Peter Reis (MADISON) – E-mail Interview (English)


The latest shot of Peter. He did a “photo session” for this interview, we really appreciate it!



S-ROCK: In this interview we’re going to talk about memories especially from 80’s. Who is joining us this time?

Peter: Hi, this is Peter!

S-ROCK: I read the entire official biography and found something interesting. I didn’t know the band had a contract with RIXI label which was owned by MARIANNE GRAMMOFON AB in Skara. I’ve ever visited their studio, they’ve released a lot of pop-style music.

Peter: Yes, Dan Stomberg and Conny Paynes (ex. Sundqvist) had a band called REGENT (pre-MADISON) and had been in contact with Gunnar Larsson, the A&R of MARIANN GRAMMOFON. Gunnar liked REGENT but wanted more materials to be able to decide whether to present them a record deal or not. That’s when Dan (Stomberg) realized that they needed a stronger line up with a new singer and he knew just who to turn to! A couple of years back he had heard Göran Edman singing in a blues band and had been amazed by his voice! Funny, I was at the same event and didn’t react in any way?! I guess the band sucked and that Göran was the stand out ingredient?

Anyway, Dan also contacted Anders Kalson and me from the rivalling hard rock/metal outfit ”DESTINY” (Hudiksvall). 

We agreed on doing an audition with Göran and got together in an old demolition threatened house in Hudiksvall. Göran seemed very nice and timid and seemed like a very ”regular guy” until he opened his mouth to deliver the most perfect heavy metal scream a la Rob Halford! Jaws were dropping in the rehearsal studio! ”What had we just heard?!” We could not believe our ears! One of the songs we tried out was the DEEP PURPLE song ”Soldier Of Fortune” where we could hear the beautiful lyrical side of Görans voice. That very moment is actually recorded on a cassette tape somewhere in my collection. From that moment on we knew we had a shot at making an impact on Gunnar at MARIANN GRAMMOFON and score a record deal with them. We went to Göran’s rehearsal studio in Söderhamn where they had a 8 track reel to reel studio with mixer board. The songs recorded were ”Loons On Their way”, ”Run Boy”, ”Pictures Return” and ”Sneaker”. Unfortunately the sound was very noisy and lousy, so the A&R Gunnar told us that he needed a better sounding demo before he could present MADISON to his big chief Bert Karlsson, VD at Mariann. So we recorded another demo at the semi-professional studio ”FORSA STUDIO” in Forsa, a suburban village of Hudiksvall. The songs recorded were ”Squealer”, ”Sneaker”, ”Diamond Mistress” and ”Pictures Return”. This demo sounded just right and scored us a record deal right away! I remember the feeling when we all got together in my father’s car to drive down to Skara where MARIANN was located to sign the deal! It was a dream come true! 


Japanese release of DIAMOND MISTRESS.


In the summer of ’84 we got into MARIANN’s small studio located on the ground floor of an apartment building. We recorded the whole album in one week only! Our producer was supposed to be a guy named Tommy Folkesson (a guy that nowadays is very renown for modulating guitar amps) but he signed out after the first day, I believe. I still don’t know why? Maybe he had some difficulties in collaborating with our sound engineer Janis Laganovskis or with us? Anyway, our sound engineer was now also co-producing the record…

The mixing of the record and some additional vocals was made a few weeks later at KMH Studios in Stockholm. The sound on this record has been described by a reviewer to as ”Flatter than a pancake under the inland ice coverage”! No bad huh 😉 Well, at least the songs were good, I think!


Japanese release of BEST IN SHOW.


S-ROCK: What did you do after MADISON broke up? Japanese fans know well about Japanese releases which Göran sang for, and Mikael joined KING DIAMOND.

Peter: In september ’90 Anders and I went to USA to attend the MUSICIANS INSTITUTE music school in Hollywood, California. The reason was mainly because we wanted to develop our musical skills further, in every direction possible. Anders took the guitar classes and I took the drum classes. It was an inspiring school indeed and we had a great time there! After one semester of drum classes I switched to the vocal program. Besides vocal classes in school I studied opera vocals with a woman who was a retired opera singer. In school I met an American girl and we started to date. After graduating school I moved around the United States with my girlfriend who I later on married in ’93. We lived in West Palm Beach, Florida and in San Fransisco and Sacramento in California. In Florida I sang in an opera chorus that performed Il Trovatore by Verdi, La Bohème by Rossini and The Magic Flute by Mozart. Two of the operas were sung in Italian which I couldn’t speak more than three words in, but it went fine with just memorising the sound of it! The opera world was really a new and exiting experience for me! Standing on stage with ”masquerade costumes” singing at the top of my lungs with the best opera voice that I could muster 🙂 ”Che Gelidad Manina” from La Bohème is still my favourite opera aria (I didn’t sing it, I was in the opera chorus). In Florida I also sang in a coverband called ”Funkin´ay” where I sang songs like ”Smoking” and ”More Than A Feeling” by BOSTON and ”Lights” by JOURNEY. 

We eventually moved to San Fransisco where I took some more opera schooling and did an audition for the San Fransisco Metropolitan Opera. I didn’t make it, but I am still very happy about my performance and me having the balls to try out! 

After a year in SF we moved to Sacramento. There I started to play the drums again in a YES tribute band. It was a lot of fun transcribing in detail the notes that the drummer in YES Bill Bruford had done, now that I had gotten the right tools for doing just that from the MI school of music. 

In ’96 I returned to Sweden for my moms birthday and didn’t return to the US after that. I felt like that chapter in my book was finished. Of course it was sad and gruesome with the divorce and all, but I felt like staying in Sweden was the right decision. In Hudiksvall Sweden a good drummer was in demand so I played in several bands at the same time. One band called THE REVIVALS played music from the 50’s and 60’s. It was perfect for me drumming, doing a lot of lead and back up singing. Among songs I sang was ”Cherry baby” by THE FOUR SEASONS and ”Don´t Worry Baby” by THE BEACH BOYS. Another band I played in was SONNYS VÄNNER (SONNY’S FRIENDS) a band that put out an album called ”ZEBRAROCK”. It’s on the Spotify streaming app. I made many new friends around this time and one of them was a young guy working full time as a troubadour. His name was and is Jonas Nyman. We started a coverband together with Conny Payne and our first gig was doing shows at a skiing resort at the turn of the millennium (2000). The band was called CHARTBREAKERS. You can check it out on Facebook and on Youtube. We played full time for five years, doing about 160 gigs per year. It was a wonderful time indeed, and not only because of working in the music business again but I also met my current wife Maria Reis in the early year of 2000! When CHARTBREAKERS was over in 2004, we got married and got two wonderful boys together! I took her last name ”Reis” as my married name, I thought it sounded cooler than Fredrickson, don’t you agree?! Since then we have been living in the heart of Stockholm. I have been focusing on my family life since then and I have had and still have a job taking care of retarded people in their home. In 2012 I went into a studio to record three songs that I have written. Songs in a singer/ songwriter/ folk rock genre with Swedish lyrics. A few good friends helped me out on various instruments and vocals, while I did the backing vocals myself. I’m still writing songs and my biggest dream is to become a professional song writer when I grow up 😉 The love and the passion for music is still there!



S-ROCK: In mid 80’s there were not a lot of contacts between Japan and Sweden in music business, how did you feel when JVC (Victor) got in touch with you guys to have a contract for records? Mr. Matsuzaki, the A&R for you guys, got to know MADISON when his friend got an import record, the official biography talks about it. And in Japan every disc has an “OBI”, these days Japanese record companies seldom give a Japanese title though, they used to do a lot. for MADISON materials, “Shinran No Jokyoku” (Prelude Of God’s Storm) to DIAMOND MISTRESS, and “Shinran No Densetsu” (Legend Of God’s Storm) to THE TALE. Did you guys hear the meaning?

Peter: Right, the world was completely different back in the 80’s. You couldn’t record your band with a professional result on your own, you had to have a record deal and depend on record companies and other people’s actions to get your music out to the people. The communication with other parts of the world was harder and very slow. MADISON had a management who dealt with all the contacts with the outside world (outside of the five individuals in MADISON and our creative music making). Of course we were very happy to hear that our music was appreciated in a foreign country far, far away from Sweden. 

Funny that you had Japanese titles on foreign albums! God’s Storm….sounds really strong and full of holy matters… it feels hard to live up to that, maybe it was best that we did not know of that name? 😉


at Nagoya Station during Japan Tour 1987.


S-ROCK: Any interesting story during the Japan Tour 1987? You shared photos from the tour on FB, it’s very fun to see. Many gigs in Japan used to start at 18:00 as public halls close at 21:00, start at 19:00 on weekdays these days though, and especially for HM/HR few gigs at public halls, many gigs are held at clubs/”livehouses” we call in Japan. Workers in Japan can’t leave their companies earlier, and we care about train/bus timetables to come home after a gig. In Sweden (and other countries in Europe) gigs start late, what did you think when you heard the venue opened before 18:00?


On Japan Tour 1987.


Peter: When we got to Japan we were surprised to hear that we were pictured as being young, pretty boys, innocent and almost juvenile. The first night in Tokyo our promotors MISCH MASCH Masch wanted us to be sleeping in our rooms no later than 10 PM to be rested for our first gig next day 😉 So we said good night and went into our rooms. Of course we got ready for a night out and phoned each other and on a given signal we ran off to the fire escape, made our way down the staircase onto the street level. Thru the panoramic window we stared into the startled faces of the representatives of MISCH MASCH and our management who sat in the lobby. We ran off down the street, waving down several taxis, jumping in and just ”Roppongi!”. 


On Japan Tour 1987.


This behaviour became a pattern when we decided to dash from our party the following night. We were eating dinner in a tall building and afterwards all five bandmembers hurried to get into the single elevator an hit ”down” before our company had reacted and Hokus Pokus, when our crew came down we were already gone ;-). Where to? Right, Roppongi again!


On Japan Tour 1987.


The somewhat early gig times in Japan were no problem for us, we had a lot more time to party afterwards! 

Seriously, most gigs at major arenas in Sweden starts between 19-20, so it´s not much of a difference. 


On Japan Tour 1987.


S-ROCK: I guess the idea of releasing THE TALE in Japan was from Mr. Matsuzaki, any interesting story of this 12″?

Peter: No particular story around that release, I guess it was good business for JVC Victor to put it out. 



But for Mr. Matsuzaki I have a story. He took a big personal responsibility at the Roppongi incidents mentioned before. He actually drove his car down there and did actually find a few members of the band, whom he promptly drove back home to the hotel. Because of this and the fact that Mr. Matsuzaki had a daytime job at the record company made him extremely tired and he almost slept standing up, when he followed us to the airport when the tour was over. Poor guy, really! 😉

S-ROCK: Göran Edman and Mikael Myllynen left the band after Japan Tour 1987. Was there any problem between them and rest of the band? Or they just wanted to do something else?

Peter: Göran was almost out of the band prior to the Japan Tour 1987. Why? Well everybody wants a great singer in their band and John Norum and Vinnie Vincent were no better! 😉 

Of course MADISON wasn’t able to match the business opportunities offered by much bigger acts.

Our management actually took legal action towards the Vincent party and demanded a million Swedish crowns to release Göran from his contract with MADISON. Eventually there was a deal made with Göran to stay in the band until the Japan Tour was over. I must stress that there was no animosity between the MADISON and Göran on this matter before or after!

I don’t quite remember what happened with Myllie really. You have to check that with Myllie. 

S-ROCK: After Göran Edman left the band you guys did an audition and chose Pete Sandberg as a new singer. What was the most important thing when you chose him? You guys wanted to put westcoast style to your music, that’s why?



Peter: Well, we tried hard to get a replacement for Göran which of course was a very hard task! Quite a few singer were auditioned at our rehearsal room at ”Fryshuset” in Gothenburg. Among them Tony Niva (SWEDISH EROTICA/LION’S SHARE) and Zenny Gramm (DESTINY GOTHENBURG). Eventually we picked Tony Johansson aka. Tony Yoanson (MASQUERADE), a great looking nice guy from Skövde with a really good voice! However, our management KAZAAM INTERNATIONAL insisted on MADISON picking their newly found singing star Petter ”Pete” Sandberg (ALIEN/SNAKECHARMER etc.) from the Gothenburg rock-duo VON ROSEN, which name implicated it´s founder Magnus Rosén (HAMMERFALL). Petter’s rock-image was perfect and he had that great sounding West-Coast flavoured voice, which got you thinking of Steve Perry of JOURNEY. Perfect for our new material which was more into the AOR/West Coast vein. We did an audition with Petter which went well and agreed on him as our new singer. So we got into the pre-production phase recording a demo at Studio Lane in Gothenburg. The songs were ”Northern Light”, ”In Our Best Years”, ”This Time I’m Ready”, ”Fair play”, ”I Am Alone Here”, ”Where There Is A Will (There Must Be A Way)”, ”Venetian Blind”, ”Time And again”, ”High On Ice”, ”Cry Of A heart”, ”Mammon” and ”Who Loves Me?” However, I believe our record company SONET was not too happy on us changing our musical direction in such a dramatic way (almost in a SPINAL TAP way). But still they wanted to try out the new MADISON outfit on a single release. The single Northern Light was recorded in Oslo, Norway with Svein-Dag Hauge as producer. SONET didn’t support the release of it with sufficient funding and advertising, the single didn’t sell, so the project was basically a failure. One day Petter came over and handed in his retirement. He had gotten the singer position in ALIEN. The next day Conny showed up and had gotten the bassist role in ALIEN. The irony! Anders and I worked on a return of MADISON for quite a while, but finally we threw in our towels too.

S-ROCK: In 1998 you guys negotiated to record a come-back album, it didn’t happen. You had started songwriting or only some negotiation?

Peter: We were just discussing a come back. I don’t know if Dan had written any songs?

S-ROCK: You guys have started a FB as MADISON to share memories with fans, are you going to be together to record something or do a gig as MADISON in the future?

Peter: Well, you never know?! Maybe when there is a public demand for it? I hope MADISON is still remembered and that there is a fan-base strong enough to start a second coming of God’s storm? 🙂

S-ROCK: In 2018 PRIDE & JOY MUSIC label in Germany released BEST IN SHOW CD, how did the re-release happen? And why not DIAMOND MISTRESS?

