Mono is releasing their new album “Nowhere Now Here” in 25 of January. We had opportunity to talk with Takaakira 'Taka' Goto about changes in the band, creative processes, and future of the band.


“Mono” in Japanese, as far as I know, means “thing”, it’s something added to other words, like “tabemono” (food - ed.). Does this come any close to bands name? If no, how did you come up with this name?

MONO means "one". We chose the name to represent as the one thing that surpasses languages, countries, cultures and races, because we believe there is no such thing as borders with music.

You’ve just recently (August, September - ed.) showed us that you’ve finished studio work for the new album. When we can expect new record to come out? And more importantly - what can we expect the new album?

We recorded our new album once again with Steve Albini. We've been friends with Steve for over 15 years now and we've already worked together on many records so it went extremely smooth. Since this was our first time recording with a new member (drummer), there was this fresh feeling like the band was reborn and we feel that we recorded so strongly like no time before. We feel that we got closer to our ideal expressions musically and in terms of sounds as well.

We plan to release the digital singles in September and October, and then release the new album at the beginning of next year.

Your previous 2-3 albums are generally more “dark” than the rest of your music. Do you intend to follow this path?

Last year, due to various troubles, we spent one of the toughest times as a band ever since our formation. We really ended up in the dark and could not see what was ahead anymore. But we told ourselves the phrase "the darkest hour of the night came just before the dawn", and solved one problem at a time with the members. The new album's music portrays these circumstances and feelings.

The only way we can remove our heart's worries and anger, and retrieve our peace is through music.

Your music doesn’t involve vocals, only once we heard Tetsu Fukagawa in “The Hand the Holds the Truth”. Is this one time only thing or do you plan to use vocals in the future?

We've already tried something we've never done before on the new record. Please look forward to it.

[Bassist sung in their first single for the new album - Breathe]

Your songs seem to be very complicated and very well thought. I, and probably many others would like to know how the process of composing, writing those pieces, looks like. From where do you draw inspiration, how this inspiration is then forged into sounds?

Composing is a process of going inside your heart. I go down deep within and start to form my heart into songs by pulling out shining bright soul-like elements from the madness-like darkness. I myself get saved by writing songs. I feel that "it's ok for me to live", "there is a reason for me to keep being who I am" and by expressing these feelings of myself getting saved by my song writings, I feel that I can, in certainty, resonance with all the people in the world.

This might be bit strange question, but I’d like to know what do you think about your music - is it better to experience it live or at home, or both? Question comes from experiencing you live (in Wroclaw, with Alcest and pg.lost, great gig!) and how emotional your performance was. It made me think that experiencing your music live is a whole different thing than from listening it on CD.

We don't think that we have such thing as a border between our albums and live, because we always record our albums live as well. Of course quality matters to us, but we have no interest in creating technical or overly produced albums. We know we don't need such things in the slightest to convey the feelings and thoughts we want to express. But live has visual elements so I think the music ends up feeling even more emotional.

Stanisław Gacki

Stanisław Gacki


Więcej tekstów Stanisława:

Something ends, something begins. Over past few months there’s been a huge shitstorm around a certain swedish band that involves some nameless ghouls and, apparently, a pope. Now, awakened after the years of slumber, ghosts of the past come back. Magna Carta Cartel are back with their newly released EP – „The Demon King”. We had a chance to talk with Martin Persner, MCC’s vocalist and guitarist about the band’s new release, emotions behind his departure from Ghost, and condition of swedish scene nowadays.

Interview was made in 2017


Piotr Kleszewski: There’s been a lot of fuss over recent situation within the Ghost, but let’s not add more shit to the fan. The whole turmoil somehow overshadowed the MCC going back to the world of the living, but you were also rather vague about the details. Could you give us a summary of current state of Magna Carta Cartel, when you decided to bring MCC back and what is the line-up?

Martin Persner: Yes, indeed: MCC [Magna Carta Cartel] has been asleep because most of us were in Ghost. During all the time in Ghost we also wrote MCC music (and Tid music too for that matter) but it didn’t feel right to record it and give out records – as there was no chance that we would have the time to go and play live with MCC – we simply didn’t have time or energy for that since we toured so much with Ghost. It has been the plan for many years to go on tours and play live and record more albums with MCC – and now, all of sudden the time was right. So – with that being said – it wasn’t a ”new” idea to wake MCC up from sleep. The current line up is: Martin Persner (Vox & Guitars), Arvid Persner (Drums & Guitars) and Pär Glendor (Bass & Guitar).

