The Haunted – Peter Dolving

October 22nd, 2006
by EvilG



The Haunted – Peter Dolving

Interviewed on Rocktober 4, 2006 by EvilG

Transcription by evil rotten spawn

Interview questions by EvilG and Lord of the Wasteland

Live Pics by Metal-Rules.com

The Haunted have returned with THE DEAD EYE, their second album since reuniting with original vocalist Peter Dolving. The new album may surprise some, but not those who listened closely to their previous album, rEVOLVEr.  We talk to Peter about the new album’s sound, direction, and lyrics; his recent infamy thanks to his blogging on Myspace; touring; and of course his "love" of shredding…ha! Enjoy!

Let’s start on a bit of a humorous note. I’m sure a lot of people have been asking this ‘ have you considered calling the new album ‘The’ because every song starts out with the word ‘the’?  Or is there some hidden concept behind this?

Yes, well ‘.No, it’s very simple, The Dead Eye, it’s more like a marking out the middle of a hair cross, the bull’s eye.  Like hitting something spot on, hitting something dead eye.  And as far as the titles on the album go, they’re more like chapters.  It’s not really a concept album, as such, but as it came out, the songs had a progression well, we’ll just call it ‘the blah blah’ or whatever. ‘ That’s that song, then it kind of stuck with us.  It felt, it just felt natural.  It felt good to have the songs like that.  In a way it kind of pacifies the drama.  And at the same time it can kind of underlines the importance of each and every song having a definite story of their own to tell. 

I also thought that the sound of the album was very cool.  The first thing I noticed when I played it was the drum sound sounds very real and not overly processed like a lot of bands.

No, it is.  It’s not very processed.  It’s something that we actually spent a lot of work, you know.  It’s one of those things where, as we toured’because we toured and we did about 250 shows on rEVOLVEr’we got to play with all these different bands and we get so many records on tour.  Everyone wants to give you their new record; and every record company wants to push forward with all these great new bands.  And to us, it’s just like ‘Holy shit.  Everything sounds the fucking same.’  Why is ..?  Whatever happened to some kind of ‘?  Why is everyone sounding like their on ProTools like it’s some kind of fucking drug?  Also, when we were touring this much, we got to see a lot of bands playing, and we were like, ‘Wow!  These guys are really not up to the challenge.’  It feels like ‘ if you’re going to go out and represent your music and your band to play for people all over the world ‘ Aren’t you supposed to be ‘  If you’re gonna make a record at least, aren’t you supposed to be as good as what comes out on record?  Aren’t you gonna put some effort into it, some love and some fucking respect?  And we felt that we wanted to make something a little more exciting.  I understand.  It sounds like us morons…  We wanted to make it a more human record.  I understand, it sounds fucking ridiculous. But, with listening … The music that we really love to listen to’we listen to a lot of stuff from the 70s and some stuff from the early 80s’but, those records, you can hear the musicians. 

You can tell what era it comes from.

Today everything is so processed, and so dehumanized that you can’t really hear the humans that are playing it.  That’s something that we felt that we really wanted to kind of, we wanted to do something with that, those thoughts, I guess.

The album cover is some kind of a spinal X-ray.  I was wondering, is there any particular meaning to that, or was it your spine or anyone’s in the band?

No, thank god.  It’s a spinal injury right there.  It’s very small but it’s excruciatingly painful if you get something like that.  There’s a slight fracture on one of the vertebrae.  No, god no, it’s not one of us.  I think the whole concept of the record cover is ‘ it goes hand in hand with the content of the lyrics very much.  Trying to understand and looking through things.  It’s pretty analytical, almost psychological, in a sense.  Most of the songs on this album take on human dysfunction.  Knowing relations, in relation to yourself and to others, and looking at the world around you, feeling baffled.

All you have to do is turn on the news and you’ll be baffled.

We’re on TV, shit!  And you even live in a semi-civilized country.  This is like, wow, you actually have some news.  It’s not completely screened and cut to pieces as far as credibility.  Sweden is kind of like Canada in many ways.

A little bit more socialistic maybe in some ways some times.

In some ways, yes.  But way less.

 

I think one of the best things about this album, I like the fact that your vocals are probably the most varied that we’ve heard from you.  Do you enjoy singing in a singing voice more on this album like you did on tracks The Fallout or The Medusa as opposed to the more screaming type of vocals?