Peter: UNIVERSAL MUSIC is the record company who owns the master tapes of BEST IN SHOW. The master tape is the actual analog tape that the music was recorded on in the studio. In March 2018 I was contacted by the UNIVERSAL representative Peter Mannio on the plans for an e-release of BEST IN SHOW on the Spotify streaming platform. We discussed the possibilities of adding some bonus tracks, track order etc. Oddly, around this time PRIDE & JOY had contacted UNIVERSAL on the subject of re-releasing BIS (BEST IN SHOW) on CD. PRIDE & JOY is a German record company that specializes on re-releasing records with a nostalgic value in limited editions. Anyway, Peter Mannio at UNIVERSAL asked for MADISON’s collaboration on listening and approving the results of the digital mastering from the original master tape. Other things the band got involved in was the track order, bonus tracks, photos, booklet text etc . 

I know that the DIAMOND MISTRESS master tape is owned by WARNER MUSIC. It’s probably up for grabs, if someone wants to make a re-release! 


On Japan Tour 1987.


S-ROCK: Your messages to Japanese fans from 80’s, tack så mycket!

Peter: I’m really grateful for all you fans giving us an opportunity to tour in Japan. We had a marvellous time! I will always keep that memory close to my heart. Who knows, maybe we’ll meet again?!




Peter Reis (MADISON) – E-mail Interview(日本語)




S-ROCK: このインタビューでは特に80年代の思い出について語りたいと思います。今回参加するのは誰ですか?

Peter: ハイ、Peterだよ!

S-ROCK: 公式バイオグラフィーを読んで、興味深いものを見つけました。MADISONが、SkaraのMARIANNE GRAMMOFON ABが持っていたRIXIレーベルと契約していたという事を知りませんでした。彼等のスタジオを訪問した事があり、彼等は沢山のポップ系音楽を発売している会社です。

Peter: ああ、Dan StombergとConny Paynes(以前はSundqvistと名乗ってたよ)は(後のMADISONとなる)REGENTというバンドをやってて、MARIANNE GRAMMOFONのA&RのGunnar Larssonと連絡を取り合っていたんだ。GunnarはREGENTを気に入ってたんだけど、契約するかどうかを判断する為により多くの曲を欲しがった。その時Danは、新しいシンガーが居るより強力なラインナップが必要だと悟って、彼はそれが誰になるか分かってたんだ!その2、3年前に彼はGöran Edmanがブルース・バンドで歌っているのを聴いて、彼の声に魅了されてたんだよ!面白い事に、俺もその場所に居たんだけど、俺はそんな風に思わなかったよ!?そのバンドはクソで、Göranは傑出した存在だったのかな?

そんな訳で、Danは、HudiksvallのDESTINYっていうライバル関係にあったHR/HMバンドに居たAnders Kalsonと俺にも連絡してきたんだ。

俺達はGöranとオーディションをする事に同意して、Hudiksvallの古くて解体寸前の家に集まった。Göranはとてもいい感じで内気に見えたし、Rob Halfordみたいな最も完璧なHMのシャウトを届ける為に彼が口を開く迄は本当に「普通の男」にしか見えなかったんだ!リハーサル・スタジオに顎が落っこちたね!「俺達何を聴いたんだ?!」自分達の耳が信じられなかったよ!俺達が演ろうとしてた曲の1つは、Göranの声の美しい詩的な部分が聞けるDEEP PURPLEの”Soldiers Of Fortune”だった。俺のコレクションの何処かのカセットの中にその時の音は残ってる筈さ。その時から、MARIANN GRAMMOFONのGunnarにインパクトを与えられて、彼等と契約出来るだろうと分かったんだ。Söderhamnにあった、ミキサー・ボード付きの8トラックのオープン・リールがあったGöranのリハーサル・スタジオへ行った。そこで録音したのは”Loons On Their Way”、”Run Boy”、”Pictures return”と”Sneaker”だったよ。残念な事に音に雑音がとても多くてお粗末なものだったから、A&RのGunnarは、MARIANNでの彼のボスのBert KarlssonにMADISONをお披露目するにはもっと音がいいデモが必要だと俺達に言ったんだ。だから俺達は、Hudiksvallの郊外の村Forsaにあるセミ・プロのスタジオFORSA STUDIOで他のデモを製作したよ。録音したのは”Squaealer”、”Sneaker”、”Diamond Mistress”と”Pictures Return”だ。このデモはちゃんと出来たから、契約を勝ち取ったんだ!俺達みんなが契約の為に、俺の父さんの車でMARIANNがあるSkaraへドライブした時の気持ちを今も覚えてるよ!夢が叶ったんだ!


「神嵐の序曲」(DIAMOND MISTRESS)の日本盤。


84年の夏に、あるアパートの1階にあったMARIANN所有の小さなスタジオへ入ったんだ。たった1週間でアルバム全体を録音したんだぜ!俺達のプロデューサーはTommy Folkesson(今は、ギター・アンプの調整で有名になった男なんだ)になる筈だったのに、彼は初日で降りたと思う。今も何故だか分からないよ?多分俺達のサウンド・エンジニアのJanis Laganovskisか俺達バンドと一緒に仕事するのに困難を感じたのかな?とにかく、俺達のサウンド・エンジニアがアルバムの共同プロデューサーになったんだ…。





S-ROCK: MADISON解散後は何をしていましたか?日本のファンは、Göranが歌った日本で発売された作品や、MikaelがKING DIAMONDに加入した事はよく知っています。

Peter: 90年9月にAndersと俺はハリウッドにあるMUSICIANS INSTITUTE音楽学校へ行く為にアメリカへ行ったんだ。理由は主に、俺達の音楽のスキルを向上させたかったからなんだ、可能な限りあらゆる方向でね。Andersはギターを専攻し、俺はドラムを専攻したよ。本当に刺激を受けられる学校だったし、本当に楽しかったよ!ドラム専攻の1学期が終わった後、俺はヴォーカル・プログラムへ切り替えした。学校でのヴォーカル・クラスの他に、引退したオペラ・シンガーの女性からオペラ・ヴォーカルを学んだんだ。学校ではアメリカ人の女の子と知り合ってデートする様になった。卒業すると、93年に結婚する事になるそのガールフレンドとアメリカで何度か引っ越しした。フロリダのウエスト・パーム・ビーチ、カリフォルニアのサンフランシスコやサクラメントに住んだよ。フロリダでは、ヴェルディのイル・トロヴァトーレ、ロッシーニのラ・ボエーム、モーツァルトの魔笛のコーラスを歌ったんだ。その中の2つではイタリア語で歌ったんだよ、イタリア語なんて3語以上話せなかったのにね、でも言葉の音を覚えただけで上手く行ったのさ!オペラの世界はとても新しくて、ワクワクする経験だったよ!仮装してステージに立ち、出せるだけの最高のオペラの声で肺の上目一杯で歌うんだ。ラ・ボエームの”Che Gelidad Manina”は今でも俺の好きなオペラのアリアなんだ(俺が歌った訳じゃなくて、そのコーラスに参加しただけなんだけどさ)。フロリダでは、Funkin’ayってバンドでも歌ってたんだ、BOSTONの”Smoking”や”More Than A Feeling”、JOURNEYの”Lights”を歌ったんだ。


サンフランシスコの後はサクラメントに引っ越したんだ。そこではYESのトリビュート・バンドで再びドラムを叩く様になった。YESのドラマーのBill Brufordが演った音を詳細迄コピーするのは物凄く楽しかったよ、MIで学んだ事で正しい手法を得る事が出来たんだ。

96年に母さんの誕生日を祝う為にスウェーデンに帰国して、それっきりアメリカには戻らなかったよ。俺の本のその章は終わった様な気がしたんだ。勿論離婚や他の諸々については悲しかったし身の毛もよだつ事もあったけど、スウェーデンに留まる事が正しい選択だったと思えたのさ。Hudiksvallではいいドラマーの需要があったから、同時に幾つかのバンドで演っていたよ。THE REVIVALSっていうバンドでは50~60年代の音楽を演ってたんだ。俺にとってはドラムと、リードVoとバック・コーラスどちらも出来て完璧だったね。THE FOUR SEASONSの”Cherry Baby”やTHE BEACH BOYSの”Don’t Worry Baby”なんかを歌ってたんだ。もう1つはSONNYS VÄNNER (SONNY’S FRIENDS)って名前で、”ZEBRAROCK”というタイトルのアルバムを出したバンドなんだ。Spotifyのアプリで聴けるよ。当時は沢山の新しい友達が出来て、その中の1人が吟遊詩人として働いていた若い奴だった。彼はJonas Nymanっていうんだ。Conny Payneと一緒にカヴァー・バンドを始めて、最初のライヴは21世紀に変わる時にスキー・リゾートでやったんだ。バンドの名前はCHARTBREAKERS。FACEBOOKとYouTubeでチェック出来るよ。5年間フルタイムで活動して、1年で約160のライヴをやってた。確かに素晴らしい時だったさ、だってまた音楽業界で仕事が出来ただけじゃなくて、今の妻Maria Reisに2000年に出会ったからなんだ!04年にCHARTBREAKERが終わった後、俺達は結婚して2人の素晴らしい息子達に恵まれたよ!結婚して姓をReisに変えたんだ。Fredricksonよりかっこいいと思ったからね、そう思わないかい?それからはストックホルム中心部で暮らしてるんだ。そして家族の事に注力する様になったんだよ。そして俺は知的障害者を在宅でケアする仕事を続けてるんだ。12年には自分で書いた3曲をレコーディングする為にスタジオ入りした。シンガーとして、作曲者として、スウェーデン語のフォーク・ロックのジャンルの曲なんだ。自分でバッキングVoを録ってた時に、2、3人の友達が色々な楽器とヴォーカルで俺を助けてくれたしね。曲作りは続けていて、俺の最大の夢は成長したらプロの作曲家になる事なのさ。音楽への愛と情熱はまだそこにあるよ!

S-ROCK: 80年代半ばには音楽業界で日本とスウェーデンの間に多くの交流がありませんでした。ビクターがレコード契約の為に貴方達に連絡してきた時はどう思いましたか?松崎氏、貴方達のA&Rだった方です、は彼のお友達が輸入盤を手に入れた時にMADISONを知った、と公式バイオグラフィーには書かれています。日本では全ての盤に「帯」があります、最近はレコード会社が邦題を付ける事は稀ですが、かつては多く付けられていました。MADISONの作品ではDIAMOND MISTRESSに「神嵐の序曲」、そしてTHE TALEには「神嵐の伝説」と付けられていました。これらの意味を聞いていましたか?

Peter: そうだね、80年代の世界は全く違うものだったね。自分達だけじゃプロとしての結果を残せず、レコード契約は必須で、レコード会社と他の人達の行動次第で人々に自分達の音楽を届けられるかどうか、という状況だったからね。世界の他の地域とのコミュニケーションはより難しくてとても時間がかかった。MADISONは、世界での全ての契約を取り扱うマネージメントがあったんだ(MADISONの5人それぞれと、俺達が音楽の製作をするという部分を除いて、ね)。勿論スウェーデンから遠く遠く離れた外国で俺達の音楽が歓迎されているのを知ってとても嬉しかったんだ。





S-ROCK: 1987年の日本ツアーの間の面白い話はありますか?FBで当時の写真をシェアしてましたよね、見るのが楽しいです。公営のホールは21時に閉まる為、かつて日本での多くのライヴは18時に始まっていました、最近は平日には19時開始になり、公営ホールでの特にHM/HRのライヴは殆どなくなって、日本で私達が「ライヴハウス」と呼ぶクラブで多くのライヴが開催される様になっています。日本の労働者は早い時間に会社を出る事が出来ず、ライヴ終わりの帰宅の為の電車やバスの時間を気にします。スウェーデン(や欧州の他の国々)ではライヴの開始時間は遅いですよね、(日本では)18時前に開場すると聞いてどう思いましたか?




Peter: 俺達が日本へ行って驚いたのは、俺達が若くて、可愛い男の子達で、純真でほぼ少年だと思われてたって事さ。東京の最初の夜、俺達のプロモーターのミッシュ・マッシュは、翌日の最初のライヴに備えて22時以降は各自部屋で寝る様に求めてきたのさ。だから俺達はおやすみを言って、それぞれの部屋へ行ったさ。勿論夜出掛ける気満々だったから、お互い電話し合って非常口へ逃げ出して、階段を下りて通りに出たんだ。パノラマ式の窓からロビーで座ってたミッシュ・マッシュのお偉いさん達と俺達のマネージャーの驚いた顔を見つめたさ。俺達は通りに走り出て、何台かのタクシーを止め、飛び乗って言ったさ、「六本木迄!」




この行動は、次の夜パーティーから抜け出す決心をした時のパターンになった。高いビルで夕食を食べていて、その後5人のバンド・メンバー達は1台のエレベーターに急いで乗り込み、彼等が気付く前に「下へ」ボタンを押すんだ。Hokus Pokusっていうクルーが階下へ来た時にはもう俺達は居なかった、という訳さ。何処へって?そうさ、また六本木へ行ったんだ!









S-ROCK: 「神嵐の伝説」の発売は松崎氏のアイディアだと思ったのですが、この12インチ・アルバムについて何か面白い話は?

Peter: いや、この発売に関しては特定の話はないんだ、ビクターにとって発売する事がいいビジネスだったんじゃないかな。


「神嵐の伝説」(THE TALE)



S-ROCK: Göran EdmanとMikael Myllynenは87年の日本ツアーの後バンドを脱退しました。彼等と残りのバンドの間で何か問題があったのでしょうか?それとも、彼等は他にやりたい事があったのでしょうか?

Peter: Göranは、87年の日本ツアーに先立ってほぼバンドを脱退した状態だったんだ。何故って?誰もが自分のバンドに素晴らしいシンガーを求めていて、John NorumやVinnie Vincentじゃ仕方ないよ!


俺達のマネージメントは、MADISONとの契約があるGöranを解放する為に100万スウェーデン・クローネをVinnie Vincent達に要求する法的手段を取ったんだ。結局日本ツアーが終わる迄Göranはバンドに残るという契約になったのさ。これに関して以前もその後もMADISONとGöranの間に敵意なんてなかったと強調したいんだ。

Myllie (Mikael)については何があったのか、俺は全然覚えてないんだよね。彼に直接尋ねるべきさ。

S-ROCK: Göran Edmanが脱退した後、オーディションを開催して新しいシンガーとしてPete Sandbergを選びましたね。彼を選んだ際最も重視した事は何だったのでしょう?貴方達の音楽にウエストコースト・スタイルを取り入れたかったそうですが、それは何故ですか?



