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Andy Susemihl

Andy Susemihl
Music Is A Great Way To Communicate


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When we were planning an interview with German guitarist Andy Susemihl, we never thought the conversation would turn out so interesting and informative. Andy is known to the general public for his late ‘80s work with U.D.O. and Sinner, as well as for recent releases with Reece and Bangalore Choir, but over his lengthy career he has managed to play in a wide variety of bands and record albums that relate not only to hard rock and heavy metal but also to blues and country. Unfortunately, these pages of his history are only familiar to connoisseurs, even though getting to know them provides for a much better understanding of this guitarist’s playing and talent. Let’s hope this interview will help bring them out to light…

When we were arranging this interview, you said you had a gig scheduled for yesterday. How did it go? Did you play solo or with David Reece?

Yesterday it was just a test gig for another thing I’m doing right now, it’s for a German artist who’s releasing a CD on Universal next month. It was a small gig in the south of Germany, where I was just playing guitar for this guy. We were doing three sets of music, we were jamming out a little bit, people really liked it, it was great, but it was not my own material. I was just supporting another artist.

Let’s talk about your collaboration with David Reece. How did you get to know him and decide to record on his solo album?

I met David Reece when we were recording in the same studio, it was in my time with U.D.O. back in 1988-1989. He was the lead singer for Accept back then, and our bands were recording in Dierks Studios in Cologne. I got to know David, he was a really funny and cool guy, we hung out a lot at a pub close to the studio. Then we went separate ways, because he went to the United States to start touring with Accept, and we were finishing our album and then going on tour with Ozzy Osbourne.

Then about 17-18 years later I walked into a pub in the same area, as a friend of mine wanted me to get in touch with David because he knew he was there. I met him, we talked, and we hit it off really well. I didn’t really want to work with him or produce his album or anything, because I had another project going here in the south of Germany that’s called Die Unterschicht and is taking off right now pretty well. I didn’t have the time. So we said, “OK, let’s just write a couple of songs”, because he was expressing his wish to make a solo album. We did those songs, and it worked out really great. I thought they were really cool songs, they almost wrote themselves, it felt like I didn’t really write them, they were just coming out of nowhere. David really liked it, I really liked it, so we decided to do his solo album, which turned into “Universal Language”.

The only thing is that we should have done real drums. Stefan Schwarzmann came from Switzerland and played the drum parts, but he brought electronic drums along and recorded his parts in my apartment. (laughs) But I think it’s still a good album. We sold almost 3,000 copies in Europe, we got great reviews, we played Wacken Open Air at the Market Stage – this is a small stage, but anyway, we played a festival. We did a couple of gigs here, we played a gig in Belgium, it was a good time.

Then David wanted me to record a follow-up, the new Bangalore Choir album, which will be released this month, on September 22. He started getting in contact with all the other guys from Bangalore Choir. Actually John Kirk played on his solo album and he didn’t want to play on this album anymore, plus he’s totally busy doing other stuff, he’s not really in music anymore. So David got Curt Mitchell, the original guitar player of Bangalore Choir to play almost all the solo parts on this album, and he got Danny Greenberg, the original bass player, to lay down the bass parts. We got Hans in ‘t Zandt from Vengeance, he’s a great drummer from Holland. I pretty much played all the rhythm guitars on this album, played a couple of solos, did all the harmonies, arranged and produced everything and wrote 95% of the material.

We recorded the drums in Belgium in a really cool studio called Art Sound, Curt Mitchell recorded his guitar parts at home, he lives somewhere in Nevada, and Danny Greenberg sent his bass parts from New Mexico. I downloaded everything from the Internet and integrated it into the songs, and it worked out perfect. I think it’s a really cool album, it’s called “Cadence”, the release is scheduled for September 24, and we’ve already got a handful of reviews in magazines all over the globe – England, Australia, Germany, Spain… They all like it, we get ratings of 8 or 9 out of 10, and some of them even wanted to make it the Album of the Month. It’s looking good! We’ll play some shows in Austria and Switzerland in October, then we’ll play a couple of shows with UFO here in Germany, then we’ll play a couple of festivals, then we’ll go to England for Firefest at the end of October. In Germany and Switzerland we will play as a four-piece, it’s just Hans in ‘t Zant, another bass player from the Netherlands, David Reece and me, and for Firefest and Great Britain shows Danny Greenberg the original bass player and Curt Mitchell the original guitar player will join us. At Firefest we’ll perform almost the entire first Bangalore Choir record “On Target” (1992). It will be exciting!