Stops for a blink/ Letting the mask fall to ground” begin lyrics (changed from the demo version, if I heard correctly) for „Sway”, the first single you’ve released for the „The Demon King” EP. Also as song goes on, it’s hard not to see the irony behind the verses and retrospectiveness. Is it your way to deal with the ghastly past? After the whole situation you feel rather relief or regret?

It would be very interesting if this was the case, wouldn’t it? (laughs) But, no – this is wrong. ”Sway” was written in 2004. It took me about 20 minutes to write the whole song, and it is about a girl. I never ever wrote a full song that fast before or after that. Lyrics, music, everything in one session. The lyrics that i wrote in 2004 are the EXACT same ones as you hear today. Well, i actually changed ONE word in the song when we recorded it this time. If you can find which one it is I’ll give you a hug and a beer next time I meet you.

”Sway” has been recorded three times: 2004 (demo), 2010 (demo) and in 2016 (for it’s first real release on the Demon King EP in 2017). To make things even clearer – the lyrics are about someone who is very pissed off with a girl. The choruses of the song was actually meant to have been sung by a girl, as the lyrics in the choruses are sung from the girl’s point of view. It is a very bitter and angry song, but not about who you think. We used to have our old 2010 demo of ”Sway” on Myspace and someone found it and put it up on YouTube a couple of years ago. As they did, someone less talented in English tried to write down the lyrics (still, I can’t blame them – I don’t exactly pronounce the words like the King’s Spokesman and also, the recording isn’t Top Class). So all in all – someone made a mistake and misheard the lyrics (you know, like ”Aids in Space”or ”Pink Freud”, etc.) and now the wrong lyrics are out there and people go ape-shit and think we re-wrote the lyrics. Well, they are wrong. Lets just hope it felt good as long as it tickled.

Also I’d like to add that for ”Turn” I have actually altered the lyrics because I discovered that the old ones from 2010 were more or less just a quick something for the demo, and didn’t really say anything about anything. MCC nd myself understand that people think it’s about Ghost and the shitstorm, but it’s actually not. Then again (laughs), I think people hear messages about the Ghost even in our instrumental songs – wherever they want. People like drama. And no one is happier than us – we create art and feelings so business is where it should be. I feel neither relief nor regret.

Presumably, for some time, who knows how long, you’ll be struggling a lot with „that-guy-who-played-in-ghost” tag. Do you think it’s rather curse or a blessing that you can work with?

That is not and must not be a problem. It’s the truth. It is a good thing. If we had a band that sounded, looked and tried to be Ghost it would be very sad and a bad thing to be compared and always be called ”that guy from Ghost”. But we don’t – so it’s a blessing. Or rather – these are the scars and medals. It’s good.

What strikes me the most in your art is the contrast between the aesthetically smooth, soothing and beautiful music and the lyrical themes. For instance, „The Demon King” is a metaphorical story of a person struggling with OCD and anxiety. Why did you decide to pair such relaxing music with themes so uneasy and difficult?

Well, the music is a landscape in which the lyrics shall travel – and sometimes the other way around. It would be hard to have a raging black metal song and sing about how heavy the Shadow of The Demon King is. That would sound silly, as this is not exactly a song about how fulfilling it feels to be lead by the darkness and fear. Nah, this is more of a sad and heavy story that deals with emotions. The lyrics get more powerful when you add them to music like this, at least in this case. It’s not an angry song – it is an open letter of how tired you are of it. Too tired to scream about it. Personally, I like it when lyrics are very dark or sad and the music is a bit happy. It creates an interesting contrast. I would hardly say that ”The Demon King” is a party song, neither it is super dark – at least not to us and what we are used to call sad music. But one thing that people have to understand – if you ONLY listen to metal all the time and then sit down and listen to MCC, of course it’s gonna sound relaxing and soft, etc. But hey, there is A LOT of music out there that this before MCC did it, so I get a little confused when people think what we do feels strange or different – or new. To us, the music isn’t that relaxing, but we more and more start to understand that people think it is. Friends are falling asleep when we show them new songs, etc.

But, to actually try and answer your question: the idea for the lyrics was there before the song in this case, which is rather unusual when it comes to MCC’s writing process. I guess we tried to find a good feeling for those lyrics. The lyrics are sad and the song is, I guess, a little bit sad too, but then again it has that vibe of ”let’s just say this shit and get on with it”. Again, we could have done it way way darker and more sad, but there is something interesting in having a song sounding kind of ”pop/rock” and then the lyrics are about something horrible. It gives a good balance. And, maybe most of all, who the fuck wants to listen to bullshit lyrics anyway? Aren’t there enough of these already?