Peter: うん、俺達はGöranの代わりを探すのに必死だった、勿論それはとても難しかったんだ!エーテボリのFryshusetの俺達のリハーサル部屋でたった2、3人だけオーディションした。彼等の中にはTony Niva (SWEDISH EROTICA/LION’S SHARE)やZenny Gramm (DESTINY GOTHENBURG)も居たよ。結局俺達はTony YoansonことTony Johansson (MASQUERADE)を選んだんだ、本当にいい声の持ち主で、Skövde出身のかっこ良くて本当にいい奴なんだ!でも俺達のマネージメントKAZAAM INTERNATIONALは、創始者Magnus Rosén (HAMMERFALL)に由来する名前を持つエーテボリのロック・デュオVON ROSEN出身のPetter ”Pete” Sandbergを見つけてきて、彼にすべきだとMADISONに主張したのさ。Petterのロック・イメージは完璧で、素晴らしいウエスト・コースト風の声を持ってたんだ、JOURNEYのSteve Perryを思い起こさせる様な感じだよ。よりAORやウエスト・コースト寄りになってた俺達の新しい作品にはぴったりだったのさ。Petterとのオーディションは上手くいって、俺達の新しいシンガーとして迎える事に決めたんだ。そして俺達はエーテボリにあるSTUDIO LANEでデモ・テープをレコーディングする為のプリ・プロダクションに取り掛かった。曲は、”Northern Light”、 ”In Our Best Years”、 ”This Time I’m Ready、, ”Fair Play”、 ”I Am Alone Here”、 ”Where There Is A Will (There Must Be A Way)”、 ”Venetian Blind”、 ”Time And again”、 ”High On Ice”、 ”Cry Of A heart”、 ”Mammon” と ”Who Loves Me?”だったよ。でも、俺達のレコード会社SONETは、俺達のそんな急激な音楽的方向性の変化(殆どSPINAL TAPみたいな感じでさ)を快く思ってなかったと思うんだ。それでも彼等は、シングルとして新しいMADISONの音を試してみたかったんだ。Northern LightのシングルはSvein-Dag Haugeをプロデューサーに迎えてノルウェーのオスロでレコーディングされたよ。SONETは十分な資金と広告を掛けてくれなかったから、シングルは売れなくて、だからあのプロジェクトは基本的に失敗に終わった。ある日Petterがやってきて、脱退を申し入れた。彼はALIENでのシンガーの立場を手に入れてたんだ。次の日にはConnyが来て、彼もALIENでのベーシストとしての立場を掴んでた。なんて皮肉なんだ!Andersと俺はほんのしばらくMADISONの復活に奔走してたけど、結局俺達もタオルを投げたって訳さ。

S-ROCK: 98年には再結成アルバムをレコーディングする事を話し合ったそうですが、実現しませんでした。曲作りは初めていたのか、ただの話し合いに終わっただけだったのですか?

Peter: 俺達はただ再結成の話し合いをしただけだったよ。Danが曲を作ってたのかは分からないよ?

S-ROCK: MADISONとしてFBを始めて、ファンと思い出を共有していますよね、将来MADISONとして何かをレコーディングしたり、ライヴをやる事はあるのでしょうか?

Peter: うーん、分からないよ?!多分それを望まれた時は、じゃないかな?MADISONがまだ覚えられていて、神嵐の2回目の登場に強力で十分なファン達の支えがある事を祈ってるさ。

S-ROCK: 18年にドイツのPRIDE & JOY MUSICレーベルがBEST IN SHOWのCDを発売しました。その再発盤はどの様に実現したのですか?そして何故「神嵐の序曲」はないのでしょう?

Peter: ユニヴァーサル・ミュージックが「神嵐の序曲」のマスター・テープを持ってるんだ。そのマスター・テープは、スタジオで録音された時はアナログ・テープだった。18年の3月にユニヴァーサルの担当者Peter MannioからSpotifyのストリーミング・サービスで「神嵐の序曲」のオンライン発売をしないかと連絡を貰ったんだ。ボーナス・トラックを加えたり、曲順をどうするか等の可能性を話し合ったよ。奇妙にも、その頃PRIDE & JOYがCDでの「神嵐の序曲」の再発売についてユニヴァーサルに連絡してきたんだよ。PRIDE & JOYはドイツの会社で、数量限定でノスタルジックな価値を持たせた再発アルバムを専門にしているんだ。とにかく、ユニヴァーサルのPeter Mannioは、MADISONにオリジナルのマスター・テープをデジタル・マスタリングしたものを聴いて認める様要請してきたよ。他にバンドが関わった事といえば、曲順とボーナス・トラックと、写真と、ブックレットの文章等かな。

DIAMOND MISTRESSのマスター・テープはワーナー・ミュージックが持ってるのは知ってるんだ。多分簡単に手に入るんじゃないかな、もし誰かが再発したいならね!




S-ROCK: 80年代からの日本のファンにメッセージをお願いします。ありがとうございました!

Peter: 日本でツアーする機会を与えてくれた全てのファンに本当に感謝しているんだ。素晴らしい時を過ごしたよ!これからも俺の心の中にその思い出をしっかり留めておくよ。さあどうかな、また逢えるかも知れないね?!




KING COMPANY – E-mail Interview(日本語)

Special Thanks to: Rue for KING COMPANY JP on FACEBOOK / Twitter

Thanks: Japanese fans of KING COMPANY who sent questions for this interview.


S-ROCK: 2ndアルバム”QUEEN OF HEARTS”の日本盤がKING RECORDSから7月25日に発売され、FRONTIERS盤が8月10日にリリースされました。アルバムの出来に満足していますか?

KING COMPANY (以下KC) : ああ、俺達はとても満足してるんだ。Janne Wirman (CHILDREN OF BODOM)は既に1枚アルバムをミックスしてくれていた(彼はONE FOR THE ROADもやってくれたよ)から、今回も俺達独自のサウンドをいとも簡単に見つけ出してくれた。君達が沢山のヘヴィー・ロック・レコードで聴く事が出来るベーシックなメタル・サウンドではないと言えるんだ。かつての作品の数々で聴く事が出来た自然な音の要素を幾つか見つけようと俺達は常に挑戦しているんだ。でも勿論、音が薄っぺらいものにならず、他のバンドに匹敵する様なものになる様に今に合った表現方法で作らないとならないんだ。

S-ROCK: このアルバムは新ヴォーカリストのLeonardのお披露目の意味もあると思います。MirkaがYouTubeでLeonardが歌っている動画を見てオファーしたそうですが、彼はフィンランドから遠く離れたイタリアに住んでいます。フィンランド国内でシンガーを探そうとは思わなかったのですか?またLeonardに決めた最大の理由は何ですか?

KC: ああ、まず俺達はフィンランドでどんなスタイルのシンガーを採用出来るか確認してみた、でもぴったりくる人物を見つけられなかったんだ。そして俺(Mirka)がYouTubeでLeonardを見つけた。「WHITESNAKEのトリビュート・バンド」というキーワードでヒットした…ははは。真実を言えば、最初はスペイン・ツアーの補充要員としての存在が必要なだけだったんだ、だから彼がイタリアでも何処出身でも構わなかった。このツアーだけ彼が歌ってくれて、その後はまたPasiと一緒にやるつもりでいた。でもツアー後、Pasiが喉の問題を抱えたままだから俺達と一緒に演っていけない、と言ってきたのさ。厳しい選択でとても悲しかったけど、Leonardと連絡を取る事はとても簡単だったから、この仕事を引き受けてくれるか尋ねてみたんだ。そうしたら彼はやりたいと言ったんだ。


S-ROCK: 当初はPasiが歌う事を前提にレコーディングが進められていたと思いますが、Pasiの脱退とLeonardの正式加入を経てアルバムを完成させました。収録されている曲はLeonardが加入以前の曲ですか?Leonardが歌うために新たに作られた曲はありますか?

KC: このアルバムではPasiが辞めた後2曲が作られたよ。”Berlin”は、Timeが彼自身で作った曲で、彼自身が歌っている。それとAnttiがレコーディングの終盤で”Living The Dream”を書いた。俺(Mirka)が歌詞を書いて、何が面白いかって曲の途中でPasiが歌っているのが分かる事さ。スタジオでPasiがヴォーカル・プロデュースをしていた時にこのアイディアを思い付いて、Leonardの歌でレコーディングしたんだ。歌詞を読んだら、いいラインがあってPasiは多分歌えるんじゃないかと気付いたのさ。それは年長者が若者にどうやってこのバンドで生き残るかを教える様なものなんだよ…ははは!

S-ROCK: 各曲解説をお願い出来ますか?

Queen Of Hearts

(Antti) Queen Of HeartsはKING COMPANYの曲の中で最もヘヴィーだと思うんだ。この曲のアップテンポのフィーリングがとても好きなんだ。

Antti Wirman (G)


One Day Of Your Life

(Antti) このアルバムの為に最初に作った曲なんだ。曲のグルーヴィーなリフはアルバムの中での俺のお気に入りの瞬間の1つなんだよ。


(Jari) 歌詞とメロディーはギリシャ(キプロス)でほぼ作られたんだ、ビーチやバーで80年代や90年代のポップ・ロックのヒット曲を聴いている時にね。


Jari Pailamo (Key)


Living In A Hurricane

(Antti) Living In A Hurricaneは2ndシングルで2曲目のビデオでもあり、アップテンポな曲でもあるんだ。この曲を書いた時は、アルバムの為にもう1曲ヘヴィーなものを書きたかったんだ。コーラスが大好きさ!

Under The Spell

(Mirka) 誰かが、これは俺達のDOKKENスタイルの曲だ、と言っていたんだ、彼・彼女は正しいと思うよ。キャッチーなコーラスがある、神秘的な感覚があってグルーヴィーな曲だからね。

Mirka Rantanen (Ds)


Never Say Goodbye

(Mirka) 俺がメロディー・ラインを書いたPasiの古い曲なんだ。とてもキャッチーなコーラスだよね、そう思わない?

Learn To Fly

(Mirka) これはアルバム中の俺達のパワー・メタル的な曲なんだ。当初はアルバムに合わないんじゃないかと思ったけど、最終的にこの曲を選んだし、良い選択だったと思う。みんな好きだからね!



King For Tonight

(Jari) 俺がいつも支持している幾つかの叙事詩的要素のあるポジティヴでロックなパワー・ソングだよ。リハーサルで俺が演ったシンセ・リフから火が点いたんだ。Mirkaがそれを受け取って、曲に仕上げようと提案してきた。残りは、このアルバムで俺が多用した90年代風のピアノ・レイヤーから取っ掛かりを得た。コーラスにハモンドを加えたんだ。鋭いロッカー・チューンだね。

Living The Dream

(Mirka) 温かな感情が流れる良いバラードさ。最後にこのアルバムの為に書かれた曲で、俺が書いた歌詞の中では現時点で最高の出来になったものの1つだね。


(Mirka) アルバムの叙情詩的エンディングの曲。凄くパワフルなギター・リフなんだ!

Never Say Goodbye (アコースティック・ヴァージョン、日本盤のボーナス・トラック)


Good Thing (欧州盤向けデジタル配信曲)


S-ROCK: King Companyの曲作りはどのように行っていますか?次のアルバム用の曲もすでにありますか?

KC: 次のアルバム用の曲は何曲か既にあるよ、でもそんなに多くないね。通常は俺達全員が自宅でまず作業して、準備が出来たらリハーサル室でジャムって、その曲に相応しいパーツを探す様にする。でもJariが自宅で彼1人で1曲丸ごと準備してきて、俺達に曲のプレゼンをしてくれる様な例もある。そして必要なら、彼の曲に相応しいスパイスを俺達で加えるんだよ。

S-ROCK: 今回のレコーディングで苦労した事はありますか?Leonardはフィンランドでヴォーカルを録音し、イタリアでも録り直したと聞きました。

KC: ああ、彼はフィンランドで当初殆どのVoパートを歌ったんだ、でも彼が帰国してから、俺達はもう一度歌い直すべき所やより多くのハーモニーを加える方が良い部分がある事に気が付いた。それで彼はイタリアで残りの部分を歌ったのさ。

S-ROCK: アルバムに収録されている曲によってはもっとLeonardのヴォーカルが前面に出てもいいのではないかと思われるものもあります。もっとLeonardの声をダイレクトに聴きたいというファンもいます。

KC: うん、そうだね。幾つかの曲ではもっと彼の声が大きく聞こえる様に出来ただろうね。最後のミックスで何が起こったのか分からないんだ、でもVoパートの幾らかは少しだけ楽器の音の後ろに引っ込んでしまった。次回は良くなるさ。

S-ROCK: アルバムのアートワークに隠されたストーリーはありますか?アートワークに登場するKingはQueenに何か飲まされて骸骨にされたとか?

KC: Queen Of Heartsの歌詞を書いた時、これはアルバム・タイトルとしてもいいんじゃないかと思った。そしてアートワークのあのアイディアが心に浮かんだんだ、Darkgrove DesignのJan Yrlundにそれを説明して、彼は描いてくれたよ。俺の意見だけどとても素晴らしい絵だから、とても気に入ってるんだ。Jan Yrlundは素晴らしいアーティストだよ!


S-ROCK: バンドはFRONTIERSと契約する際に今のバンド名に変えました。バンド名の”KING COMPANY”に込められた意味は何ですか?

KC: 良き友を持っている事を話す時に俺達が使うフィンランド語の言葉の直訳みたいなもので、それがKCの意味なんだ。(S-ROCK注:そのフィンランド語は” kuningas porukka”だそうです)

S-ROCK: バンドはデビューして2年になりますが、ライヴの回数は決して多い方とは言えません。もっとライヴを増やす考えはありませんか?日本を含めたフィンランド以外の国でのライヴの計画はありますか?

KC: 勿論俺達はもっとライヴを演りたいと思ってるし、実際に昨年の秋にはスペイン・ツアーもやった。ドイツとスペインで来年小規模ツアーをやる事が決まってるよ。それと他国でのフェスティヴァル出演も幾つか決まっているんだ。日本でも演れたら素晴らしいよね、叶えたい夢みたいなものだ、いつかきっと実現すると信じてるよ。

S-ROCK: (Leonard への質問) 去年の夏に突然Mirkaから連絡をもらった時のあなたの心境を教えてください。その時King Companyの存在は知っていましたか?