The people who know David mostly know him by his participation in Accept and Bangalore Choir. But “Universal Language” sounds not as heavy, more in vein of Led Zeppelin and Whitesnake. Did you specially try to reach such result, to make it different from what David is known for?

(pause) Well, the thing is that with this record I wasn’t really trying to concert anything. I knew what kind of stuff David wanted, but I didn’t want to make it sound like Accept or Bangalore Choir. I had his voice, and we just wanted to write good songs. We just wanted to write authentic songs that he can perform as a guy who’s growing older. I mean, he’s not 25 anymore, he’s more mature, his voice is more mature, and he’s into different kind of stuff. I was just letting it flow and trying to come up with the best material I can possibly write and produce not thinking like, “This has to sound like Bangalore Choir” or “This has to sound like Accept”. I was just trying to let the production process flow and be open to what comes out at the end, that’s pretty much my ideology when it comes to production.

By the way, don’t you think that now David’s voice sounds very close to the voice of another David? We mean David Coverdale…

Yeah… Especially regarding the new Bangalore Choir record some people said, “Well, it sounds a little bit like Whitesnake,” and I was like, “Really? Do you think so?” I never thought that it would sound like Whitesnake. Well, David is probably somewhere in this region – David Coverdale, Ian Gillan, that kind of stuff, but he’s still got the voice of his own. He’s not hitting those high notes anymore because he really doesn’t want to, but I think he’s got more maturity in this voice. The comparison to David Coverdale is a great comparison, it’s a compliment. (laughs) I think David Coverdale is a great singer, and David Reece is, too.

Is David an easy or difficult person to work with? When he broke up with Accept, there were a lot of comments from the other band members saying he’s a tough person to deal with and stuff like that…

It’s always a combination of people. I don’t think one person is really easy or difficult to go with. OK, there are difficult persons, there’s no question about it, but I wouldn’t say it in the case of David Reece. There were two types of persons clashing together, it’s like the American mentality vs. German mentality. He was 25, he was trying to party and get on with his life. You know what I mean – if you’re a young guy, you wanna have fun, especially when you play in a rock’n’roll band. And then there’s a more serious approach from the guys of Accept, who have more of German mentality – we work, we look at that seriously… I don’t wanna say that David didn’t look at it seriously, but it’s a clash of civilizations, so to speak.

I wouldn’t say that David is a difficult person. He told me his version of the story, and I heard the other version of the story, and I think that was just the wrong mix of persons. When you put certain persons together, it’s like a dynamite mix. Some persons get along well, others don’t. I wouldn’t say this guy is the trigger in this whole thing, and the others were like angels.

Let’s continue with personalities – why did you decide to get Jochen Feunders (ex-Holy Moses) to play bass on “Universal Language”, and why did you part ways?

David wanted to have another bass player for Bangalore Choir gigs. We had Stefan Schwarzmann, and he went on to play the Accept reunion, so we got a different drummer, Hans in ’t Zant, who is a great drummer, and he had this bass player whom he had been playing with for a long time. The combination of those two guys just worked out perfect. We weren’t really on the same path with Jochen as far as playing goes, he was gonna go in a different direction, and it wasn’t the direction we wanted to go. We split on a really friendly basis, there was no aggression or animosity involved. Jochen is a great guy, I talked to him yesterday, but we just had different musical views. The new bass player, he just works out great with Hans, he plays great style, and he’s really filling up the background perfectly. When we play as a four-piece, it’s really a three-piece as far as instruments go, because David is just the singer. I have to play all the rhythm guitar, and when I play lead, we need a bass player who really fills up the background. A bass player has a huge responsibility in this band, because he’s pretty much a bass player and a rhythm guitarist at the same time.

It’s interesting that David, Stefan and you all have connections to Accept and UDO. Is this merely a coincidence, or one of the reasons for working together again?

I would say the reason we’re doing Reece now is really a coincidence. I was playing in another band with Jochen, Die Unterschicht, it was like an electronic piece. We were rehearsing, Jochen was like, “Hey, let’s go to this pub”, and I didn’t really wanna go there, because I was tired and stuff, but I said, “OK, I’ll come for you and talk to him a little bit”. If I hadn’t done that, we wouldn’t have ended up doing Reece. But I went to the pub with Jochen, and me and David just stumbled into each other. I had no intentions of working with David, but it just turned out to be that way. Then Jochen called up Stefan, because he wanted to have Stefan for another project. We were like, “If you have already talked to Stefan, let’s ask him if he wants to play drums for Reece”. But it was not really planned, it just happened.