It’s something that comes very much from Anders and Jonas ’cause they’ve been nagging and being on my ass ever since we did the first record to sing more.  They want me to sing more.  It’s kind of scary to do something like that.  It’s really ‘ you fell a hell of a lot less ‘ it kind of makes you [feel] vulnerable.  It’s hard.  It’s fucking hard to sing.  I don’t feel like it’s the best thing in the world by fucking far.  I think I’m a pretty crappy singer.  Because there’s some really, really good singers out there.  They’ve been really helping me out a lot.  Thank goodness for Jonas for that.

Do you have compliments enough that this is something you would do on the next album and from here on out?  Or do you think they’ll have to prod you a little bit to keep doing some more?

It’ll probably depend on the songs we write very much, I think, if it’s something that feels natural, then absolutely.  I like to sing.  That’s not the issue.  It’s more having the confidence to do it within this kind of context.  Because metal is so, it’s precise and it really takes ‘ I do a lot of other music as well with my little side projects with my friends and stuff, but that music is not as precise and it’s okay to not be perfectly in key or whatever.  But this music, it needs’especially when you bring it down’it’s so important that you are in the emotional state of whatever the song is and that it is extremely precise.

I suspect that The Dead Eye may generate from some of the fans who are more into the extreme side of your music, upon initial listening, some of these people are going to be a little worried that, ‘Oh no, where’s all this melody coming from?’ or something.  Do you think IF there is a consensus regarding ‘I don’t like all this melody and clean vocals,’ is this something you would back track on on the next album?  Do you guys just play for yourselves first and if people don’t like it, too bad kind of thing?

Yeah, we play for ourselves first. Because if we don’t we’re not going to be able to do good tours.  We’re not going to be able to do it with our heart.  If we start compromising on that, well we might as well just scrap the whole god damn band.  It wouldn’t be fair.  It wouldn’t be fair to us and it wouldn’t be fair to the fans.  As far as melodic parts, where it all comes from, listen to a band called At the Gates, listen to a band called Mary Beats Jane, listen to a band called Seance, listen to a band called Invokator.  The melodies and the extreme parts have always been there, in a mixture.  In our other music, as far as metal goes that we’ve done together, in different bands before this, it’s always been there.  So, it’s really just a very, very natural progression of things.  As far as where the next album goes, well, who knows?  We might just as well put out a completely weird ambient record with nothing but, fucking, the sound of satellites.  I have no fucking clue.  We do not know.  We never know when we set about to do a record.  We start talking about the record that we want to do way ahead of time and then as it goes on’like we this record’we talked about what we wanted to do for a long time trying to focus in on different ideas.  What we came up with’mostly from touring so much, about 250 shows on the rEVOLVEr album and across the globe.  We realized that we were playing the songs that were really loved off of all the other records.  We were doing stuff like, the melodic stuff a lot, In Vein, we were playing Hollow Ground, we played Shadow World, a bunch of songs that are really harsh and still have a melody.  We found that this is stuff that we really enjoy and feel good about.  Fine.  Let’s try to bring in more melody.  It feels like a cool thing to do.

There’s one song on the album that probably stands out as the most different and that’s The Fallout.  It’s mostly clean vocals, the drums sound like they’re almost sampled for part of it; do you expect a lot of fans to react to that song?

No.  No we don’t.  We expect people to love it and hate it.  Whatever.  You know if you don’t like it, that’s perfectly all right.  We made this song because we felt that it was a good song. If a person doesn’t like it, then they’re absolutely entitled not to like it.  It’s something that we liked.  That doesn’t necessarily mean that you have to like it.  The song itself is a prayer, a prayer for rain.  A prayer for the end of this shitty thing called modern, western society. 

I guess some of the hints of what this album might be like are found on rEVOLVEr with tracks like Abysmal, Burnt to a Shell, and probably more so, My Shadow.  Do you think you will continue to move away from the crazy, speedy thrash of some of your earlier albums, or do you think that will always be part of the band’s sound?

To a certain extent, I think it will be.  It’s not like we’re not going to play the songs that we made on the records over the years, because we’ll always play the stuff.  But playing 240 beats per minute gets really repetitive and boring.  Honestly.  There is no challenge to it.  We can shit out those songs.  And how much fun is that?  We’re not out here to become complete clich’s and repeat ourselves endlessly.  That would be an insult to ourselves and everyone who considers themselves some kind of Haunted fan.  We don’t think that people are stupid.  We think people are intelligent.  We think people understand that there are a thousand ways of expressing the emotional range of being a human being.  If you don’t agree, that’s perfectly fine. 