Even though you’re mainly focused on music, you pay a lot attention to the visual aspect of your art. Your EP was illustrated by the fairytale-like artwork by David M. Brinley. Was it’s entirely his creation or you’ve delivered him some directions?

We asked him to do it – him specifically as we know him and love his work. We told him what we wanted – a little boy that in his dream or in a visions meets his fears – and all his future fears in the hall of the Demon King. We sent David Brinley lots of color references and ideas, and me, Martin, even sat down and did a guiding painting to show him what the idea was. It is very influenced by Swedish artist John Bauer. We all grew up with his art and it has got something very, very home-feeling yet scary, that all of us can relate to. Let’s just say – my guiding painting wasn’t exactly good enough for the cover. Then Brinley made a big painting. The hard thing is of course to try and get the actual artist to make HIS vision of what you asked for, also because it’s easy to make them try and do exactly as you wanted it. It’s hard to let other ideas in, but for the sake of learning things one have to let go (a little bit. We had a very fixed idea on what we wanted – Brinley then interpreted that and made it his dream too – and then painted it. It does not look exactly as we had imagined it – but it looks like Brinley imagined we imagined it, and that is a very interesting thing. And turned out brilliant!

You describe your own art as „radio-edited movie themes, for daily life and death”. Is it just a clever motto to roll with or are you heavily inspired by the visual art and movies? You’ve definitely shown some love for Ingmar Bergman.

It is a clever motto. But also it kind of explains a little bit how we sound. The melodies of MCC tend to be very dramatic and like its a matter of life and death – and it’s hard to make regular pop/rock music when that is what comes out of you. It would probably suit better for a movie – but we don’t know how to make movies so we will have to stick to what we do know – make songs. So it gets to be a strange thing – rock songs with dramatic melodies. Almost like music for a soundtrack that someone made into rock songs.

Like most other people our age, we grew up with TV, movies and music. All of these things are such a big and important part of our life, what we talk about, how we know the world, how we understand people, how we do not understand people and so forth. That being said, all of that influences us. Maybe you see a film and see just one little scene in it and that makes you create an idea for a whole song or an album or whatever. They are all connected – films, TV, music, art, culture. All of them have a little bit of each other in themselves all the time. They are dreamworld mirrors, all of them.

Three of five songs featured on the EP were released before as demo versions. Why did you choose precisely these songs? You’ve certainly had also some other older material you could work on.

No, two of the songs we recorded as demos in 2010 (“Sway” and “Turn”) and they later leaked to Youtube. The Demon King is brand new, Mayfire is older then all of the other songs and Jennifer is obviously a cover. I think we have around 20-25 songs that we are working on. Some of them are 10 years old: songs that we never finished or never had time or the opportunity to record or release. So, when we woke MCC up again, we thought it was better to use the songs that we really liked and record them once and for all like we always wanted them to sound -because now we were finally able to do that. To some people that have been listening to MCC for a longer time, we understand that The Demon King EP must feel strange, as they have already heard some songs before. However, for us it was natural, as we really wanted to record and release “Turn” and “Sway” and it would feel even more weird if we made an EP with all new songs and then LATER released Sway and Turn on the next full-length album. That would certainly be more weird. So that’s why we chose to ”use” them now right at the start. And also because they are good songs and we could finally do them justice. It was never talk about NOT recording them again. We kind of wanted to just record the oldest ones first. Maybe it’s a good thing, serving as a bridge to the next full-length album, which will naturally sound different from “Goodmorning Restrained”. Maybe it’s good to not scare people TOO much when you come back from out of nowhere – as people tend to be a little bit willing to have the same old record over and over again from the band they like.

Jennifer” – as you said it – written by Bert Sommer a long long time ago, way before anyone involved in MCC had felt love rip them apart.” Why did you choose this song to cover?

It’s just a song that I used to sing when i played the acoustic guitar. Probably the first song I felt comfortable singing without hating my own voice. It was the first song I could sing without feeling shy. Why? I don’t know. So, then we decided to record it as it’s also, on top of me daring to sing it, a great song. We aimed to make it very much like a soundtrack for a film in the sense of how it is recorded. Like something Clannad would have done for a film or TV series. Wood and Fire. Nature.