Please tell us about the album title. What is “Universal Language”? Is it rock music or anything else?

It was pretty much David’s idea. Music is universal language, it’s not really rock music, heavy metal or jazz or whatever, it’s just music. Music is a really great way to communicate. If you sing in English, Chinese, Russian or Belgian or if you do instrumental music, it goes straight to people’s hearts if you write really great beautiful stuff that’s touching the soul of people. I think that was the idea he had behind this title.

Now that you’ve got Bangalore Choir back, will you continue under the name of Reece, or will you stop this project?

That’s pretty much David’s decision, but I think he’s already collecting stuff for the next album. I think he wants to make a next solo album. Ten or twenty years ago we were breaking up one project if we did another one, but these days I don’t see why we can’t do Reece and Bangalore Choir at the same time. I’ve got a lot of different projects I’m doing, and they all go simultaneously. It’s not that I have to leave this band to play in another band.

You play a beautiful bluesy solo in the song “All The Way”, and it sounds great. Do you like blues? And who were your influences when you were younger?

When I was young, I was really into melodic players like Michael Schenker and Uli Roth. Then I went to the United States, I was living in Los Angeles for almost 10 years, I moved there in 1994, and it really brought me into a lot of different styles like pop, blues, soul, progressive rock and whatever. I was playing a whole bunch of styles, not limiting myself to hard rock or heavy metal. I really got into players like Stevie Ray Vaughan, I really loved him for his sound, Jimi Hendrix, and especially Michael Landau, he’s a studio crack from Los Angeles, I saw him quite often in Hollywood playing with his three-piece. I’m into that kind of style a lot that is kind of formed by blues playing. I developed my blues playing while living in America for that long.

The song “We Were Alive” tells about youth and its passion. And what about you? Do you still feel the same passion to play the guitar or has the situation around you changed after all these years?

No, I still think I’m a guitar nerd, you can take everything away from me, but just leave my guitar. We’re all growing older, we think, “We have to do this, we have to do that, we have to make money”, and the music business is not really in a shape today, but I don’t care. I see it like a spiritual task to play this instrument, and I still want to evolve and play different styles, to really get better and become the best player I can possibly become. The problem is that I’m producing all the time, and I have to do a whole bunch of stuff, and I don’t have that much time to sit down, but I really wanna spend more time just playing and becoming a better musician and especially a better guitar player. I’m really like a guitar crazy! (laughs) I feel the same passion I felt 20 years ago, even more, because back then I was limited to just one style, and now I have discovered so much more. It’s getting better and better.

Let’s speak about your past career. You joined Sinner in 1986 to record the album “Dangerous Charm”. Was it your first professional band?

Ehm, professional… When you play in a professional band, you can live off this band, which wasn’t really the case with Sinner. My first professional band was U.D.O., because I was able to live off playing with U.D.O. exclusively. Sinner was my first more or less known band, they were known in Germany, Austria and Switzerland, they were not really famous, but they had a decent rating, people in the underground knew them. They drew 500 to 1,000 people back then.

Before that I had one band in my hometown, it was really like a trend setter for this kind of music, back then it was music like Survivor and Toto, with keyboards, the melodic rock kind of stuff. It really left an impression on the local scene here, but Sinner was the first band that really brought me out of my hometown. It made me… I don’t want to say “famous”, but it made me known to a wider audience.

Please, tell us about that time. What are your best memories about working and touring with Sinner?

I’m always bad with stuff like that, because when I’m talking to you, I can’t remember anything, but when we hang up, in an hour or two I will be able to tell you 10 or 20 stories. (laughs) OK, there was one show… We didn’t really want a red sofa or champagne in the backstage area, we just wanted to have decent food, so we can eat before the show and just play the show. At one of the shows the local organizer had pork steaks and French fries, and they were carrying the stuff in buckets. (laughs) The stuff was so horrible, it was not tasty at all, so we took the steaks and nailed them against the wall of the wardrobe in the dressing room!

In general, was the time with Sinner a happy time for you personally, or was it a bad time?