Leonard: あはは…特別じゃないよ…俺のFBのページを開いて、こんなメッセージを読んだんだ。「やあ!俺はKING COMPANYのMirka Rantanenっていうんだ…9月のスペイン・ツアーの為のシンガーを探してるんだけど…興味ある?」そして俺はうん、と答えた…OK!あはは…そうじゃないよ、本当にびっくりした。それとその時Mirka Rantanenが誰なのか分からなかった…それに、スペイン・ツアーって言われても何の事だかピンと来なくてね…だってツアー経験がなかったんだ!ONE FOR THE ROADアルバムを最初に聴いた時のあの衝撃ときたら…その時俺は本当にラッキーだ、と理解したのさ。その時から俺はKCの為に一生懸命働き始めたのさ。

いや、知らなかったんだ…でもMirkaがTimo Kotipeltoのドラマーだって事は知ってた…そしてPasiがTHUNDERSTONEのシンガーだって事もね、Pasiの様なシンガーの代わりに加入するなんて全く思っても見なかったから、本当に凄い事だったんだ!

Leonard F. Guillan (Vo)


S-ROCK: (Anttiへの質問)  Children Of Bodomのサポートで3年前に日本に来た時、今でも覚えている印象的な事はありますか?日本ではあなたのギターを作っている工房に行ったと聞きました。

Antti: ああ、覚えてるさ。日本のおもてなしは信じられない位凄いんだ。人々は本当に親切だし、食べ物は美味いし、ビールは冷えてて酒は温かい!LOUD PARKはこれ迄参加した中で一番組織のしっかりしたフェスティヴァルだね、観客は巨大で大歓声!偶然ESPのギター・ショップへ行ったんだよ。友達と町を彷徨ってた時、店を見つけて入ったのさ。幾つか素晴らしいギターがあったし、勿論スタッフはとてもフレンドリーだったんだ。

S-ROCK: (Jariへの質問) 7月のスペインでのライヴはシンプルにキーボード1台で行われましたが、今後のライヴでのプランは?そして”Living In A Hurricane”のPVでのJariの編み物のシーンは日本でも評判になっています。あまりにも手慣れた感じでしたが実際に編み物はできますか?

Jari: 俺達がバンドを始めた時、ライヴでは4つのキーボードとラックを使ってた。凄いセットアップだったけど、そんなに多くの機材があると結局機材間の問題が生じるのは最初から分かってたんだ。機材はより少ない方がツアーの為のフライトではずっと楽だし、俺達の初のスペイン・ツアーでは2つキーボードを減らして、究極の最小の1台のセットアップをする事にしたんだ、日本でのツアーがいつ決まってもそこは準備万端だよ。このシンプルな1台のキーボードでのアプローチがとても気に入っていて、今の所はこれで行こうと思ってる。

ありがとう、尋ねてくれて嬉しいよ!本当に沢山の人達から求められれば、マーチャンダイス用にKING COMPANY “Living In A Hurricane”の白靴下を編み始めなくちゃいけないね。


S-ROCK: (Timeへの質問)  あなたが作って歌っている”Berlin”という曲について説明して下さい。ライヴで披露する可能性はありますか?

Time: Berlinのメイン・リフは2017年の10月のある早朝に浮かんだんだ。ギターを手に取って座ったよ。完成迄には2~3日かかって、2~3週間置いておいたよ。その間に歌詞を書き始めた。ベルリンに今も残っている戦争の魂や幽霊達についての曲に仕上がったんだ。



Time Schleifer (B)


S-ROCK: (Mirkaへの質問)  あなたはKING COMPANYの曲の多くの作詞を手掛けています。いつ、どんなシチュエーションで作詞していますか?

Mirka: いつでも歌詞は書いているよ、多分2、3語や2、3行でも心に浮かんだ時には何でも記録帳に書き留めてる…忘れない様にね。そして最終的な歌詞を書く時に書き留めたものを使う事が出来るのさ。俺はそんなに良い作詞者じゃないからね、俺の英語は表現が限られるからさ、それでもいつももっと学びたい、より良い結果を残すにはどうしたらいいかと今も思っている。いつでも俺は心に沢山の良い話やアイディアを持ってるんだ…どうやってそれらを全て紙に残すかを考える様にしてるのさ、ははは!

S-ROCK: (全員へ)日本人はみんな同じ瞳の色をしているので海外のみなさんの瞳の色が気になるものです。差し支えなかったら教えてください。

KC: Mirka: 茶 Time: 青 Jari: 青が入ったグレー Antti: 赤 🙂 Leonard: 緑

S-ROCK: S-ROCKサイトを訪問する日本のKING COMPANYファンへメッセージをお願いします。

KC: こんにちは、全ての日本のファンのみんな!俺達の新譜を買ってくれて、そして君達からとても良いレビューを貰って本当に感謝しているよ!そしていつか日本で演って、君達に直に逢う事を本当に望んでるんだ!

実現する迄、KING COMPANYと一緒にロックし続けてくれ!

-Mirka, Antti, Jari, Time, Leonard-


KING COMPANY – E-mail Interview (English)

Special Thanks to: Rue for KING COMPANY JP on FACEBOOK / Twitter

Thanks: Japanese fans of KING COMPANY who sent questions for this interview.


S-ROCK: The 2nd album “QUEEN OF HEARTS” was from KING RECORDS out in Japan on the 25th of July and out from FRONTIERS RECORDS on the 10th of August in Europe. Are you guys satisfied with what the album sounds?

KING COMPANY (KC) : Yes we are very satisfied. Janne Wirman (CHILDREN OF BODOM) mixed an album (he mixed “ONE FOR THE ROAD” too) and he easily found our own sound again. I can say it’s not a basic metal sound what you can hear in many heavy rock records. We always try to find some natural sound elements what you can hear on the records back in the days. But of course we have to make it on these days terms that your sound is not too thin and you are comparable with other bands.

S-ROCK: This album means the 1st album for new singer Leonard to sing for KING COMPANY. You guys asked him to join the band after Mirka watched him singing on YouTube. He lives in Italy far from Finland. Did you guys try to find a singer in your country? And what was the biggest reason why you guys got Leonard?

KC: Yes, first we checked what kind of style singers we have available in Finland, but didn’t find anybody who was suitable. And yes I found Leonard from YouTube. Keyword “ WHITESNAKE tribute band” got a match 🙂 …hahaaha. Truth is that first we needed only re-fill singer for Spanish-tour, so it doesn’t matter he is from Italy or whereever. We thought that he’s just gonna do only this tour and then we continue again with Pasi. But after the tour Pasi told that he can’t continue with us cause he still have problems with his throat. Even it was a hard decision and really sad, it was still quite easy to call Leonard and ask him if he wanna take a job. And he wanted.

The biggest reason why we chose him was that he is a very kindly person, he is really energetic on a stage, and we had already one tour behind with him so he knows many of our songs already.

S-ROCK: At first You guys started recording the tracks which Pasi would sing for, but he left the band and Leonard joined officially then you guys finished the album. All the tracks are what you guys wrote before Leonard joined? Is there any new track just for Leonard to sing?

KC: On this album are two songs what we did after Pasi’s leaving. “Berlin”, what Time wrote by himself, and what he sang on album. Also Antti wrote “Living The Dream” in the end of the recordings. I wrote lyrics then for it, and what is funny you can hear Pasi singing there in middle of the song. This idea came to my mind when Pasi was doing vocal producing in a studio and we were recording Leonard’s vocals for this song. I read the lyrics and noticed that there is good line what Pasi maybe could sing. It’s kind of a instructions from an older guy to younger how to survive in this band..hahahah!

S-ROCK: Would you guys talk about each track of the album?

Queen Of Hearts

I think Queen Of Hearts is the heaviest track of KING COMPANY. I really like the uptempo feeling in the song. -Antti-

Antti Wirman (G)


One Day Of Your Life

First song I wrote it to the album. The groovy riff of a song is one of my favourite moments on the album. -Antti-


Lyrics and melody were mostly made in Greece (Cyprus) listening to 80’s and 90’s pop rock hits at the beach/bar.
Over sweet anti-metal verse made of major chords was intentional to make a drama for chorus in parallel minor. I hope the metal-heads forgive me this. -Jari-

Jari Pailamo (Key)


Living In A Hurricane

Living In A Hurricane is the second single and video song of the album uptempo song as well. When I wrote the song I wanted to write another heavy track for the album. I love the chorus! -Antti-

Under The Spell

Somebody said that is our DOKKEN-style song, and I can say he/she is right. Mystical feeling and groovy song with a catchy chorus. -Mirka-

Mirka Rantanen (Ds)


Never Say Goodbye

Pasi’s older song which I wrote melody line. I think it’s pretty catchy chorus…. Isn’t it? 🙂 -Mirka-

Learn To Fly

This is our power metalish song on a record. First we thought it doesn’t fit to the album style but finally we took it and it was good choice. People likes it! -Mirka-


Check Time’s answer later.

King For Tonight

Positive and rocking power song with some epic elements which I always endorse. Ignited from the synth riff I played at rehearsal. Mirka catched it and suggested to make a complete song out of it. The rest came inspired from 90’s kind of piano layers that I used a lot on the album. Added Hammond to the chorus, it’s a solid rocker tune. -Jari-

Living The Dream

Nice ballad with warm feelings. Last song we wrote for the album which is so far one of best lyrics I have ever written. -Mirka-


An epic ending song of the record. Great powerful guitar riff! -Mirka-

Never Say Goodbye (acoustic version, a bonus track for Japanese release)

We think it was best choice and it was easy transformed for an acoustic version!

Good Thing (Digital only for European release)

Also Pasi’s older song. It’s very AOR-oriented, there’s a good vibe all the time but for some reason it was chosen for a bonus track.

S-ROCK: How do you guys compose tracks for KING COMPANY? Any new tracks for next album?

KC: We have some new material ready for the next album, but not so much yet. Normally all of us works first at home with songs and when we have something ready we go to rehearsal place jamming together and try to find right parts for the song. But like an example Jari normally writes a whole song ready alone at his home and then he just introduces it for us. Then we just include some spices for his songs if it’s necessary.

S-ROCK: Was there anything difficult during the recording? We heard Leonard sang for recording in Finland then did some in Italy as well.

KC: Yes he did most of the vocal parts first here in Finland, but after he left we noticed that there is something what he should sing again or just add some more harmonies. Then he sang rest of the parts in Italy. 

S-ROCK: We think there are some tracks which Leonard voices could take steps forward, there are some fans who would like to listen to his voices louder.

KC: Yes that’s true. His voice could be louder in some of the songs. I don’t know what happened in a last mixing but for some reason some of the vocal parts are a little bit under the instruments. Better luck next time 🙂

S-ROCK: Is there any hidden story about the artwork of the album? We’d guess the Queen let the King dring something and he died and became bones?

KC: When I wrote lyrics for the song “Queen Of hearts” I thought it would be a good title of the album as well. Then this idea from the artwork came to my mind, and then I explained it to Jan Yrlund from Darkgrove Design and he illustrated it. In my opinion it’s a great picture, I like it a lot. Jan Yrlund is a great artist!

But in some of the lyrics on this album, and on first album as well, you can find some true stories about the girl who’s trying to survive through of her life, sometimes she’s falling down and sometimes she rises again, but she never surrenders. That’s why we have this girl on both album covers.

S-ROCK: You guys changed the band name to KING COMPANY before you guys got a deal with FRONTIERS RECORDS. What do you guys mean for the name “KING COMPANY”?

KC: It’s like straight translation from Finnish words what we use when we talk about when you have good friends together and this is the meaning of “KC”. (S-ROCK: Those Finnish words are “kuningas porukka”. Kiitos, Mirka!)

S-ROCK: You guys had the 2nd anniversary of the band though, the number of the gigs you played is not so many. Do you guys want to play more gigs? Any plan(s) to play in other countries including Japan outside Finland?

KC: Of course we want to play more gigs and actually we already made a tour in Spain last autumn. We have some small tours coming on next year in Germany and in Spain. Also we have confirmed some festival shows next year in other countries. But Japan would be also great, it’s a dream come true kind of a thing, and I’m pretty sure it will happen someday.

S-ROCK: (To Leonard) How did you feel when Mirka got in touch with you unexpectedly? Did you know KING COMPANY at that time?

Leonard: Ahaha.. Nothing speciaI .. I just opened my facebook page and I read: “Hey man! I’m Mirka Rantanen from KING COMPANY… We need a singer in September for a Spanish tour… are you interested?” And I said yes… Ok! Ahahah… Not really! I was really surprised. And In that moment I didn’t realize who Mirka Rantanen was… And I had no idea what did he mean when he said “Spanish Tour”.. I’ve never been on tour! Anyway the thing that really surprised me was when I listened to “ONE FOR THE ROAD” album for the first time.. Just in that moment I understood that I was so lucky.. And from that moment I started to work a lot for KC…

No, I didn’t… but I knew Mirka as the drummer of “Timo Kotipelto”… And Pasi for “THUNDERSTONE” and I never thought to replace a singer like Pasi, it was an amazing thing!

Leonard F. Guillan (Vo)


S-ROCK: (To Antti) Do you remember anything impressive when you came to Japan to play for CHILDREN OF BODOM 3 years ago? We heard you visited a workshop where your guitars were made.

Antti: Yes I do. Japanese hospitality is incredible. People are so nice, food is very good, beer is cold and Sake is warm! LOUD PARK is the best organized festival that I have ever visited, crowd was huge and loud! Actually I visited the ESP Guitar shop accidentally. I was wondering around the streets with my friend and we saw the shop and stopped by. There were some amazing guitars there and of course very friendly staffs.

S-ROCK: (To Jari) You played only 1 keyboard at the gig in Spain in July, are you going to do the same or use other keyboards at upcoming gigs? And your Japanese fans are talking about you were knitting in the promotion video of “Living In A Hurricane”. It’s impressed that you did very well, are you good at knitting?