Swedish scene was one of the most characteristic ones. How do you find it’s condition nowadays, in the times of internet and globalization?

I actually know too little about the current Swedish scene – especially if you are talking about the metal scene. Since the early eighties, or maybe even earlier depending on what you class as ”metal”, that scene in particular has been brave and lots of bands have come out of it that has their unique sound – sometimes so unique that it started a whole ”sound” that others wanted to copy or sound like. In terms of the music in Sweden overall i am a little bit surprised that the ones that gain really large followings all over the world, like the pop-artists or DJ’s – their music is very bland and has none of that classic Swedish touch to it – they mostly seem to be thinking and writing in the modern american style of melody, which is extremely predictive and therefore extremely boring – even if the melodies are good. They don’t really suggest a world that sounds exciting or touches anything else than the will to buy a new pair of jeans. There have been so many Swedish bands that has made it big have had something that made them different from their American or English peers, but nowadays it seems to be just a copying game and that is never fun. I’m not very impressed by that. All bands copy others and get ideas from others, but when you lack the ability to create something that makes you sound like YOU, there is just no point.

Then again, the most boring bands can still make great songs, but they could or should have been written by anyone else. Internet and globalization of course have a great deal to do with this – the music industry after the internet became more cautious and couldn’t afford to take risks – so they release what they know will sell. Like with blockbuster movies nowadays – it has little or no depth to it at all. Entertainment at its worst if you ask me. There will always be independent music and movies that are great, but once around the really big artist that emerged and the really big blockbuster movies seems to actually have something interesting to them. Maybe I’m just getting old. Or maybe I just enjoy to think. I don’t know. It’s a good thing with the internet then, because it also makes it possible to listen to all sorts of music from different sources, so in a sense it doesn’t matter what the large record companies dare to release or not. As long as people have an interest in music it will all be fine. People can search, and they will find. Lets just hope that there will always be new ideas and new artists emerging, regardless of who is big or not. And I really think it will. In that sense, i think that the Swedish Scene is healthy and alive like it has been for many years. There are more bands than ever and more and more people listen to more and more different music, simply because they can. That leads to new and exciting ideas.

Of course one could argue that before the internet musicians in different countries really had their own ”language” when it comes to melodies – i.e. swedish melodrama, italian music with it’s destiny notes and so on. And you could go even further and say that it was more that way before the radio. All in all I think it’s just a matter of difference: some musicians are great at copy and learn to write music that sounds exactly and only like something they like, and nowadays of course the chance is bigger that that might be what they see and hear most of if they are not willing and interested to look for something else than what is presented to them the from the usual sources. Others add something else, something that makes it have a more of a personal touch and sometimes you can see patterns and hear that ”oh, this must be Swedish” etc., simply because people are more connected in culture and thinking that they sometimes want to admit or understand themselves. But the more different music someone listens to the more they have to get influenced by, so in that sense the internet helps, but in the same sense the internet might take away what is creating a regional or national sound in music. Or, in short: the Swedish Music Scene seems to be doing fine. Maybe people in Sweden are still a little afraid or nervous to listen to a Swedish band and say that it’s good, just because it will always sound like they are ”trying” to sound like something else. But all bands always do, in all countries – just maybe sometimes they want to sound like music you never heard nor know about. So in that sense – everything is as usual over here.

What are the plans for MCC for the nearest future?

To get ready to play live and prepare for our 2nd full-length album.

Thank you for your time!

Bardzo dziękuję!*

*”Thank you very much” in polish – Hälsningar till dig, M!

Piotr Kleszewski

Piotr Kleszewski


Więcej tekstów Piotra:

We had an opportunity to talk with legendary Albin Julius from Der Blutharsch. As we expected, he’s really cool guy. If you don’t believe us, just check below.

Interview was made in the late 2016.


On 14th of October 2016 you were about to play in Cracow. We all know what happened. Gazeta Wyborcza wrote to the venue with ridiculous accusations of nazism and they were too scared to reply so they cancelled show. But freedom of speech finally won and you’re playing on the same exact day in Wroclaw. What was your first reaction when you heard about that bullshit you were accused of?

WTF – again? I was quite surprised the first moment – but then – actually I know how it works. People are stupid and lazy and the internet is a highway of misinformation. Instead of digging deeper and going on factfinding mission and talking to us – which a real journalist would have done – the newspaper obviously wanted just a scandalous headline . The fact how they formulated it proofs.

