KAMELOT (Eng.)

– Hello. Thanks for answering this interview and congratulations for the great new album. Are you happy with it?
Finishing an album is always something special. We worked three years on «Poetry for the Poisoned». When you finally hold the CD in your hands it marks the end of a little era in your life. And the beginning of a new one. I feel good, of course, reaching such a point.

– You have just recorded «Poetry for the Poisoned» and the first thing that surprised me was the darker sound that fit perfectly with the different lyrical subjects presented in this album. Was that something intentionally?
Not really. Playing an instrument is a lot of handicraft whereas composition is something where a lot happens subconsciously. Of course you can influence the mood of songs, but after all you only have an unclear vision of the completed work.

– We can find some guest artists in this new release: who are they and why did you choose them?
Simone Simons is now for the third time on a Kamelot album. Her beautiful voice just blends perfectly with Khan’s voice. Gus G., who is now guitarist of Ozzy Osbourne, was on tour with us with his band Firewind. Great guitar player, therefore the idea was coming easily to invite him. Same with Jon Oliva. We now all those guys from backstage areas and festivals.

– What do you think have each one brought to each songs?
The songs would work also without them but they bring their own, special touch into it. We sometimes write parts, listen to them, and someone in the room says: «Imagine the voice/ guitar sound/ key solo of xy» over it. And sometimes we just take the phone and call those artists up.

– Sean joined the band some months ago, did you ever consider having any other bass player?
No. Sean jumped in for Glenn Barry years ago. At the beginning it wasn’t the idea to replace him, but after a while it turned out that Glenn was tired of touring. Sean always did a fantastic job, he’s an outstanding live performer, so there was no question about this decision.

– The album has been produced, once again, by Sascha and Miro, so I guess you really like their work…
Yes, we definitely do. Those guys keep on being hungry for great music and never just repeat a certain recipe. And they are cool, down to earth, and quick with inspirations and ideas.

– Do you see yourselves working in a future with any other producer?
That would be only the case if we feel we’re stuck and don’t evolve any longer. But also » Poetry for the Poisoned» is again a new sound, another step forward, so the team like it is now works perfect.

– You’re now with EarMusic; was easy for you to find a new record label?
We had more than enough options. But when you’re not a newbie any more desperate for any kind of record deal you’re more careful what happens to your art. Like most musicians we’ve also experienced some of the negative sides of this business. Mostly it is about art clashing with short- termed commercial interests. So we went for the people that gave us the best impression.

– Maybe this could be a hard question since I think each album you release is different (in elements, atmospheres, etc.) to the previous one but, what could you say are the main differences between this «Poetry for the Poisoned» and «Ghost Opera»?
I think «Poetry for the Poisoned» takes another big step into the direction «Ghost Opera» took already compared to «The Black Halo». I find it hard to discern the underlying musical reasons for that. It is more the mixture within the composition responsible for that. Kamelot went into a very unique direction since «Ghost Opera», while «The Black Halo» still had many classical elements. «Classical» in relation to Metal. Listening to «Ghost Opera» is listening to a collection of songs, while the titles of «Poetry For The Poisoned» have a stronger link to each other.

– Is changing from album to album something pretended or does it just flow naturally?
We are at least careful not to repeat ourselves. Maybe we could rest on what we have achieved and produce one album sounding like the other one, like many bands do. But our energy and creativity is kept on a high level by taking new directions every time. Once we have a certain outline, some sketches, the rest goes indeed naturally.

– I think the band has been into a constant evolution. Do you think KAMELOT is a challenge band both to you as artists and to the listeners?
I’ve played in other bands and styles, and I am very happy with Kamelot due to that reason. The fans are very open- minded, and in a way they expect something different every time. Of course we get sometimes feedback like: «Why don’t you write another Nights of Arabia or The Fourth Legacy?» But doing that would mean to betray ourselves. Songs are mirroring a certain period in your life and have to be authentic.

– Last summer you did some European festivals; how was the response for the new tracks?
We mainly played «Thespian Drama», «Hunter’s Season» and «The Great Pandemonium». We were very happy with the response and the feedback after the gigs. It’s never easy to present unreleased material live, so playing those songs I watch the response of the crowd closely.

– I also read on your website you’ll do South America next year but; will we see you guys again in Spain? You have played here several times, so what are our memories from this country?
My personal thing is that I get out of the tour bus as soon as we enter Spain, having a coffee. It just tastes better there than anywhere else! I always had great concerts there, probably the most energetic ones in Europe. Only the sometimes really late stage times are hard to make if you’re not used to it.

– And finally, what are your future plans?
I am almost finished with the second album for my own band, Sons Of Seasons. We will release in March, and same like with Kamelot, the band is evolving quickly. Of course that’s easier if you have released only one album so far! Spain was also the first country during our last- year tour with Epica that the crowd was singing our band’s name, which was a great feeling.