Jari: When we started the band I had four keyboards and a rack live – it was great setup but I knew from the beginning that I would eventually run into logistics trouble with that much gear. Flying to gigs is a lot easier with less items and for our first tour in Spain I cut down to two keys and eventually I developed the ultimate minimum ‘one synth setup’ that is ready also for Japan gigs whenever that happen 😉  I like this simple one keyboard approach a lot and I will keep it that way for now.
Thanks, very nice to hear! I really should start knitting KING COMPANY “Living In A Hurricane” white wool socks for our merchandise since so many have asked about them.
To tell you the truth I really don’t know how to knit and only was shown once before the video shoot how it should be done. I’m proud I was convincing – in reality it felt really difficult and awkward. Knitters, I salute you! 😀

S-ROCK: (To Time) Would you tell us about “Berlin” you composed and sang on the album. Are you playing that track on stage?

Time: The main riff of Berlin came to my mind in early morning of October 2017. I took my guitar and sat down. It took couple days to finish it and then I left it down for a few weeks. In meanwhile, I started to write lyrics. It became a song about spirits and ghosts of war which are still remaining in Berlin.

If you’re familiar with expression “I can feel it in the air” and you’ve visited in Berlin , you might know what this song is about…! Especially if you’re walking in the certain part of old east Berlin….spooky I would say!

And yes we are playing the song on our live set now!

Time Schleifer (B)


S-ROCK: (To Mirka) You write lyrics of many tracks for KING COMPANY, When and how do you write them?

Mirka: I write lyrics all the time, maybe just a couple of words or lines to memory book whatever comes into my mind.. just that I don’t forget them. And then I can use them later when I write the final lyrics. I’m not a so good lyricist because of my limited English, but still want to learn more everytime, and how to come better. I have lots of good stories and ideas in my mind all the time… just try to think how to get them all to paper..hahahaa!

S-ROCK: (To all the guy) We’re curious about your eye color(s) as Japanese have black/brown eyes only. If you don’t mind, would you let us know?

KC: Mirka: BROWN,  Time: BLUE,  Jari: GREY WITH BLUE, Antti: RED 🙂 , Leonard: GREEN

S-ROCK: Would you give your messages to Japanese fans of KING COMPANY who visit S-ROCK site? Kiitos!

KC: KONNICHIWA all Japanese fans! We really appreciate that you have bought our new album and we have got very good reviews from you! Also we really hope we can play someday there and meet you alive!

Before this happen we hope you keep on rocking with KING COMPANY!

-Mirka, Antti, Jari, Time, Leonard-

Satin – E-mail Interview (English)

The latest shot of Satin 2018


S-ROCK: Last time we asked you our questionnaire with basic questions, and now we’d like to ask you more about your albums, career, thoughts and so on. 

First of all your 1st solo album SATIN was out in Japan last month with bonus tracks after CD-R version was sold out through ANDERSTEIN MUSIC, how do you feel about it?

Satin: How that feels can’t be described with words. But, I’ll try and it is sort of like this: 

You write your little songs, you record your little songs, you mix and master your little songs, you release your little songs and suddenly, BAM; They aren’t little songs anymore. They’re now big songs; being listened to by thousands of people, being played on radio stations across the globe, talked about on podcast, shared on Social Media, getting reviewed by magazines and websites, people now sing along to these songs, party to these songs, they cry to these songs, make love to these songs and people are having personal opinions about those songs. Knowing that there is someone who resides in a country with a 7 hours time difference who believe there is a marked there for these songs as a product, it makes you, not only very happy, but very proud!



S-ROCK: I heard ANDERSTEIN MUSIC suggested you to change the artwork of Japanese release of SATIN album, but you didn’t like the idea. You just wanted to stay your photo to show you’re an solo artist?

Satin: No, that’s not true. I have not been approached by Anderstein Music regarding altering the album cover at any time. There was a question by Masao Fujiki in the liner notes of the ‘Japanese Edition’ of my debut album regarding the album cover being a black and white photo of me, and my answer was this: 

The album doesn’t have a title. It is just the name of the artist; “Satin”. So I went with a picture of the artist.”

S-ROCK: Would you let us know each track of IT’S ABOUT TIME as we can read your comments on each track of SATIN album in the booklet of Japanese CD and we’d like to know 🙂

Satin: Look Up In The Sky

The verses and pre-ref was written last year and the chorus and the bridge(after the solo) was written when I was 14 years old. 

The lyrics in the chorus sounds like a kids rhyme. The story is that I was nervous about an upcoming gig. As I sat out on my porch one night, I looked up at the sky and gazed at the stars. I saw a star that had a multicolor twinkle and I locked my eyes to only that star. Every night I “talked” to the star and was, in a weird way, asking it to “help” me through the gig. The gig went amazingly well and topped everything prior. I knew that this star didn’t do anything to that situation, but I liked the idea of it and wrote a song around it. 

Every winter when this star comes around up here in Norway, I smile when I see it.

I’ll Never Let You Down

This song could easily have been on the first album. It was the first song completed for this album. It has a little Desmond Child modulation vibe going on in the verses, but he is also one of my all time favorite songwriters so, to me, that can’t be a bad thing.

I also like the background “canon-vocals” in the chorus. It gives it a surprise twist to it.

Waiting For Someone

This song is near and dear. It has gone through countless revisions and I’m really happy how turned out. Lyrically, it’s about the age old “Doing What You Think Others Would Like You To Do” and, of course, you get burned. The one you’re actually waiting for, is yourself.

Use It Or Lose It

This one will bring you right back to the early 80’s. I wrote this song when I was fourteen, but the lyrics have been rewritten. It’s based on that one riff that plays as the intro, the verse and the chorus.

The Damage Got Done

Again a reworked song from my early years. It’s about jealousy. When you first realize, after the fact, that what you had was right and she has moved on. 

I’d probably call this a “modern 80’s rocker”.

This Time

Oh wow! I love this one. The first draft of this song was done in 1998. I gave it a new chorus and rewrote some of the lyrics.

Heading For A Fall

I performed an acoustic version of this song with my brother back in 1998 at ‘The National Championship Of Rock’ in Norway. With just two acoustic guitars, we competed against everything from ‘7 piece bands’ and artists with dancers etc. We placed 2nd. One of the judges told us that “they couldn’t give us first place, because the winner had to go on a little tour and two guys with acoustic guitars wasn’t enough, they need a band. But we should consider ourselves the winners“. 

The song was then left in a drawer for 18 years until I took it out and worked a little on it for this album.



Who You Are

This song was written a long time ago. The bridge was actually the chorus at first. It’s a very catchy and upbeat song, and in true Satin-style.

True Love

It’s a little heavier than the rest of the songs on the album. Again, a song I wrote in my teens that has had some lyrical work. It is driven by two main riffs, which I think sound a bit ‘Old School’, but I’m a huge KISS fan, so that’s probably the reason…hehe… 

Lying Eyes

This song was intended for my debut album. When it didn’t make that album, I was determined to use it on the next one. I love the energy of it and I was really in doubt of my decision-making when I took it out of the tracklisting. 

It’s Unbelievable

A song written in 2001. Great uptempo song with a catchy chorus. There’s no hocus-pocus with this one and it runs from start to end effortlessly. Lyrically, it touches on the subject of low self-esteem. When you feel like you blend in with those people that doesn’t try to make their mark. They all probably do, but it’s difficult for them.

Set My Own Heart Free

Intro-riff dates back to 2004, but the verse, chorus and bridge is new. As with “It’s Unbelievable“, this is only available on the Japan-release of this album.

S-ROCK: When you make music, music comes first or lyrics come first? And what gives your inspiration and ideas for your music?

Satin: Nine out of ten times, the music comes first. When I get a melody in my head, I NEVER change the melody to get a lyric “to fit”. I’d rather use months to find a line that works with the original melody. When I come up with a melody, I believe there’s a reason that I came up with THAT exact melody. I won’t alter it at any cost!

Inspirations and ideas can come from anything and everything. A baby crying on the train can trigger a melody, dropping a fork on the floor can set the beat of a song and overhearing a conversation at McDonald’s can trigger lyric ideas. The “antennas” are out even though they don’t show. 

S-ROCK: You play all instruments for your solo work, you have any plan to do gigs in the future? When you do, you’ll hire musicians to play for your gigs or you’ll sing with backing tracks?

Satin: People want me to play and I have also gotten many inquiries from other musicians to be in a band with me. We’ll see what happens, but as of now, there’s no plan for gigging this project.

I would definitely hire musicians to help me out live, if it came to that. I’m pretty much against backing tracks. Why try to sound like the CD while on stage? I like it when there is a “live” version and a “studio” version of a song. 

I don’t see the need for a “karaoke” version; that’s for the fans/public to enjoy themselves with. If you’re a troubadour, sure, use backing tracks. If you’re a duo, sure, use backing tracks. If you’re a trio, sure use some backing tracks. BUT, if you’re a band and have the instruments that represent and makes up the music; then PLAY 😉

If you see people enjoying themselves and singing along to a song, play the chorus again, make them sing it. If the guitar player is jamming and ripping on the solo, prolong the solo and let him continue to excel. You read the crowd and you sense the room. You and the audience feed of each others energy. If you have a computer in charge of the music, you’re done when the computer says you’re done. Of course you can program computers to fit your set, but I don’t see the need for it.

S-ROCK: On the back cover of booklet of IT’S ABOUT TIME there’s your message: Thank You For Getting Your Hands “Dirty” By Holding This Album. What did you want your fans to find from the message?

Satin: In Europe, especially in Scandinavia, people don’t buy CDs anymore. They mainly use Spotify, Tidal and Apple Music. It’s just some of the older generation that still buys physical products. But, their kids and grandkids are teaching them the digital world, so there is less and less of them too. And it is definitely spreading. So I truly, madly, deeply thank the ones that are actually holding that album physically in their hands. They have supported me and my music proper.


The track “Anyway” is on this album.


S-ROCK: Would you tell us about the band PEGASUS, you play with your brother Ronny. You guys won Spellemannprisen in 2012 and participated in MELODI GRAND PRIX with the song “Anyway” in 2016.

Satin: We started Pegasus, a light country rock band, back in 2006 and have, to this day, released 11 studio albums. At this time, we are working on some new music.. Yes, we won a ‘Spellemannpris(Norwegian Grammy) for ‘Album Of The Year’ in our respective category. ‘Melodi Grand Prix’(MGP) was really cool to to be a part of. Wig Wam has participated twice here in Norway, and the likes of H.E.A.T and Eclipse have participated in the Swedish version of that show. Almost 1/3 of Norway was watching it that evening.



S-ROCK: On the album “GODS OF THUNDER: A NORWEGIAN TRIBUTE TO KISS”  you play “The Magic Kiss Medley”. You didn’t play 1 track, you couldn’t choose one? Or you just prefer a medley?

Satin: Back in 2004, after not sleeping for a couple of days, I sat with my guitar in my lap just strumming. I started noodling and mumbling a KISS song. I suddenly realized that I was playing one song on the guitar and singing another, and they fit perfectly. 

Hmm…that’s interesting; and now I’m wide awake thinking: 

Are there other KISS songs I can “mashup?” Hell, yeah- there were. 

So I ended up with an amalgamation of KISS songs. In some parts, there is the music of one song, lyrics from another song and the vocal melody of a third song. I crammed 30 KISS songs into 5 minutes. There’s up to three songs going at the same time, but it sounds like one song.. I was persuaded by a fellow KISS Army member to post it on the ‘Norwegian Kiss Army’ Forum. Other forum members reacted and the third message was from the then ‘Kiss Army Norway’ General asking me to remove the song from the forum. He had started the production of this project and wanted my Kiss-Mix on it. He changed the title to “The Magic Kiss Medley” because he meant what I had accomplished was, in his words, “magic”. At the release-party for that album, there was a quiz for the audience handed to them at the entrance: “How many KISS songs can your hear in this medley?” They played my track !! Nobody managed to guess all thirty songs that night 😉

S-ROCK: You always write “Stay Gold, S*” in the end of your messages, what does “Stay Gold” mean for you?

Satin: As the saying goes: “Everybody is worth their weight in gold!” I like that. 

Gold represents the best, it’s number 1, the winner !!! 

So when I say/write “Stay Gold” at the end of sentences to people, I mean: 

“You’re the best, you’re a good person and you’re worth your weight in Gold! Try to stay that way, don’t change”.

S-ROCK: Would you let us know about your artist logo combined S and a star. S is probably from Satin, and a star means “a star” as a famous person? And why did you choose “Satin” as your solo artist name?

Satin: To me, a star is like an indicator light that shines when you have followed or fulfilled a dream. Like I sing in the chorus of ‘Look Up In The Sky’ from the “It’s About Time” album:

‘Look up in the sky at night

You will see a star shine bright

Try to make your dreams come true

The star you looked at will always shine for you’.

It’s like a little kid’s rhyme. But, as mentioned, I was fourteen years old when I wrote it.

So the S symbolizes me (Satin) and the star symbolizes “Made my dream come true”.

Satin was a band name that I came up with when I was 17 or 18. I never got the chance to use it until this solo project came along. 

S-ROCK: Your all-the-time favorite bands are KISS and BON JOVI (right?), how do those AOR/HR bands inspire you? Which track(s) of each band is/are your favorite(s)?

Satin: I became a fan of both KISS and BON JOVI at the age of 6. And from that moment on, they have given and done so much for me over time that they have become a part of my DNA, so to speak.

It’s very hard for me to even pick a favorite decade, for that matter, so to pick out songs? Completely impossible!

S-ROCK: What do you think about music scene in Norway these days? Japan is 1 of few countries where people prefer CDs to streaming/music files. And for even popular artists who used to sell millions in 80’s/90’s it’s really hard to sell more than even100000 copies. In Japan gold album should have sales of 100000 copies (for both domestic/international artists bands since 2003).

Satin: Not answered! I elaborated this in an earlier question on “getting my hands dirty” 🙂

S-ROCK: Is there any future plan which is confirmed so far? Already started writing new materials for your solo work?

Satin: Yes, I do have a couple of songs in the works and they really sound amazing. I’m looking forward to begin shaping them production wise. 

S-ROCK: Would you give a message to your Japanese fans who visit S-ROCK site? Tusen takk!

Satin: Hey guys and girls! 

Thank you for stopping by and reading through this interview, really appreciate it!

And remember; STAY GOLD,








Other PEGASUS albums, see their label TYLDEN site:
Tusen takk Satin for his suggestion for the link 🙂


Satin – E-mail Interview(日本語)




まず最初に、貴方のソロ1stアルバム”SATIN”が、ANDERSTEIN MUSICでCD-Rヴァージョンが完売した後、ボーナストラック入りで先月日本発売されました。それについてどう思いますか?