The last track, what is the title of the hidden track after The Guilt Trip; if you call it a song?  It’s sort like a very dark sounding lullaby or something.

Yeah.  It’s a lullaby.

Does it have a title?

I’m trying to remember.  Does it have a title?  I don’t remember the title.  I know there is a title, but I don’t remember the title.  What did we call it?  The Exit.  It’s called The Exit.

Was that decided in the studio?  Let’s have this big space and then cut into this other strange little song.

No.  I wrote the song’ This sounds so cliche.  I wrote the song late one night in my kitchen on this really crappy…I did most of it, it probably took a couple of hours, hour and a half and I recorded it with a couple of acoustic guitars and I did vocals to it.  That take is the base for the whole song and then I redid the vocals on top of the old vocals.  So the old vocals are on there.  You can just barely hear it.  It’s there as some kind of background, but what’s there in the background is the original take.  It’s like a little epilogue, or it’s more of a kind of a really freaky little morbid fucking song about suicide.  It’s terribly morbid, but I think we threw it in there because it felt kind of scary.  It’s just something that felt like it had its place somehow, somewhere in there. 

The lyrics on the album seem to be a little darker, or maybe more introspective and personal than ever.  For example, a line like ‘you’ll be my crown of thorns, I’ll be your cross to bear’ from The Failure is pretty heavy stuff.  Do you find that your lyrics are a catharsis to expose inner demons or work out things through your music?

Definitely I don’t know.  It’s got some kind of therapeutic value.  The song The Failure is very much about dysfunctional relationships, hiding behind; build on each other’s needs sometimes.  It can be like that in some relationships.  I wrote the song from my experiences and how living together can be almost like clinging on to each other rather than living next to each other.  Yes, people can be very, very self-destructive, and somehow maintain their relationships out of some kind of desperate need.  Not necessarily for the person, but for what the person offers.

Another thing on the album that I noticed there are a lot fewer, or perhaps shorter, guitar solos than on some of your other albums.  Was this a conscious decision or did the songs just not call for any overindulging?  

Overindulging on guitar solos is just whacking off.  It’s one of those things where so many bands will waste a good record because they want to doodle on their fucking guitar.  Anders is the lead guitarist of the band, and he hates guitar solos, man.  He fucking hates that stuff.  He’s like, ‘Well, I really don’t want to do any guitar solos on this record at all.’  ‘Aw c’mon.’  There’s gonna be the melodies that we’ll find in there.  We really had to talk him into actually playing some of the melodies in there and solos because they were in the music.  I kind of agree with it.  I mean this with all the respect, though, I understand that a lot of people really love guitar solos but guitarists need to calm down their egos.  They really should.  Just because you can play a million tones per minute, does not mean that you should.  It’s like, ‘Hey, I’ve got the bomb, I’m gonna drop it just because I can!’  It’s just stupid.  Could you please play a melody, because playing something that goes off .. You know, ‘Here, watch my fingers go ” You can’t hear a god damn thing because it’s just too fast.  Or it’s like, ‘Look I’ve got all these guitar tricks or stunts going on and that makes me so cool.’  Yeah, well, can you fucking skin a bear, you wanker?  It’s just fucking ridiculous.  You got to get a grip and understand that just because they have a need to be seen a little bit more than the next guy.  Maybe they should just take a trip, talk to a therapist or something and get with the plan and play the song.

So you obviously must be a really big fan of Yngwie [Malmsteen]?

I’d piss on Yngwie Malmsteen, and I’d piss all over his fucking shitty guitar playing, and I’d piss on his fucking attitude more than anything.  He’s a fucking asshole.  A wife-beating, alcho asshole.  I’d piss on Yngwie.  Yngwie, if you read this, and I hope you do, you fucker, I’d piss on you. 

Hey, if we put that in the interview, than your favorite website, Blabbermouth, are going to be all over it.

Oh, do it man, do it! 

If you want me to then I’ll put it in there.

Do it!  I really hate Yngwie Malmsteen.  I really do.  As far as his music goes, it does nothing for me, and as far as his whole deal, he’s the most comedic fucking’ he’s the funniest fucking crazy guy around  And he’s like the Sly Stone when coke started making him too crazy to be in a group of semi-ordinary people, that’s fucking Yngwie.  He’s completely over the top, and his music is suffering from it.

