No Return was the working title Andre has given before I started working on it. That is a very strong song, it’s going to be the second song on the album. It has has a new title, No Return is none existing. Yeah, that’s the very interesting song. It’s a spooky song at points. And I stayed with Patrick Rothfuss, and the Chandrian. That was for while the title but there’s is one really catchy moment in the chorus. And this is when I sing the now title, which never have been No Return. And the Chandrian worked there. But Charlie, and the band basically didn’t like the sounding and the phrasing so much, at that point. So I had to come up with different words, but it is about this secret society. And it has some conspicious elements, therefore it has some spooky elements in there. And I don’t know, I could imagine that this will be appreciated by people because it’s from the intensity, it’s almost on the level of Violent Shadows, or Deliver Us From Evil. Although, the structure is somewhere in between, I have to say, because it is not as easy as Violent Shadows from the elements. And it’s not as busy as Deliver Us From Evil at points, but that’s my impression. And again, I don’t want to create a wrong expectation. It’s just really, really mild remembrance stuff. It has some aspects of the Script For My Requiem, but just very briefly, and it’s more an emotion than a musical relation correlation. So definitely this is more faster song, but it has some more catchy moments. It has sort of epic, melodic introduction. Then it goes into speed metal stuff, it has some more Queen-ish chorus parts, and has the midsection which is where I correlate the song to the Script From My Requiem. It has a very vivid, spontaneous quickly changing midsection, but very speedy.

And there was a song called Architects Of Doom. The title is Architects Of Doom. It’s a very strong title. And I created a story related to Battlestar Galactica. It’s a very aggressive song. Again, it’s more a progressive, aggressive song, I have to say. Also, one of the first songs we composed, it’s wide in the arrangement. So we start with sort of suspense picking, very, very obscure, I have to say, a foreboding shadow of nothing good to come. And then we almost go into some punkish, thrashy aggression. And the song stays like this for a long time. Andre carries a the song along into a different direction by his melodic guitar playing. But the vocal stay very intense and very aggressive for most of the parts, then it has a doomy, doomy chorus and that chorus contains the word Architect Of Doom.

So Architects of Doom is based on Battlestar Galactica, and it’s different from Violent Shadows and Deliver Us From Evil in it’s structure. And it’s also a longer song? Correct. It is a longer song. It was, we either rolled it along together with American Gods, or we started with the other end one, and then picked up the other. So these were the first two songs we worked on. And we did pre productions for these in I think 2017 already, and then put them aside and, just when the time came for this album, we really visited them did some rehearsals, and then we produce them with the other songs in new. But it is from the elements comparable to American Gods. So there are quite a lot of elements. It’s a very long chorus that’s also similar to American Gods, it’s maybe, I don’t know, each chorus is like 30 seconds long. And it comes in the song three times. So the chorus was alone contains like, different elements and different parts. It’s the build up within the chorus. So at least how I look at a chorus because there are these marking words Architects Of Doom, and the American Gods part in American Gods, but there’s also sort of storytelling within the chorus already, which makes it even bigger. And I think they both are catchy. But as said, Architects Of Doom is very heavy, doomy, chorus section, and the rest of the song is very, very aggressive. I have to say it’s really, maybe one of the harshest songs I think.

That’s definitely great. Is going to be the closing track on the album? No, it’s not the closing track. It’s coming towards the end, but I think there are like two or three songs afterward. Song Six is second last and we will speak about Destiny in a few minutes. That is the closing song and Architects Of Doom comes shortly before it. We had a short discussion about the running order, but it felt most natural to us. End up with Destiny because that is a very progressive song and maybe one of the songs people will need a little longer to really grasp the complete beauty of it, but that felt the most natural for us to close up the album with.