S-ROCK:ANDERSTEIN MUSICが”Satin”アルバムのジャケットを差し替える事を提案して、貴方はそれに同意しなかったと聞きました。貴方がソロ・アーティストだという事を示す為に写真をそのままにしたかったのですか?

Satin:いや、それは違うよ。ANDERSTEIN MUSICからはジャケット変更について連絡を受けた事はこれ迄ないんだ。デビュー・アルバムの日本盤ライナー・ノーツで、(BURRN!の)藤木昌生氏からジャケットが白黒の俺の写真だという事についての質問があったんだ。それに対しての俺の答えはこうだったよ。


S-ROCK:”IT’S ABOUT TIME”アルバムの各曲解説をお願い出来ますか?”SATIN”アルバムの曲については日本盤のブックレットで読めますし、是非知りたいです。

Satin: Look Up In The Sky




I’ll Never Let You Down

この曲は1stアルバムに収録されていたかも知れないんだ。このアルバム用に最初に完成した作品。ヴァースの中にちょっとだけDesmond Child風の変調ヴァイブが続くんだけど、彼は常に俺の好きなソングライターの1人だから、俺にとっては、それが悪い事にはなり得ないのさ。


Waiting For Someone


Use It Or Lose It


The Damage Got Done



This Time


Heading For A Fall





Who You Are


True Love


Lying Eyes


It’s Unbelievable


Set My Own Heart Free

イントロのリフは04年に作られたものだけどヴァースとコーラスとブリッジは新しいよ。It’s Unbelievable同様、日本盤のみに収録されているんだ。







「カラオケ」ヴァージョンの意義が見出せないんだよね。それはファンのみんなや一般の人達が彼等自身で楽しむものだと思うからさ。もし君がトルバドゥールなら、ああ、バッキング・トラックを使うだろう。君達がデュオなら、ああ、バッキング・トラックをやはり使うだろうね。君達がトリオなら、ああ、幾らかはバッキング・トラックを使うだろう。でも君がバンドをやっていて、音楽を演奏し、作り上げているなら、自分達で演奏しようよ 😉


S-ROCK: IT’S ABOUT TIMEアルバムのブックレットの背表紙にこんなメッセージがあります、「このアルバムを手にする事で君の手を”汚して”くれてありがとう」このメッセージからファンに何を見つけて欲しいと思ったのでしょうか?

Satin:欧州、特に北欧では人々はもはやCDは買わないんだ。彼等はSpotifyやTidalやApple Musicを利用している。年齢が上の世代の人達の幾らかはCDを買ってはいるけど、彼等の子供達や孫達が親や祖父母達にデジタル世界を教えている。だからCDを買う人達は益々減少の一途だ。だから俺は本当に、猛烈に、心からCDを手にして買ってくれた人達に感謝している。彼等は俺をサポートし続けてくれて、俺の音楽にふさわしい扱いをしてくれているからね。




S-ROCK: PEGASUSというバンドについて教えて頂けますか?貴方はお兄さんのRonnyと一緒に活動していますよね。12年にSpellemannprisenを獲得し、16年には”Anyway”という曲でMELODI GRAND PRIX(EUROVISION SONG CONTESTのノルウェー国内大会)に出場しました。

Satin:俺達はPEGASUSを始めたんだ、軽めのカントリー・ロック・バンドだよ。06年から、これ迄に11枚のスタジオ・アルバムを発売している。今は新しい音楽の製作中なんだ…そうさ、俺達はSpellemanspris(ノルウェーのグラミー賞)の俺達の該当カテゴリーで「年間アルバム賞」を獲得したよ。Melodi Grand Prix (MGP) は出場して本当に楽しかったよ。ノルウェーではWIG WAMが2回出場していて、スウェーデンではH.E.A.TやECLIPSEがスウェーデン版 (Melodifestivalen) に出場しているんだ。ノルウェーではTV中継を国民の1/3近い人達が観ているんだよ。



S-ROCK:“GODS OF THUNDER: A NORWEGIAN TRIBUTE TO KISS” アルバムに、貴方は”The Magic KISS Medley”を提供しています。1曲ではなかったのは、1曲に絞れなかったのか、メドレーをやりたかったからですか?

Satin: 04年の話だよ、2、3日眠れない日が続いた後、俺はギターを膝に乗せてポロンと弾いてたんだ。あるKISSの曲をつま弾いてボソっと口ずさんでみた。そうしたら突然、ギターである曲を弾いて歌は別の曲を歌っている事に気が付いた。それが上手く行ったんだよね。



それで俺はKISSの曲の合体形を完成させたのさ。幾つかのパートでは、ある曲の音楽があり、別の曲の歌詞を持ってきて、3曲目のヴォーカル・メロディーを一緒にしてみた。5分間に30のKISSの楽曲を詰め込んだのさ。同時に最大3曲あるのに、聴いてみるとまるで1曲なんだよね…俺は、ノルウェーのKISS ARMYのフォーラムに投稿する事をあるメンバーから説得された。他のフォーラムのメンバー達から反応が返って来て、3番目のメッセージはKISS ARMY Norwayの管理人で、フォーラムから曲を削除する様に要請されてしまったのさ。彼はあのプロジェクトのプロダクションを開始して、俺のKISSミックスを収録したかったのさ。彼は曲のタイトルを”The Magic KISS Medley”に変更したんだ、俺が完成させたものは、彼の言葉を借りれば「魔法」だと彼が思ったから。発売記念パーティーでは入り口でクイズが書かれた紙が手渡された:「このメドレーの中に何曲KISSの曲が使われているか分かりますか?」彼等は俺の曲を流してくれたのさ!あの夜は誰もまさか30曲も使われているなんて想像出来なかったんだ。

S-ROCK:貴方はいつもメッセージの最後に”Stay Gold, S*”と書きますよね。貴方にとって「素晴らしい(純粋な)ままでいて」とはどういう意味を持つ言葉なのでしょうか?





S-ROCK: Sの文字と星を組み合わせた貴方のアーティスト・ロゴについて教えて下さい。Sは多分Satinからきていて、星は有名人という意味のスターという事ですか?それから、どうしてソロ・アーティストとしてのアーティスト名をSatinとしたのですか?

Satin:俺にとって星とは、夢を追い続けて成し遂げる時に輝く方向指示器の様なものなんだ。”IT’S ABOUT TIME”アルバムの中の”Look Up In The Sky”のコーラスの中で歌っている様にね。






だから、Sは俺 (Satin) を象徴していて、星は「俺の夢を叶えてくれたもの」を象徴しているんだ。


S-ROCK:貴方のいつもお気に入りのバンドはKISSとBON JOVIですよね?それらのAOR/HRバンドは貴方にどの様な影響を与えていますか?それぞれのバンドのお気に入りの曲はどれですか?

Satin:6歳の時にKISSとBON JOVIのファンになったんだ。それからというもの、彼等は俺に多くのものを与えてくれている、いわば俺のDNAの一部みたいなものだね。



















Roger Ljunggren – PAL E-mail Interview(日本語)



Roger: Peterと俺(Roger)はSkaraの食料品店で逢ったんだ、Peterはスペインで過ごして戻ってきた所だったよ。お互い逢って確かめなくちゃ、と言ってたからそうしたんだ。俺はこの間Peoの”WELCOME TO THE PARTY”アルバムをレコーディングしたし、PeterはMEAN STREAKのアルバム”BLIND FAITH”をMax Normanと製作中だったんだ。長年お互いを知っていて初めて何か一緒にやろうと話し合って、俺は幾つか曲のアイディアを録音し始め、Peo Petterssonをシンガーに、と俺達は心に思っていたんだ。俺達は2人共昔何年も彼と一緒に仕事をした事があったし、彼の声こそ完璧だろうと思ったからね。デモを最初に作ったのは”Leaving This Town”だったよ。その結果に満足したし、そうしてPALは既成事実になったんだ。

貴方達はMauritz Pettersonをドラマーとして迎えました。彼はどういったキャリアの持ち主なのか、そしてどういう経緯でPALに加入したのですか?

Roger: PeoとPeterの2人がこの若いセッション・ドラマーの技量を知っていて、何年か前から知り合いだったんだ。だから彼はこのアルバムのドラム・ワークを要請されたのさ。そして彼はすばらしい仕事をしたし、俺達が求めていた人材だったよ。


Roger: PALには君が言う通り異なった意味合いがあるんだ。主な所は姓から来ているけれど、友達は平等に大切なものだという意味もある。俺達は一緒に音楽を作ってきた旧友同士だからね。




Roger: 正直に言うと好きな曲は次々変わるんだ。2、3曲だけ選ぶのは本当に難しいよ。1つとても興味深い事に、欧州の複数のロック・ラジオ局のリストを見てみたら、アルバムの全曲がかけられているんだ!こんな事は過去になかったよ。だから俺は、俺達は多様な好みに対応出来て、極めて強力でメロディックな質を持ったアルバムを作る事が出来たと思っているよ。作曲については次のアルバムでもPeterとRogerが担当するさ。


Heads Or Tails


Carry On


Hiding Away From Love


Double Nature




What We Could Have Been



(L to R) Peo Pettersson (Vo & Hammond), Mauritz Pettersson (Ds), Peter Andersson (B) & Roger Ljunggren (G).


Nowhere Left To Go


River Runs Dry


Older And Wiser


Leaving This Town

Leaving This Townは人生の新たな進路と俺達が生きていく方法を求めている事についての曲さ。PALの為に最初に書かれた曲なんだよ。

One Step Away


Time After Time (Japan bonus)




Roger: 今回俺達は昔懐かしいAORやメロディック・ロックにがっちり縛られていないと思ってるんだ、ずっと前に他のバンドでやってきた事だからね。より最近のロックからインスピレーションを得ているし、時にはポップスですら、でそれをより伝統的なロックのアレンジとブレンドしてみたりしてさ。俺達がやろうとしているのは、最も重要な成分としての多くのエネルギーや積極性を持った楽しい感じのロックだと思うんだ。



今回貴方達は日本でANDERSTEIN MUSICと契約を結びました。彼等の会社は日本の南の大きな島九州にある長崎県にあって、東京から遠く離れています。彼等とはどの様に連絡を取り始めたのでしょうか?

Roger: ANDERSTEIN MUSICとの連絡は、AOR HEAVENのGeorg Sieglがしてくれたんだ。Peoは既に彼等と繋がっていたけれど、Peterと俺はMARQUEE/Avalonとしか仕事をした事がなかったんだ。でも俺達は素晴らしいと確信しているよ。彼等は多くの良いバンドと契約しているからね。日本でANDERSTEIN MUSICからPALのPRIMEアルバムが出た事は大きな誇りだよ。


Roger: 日本でPALのPRIMEアルバムを発売出来た事は俺達にとって大きな誇りなんだ。多くの強力な曲が詰まった、本当にご機嫌なアルバムだから、君達が受け入れてくれるといいな。




Roger Ljunggren – PAL E-mail interview (English)


You guys have each long career and have known each other for a long time. How did
you start PAL after those years?

Roger Ljunggren: Peter and I (Roger) met in a grocery store in Skara , just as Peter had return from some time in Spain – We said we had to meet and catch up and so we did – I had recently recorded the album Peo “Welcome to the Party” and Peter was then working with the Mean Streak album “Blind faith” with Max Norman – We discussed doing something together for the first time in many years so I began recording some song ideas for this and Peo Pettersson was the singer we had in mind, as we both have worked with him earlier for many years and his voice would be perfect – the first song we did a demo of was “Leaving this town” – we were very satisfied with how it turned out and the band PAL was then a fact.

Now you guys have Mauritz Petersson for drums. Would you let us know his career,
and the story when he joined PAL?

Roger: Both Peo and Peter was aware of this young session drummer’s skills and had known him for some years – So he was asked to do the drum work for the album – and he did a great job and was just the guy we were looking for.

And the name of PAL is from you guys’ family names, is there any other sense of it? For example PAL as friend, the video system in Europe, Africa, ACEAN countries etc.

Roger: PAL has just as you are saying a couple of different meanings – Foremost it is the Family names but also the meaning as friend is equally important – we are old friends making music together.



Would you introduce each track from your debut album PRIME? Which is/are your
favorite(s)? So far every track is written by Roger and Peter, in the future some
tracks from other combination? And what is the inspiration for you guys when you
compose/write lyrics these days?

Roger: To be totally honest the favourite tracks is different from time to time – It is hard to choose just a couple. One very interesting thing is that we have seen the lists from European Rock radio stations – Every song of the album has been played! Never happened to us before – so I think we have made an album with music suiting very many tastes and with quite strong melodic quality at the whole.
The song writing will also for our next album be by Peter and Roger.The inspiration music wise is from all the music we grew up with, but also from more modern stuff we like these days – for example the Post punk genre has a lot of energy that we all like.
The lyrics are from Life itself – both from the past and from the life we are living today.


Heads Or Tails

The song is about the fact that so much in our lives happens by accident or chance. We are all very occupied with making plans and try to shape our fate but really there are so many things we can never be in charge of. 

Carry On

Life is a journey. In this lyric I use different places in the US to tell the story. The story is really about life and to always try to hang in there and make the best of it.

Hiding Away From Love

This song deals with the fact that relationship is tricky business. When one has been hurted too many times it might be easier to just stay away from love and traditional life.

Double Nature

This song is about the fact that as a touring musician with kids waiting at home it´s almost like living in two different worlds. One day stuck in airport somewhere waiting to board and the next trying to comfort a sick kid at home.


Wildfire represents a feeling that we are trying to find in our music. a feeling something rising and getting larger than life. The intention is to pass on a happy good vibe.

What We Could Have Been

Looking back in a photo-album can raise memories, good and bad ones. Lost loved ones and relationship that is over. The question is inevitable – What would have happened if we would have fought it through ? What could we have become?


(L to R) Peo Pettersson (Vo & Hammond), Mauritz Pettersson (Ds), Peter Andersson (B) & Roger Ljunggren (G).


Nowhere Left To Go

Love that is fading out, the moment when we realize that there is really no way back.

River Runs Dry

This song is about betray. From lover or maybe a friend. When someone you really trust and believe in turns out to be false. It takes some energy to come back from there.