Repeating himself?

Not really repeating himself, becoming a parody.  ‘Hey, I’m a clown of metal.’ 

So the controversy thing, obviously I’ve read some of your stuff; you’ve been speaking your mind on sites like My Space and answering some of your critics from the site we just mentioned: Blabbermouth.  What is your whole take on that thing that was going on?  Taken and blown out of proportion maybe?

Honestly, when it comes down to it, I find it highly amusing, because besides what I say, there’s nothing really special about me.  I just happen to sing in this band that I love.  That I have views that are not specifically especially radical or, you know.  I honestly’ there’s nothing really weird or special or amazing about me.  Except I’m in a band, that in my opinion is a good band.  But for some reason, what I say pisses people off, and I think that is the funniest fucking shit.  Ever.  You know, sure I’ve had that effect, but I haven’t had that effect on people since I was in fucking high school, you know?  It’s amazing.  I take it the people who get offended by it are in high school.  Probably are.

Is having a platform like My Space, with its existing audience, something that you or The Haunted think have benefited a lot from beyond generating controversy? 

I’ve benefited from it for my own personal perspective.  I get to write about all that stuff that happened; I feel like I need to.  I get to write, get stuff off my chest and I really want to tell stories or get my emotions out to a bunch of people because I get feedback on that.  I’m not talking about the feedback that pops up on fucking Blabbermouth, because that’s not feedback that’s just blabber.  But people actually do right back to me’a lot of people write back to me’and I get all kinds of reflections.  People will tell me their experiences.  I feel that it’s, yeah, for me it’s really ‘ I’ve been doing blogs since ’99, I think.  It started out with this kind of blog letter that I would send out to a bunch of my friends.  I’d just write, almost automatic writing.  Then I’d post in a blog that it went on up until about 2002, I think.  2002, 2003 some time.  Then I stopped as we started touring with The Haunted, and then My Space popped up.  [I thought] this is great I don’t have to worry about all the fucking’what do you fucking call it?  HTML?  The fucking coding, which I fucking hate.  Here you go, it’s all yours, which I thought it was great.

So you’re not a big fan of the Blabbermouth site?  I’ve noticed recently they have some kind of new policy about inflammatory or racist type remarks because it seems that every news item has someone replying with ‘You’re gay if you listen to this band.’  ‘You suck.’  There’s no real discussion besides insults.  Maybe they’re trying to cut back on that.

That’s what Blabbermouth is.  I know that the guy who runs Blabbermouth is an avid fan and he really fucking loves metal, and to him it’s something that he really likes to push forward.  I think it’s great.  You know, but you got [realize] that have the people that post are into the whole dissing, and mouthing off or whatever that is.  It kind of took me a while to figure that out, but they’re just barking like little myopic dogs that just want to get to bark somewhere.  Probably, they’re afraid of barking at their dads.  So they’ll go to Blabbermouth.  {Peter snarls like a dog} 

Tough guy. 

Yeah, I am a tough guy. Look them in the eye, and they’ll pee their pants.

When you do your writing on My Space is it more of a stream of consciousness or like ‘this is what I’m going to talk about today’?

Yeah. I guess [if I’m] on something at the time.

Do you happen to be a fan of George Carlin’s writing or have you read any of his stuff?

I haven’t even read any of his stuff.  Who is this?

George Carlin is a social commentary/comedian, guy from the States, who, when I was reading some of your stuff on My Space reminded me somewhat of the types of opinions and attitudes of the ‘fuck everything’ attitude.  Like ‘mankind is fucked.’, ‘Who cares?’, and ‘I’ll just sit back and watch it all kind of go kind of thing.’

What was his name?

George Carlin.

George Carlin?  All right.  I’ll check him out.

Yeah, you might like him.

Sounds like my kind of guy! 

Much of what he does is comedy, but I find, when he really hits the nail on the head, is when he does more of a social commentary about religion or society, or just everything.  He’s pretty good at that stuff.

Cool.

For touring, I just read that you’ve been added to Danzig’s Blackest of the Black Tour in November.  What do you think about the line-up, and about The Haunted being lumped in with bands that have been labeled as the darkest and most extreme bands?