The next one is Destiny. You have just mentioned it. We actually heard something from a year ago or so, but please if you have now more details about the song, it’s now finished and everything. And the lyrics, also. So please, could you tell us more about this song? It was also one of the first songs that we composed. It confused me when I first worked on it. Because the way the guitars are, sounding is a little different to this usual setup I’m getting whenever I start my work on a song, and therefore it took me a while to really grasp the beauty of the song. For Andre it was somehow related to a part in World of Warcraft, one of the icy parts and interestingly enough when I worked on it, I didn’t know it. But I fostered the words Frozen in it and there was a lot about ice, because of the way the guitar sounded already. So it was musically made clear in a visual way almost that this is going to be an ice cold song. So I waited until the song they developed and it has a storytelling character. But to me, it never appeared like something which had the epic fantasy approach of a story like World of Warcraft or the typical fantasy. Fantasy story like the Lord of the Rings or so. I always was driven into different directions and I found the, to me, perfect match when I read a fairy tale of Hans Christian Andersen called The Ice Maiden. And this is where the inspiration comes from. It’s the love song, which makes it even more scary. It is a fragile song in many ways. And people know that I am, not only because of my wife, but also because I like it, Kate Bush fan and I like her. You know, her whole works. But when you’re talking about Kate Bush, one of the first songs coming into the minds of people, obviously, Wuthering Heights, which is inspired by Wuthering Heights by Emily Ponty. And, yeah, I felt that sensation in the song because it sounds windy, it sounds cold. It sounds a little bit like the 19th century more than then a fantasy story to me. And therefore, this Hans Christian Andersen impact was very strong, and it’s not the Snow Queen, you know, don’t get me wrong. It’s The Ice Maiden. It’s the last story. And death plays a very vital and important role in there. And of course, freezing cold elements. And yeah, I felt very comfortable with this one. I wrote some bizarre love songs over the years, mostly related to either fantasy or to historically traditional stuff, like Tristan And Isolde . But in this case, it was more the Ice Maiden claiming for the guy sheconsiders to be to be hers. And that’s what is happening in the song.

When it comes to musical side to the song. Could you tell us something more about that. From the title, and from your expression, and lyrics, I can guess that this is definitely a slower song? I have my problems to grasp this one. It’s a longer one. I mean, the traditional length of the Blind Guardian song is in between, I would say, four minutes and thirdy, and seven minutes. And I think that is a seven minute song, but it’s not ultimately a long song.

Comparing to Deliver Us From Evil and Violent Shadows, it’s a longer song in that sense? So Architects Of Doom and American Gods, they are the traditional Blind Guardian length, six minutes, plus or minus whatever. But it’s very close to six minutes. And Destiny is about the same. It’s maybe seven minutes. It’s not slow, it’s different. It isn’t three quarter or six, eight, whatever. And it has that very weird structure, which makes it also difficult to say, whether it is a fast song, slow song, mid tempo song. This song has a little bit of everything. When I first heard it, and when I did my first lyrics, even though it’s not as progressive, some of this stuff reminded me on Rush. But again, this has nothing to do with Rush at the very end. And it also has nothing to do with what we usually do. Some of the elements if I had to come up with a comparison of Blind Guardian stuff, I would say go into Noldor like direction, or A Night At The Opera like direction. That’s also because of the way the guitar sounds. But since the rhythm guitar structures also very odd, I would say we haven’t done a song like this before. This isone of the songs which people probably in the beginning will even wonder why is that the last song and then you listen to it like four or five times and then all the elements somehow makes sense together. And one realizes how epic for example, not only the build up to the choruses, but the chorus itself. And yeah, this has some surprising elements. But when you first listen to it, it appears more balanced than it is. And I’m pretty sure that people will all of a sudden wake up and say, well, there’s a lot of stuff in there. And it’s a very dynamic song. It’s very impressive in any way. But it’s not as epic as Nightfall for example, or Noldor as an example. Noldor is far more epic when you listen to it first, and it’s far easier to grasp. This one has a fragile beauty and this frozen strength.