The strange thing is that this happened in Poland – a country where ten thousand rightwing people can demonstrate and march openly in the streets without any big protest, where they burn rainbows and where an ultraright government reigns. It all in all is more bizarre than sad. But well: The world seams a crazy place.

Have you been trying to speak with Gazeta Wyborcza about this? What was their argumentation?

Although I know it’s useless I wrote them. And I was surprised that I got an answer which actually was only „Blahblah”. That’s what they wrote back:

Dear Sir,

In your letter you have stated that it is a shame how media spread incorrect information. Indeed, we also believe that it is a serious issue. However I assure you that in the text we have published you will not find such tendency nor false information. Moreover, all the elements you have mentioned were covered in our text, that is aesthetics, provocation etc, as well as Der Blutharsh’s musical evolution, and even your opnion on the accusation of the neofascism (quote: >“If I really was a Nazi, I do not think I would come to perform in Israel and release a CD for the Israeli people, do you?”<). It was our intention to provide the readers as well as the organizers of the event with a comprehensive coverage of the band’s creative activity and its historical background. I ensure you that there was no misinformation nor manipulation.

Przemysław Kantorski
Gazeta Wyborcza

Well… what shall I say?

Is it common that people do not seem to understand what your music is about?

Actually – we did have used  an extreme image in the past and provocated the most possible – but intelligent people dealing with what we did or with the musical scene we had been involved knew that this is provocation and part of the art. I never understood people who couldn`t separate an image or a show from what people really think.  BUT – that people do not see or notice that we left this path over 15 years ago – having changed music, image and attitude dramatically – talked openly about what we belief in and that we hate religion and politics – obviously seams  not a fact of interest for those people still needing an easy target and a cheap enemy. I mean – go and fight the real Nazis. But maybe this is too much effort or too much danger. It’s easier to just attack some harmless bands and then feel good? I do not know.

In our last tour we performed in Vienna @ Arena Wien (some good  friends work there – it’s Viennas best location) and an openly antifascist place. This was here seen as statement of us – which it was – and as we have some friends involved in AntiFa movement there was finally a moment when even the last ignorant understood.

What is The Church Of The Leading Hand? Is it some kind of congregation experienced through the music or is it just a cool name? What are the origins of that name?

It arose actually from a running gag on a past tour – how exactly it came up I can only darkly remember… I think I was a bit „rude” once to the gang. You know. When you are on tour and you have to drive hours etc – I darkly remember that I said to the guys during a break when I wanted to make them hurry „you all need a strong hand”… so this in the van got a joke and ended up in this. But that’s only a dark memory. Nevertheless… I more and more liked the idea and when I did choose to take it into the name it was a sign for me to change and end Der Blutharsch in the form it existed till then and also for me it reflected that the band actually is a collective. You might have noticed that over the years loads of people collaborated and still will. I like the name because for me it’s really what Dbaticotlh is!

Do you believe that people can form some kind of community connected all together through the music?

I think. I mean… I know. Somehow. Thinking about myself… all my friends I met via muisc. Even my wife Marthynna I got to know from concerts we visited and we always met on the same kind of concerts and parties. So – YES – I do. The best doing music – besides the fact that I am addicted to music – is to meet people who belief on the same thing. There are a lot of faggotts out there – but sometimes you really find the right people. And this is really important for me. To see that there are cool people who give a shit about anything and do just their own thing and think same in any aspects than yourself. In a world of useless consuming people this is essential for me. Otherwise I totally would lose belief in mankind, well actually I did anyway.

But I talk about music in general – not about being a part of a scene. For me it is very important to be open. For me there’s only good music and bad music – and I decide what’s good and bad. If you stay open you can discover so much good music and some nice people.

You’re going to release your new album this year. It’s called “Sucht & Ordnung” and first track we could listen to online is very promising. How would you describe this new album? Will it be something completely different? Or maybe it will be logical next step in comparison with you last album?

“Sucht & Ordnung” was more an „accident”. For playing life we always transform songs from our albums into life and change and adapt them – so when back I thought it would be nice to capture some of them in the life version. Except the first song which we „wrote” – actually it’s more or less still live a jam – the other two are how we played them live.

We went into a proper studio where we could record all live together and we just played two takes of each song and sued the best version. All on “Sucht & Ordnung” is palyed live without any over dubs etc. This was the first time we recorded all live and it was a really good experience and – hell of a funny time!

Actually for me this is also a statement about the band. I am really REALLY happy to have this line-up now – good friends with the same humour who take themselves not important and can laugh about themselves. I enjoy playing together but also juts hanging out together – and somehow S&O for me is a document about it all.