Ummmmm ‘ well.  I’ll be diplomatic.  I try not to think too much when it comes to that type of deal.  If they want to put a cool title to the packet to make it seem more accessible or something, whatever, man.  What fucking ever.  We’re really happy to get to be on tour together with fucking Glen Danzig.  We get to watch him every night for a couple of weeks.  He’s meant a lot when it comes to everything from Samhain to Misfits, and he’s going to play some of those songs as well.  It has really meant a lot.  It’ll be fucking amazing to get to stand there and watch Glen Danzig wail out Glen Danzig songs.  That’s fucking cool, man!  As far as all the other bands; I don’t even know what they fucking sound like.  I don’t give a shit, but we’re going to be on stage with mother fucking Glen Danzig, man.  And that is fucking cool.

Nothing wrong with that.  So, how was your Ozzfest experience last year?  If you had to sum it up?  Is the type of thing that you think the band would do again?

No, we’ll do it if they pay us.  Simple as that.  It’s a great opportunity for a band to get out and play to a bunch of people and really have a good time, but at the same time it’s a fucking hilarious odyssey in ridiculous behavior.  We’ll put on a bunch of young bands with just barely got hair on their balls, and drop them in a semi-mythological context, and say ‘Here you go!’, and toss them the ball, and watch them run, you know.  It was amazing.  It was amazing; I’ve written a blog about it.  It’s so weird to get that many bands, consisting of mostly dysfunctional fucking people like me and like the other dudes in all these bands, and put them all in the same kind of place.  Anyone can figure out what’s going to happen.  And it’s fun ‘ There’ve been hundreds ‘ millions, millions and millions of brain cells burnt away completely and recklessly, and maybe completely unnecessary, but hey, if they want to do that that’s fine.  I don’t have that many left to spend.  I felt kind of like Mr. Boring because I walked around with my cup of coffee like, ‘Oh fuck.  I hate having to be sober.’  But, that’s ok.  What the fuck?  In the end, it comes down to we’re all there for the music and that’s what really counts.

Are there any plans for a North American headlining tour to support The Dead Eye or is the Danzig deal basically your tour for it?

We’re going to do the Danzig thing and then we’re going to do a couple of weeks on the east coast.  I think we’re coming up to Canada.  That’ll be like right after we do the Danzig tour.  I haven’t seen the dates yet, but I know it’s like back to back on that one.  Right after that we’re going to go home for Christmas.  Whooppee!  This time we get to go home for Christmas.  Then we go back on tour I think January 10.  Something like that.  We do two months all over Europe and then we’ll be coming back to the US.  And then after we do two months of Europe [yawn] and the US again, then we go back for a load of festivals in Europe, and then we come back to the Americas again.  Then we’re done touring.

So another 250 shows coming up?

We’re going to crack that.  You know we’re going to crack that.  Yeah.  It’s got to be done.  It’s one of those things, 250 shows; that was fun.  At the end of that, we were pretty fucked up, but we felt good.  We could probably tour more.

Another 50?

Hell, maybe another hundred.  Why not? 

For the new material, have you had a chance to test the new songs live on any local crowds or anywhere?

Well, we’ve got two shows coming up that we’re going to try some of the stuff on.  And then we do we do like a mini tour across Europe.  I think seven shows or something like that.  Where we’ll be playing, I think, seven or eight songs together with some of the’ We’re going to try to do with this whole touring cycle that comes up now, to play a lot of material from all the other albums that we haven’t played.  Because there’s a bunch of songs that just for some reason that’we love the songs’they haven’t come up.  We haven’t played them.  But we figure, this time around let’s play maybe eight of the new songs, or seven, and then play a bunch of the songs that we haven’t played from all the other albums. 

What is like for you to sing material that the band recorded when you weren’t with them?  Do you approach it live any differently or do you just try to recreate what was done by Marco [Aro]?

No.  I can’t recreate what Marco did.  He’s got a lot darker voice than I have.  What I try to do, I try to do it the way I would anyway.  I just try to sing the songs.  I could never sing the way he sings.  I can never sing the way he sings.  He can really bark.  Our registers are so different.  He’s got a lot darker voice than I have.  I think I have a wider range, probably.  I was never a growler.

Last question.  This the band’s tenth anniversary.  Thinking back ten years ago, back then were you thinking or hoping that where you are now is where you would expect to be musically or creatively, or even financially?

I thought I’d be dead now. I really did.  I was completely, 100% convinced by the age of thirty I’d be dead, and now I’m past thirty.  I’m 36.  Feels cool.  I never thought I’d live to see the day.