I have at least two more titles. Let It Be No More. I don’t know if the title has stayed for this one? Yes. We have two versions of this on the album. At least when you buy the limited edition or the earbook version. This song grew on me, I have to say. Has the title stayed for this one, Let It Be No More? Yeah. It is, in any way, a very interesting song. It’s inspired by loss in general. And by the TV series, the Leftovers. And also I dig into the story a bit more than just like, you know, having the idea of the TV series. But yeah, the basic idea is not directly related to it, because we wrote the song when my mother was passing away and that had an influence on the lyrics obviously. Yes, it’s a very emotional title. I had my problems to find entrance to this one. Access to this one, and I was never sure if the song would make it to the album. But I have to say it turned out extremely strong. It’s the closest to ballad on the album.

At that time, you said it was Andre that was also very inspired by Tamriel, so that was the working title of the song for that time? Yeah, yeah. But I was complaining about parts in the song, and yeah, is that’s true. And Andre educated me a bit, so I think it’s a place, after all, haha. And one of the reasons I couldn’t make any sing of the song was because it was divided. It’s a small song. More like a ballad, as I said. And still there were a section in there which was repeated at a different spot in the song. And that was the breaking point for me all because it did not fit into the song, we had that medieval introduction and then we went into something more personal and modern. And the two things together never never made it for me and I was complaining about that again and again and again. And sometimes I’m succeeding and being you know, the complainer, the whiner, and therefore we we change that part and all of the sudden the song work for me.

Alright, you have answered all about the song so far. So it’s a slower song, it’s a ballad which is mostly inspired by the passing of your mother, and also Andre has some ideas, too. Well, no, I don’t think that he had lyrical idea. He just plays with thoughts about his inspirations maybe. If he was inspired by Tamriel, that’s maybe how we started the song and this medieval section, which was taken off might have been the case for him, you know, where when he really strongly felt like this is something which could go into a Tamriel direction, whatever Tamriel is. And then when I kept on complaining about this particular part, this went way. So I think that the way the song is now is very suitable. And the the lyrical approach is also pretty much on point, I have to say.

And you said that there was a medieval part, but there is no that part anymore? It did not match with with the rest of the song, you could have gone both direction, you know, you could have kept the medieval introduction and then you would have to come up with another song, or you get rid of the introduction and then keep the rest of the song. These were the two possibilities we’ve had and I’m grateful we went that direction outside my concerns about the chorus, because when we spoke last time about it, I think I still did not have the perfect structure for the chorus. So this was something I was heavily working on during the production to improve the way this chorus, because otherwise would not have been strong enough for my taste. But we could fix that in the production.

And I have the last title actually. At least from the information I have, this was a song called Trial By Fire. Is it going to be a bonus track, or? Trial By Fire stayed Trial By Fire, but Trial By Fire is not going to be on the album. That is the Don Quixote song. It’s not going to be a bonus track. Because, again, maybe I’m too harsh or too critical. Trial By Fire didn’t fit into the context, musically. Lyrically, it’s one of maybe the strongest lyrics I’ve ever written. So it’s a shame, but it has a mainstreamish, popy chorus with almost gospel like elements and from the musical structure, It also does not define the heaviness of the rest of the album. It was more a mixture of almost everything. There were piano parts there were progressive parts, there were parts which are had a certain heaviness. But in its complexity, I didn’t feel that this would fit on the album. So we just keep it for whatever occasion, for another album or for something we are going to release to the people in between. That’s a bit open in the moment. It will be, you know, certainly a song which is going to be released, but not for this album, it would not have fitted on there. And basically, the team working on the album agreed, no one said that it needs to be on the album, it would have led the listener into a wrong direction. The album we’re having now is very compact, and very on point. I think it’s not a common concept album. And there are individual songs, but they again, and this is important, they speak the same language.