It was a great time! We had fun, we played great shows, we had great parties, and we did some cool records. It was a wild time, of course – when you’re in your mid-20s, you’re a party animal, everybody is like that. (laughs) My bandmates were all nice guys, and we had a great time, there was nothing wrong with that. Just the first experiences with bigger business.

How did you get to know Udo Dirkschneider? What are your impressions about playing with U.D.O. and recording the album “Mean Machine” (1989)?

It was pretty much thanks to Mathias Dieth. I was playing with Mathias in Sinner for a brief period of time, then he went to U.D.O. and recorded their first album “Animal House” (1987) with them. After the album was recorded, they were not getting along with the two guys from Warlock anymore – Peter Szigeti (guitar) and Frank Rittel (bass), so they were looking for different people. I was among those that they called, because Mathias told Udo about me, and he really liked my playing. So they called me, I learned the songs from “Animal House”, drove up there, did the audition, and a week later they called me and said that I got the gig.

Udo was a really nice guy. In the beginning, for the first six months, we were living all together in the same house, and he was a generous and sweet person, really meaning well. The level of professionalism was, of course, way higher than in Sinner, because, as I said, this was the first band I was really able to live off. We were signed to a major record company, Ariola/BMG, we went to Hungary for warm-up shows, and the whole management was on a totally different level than in Sinner.

Why did you leave UDO after only one album? Did you want to play other music or there were any personal troubles?

I pretty much wanted to do different music. It was a musical decision, I was not feeling that comfortable with their music, I had different ideas in my head that really didn’t fit with U.D.O. Looking back at the whole thing, it would have been better if I stayed for one or two records longer, because it would have made more sense from a business standpoint. The name would have gotten out there more, and I could say, “Hey, I did two or three albums with U.D.O.” It was not a wise decision and I would do it differently today, but from a true artist standpoint it was an absolutely honest decision, because I really wanted to do something else. I just wanted to move on and develop myself, but business and your heart don’t go together too often.

After U.D.O. you rejoined Sinner, but why did you record only a few songs for the album “No More Alibis” (1992)?

When I quit U.D.O. I was doing another project which unfortunately folded. Then I somehow got in touch with Mat Sinner again, and he asked me, “Hey, do you wanna rejoin Sinner for this album?” Almost all the guitar parts were already recorded, so I joined them in the studio, I played a couple of solos and a couple of rhythm parts, but there was no sense in redoing the whole album. I don’t have that big of an ego so that I would have to say, “I need to play all the guitars, I need to play this and that, I’m the star of the band”. I just laid down some solos and some rhythm tracks, and that was it.

You and Mathias Dieth also had another band – Ape, which was released an album called “Human Greed” in 1992. What you can say about this band?

It was the project of bass player Emil Brando that we auditioned for U.D.O. a couple of years before. When I got into the band, there was another bass player, Dieter Rubach, but half a year later, after the first tour, we wanted to have a different bass player, and this guy Emil Brando showed up. We didn’t get along with him on the U.D.O. basis, but I retained my relationship with the guy, so he called me up in 1992 or so and asked me if I could lay down some parts on the Ape album.

I don’t know if you know the photo on the cover, where we are all naked. It was a Photoshop kind of thing, because I never met Mathias in the studio. He did all the guitars on six or seven songs, and I played on about five or six other songs, but we were never in the studio together. It was pretty much a studio project, we didn’t play a single show and we never rehearsed. But it was fun doing the album.

You mentioned the cover artwork where you appear naked. Who came up with such an idea?

That was the idea of the drummer, Chris Pfannschnidt. His father had a graphic company, he worked with art, Photoshop and all this stuff. He took pictures of us, and then he just put it together.

What can you say about your partnership with Mathias? Was it easy to play together with him? Wasn’t there any competition between you and Mathias – who plays the best solo or something like that?

Yeah, of course, there’s always that kind of competition, but that competition makes you a better player. We got along well, he brought me to the band (U.D.O.), and I think this competition was positive, it was never about being better. He’s got a different style, and we always tried to make sure that we play the same percentage of solos. We regarded our relationship as that between equal rhythm and lead guitar players, it was not like in Accept where one guy is playing rhythm guitar and the other one is doing leads. It was pretty much even.

Why did you decide to go to the USA in 1994? Looking back, was it the right decision, or would you do it differently?