Did you make a big change in your life to make sure you weren’t dead by 30?

Yeah, I’ve had a bunch of changes.  I’ve got two kids, which is just something I also never thought ‘ I was never going to be a dad.  Because parents are fucking idiots.  That’s up there with my very wise conclusion: all people who are so-called ‘adults’ are morons.  I still thought that when I was 27.  I still think that.

So how much longer before you become one of the dreaded ‘idiot’ crowd?

We’ll see.  I’m sure one of these days my kids are going to turn 15 and say, ‘Jesus, fucker.  Dad, you are so out of it, man.’  And I would just agree, because I will be.  ‘Hey, you’re right.  What the fuck do I know?’  And they’ll look at me like, ‘Yeah, well you never knew.’  ‘You’re right, ’cause I never did.’  I admit it, I never had a clue.  I’ve always admitted that, fuck.  Financially, well, I’m in an all right place.  I make about as much money as a guy working at a garage.  I’m pretty stoked, man.  I used to live in a dumpster.  For real.  I used to be homeless.  I was homeless there for a couple years. 

Was that before The Haunted?

That was before The Haunted.  That sucked. 

Yeah, I can imagine.

I used to live ‘, yeah, and it fucking sucked.  I’ve done a lot of weird shit, man.  I think I’m pretty happy I did, now.  I’m really happy I did.  It’s brought me to some weird places in my life.  It feels pretty god damn cool to be the singer of The Haunted and to be able to afford what I see normal people have.  I’ll see people and they’ll have ‘ a car, or a dishwasher, and you know I can have those things.  It’s amazing.  It’s not the most expensive car, it’s not the hippest fucking dishwasher, but what the fuck, it works.  I can pay for clothes for my kids.  They’re not going to grow up thinking they’re Hollywood stars or nothing. 

So do you see yourself being in The Haunted or involved in heavy music in another ten years? Or you don’t like to look ahead too much?

I can probably see us doing another ten years at least.  We’ll take it every day at a time and just do what we do, and try to enjoy it.  Try to make music that we feel strong about. 

Well, that’s everything I had to ask you about.  I don’t know if there’s anything going on with you, or in your world, or with the band that you want me to include that I didn’t get to touch on.

Anders got a new guitar (laughs) 

Can he play faster on it? hahaha

Yeah, he can shred a hell of a lot faster man (laughs).  Gibson’s got a new ESP; it’s got a fucking camo on it.  He can shred on that mother fucker, man.  Oh, Paris’ well is septic so they can use their well.  Fucking, it sucks.  That’s very metal, huh?  Jesus, I’m becoming a new metal god.  Dude talks about septic water and shredding.  Wow! (laughs)

It’s all good.

It’s all good.  I don’t know.  I’m really looking forward to coming back to Canada as soon as possible. 

I’m in the major boonies’ I’m on an island, actually, off the coast of Canada.  Nobody fucking comes here, ever.

When I was in a band there, we played north of’ Pretty far north of Toronto.  Where the hell was that?  That was really out in bum-fuck nowhere, too.  And it was a great show.  Worked out really well.  It was a huge crowd, too.  Like four or five hundred people.  In the middle of fucking nowhere.  We need to get up there, we really need to get up there.  We’ve had great shows in Toronto, we’ve had great shows over in Quebec. 

Quebec seems to have a pretty big metal scene from Montreal.  A lot of bands from there.  Big scene anyways.  Out here on the island of Newfoundland there’s no scene worth talking about.  The last heavy band that came here that I can think of was Infernal Majesty from Canada played here.

Infernal Majesty!

You remember those guys?

Yep.

They’re still together. So not many people come here.  Probably the only reason that came here is because they’re Canadian and they wanted to say they played everywhere in Canada. 

Newfoundland?  Wow.

Yep.  End of the earth. 

It is kind of end of the earth.

Oh it is, big time. 

Sounds like Tierra del Fuego down in the end of Argentina down there. 

Yeah, it’s something like that.  They can probably easier drive off of the end of the earth to civilization.  We have to get a boat to get there.  It sucks.  Anyway, man, it’s been great talking to you.

Yeah, you too.  Thanks for the patience.

No problem.  Good luck with your tour and the release of the album and all that stuff.

Thanks!


Band: www.the-haunted.com

Label: www.centurymedia.com

 

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