Older And Wiser

About growing older and a little bit smarter. About picking your fights and not use energy or power on people that do not deserve it. Or to sometimes realize that it´s time to retreat and draw new plans.

Leaving This Town

Leaving this town is about seeking new paths in life and the way we are living. The first song written for PAL.

One Step Away

This is a declaration of unconditional love. A celebration of the feeling when everything feels right.

Time After Time (Japan bonus)

One would think that we should be smart enough to learn from past mistakes, sadly it seems we are not. We keep on repeating them over and over again ending up wondering why. Why is it so ? I have no idea !


What is the biggest difference between other bands you guys ever played for and PAL?

Roger: I think this time we are not so very locked in to do the Old School AOR and Melodic Rock as we have been earlier and in other bands – We take inspiration from more recent Rock music, sometimes even Pop music and blend it in with more traditional Rock arrangements – I think what we are trying to do is a Feel Good kind of Rock music with a lot of energy and positivity as the most important ingredients.



This time you guys have got a deal with ANDERSTEIN MUSIC in Japan. Their company is in Nagasaki prefecture in kyushu, the big island of south Japan, far away from Tokyo. How did you start having a contact with them?

Roger: The contact with ANDERSTEIN MUSIC was a deal made by Georg Siegl of AOR HEAVEN.
Peo have had connection with the company earlier , but Peter and I have only worked with Marquee Avalon up to this date, but we are sure this will be great – Many good bands are on this label so it is a great honor to release PAL “Prime” with ANDERSTEIN Music in Japan.

Your message to Japanese fans who visit S-ROCK site.

Roger: It is a great honor for us to release The PAL Prime album in Japan – It is a real Feel Good album filled with many strong songs that we hope you will take to your hearts.
A little bit of a modern twist to the traditional Melodic Rock fitting all occasions –
So – Put the record on and Let’s Rock!




Åge Sten Nilsen – AMMUNITION E-mail interview(日本語)


前回Eメールインタビューをした時は、2005年にMELODI GRAND PRIXで優勝した直後のWIG WAMがノルウェー全土をツアーしていました。時は流れて、WIG WAMはその後3枚のフル・アルバムを発売して、3回来日(2007年に2回、2010年に1回)して、その後バンドは解散しました。貴方はソロ・アルバムも発売して、2009年にソロ・ライヴの為来日しています。THE SHOW MUST GO ONの様なミュージカルにも沢山出演し、NORDIC BEASTやAMMUNITIONも始めました。これらの年月を振り返ってどんな事を感じますか?

Åge: そうだね、まさに旅だったし、多くの経験をしたよ。良い事、悪い事、美しい事、醜い事もね。それでも過去を振り返った時には良い事と同じ様に悪い事にも感謝しているんだ、悪い事が起こるのは天上からの贈り物だと思えるからね。俺の曲”Smooth Seas (Don’t Make Good Sailors)”は俺の物の見方についてとても語っている。悪い事は君により良い事に対して感謝の気持ちを抱かせるし、人として成長してより良い人になる事を手助けしてくれるんだ。それに将来や次の人生を準備する手助けを本当にしてくれるんだよ…。

振り返ってみれば、俺がどれだけWIG WAMに努力を注いできたか、そしてどれだけ”Glam”というキャラクターに深く入り込んでいたかがよく分かるんだ。でも例え彼が架空のキャラクターだったとしても、同時に生身の俺そのものの湧き上がる様なイメージでもあったんだ。いわば俺の奥底の火山かな、ハハ。

最初の何年かは俺達はWIG WAMで沢山楽しい事があったし、俺は本気で血の繋がった兄弟になれる様に成長しているんだと思ってた。でも成功を掴んだ後にバンド内で性格の違いがより明確になっていった。そして俺は裏切られ、見下されていると感じる様になって、やる気を削がれる様になっていったんだ。WIG WAMは本当に、一員になれる事を夢見ていた完璧なバンドだったのに、時が経つにつれて俺達4人は人生や兄弟愛、音楽に対する展望がとても異なっている事が明確になった。”WALL STREET”アルバムでは、俺達が発表した音楽を通してそれが簡単に分かる様にすらなってしまった。全てが粉々に崩れ落ちて、苦い解散を経験した時、俺はずっとソロ活動とQUEENミュージカルの公演で物凄く忙しかった。そして突然EUROPEのJohn NorumとMic Michaelli、MÖTORHEADのMikkey Dee、KING DIAMONDのHal Patinoと一緒にバンド(NORDIC BEAST)に居たんだ。そして俺はErik Mårtenssonとバンドを結成した。過去を振り返らず、前に進んだんだよ。

そういった活動はとてもわくわくする時間だったんだ、NORDIC BEASTがEUROPEとMÖTORHEADのツアーの合間に数少ないギグをしただけだったけど、JohnとMicが本当に望んでいた音楽の探求の新たな方法をEUROPEに持ち込んだり、Mikkeyにとっては、Lemmyがお開きにするなら可能な出口だった。だから小さな一歩の為に一緒にオリジナル曲を書こうよと話し合いを始めていたんだ。そしてLemmyが亡くなって、SCORPIONSがMikkeyを呼び、Joey Tempestがより冒険的な音楽の方向性を持つ様に思われた。HalはKING DIAMONDを辞めて、俺はAMMUNITIONという新しいバンドを始めた。それで全て上手く収まったんだ。



(l to r) Jon Pettersen (G), Lasse Finbråten (key), Åge Sten Nilsen (Vo), Magnus Ulfstedt (Ds), Victor Cito (B) and Erik Mårtensson (G).


AMMUNITIONはバンド名と同じAMMUNITIONアルバムをキング・レコードから1月17日に日本発売、欧州ではFRONTIERS MUSICから1月26日に発売したばかりです。1stアルバムのSHANGHAIEDではバンド名はÅge Sten Nilsen’s AMMUNITIONで、今はAMMUNITIONとなっています。何故バンド名を変更したのですか?バンドの結束を表しているのでしょうか?

Åge: Erikと俺がAMMUNITIONを結成した頃、WIG WAMが解散したばかりだったんだ。Erikと俺は、2014年に発売する予定だったWIG WAMの5thアルバム用のデモ・テープを作っていた。突如それらの曲は目的を失ってしまったんだ。そしてソロ向きの曲でないのは明らかだった。ロック・バンド用にピン・ポイントで書かれたものだったからね。だからErikは代わりに俺達でバンドを組むのはどうだろう?と提案したんだ。彼はバンド名をGLAMUNITIONにしたら、と言ったけど、俺はそれらの曲がGLAMunition…WAM!よりAMMUNITIONらしいだろ、と返したよ、俺の名前を使う事も決めたんだ、その方が宣伝するのとギグを演るのが簡単になるからね。色々な意味でÅge Sten Nilsen’s AMMUNITIONはまるでソロ・プロジェクトの様な扱いを受けてしまった。特に金銭的な事ではね。レコーディングやビデオ作成、全てに対して俺が金を支払ったんだ。様々な場面で俺は金を失ったと言えるかも知れないけれど、それでも俺はメンバーに固定費も支払った。そして言う迄もなく、俺が重要な決断を下し、方向性を示したんだ。しばらくしてメンバーは俺に対して提案や取り組みを示し始めて、俺達は兄弟の様に収入を分かち合って、「本物の」バンドの様に扱う様になった。それがバンド名から俺の名前を外す事を決めた時だね。AMMUNITIONのバックドロップを最初に使ったギグはストックホルムでのVäsby Rock Festivalだったんだ。それで2ndアルバムをレコーディングしている時に、俺からバンドを単純にAMMUNITIONにしないか、と提案したんだ、そのアルバムが真の1stバンド・アルバムになったからね。


Åge Sten Nilsen (Vo)

Erik Mårtensson (G)



Åge: 11人の子供みたいな曲の中から1曲を選ぶのは常に難しいよ。曲は全て多くの懸命な作業と心配りと愛を伴ってこの世に生まれてきたんだからね、でも違った意味で曲全ての良さが分かるんだ。ライヴで演るのが特に楽しみな曲はGung Ho (I Told You So)、Tear Your City DownとVirtual Reality Boyなんだ。パーティーを続けるには必殺のライヴ・ソングだと思うからね。観客を一緒に歌わせられる大きなコーラスがあるし、本当にかっこいいライヴのノリがあるんだ。例えば、Gung Hoのベース・ソロをVictorが弾くのを聴くのが待ちきれないぜ。

俺にとってはEye For An Eyeは最強のメッセージを持っていて、ごく普通のラジオ番組で流して貰う為の最良の変化なんじゃないかな。本当に明確なシングル曲で様々な層を惹き付けられる可能性を持っているんだ。本当にこの曲が好きなんだ。人が過ちから何も学ばず、橋を次々に燃やし落としていく様を歌ってるんだ、復讐や強欲の名の下にね。

もう1曲好きなのは勿論Freedom Finderさ。しばらくライヴで演奏してきて、この曲を演るのが好きなのさ。これは俺達のギター・プレイヤーJonの為の曲なんだ。彼は何年かの間キャラヴァンの中で生活してるんだ、ボヘミアンみたいにね。全く普通じゃない暮らし方をしてるんだ。でもさ、人は誰でも好きな様に人生を生きる権利があるべきだ、というのは俺達が判断してるんだよ。誰かの自由は他の誰かの退屈で嫌な仕事で成り立っているのかも知れないし。


Jon Pettersen (G)


バンドはベーシストをHal PatinoからVictor Cito (Borge)に、ドラムスをRobban BäckからMagnus Ulfstedtに交代させました。新メンバーはバンドに何をもたらし、SHANGHAIEDとAMMUNITIONアルバムの最大の違いは何処にあるのでしょうか?

Åge: ああ、そうだよ。Halはギグに来なかったり、電話に出なかったりしてバンドにとって負担になったんだ。だから俺達はVictorに加入して貰ったんだ、彼とはAMMUNITIONの前の何年か前に一緒にバンドをやろうとしていたんだよ。AMMUNITIONを結成した時は彼には長いTNTのツアー契約があって、実現出来なかった。AMMUNITIONの初期の頃から彼は俺に電話してきたんだ、TNTキャンプでの日々の辛さ故にね。TNTは彼を良く扱ってなくて、彼が本当に気の毒だった。Halが脱退すると決まってすぐに俺はVictorに電話したんだ。そして彼はすぐにTNTを辞めてAMMUNITIONに参加したのさ。スイスでの彼の最初のギグの2日前の事だったよ。彼はこのバンドの音を変えちまったんだ!!彼は真のベース・プレイヤーさ!!そして彼は俺が知る中で最高の男の中の1人なんだ。Robbanについては別の物語があった。AMMUNITIONはとてもフレッシュなバンドだったから、俺達の取り分は高くなかったんだよね…彼のもう1つのバンド、ECLIPSEもそうだった。彼は家族を養う為にもっと収入が絶望的に必要だったのと、俺達が「ソロバンド」から「バンド」になる前はしばらく俺の懐からバンドに支払っていた。そして彼はMUSTASCHというバンドからフルタイムの契約をオファーされたのさ。それがスペインでの最初のツアーをやる前だった。タイミングが完璧じゃなかったね…幾ら控えめに言ったとしても。それでスペイン・ツアーにJohn Macalusoを呼んだんだ。でも彼は期待に反して悲惨な状況で現れたのさ。俺達は彼を送り返さなくちゃならなくて、代わりにMagnus Ulfstedtを呼んだのさ。彼が俺達と最初に演ったのは2015年のバルセロナだった。彼は素晴らしかったよ。彼はRobbanよりちょっとだけよりヘヴィーで、俺達が求めるパンチを与えてくれる激しく叩くドラマーなんだ。それに彼のユーモアは素晴らしいんだぜ。


Victor Cito (B)

Magnus Ulfstedt (Ds)


それからバンドはAOR HEAVENを去って、今回はイタリアのFRONTIERS MUSICと契約を結び、日本ではMARQUEE/Avalonを去ってキング・レコードと契約を結びましたね。

Åge: 宿題良く出来ました(笑)。そうだよ!FRONTIERSとキングに戻れて良かったよ。SHANGHAIEDの時はライセンス契約をして、俺自身のレーベルがマスターの権利を持っていたんだ。俺はそれを投資だと思う事にしたんだ。そして今その成果が出ようとしてるんじゃないかな。SHANGHAIEDは、俺達の新譜のプロモーションの為の起爆剤になっていると思うよ。インドで25位になったし、オランダ、ドイツ、ベルギー等でもチャート・インしているからね。


Lasse Finbråten (Key)


貴方達はノルウェーや欧州をツアーしていますが、来日公演を行なう予定はありませんか?最後に貴方が来日したのはWIG WAMの時で2010年です。これ迄4回来日して一番印象的だった事は何でしょう?

Åge: 本当に本当に来日したいんだ!!でも来日公演の為に誰かの頭に銃を突き付ける訳にはいかないだろ。だから来日のオファーを待っているんだ。日本をツアーしたいと思っている事には何の疑いもない。また日本のWIG WAManiac達と繋がりたいんだ!時間がかかり過ぎたよ!日本での一番印象深い思い出は前にも話した通り最初の来日の時だよ。まさか大勢のファンが空港に俺達を出迎えに来ているなんて夢にも思わなかった。そして飛行機に乗る前には東京公演がソールト・アウトになると知らされたんだ。本当に信じられなかったぜ!他の来日の時も素晴らしい思い出があるよ。2010年が多分一番ライヴの出来が良かったんじゃないかな。いいアルバムとかっこいいステージだったからね。



貴方のソロ活動について、昨年貴方は新しいソロ・アルバムSMOOTH SEAS (DON’T MAKE GOOD SAILORS)を発売しました。そして例えばTHE SHOW MUST GO ONの様なミュージカルでも歌っていますし、TV番組に出演したりもしてとても精力的に活動しています。歌うのが好きという事以外で何が貴方をそんなに多くの事に駆り立てるのでしょうか?