I would say it was the right decision. I didn’t make millions of dollars, but I really grew up as a musician. I was getting in touch with other styles of music, I was meeting a lot of interesting people, and I was playing in a couple of really interesting bands. For instance, there was a progressive rock band from Malibu with the wife of guitar player Richie Kotzen, and I was playing with a couple of great musicians in this band. I did some recordings with Andy Kramer, who produced Jimi Hendrix, and cooperated with many other interesting musicians. I think it was the right decision.

I was gonna go there a little bit earlier. I had this friend who does Bogner guitar amplifiers, and he was like, “Hey, I’m going to Los Angeles tomorrow, will you come with me?” and I was like, “It’s too much of a short notice, I need some time.” So he went there and kept on calling me. In the meantime he got a big amplifier company, after just two or three months, and I was still thinking about it. I quit U.D.O. to do my own thing, but we got a management agency that was really terrible, it was doing really bad work. Eventually the project I had after U.D.O. fell apart, and I was a little bit disillusioned. After one or two years of intense work we had really great songs, we wrote almost 40 songs, and it never came to a record deal, there was just talking. It was really bad experience with really bad people. So I was like, “OK, I’ll just try Los Angeles and see where it’s taken me.” I packed my suitcase, I went there and stayed for almost 10 years.

Please, tell us a few words about your collaboration with such bands as Miracle Mile and Mr. Perfect. It’s hard to find their recordings. What can you say about the musical direction of these bands?

Mr. Perfect was a band that I joined for a couple of leads. They called me up, it was ex-Sinner drummer Bernie van der Graf. It was a fun project, because a couple of my friends played in that band, and I was like, “OK, I’ll just lay down some leads for their record.” I think I came from Berlin, stopped in the studio for a day or two, laid down the guitar parts and went on driving home. We played about 10 shows in total. That was just a project, a side thing that I did. That was in the time before I left for the United States, so I wasn’t really a band member anyway, because they knew I was gonna take off. You can have different projects, but if you live on another continent, it’s hard to play shows and get going.

Miracle Mile was a totally different kind of story. That was one of my first professional bands in America. They had a record deal – it was with a small label (Pinch Hit Records), but anyway. They were all professionally minded and they were really trying to do this progressive rock style, which was a great challenge for me, because I was forced to play my guitar totally differently. They didn’t want a heavy metal guitar, they wanted to have textures, effects and spherical sound on the one hand, but on the other hand, they wanted to have really heavy stuff, too. We spent a lot of time recording, experimenting and rehearsing, creating a unique sound for this band. It was my first all-American band. Actually the drummer was from Finland, and the rest of the band was pretty much American. It was a new experience for me, which was a great one, actually.

In your own band 7-9-7 you didn’t only play guitar, but also sang. Why did you decide to become a singer? Do you feel that singing helps you to express yourself better?

It was actually my friend Reinhard Bogner who turned me on to be a singer. When I first got to Los Angeles, I signed up with the GIT (Guitar Institute of Technology) in Hollywood, but at that time I was trying to get into the scene, I wasn’t really looking into becoming a better player. I mean, I was always trying to become a better player, but my incentive was to leave a mark upon the scene, and the stuff they are teaching you there, I already knew pretty much. Reinhard told me, “Hey, just leave the GIT and go to VIT, which is in the same building, but is a school for singers, not for guitar players.” I asked the head of the school if that’s possible, and he said, “Yes, sure, we can do that”. I went there for half a year, and it was a great decision, because it made me a better singer.

I started singing on my own demos before I left for the United States, because I didn’t have a singer, and it was always like a director calling up singers. Singers would come down, but they would have limited time, sometimes they wanted to have money, and sometimes they wouldn’t sing the way I would like them to sing. So I was working on my vocals, and after half a year I felt that I could become a pretty good singer as well.

It’s another path of expressing yourself, singing is the ultimate thing, and in the meantime I am not looking at myself as a guitar player, I am looking at myself as a guitar player and singer. On my next solo albums I really wanna both sing and play the guitar. And I also want to do it live. Yesterday I was singing and playing guitar, and after the show people came and told me they liked it, they bought the CDs and really liked the style. There’s a lot of evidence that shows me it’s the right way.

After nearly 10 years in America, what drove you back home to Germany?