Have I missed any songs or titles? If I’m correct, there are going to be nine titles on a regular album, CD. Nine on the regular album, and yeah, we work with bonus versions, additional versions of these songs. Oh, you have missed one. Because Trial By Fire is not on there, you have missed Altered Carbon. So Altered Carbon is a song which is going to be on the album. And I think for the ones who are more into the intense progressive Blind Guardian stuff. This is going to be one of the songs they are certainly in, they are certainly thrilled about. Which, by the way is going to be the fourth online single, which is going to be released prior to the album. We did a video for that. That’s more an experimental video. Still, it’s about performance mostly. But this one is also related to the lyrical content and as a bit of acting of the band but in a more modern day way. So it’s not like we are doing a lot of of acting to say. but it’s more about trying to deliver the message of the song in a different direction. Altered Carbon is a song somewhere in between. If I had to choose songs, then it would be in between the modern approach of Bright Eyes compared with The Age Of False Innocence maybe. But on a very heavy level and on a more futuristic sci-fi level more. It’s experimental. But it also has this great red line, I think a very nice chorus hook line. It’s not going to be called Altered Carbon on the album, that’s the working title.

And what is Altered Carbon exactly, what name is it of? It’s a TV series. That was the working title and we we kept it for a long time until I finally have decided how the song is going to be named.

So this is actually inspired by TV series? No, just the working title. It’s a cyberspace song. That’s how Andre would call it. And I think that’s, you know why he also used that title. What I did lyrically is a sort of Big Bang Theory, it’s definitely an evolution theory. The theory how the world could be created, combined with how I would imagine the world of Beyond The Red Mirror was created. That plays a role in there. And it basically is, showcases lyrically, the first moments of the creation and there are like, two aspects of this creation and of the world in general, there is an inside and there is an outside, and the inside is not existing to say so there’s only stillness and silence and then nothing and the outside is not defined area, which still has progressed species of living. And these outsider, they are just watching the inside, even though there is nothing, and all of a sudden, there’s movement on the inside, this is the beginning of the story to say so. And yeah, then we follow the evolution of a universe, or of new, of a complete world is more than just a universe. And these outside are they are witnessing this creation. And basically, that they are not able to conduct, the only thing they could do is make a decision to stop this progress. Or to let it go. And this is what the song is about.

The last question, definitely, is about the cover artwork. I have seen it and also the booklet. Could you tell us, please, a bit more, about visual side about the new album. Maybe you cannot reveal much of it yet, but just from your point of view, how it fits the upcoming album? It’s definitely something different this time. I cannot tell too much now, because that is, you know, one of the promotional campaign things which will be a topic over the next few months. But it’s very eye catching, I think people will be very satisfied by that. It’s very epic. It’s maybe unexpected. It has a certain aggressive vibe, but also it ethereal beauty. And I would imagine that people will fall in love with the cover and with the cover artists, once he is revealed, people will see that he did a lot of great things going into the same not exactly same direction, but that he has a lot of, you know, unbelievable paintings. And I think even though we got this artwork after the music, after we finished the production, I think it somehow speaks the language of the music very well. And this is how we decided to, you know, go for this particular artwork, because it felt like the perfect match with the music in general and also with the stories were telling also with the abstract way music and stories are linked together. This is probably the missing link because the artwork itself matches as well with the music and the lyrics you will see and so will the album title but that’s a different story. And I’m just curious to see how people will read react when everything has been revealed.

Actually, from the journalists point of view when you did the cover artwork, have you aimed actually to do something new? Not only to go with the music, but as Blind Guardian, to do something new, different from other bands, if you get what I mean. No. When talking about album artworks, it’s more a question of does something catches the attention of the band members directly, and is the vibe, something which is somehow moving us, we’re going for the vibes. And if we feel that the vibe of an artwork would go along with the music and expresses something which we can relate to the music, then this is very important to us. Usually, we have real big concepts with regard to the story within the album, but also with regard how to connect that when it comes to the artwork, and we will let the artist know. But this time we just went with the flow. And we really waited for the one which spoke to us, you know, and that was the natural progress. When we saw this particular artwork, it was just something which blew us away, and there was hardly any need to try something in addition, we nonetheless, try it. But even with the artist, there was nothing which got close to the experience we made when we first saw that particular album artwork. And for me in particular, this one, even though it’s not related at all, it matches the story of Violent Shadows to a certain extent so perfectly well, that for none in the band, it was a question that this should be the album cover.

Answers by Hans Jurgen Kursch

Interview by Marko Miranovic

All photos by Dirk Behlau

February 2022, typed by Nikola Obradovic

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