Åge: もし人生が虹なら、何故たった1つの色にこだわらないといけないのかな。俺の頭の中では本当に多くのメロディーがぐるぐる回っていて、完成させるべき音楽が沢山あるんだ。だからそいつを具現化しなきゃならない。俺のソロ作品は勿論より個人的なものさ。それに作曲は自身のセラピーでもある。AMMUNITIONではもっと社交的で、俺達は共同で曲作りをしたり、興奮の高まりを感じてる。そしてそうさ、大きなステージ・プロダクションを作るのが好きなんだ、俺のQUEENショーみたいにね。10年間多かれ少なかれ俺の昼間の仕事だったし、個人事業主として活動していく可能性を与えてくれたんだ。テレビなんかも同じ事さ。工場で働くより、毎晩100人の為にQUEENの曲を2時間歌う方が価値があると思うね、へへ。


Åge: 定期的に吸う、という意味では止めたんだ。たまにはタバコを楽しめるよね、という意味でね。今は俺自身がコントロールしているんだ、タバコが、じゃなくてね。うーん、とても気分がいいし、声がより歯切れ良くなったんだ。だから止めた効果はあったよね。凄く面白いんだけどさ、先週ロシアのステージでタバコを吸おうとしたら、秘密警察に捕まってしまって、罰金が何と2万ノルウェー・クローネ(約28万円)だったんだぜ!もうステージではタバコは吸わないと思うよ・・・今後一切ね、はは。



NORDIC BEASTはどうなってしまったんだろうと思っているのですが、勿論貴方も他のメンバーもずっと忙しいのは分かっています、特にJohn NorumやMic MichaelliはEUROPEの活動で多忙が続いています。近い将来また一緒に演りますか?

Åge: NORDIC BEASTは今眠ってる動物なんだよね。このプロジェクトがどうなるのは分からないんだ。JohnやMicがよりヘヴィーな音を出せる素晴らしい場だったんだ、そしてMikkey DeeがMÖTORHEADの他にやるべき事になったからね。Lemmyが亡くなった時彼はすぐにSCORPIONSにヘッドハンティングされて、それ以来ずっと多忙な日々が続いているんだ。そしてEUROPEは遂に再始動してMicとJohnはそれを切望していた。そして俺は今より幸せな場所に居る。だからNORDIC BEASTという名のバンド・エイドは俺達みんなの為に作用したのさ。別々の方法で前に進めてくれたんだよ。でもMikkeyは今も俺に電話してきて、いつまた一緒に演るんだ?って聞くんだよ。





WIG WAM時代以来の貴方の忠実なファンにメッセージをお願いします、彼等は貴方が恋しくて、来日公演の為に戻って来てくれる事を願っています。

Åge: もう何年も経ってるのにまだ俺の事を覚えていてくれていて本当に嬉しいよ。もう俺の事なんて忘れて他へ行っちまったのかとばかり思ってたんだ、本当だよ。俺やWIG WAMを受け入れてくれた事は絶対に忘れないし、みんなに逢う為に来日する事を本当に望んでいるんだ。他も含めてCREATIVEMANにメッセージを送っているんだ、AMMUNITIONで再来日する為にね。







Åge Sten Nilsen – SMOOTH SEAS (DON’T MAKE GOOD SAILORS) (2017, Grappa)

Åge Sten Nilsen – AMMUNITION E-mail interview (English)


When we had an e-mail interview last time, WIG WAM toured in whole Norway just after the band won at MELODI GRAND PRIX in 2005. Time flies, WIG WAM released 3 full albums after that and came to Japan 3 times (twice in 2007, and in 2010), and the band broke up. Also you released your solo albums, came to Japan for solo gigs in 2009. You work for a lot of musicals like THE SHOW MUST GO ON for example as well, also NORDIC BEAST and AMMUNITION. What do you feel when you recall after those years?

Åge: Yes, it’s been quite a journey and I have experienced a lot. Good, bad, beautiful and ugly. Still when I look back I appreciate the bad things equally as the good things, because the way I see it the bad things that happen to a person really is a gift from above. My song “Smooth Seas (Don’t Make Good Sailors)” is very much written about that perspective of mine. The bad things make you appreciate the good things even more, and makes you develop as a human and become a better person. And it really makes you more prepared for the future and the next life…

In retrospect I see clearly now how much effort I put into WIG WAM and how deep I went into the character “Glam”. But even though he was a fiction character he was a also a boosted image of who I really am too. A volcano within my very self so to speak…haha

We had a lot of fun in our first years with WIG WAM, and I really thought we were growing to become blood brothers. But after our success it became clearer and clearer the differences of personalities within the band. And at times I felt betrayed and disrespected, which demotivated me big time. WIG WAM really was the perfect band I had been dreaming about being a part of, but as time went by it became very clear that the four of us had very different perspectives on life , brotherhood and music. On “Wall Street” it even became easy to see through the music we released. When everything fell apart and we had our bitter break up I still was extremely busy with both my solo career and my Queen show. And suddenly I found my self in a band(Nordic Beast) with John Norum and Mic Michaelli of EUROPE, Mikkey Dee from MÖTORHEAD and Hal Patino from KING DIAMOND. AND I formed a band with Erik Mårtensson. Just leaving the past behind and moving forward you know.

These were exciting times for me, and even though Nordic Beast only did exclusive gigs inbetween the Europe and Motörhead tours, we sort played an important role to bringing Europe into the new style of which John and Mic really wanted to explore music wise, and for Mikkey it was a possible exit if Lemmy would call it a day. So we started to talk about writing original songs together to take it a bit further. Then Lemmy died, SCORPIONS called Mikkey, and Joey Tempest seemed to take on a more adventurous musical direction. Hal left KING DIAMOND and I had a brand new band called AMMUNITION. So it all kind of fell to place.

One of my favourite moments when I look back on these years that have past is our first visit to Japan. Masa Ito presenting the band live on stage, and the dedicated and loud fans in the audience will live in my memories forever.


(l to r) Jon Pettersen (G), Lasse Finbråten (key), Åge Sten Nilsen (Vo), Magnus Ulfstedt (Ds), Victor Cito (B) and Erik Mårtensson (G).


AMMUNITION just released the self-titled album AMMUNITION in Japan on the 17th of January from KING RECORDS, and in Europe on the 26th of January from FRONTIERS MUSIC. For the 1st album SHANGHAIED the band name is Åge Sten Nilsen’s AMMUNITION, now the band is called just AMMUNITION. Why did you guys change it? It shows the band have got united much more ever?

Åge: When Erik and I formed AMMUNITION WIG WAM had just recently broke up. Erik and I had been recording my demos for the fifth WIG WAM that we had planned to release in 2014. Suddenly these songs had no mission. And they were clearly not solo songs. They were pin pointed for a rock band. So Erik suggested we’d form a new band instead. He suggested we’d call the band “GLAMUNITION”, and I responded that the songs sounded more like “AMMUNITION” songs than “GLAMunition”…and WAM! we had a name. We decided to use my name too, to make it easier to promote and to get gigs. In many ways “Åge Sten Nilsen’s AMMUNITION” was treated like a solo project. Especially when it came to money. I paid for the recordings, the videos, the everything. I even paid the guys a fixed ive fee even though it would mean I would lose money on several occasions. And needless to say, I made the calls and the decisions. After a while the guys started to give me more input and initiative, and at one point we started to share the income like brothers and treat it like a REAL band. That’s when we decided to skip my name from the band name. The first gig in which we used the “AMMUNITION” backdrop was at Väsby Rock Festival in Stockholm. I remember people really paid attention to the change, in a positive way. So when we were recording our second album I suggested we’d simply call it ‘AMMUNITION’ since it’s really our first BAND album.

Åge Sten Nilsen (Vo)

Erik Mårtensson (G)


Let us know each track from AMMUNITION album and which songs are your favorites though we know you love them all 🙂

Åge: It’s always hard to pick ONE favorite among 11 babies. They were all born into this world with a lot of hard work, care and love. But I guess I can appreciate them all in different ways. The songs that I look forward to bring to the live shows the most are Gung Ho (I Told You So), Tear Your City Down, Virtual Reality Boy. I think they all will be killer live songs to keep the party going. They all have that big chorus to make the audience sing along, plus they have a real cool live vibe. Can’t wait to hear Victor doing that bass solo on Gung Ho.. for example. 

To me “Eye For An Eye” has the strongest message and probably the best change to be played on average radio. It’s a pretty obvious single and a possible cross-over. I really love this song. It’s about how mankind never learns from his mistakes, and keeps burning the bridges one by one, by revenge and greed…

Another favorite is of course Freedom Finder. We have been playing that song live for a while, and I love performing that song. It’s really about our guitarplayer Jon. He has been living in a Caravan for quite some years. Like a bohem. Living a pretty un-normal life. But hey…who are we to judge Everybody should be free to live their lives as they want. And one persons freedom is another ones grind.


Jon Pettersen (G)


The band replaced Hal Patino to Victor Cito (Borge) on bass, Robban Bäck to Magnus Ulfstedt on drums. What do they bring to the band and what is the biggest difference between SHANGHAIED and AMMUNITION albums?

Åge: That’s right. Hal was becoming a burden for the band not showing up for gigs and not answering our calls etc. So we brought in Victor, whom I had been trying to form a band with some years before AMMUNITION. Just when we formed AMMUNITION he was contracted to a long TNT tour and wasn’t available. Then during our first period of AMMUNITION he started to call me on a daily basis having a hard time dealing with the TNT camp. They weren’t excactly treating him too well, and I felt terribly sorry for him. As soon as it was no way back for Hal I gave him a call. And he instantly quit TNT and joined AMMUNITION. 2 days before his first gig in Switzerland. Boy did he change the sound of this band!!! He is a real BASSplayer!!! And he is one of the nicest guys I know as well. With Robban it was a different story. Since AMMUNITION was a very fresh band our fees weren’t exactly high… And neither was his other bands fees, ECLIPSE. He desperately needed more income to support his family, and I had been paying the bands fees out of my own pockets for quite a while before we turned into a BAND, not a “solo band”. Then he was offered a full time membership in the band MUSTASCH. Music wise I know he would have prefered to stay. But you gotta survive. This was just before we did our first tour of Spain. So you can say the timing wasn’t perfect….to say the least. So we brought in John Macaloso for the tour. But he didn’t deliver and showed up in a pretty bad state….We had to send him home and called in Magnus Ulfstedt. His first gig with us was in Barcelona 2015. And he was awesome. He’s a bit heavier than Robban, a hard hitting drummer that gives us the punch we need. And his humor is fantastic 😉


Victor Cito (B)

Magnus Ulfstedt (Ds)


Also the band left AOR HEAVEN and got a deal with FRONTIERS MUSIC in Italy this time, in Japan you guys left MARQUEE/Avalon and got a deal with KING RECORDS.

Åge: You’ve done your homework 😉 Yes we did!! It’s good to be back on FRONTIERS and KING. With “Shanghaied” we pretty much did license deals and my own label owned the master rights. I looked upon it as an investment. And now it looks as though it’s gonna pay off 😉 “Shanghaied” is really boosting now on account of the promotion for our new album. #25 in India, and charting in the Netherlands, Germany, Belgium etc


Lasse Finbråten (Key)


You guys are touring in Norway and Europe, any plan to come to Japan for some gigs? You came to Japan with WIG WAM in 2010 last time. And What was the most impressive thing(s) when you ever came to Japan 4 times?

Åge: I REALLY REALLY hope so !!! We can’t put a gun to someones head to play in Japan though. So I guess we are just waiting for some requests. We would surely love to travel to Japan, no doubt about it. I’d love to re-connect with the Japanese Wig Wamaniacs!! It’s been TOO long !!! The most impressive memory from Japan was as mentioned earlier our first trip over. I would never dream that so many fans would show up at the airport to welcome us. And before getting on the plane we received news that the Tokyo gig was sold out. That was pretty unbelievable !! I also have great memories from our other trips to Japan too. 2010 was probably the best live experience. We had a great album out and a cool stage show.



About your solo works, you released new solo album SMOOTH SEAS (DON’T MAKE GOOD SAILORS) last year. And you sing for musicials like THE SHOW MUST GO ON for example, you have appearances on TV shows, you’ve been working hard. What makes you do so many things besides the reason you love to sing?

Åge: If life is a rainbow, why settle on just one color. There are so many melodies running through my head, and so much music to be made. So I need to bring it out. My solo work is of course much more personally. And the songwriting is more like self therapy. With AMMUNITION it’s much more social, and we just enjoy writing together and get that adrenaline rush. And yes, I like to make big stage productions too, like my Queen show. It’s has more or less been my daytime job for 10 years, and has given me the opportunity to keep myself self employed. The same with TV etc. I’d rather sing two hours worth of Queen classics for 100 people each night than working on some factory..he he

I heard you’ve quit smoking, it’s really good for your health. Any change after quitting?

Åge: I have quit smoking on a regular basis. it means that I still can enjoy a cigarette once in a while. Now it’s ME who has the control, not the cigarette. Well, I feel a lot better and my voice is much crisper. So it definitely has had an effect. Pretty funny though, I managed to have a cigarette on stage in Russia last week, and was caught by the secret police. Penalty; NOK 20.000,- :-0 Guess I won’t be smoking on stage again…EVER ha ha


I wonder what happens to NORDIC BEAST though we know you’ve been busy and also other members especially John Norum and Mic Michaelli have been busy for EUROPE. You guys will be together in the near future?

Åge: Nordic Beast is right now a sleeping beast. And I don’t know what will happen to the project. It was a great project where John and Mic could finally play some more heavy stuff, and for Mikkey Dee to do something else than Motörhead. When Lemmy died he soon was headhunted to Scorpions, and has been extremely busy ever since. And Europe has finally started to play the music Mic and John craved to do. And I’m in a happier place too. So you can say, the band aid that NORDIC BEAST was worked for us all. It got us moving forward in seperate ways. But Mikkey still calls me and asks if we can regroup again.

Who knows? I would love to. But then with original material of course… Let’s see what the future holds…




Your message to your loyal fans in Japan since WIG WAM days, they miss you a lot and hope you’ll be back for gigs in Japan.

Åge: I’m extremely flattered that you still remember me after all these years. I thought you had all forgotten about me and moved on, really. I will never ever forget the way you open your arms for me and WIG WAM, and I’m simply dying to come back to meet you all. I have already sent messages to CREATIVEMAN among others to try to return with AMMUNITION.

But I guess they will need to hear it from you too…. I think they believe that no one will show up for AMMUNITION concerts in Japan. Prove them wrong!!! Let’s get back together and get ready to be AMMUNITIONIZED!!!






Åge Sten Nilsen – SMOOTH SEAS (DON’T MAKE GOOD SAILORS) (2017, Grappa)