It was actually 7-9-7. I started with an all-American band, but then a German guy I knew from the old days – he was the drummer in the band I played with when I was still living in Germany - flew to Los Angeles, because he had some work to do there. We hit it off pretty well, and he became the drummer of 7-9-7. He spent one or two years with me in Los Angeles, but in America it was pretty hard to record the album and make a living at the same time, so we decided to go back to Europe for half a year, finish the album and then go back to Los Angeles. But it never happened – we got here and we just stayed here. We attracted interest of record companies, we found a management pretty fast and easily and they really believed in us. We spent two or three years here until we saw that nothing would happen in the long run and the band broke up. I was gonna go back to Los Angeles, but I had some personal family-related issues that made it impossible to go back, so I had to stay here.

Why did 7-9-7 break up eventually? You said there was pretty good interest in the band…

It was partially business problems. The management really believed in us, they invested in us, but after one or two years we saw that no record company would sign us. I also had personal problems with band members, so we decided that it would be better to call it a day. We had a great record (“Get Me To The World On Time”, 2006), we spent some cool time together but at that point it was better to break up the band.

In 2008 you released an instrumental album called “Supermihl and Superfriends”. Please, tell us about it – why did you decide to release instrumental stuff? And how was it like working with Richie Kotzen?

The idea behind the album was pretty straightforward: “Hey, I’m a guitar player, people know me as a guitar player, and I never did an instrumental album, so it would be really fun to just play the guitar and shred again, use a variety of styles and write some great instrumental songs”. At that time I was sitting in the studio doing this and that and not playing the guitar that much. So I just wanted to get my chops up and record an album that would be like a business card for me. I went back to America for some time, and I asked a couple of my friends like Rafael Moreira who played with Pink and Christina Aguilera, if they wanted to lay down a solo. Rafael was like “yeah, sure”, he really liked the stuff. I called up some of my contacts, and Richie was among them. He answered my call right away, and he was willing to lay down a solo on the album. I just drove to his studio, he recorded it, it was the matter of an hour, and I got this recording. I thought it would be a good idea to have some names on the album. I almost got Slash on the album as well.

Do you listen to contemporary guitar instrumental music? Don’t you think that the biggest guitar instrumental albums were done quite a long time ago, and there are not many new names that stand out in the scene?

It depends on what kind of stuff it is. Like I said, I’m listening to Michael Landau a lot, I don’t know if you’re familiar with the guy. It’s bluesy stuff that sometimes drifts into fusion and jazz, mostly instrumental, and it’s great music. I still like the old Joe Satriani stuff, because it’s really creative and inspiring, but if you ask me about a contemporary instrumental album, I would have to say “no”, I don’t know an instrumental album that I would listen to right now and that’s really standing out.

You play in different styles – heavy metal, hard rock, progressive metal, country, blues. What style is your favorite?

I would say I’m a rock/blues player, that’s where I’m really strong at.

Are you satisfied with your career? Haven’t you ever thought that you don’t have the success which you really deserve?

It would be nice to have a hit song, maybe have a record of my own that’s getting really recognized, that I could live off and tour the world. But really the only thing that bugs me a little bit is the live situation. Here in Central Europe clubs are really degenerating, and the live situation is not really that great anymore. I would love to play live more, I would really like to go on tour and play in the public, that’s the only thing I would like to change.

What band is your priority at the moment – Bangalore Choir, David Reece’s solo project or your own projects?

I think they are all equal. I’ve got Bangalore Choir that’s taking off quite well, and a lot of people pick up the new record. I’ve got my own project that I really want to advance more and put more focus on. I like to play my own songs, I like to play instrumental songs, I especially like to sing. I’m talking to a booker who really wants to pick up the project and have us play more. Then I’ve got another project down here, which is with a friend of mine whom I’ve known for about 30 years, it’s called Rock und Rollinger, it’s a cabaret meets rock music kind of project with a high acceptance among people here. We have sold over 5,000 units in the last year, and people really like it. Those are my priorities, these three things.

What advice can you give to beginning musicians?

It could turn out into a hard time in a hard business, so you gotta decide if you really wanna do this. If you wanna do it, then just jump in it, and give it your everything. Play from your heart, always try to be authentic, mirror yourself if you’re authentic. It’s like an actor – you have to live it, you have to live your role. If people think that you’re playing, then you’re not authentic or you’re not on the right path. Just be true to yourself and maybe not party too much! (everybody laughs)

Andy Susemihl on the Internet: http://www.andysusemihl.com/

Konstantin “Hirax” Chilikin, Roman Patrashov
September 4, 2010
© HeadBanger.ru

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