Some would say, that a good material need time to grow and mature. You’re recording new album every year and I wouldn’t say, that your music is immature or blunt. For me it’s always fascinating and made with great passion. Where do you find your inspiration and ideas for new songs in that short amount of time? From where your passion comes from?

I do not know how it works. Actually I really feel music did find me and that’s probably – the best thing which happened to me. For me doing music is not a passion – it’s an addiction. I feel uncomfortable if I cannot do music. I just do and actually I do not really care about what comes out. I go to my studio – I have an own studio in my house which makes it really easy for me to go – if I want I go and work – and honestly I am always surprised myself what comes out in the end. I do music for myself and my inner peace and if I like it that’s all what counts, but it’s nice that people obviously like it too.

Also I have to say – for me the process of doing music is what counts mainly. I actually never listen to my own music after its released and work is finished – only if we have to choose songs for live – then I have to go though some material again, which is nice as it’s meeting an old friend you haven`t seen for ages. BUT – for me – as always in life – what counts is NOW – not the past, not the future!

In history of Der Blutharsch you’ve been playing and recording with other artists. One of my favourites is an album with Aluk Todolo. How did it happen that you’ve made this collaboration? What similarities there are between you and them that led to that collaboration?

Actually it’s also one of my fav albums. Aluk Todolo are fans of DB and did organize a show for us in Paris some years ago. We first met the day before where we both played at Incubate Festival in Tilburg. We immediately went along very easily and liked each other. The next day in Paris we had so much fun – I didn`t know their music before – our guitar player Jörg was a fan of them already – and when back I listened to the records they gave me in Paris. Immediately turned into a fan and just thought it would be nice to suggest a collaboration. I did and – it happened.  I think mainly I asked because of their personalities and the fact I never heard such music before.

I think mainly I have to like the person the music is secondary – but has to be unique. I love bands who do their own thing and found their own way to express themselves.

Actually I am not interested in a band which has music similarities – au contraire – for me musically it is much more interesting to work with other music, I gain much more experience from this and it’s much more interesting. We just finished a collaboration EP with White Hills which will be released soon and another one with Skullflower (a band I like since 20 years or so).

A band I really would like to collaborate with is Dälek – simply because I love what they do and because for me it would be really a challenge to work with this kind of music.

In 2016 there is 20th anniversary of Der Blutharsch. What years do you recall as best and worst?

I do not know – we had so much fun all these years and I think I could write a book with many crazy things. Actually… it was only fun and even sometimes we had some „problems” we managed to solve them – for every solution there is a problem – and still are around. I – looking back – do not regret anything as it did lead me to where I am now and this is really what I totally love at the moment. But I am sure the journey is not over and I am curious what will happen next.

Actually – many „best” things – but I cannot really remember anything „worst” – not that bad I would say.

If you could go back in time and tell your younger version one sentence, what would it be?

Do what you wilt and follow your intuition. And enjoy the trip! And be aware… you will every moment on your journey having the best time of your life, if you know how to enjoy!

You’re visiting Poland not only to play shows, but also as a tourist. What region or city has been your favourite so far?

Nearly every year I have been. First time ever I have been to Warsaw in 1987 on my way back from Russia. Wroclaw is always a great target – as we go there regularly for WIF. I really loved Torun – been there twice – 2 years ago we went to Gdańsk and Mazury. Gdańsk  is amazing but also Mazury was beautiful! And finally I managed – by accident on our wedding anniversary to visit Malbork. This was a target for me since I was a teenager – always wanted to visit it – and finally…we did. Loved it. Next summer we are planning to come back for summer holiday and go to visit South Poland and Świdnica and the area around.

Do you know any Polish bands or Polish music? What are your favourites?

Unfortunatelly I do not know too many Polish bands – but the very few I know I really like. Firts there is Job Karma – the band of our friend Maciek who does organize the fantastic WIF – amazing band! Then I know Jude – which I did see by accident once at this festival – very heavy guitar stuff – loving it. Also I know Rigor Mortis – great life!

Maybe I know a few more but actually that’s what comes in mind first. I know you have some good BM bands there too.

What is pissing you off the most in this world?

Ignorance and the fact how mankind destroys our planet. About anything else I do not really care.

Do you have something to tell your Polish fans at the end of this interview?

Next time when you see me buy me some Fortuna Wiśnia! And… enjoy life… it’s short!

Michał Smoll

Michał Smoll


Więcej tekstów Michała: