Diary Of Dreams
His Diary’s Black Pages

30.04.2008

We are asked quite a lot of time how we choose bands for the interview section. We always answer that they’re either creators of music we truly love or at least enjoy very much, or the distinctive figures in their scenes whom we cannot but respect for what they have done. I personally may not be the most active listener to Diary Of Dreams on this planet, but I truly respect their work and achievements, so when an opportunity appeared to talk to the band’s mainman Adrian Hates, I made use of it, and wasn’t disappointed for a second. We haven’t done our monster 1+ hour long interviews for a long time, but this one nearly reached one hour in length, and it’s not because I had 100 or something questions ready, it’s just that Adrian is such an incredible storyteller and has such a firm belief in what he does, that you can’t but get carried away. So as you’re about to read this interview, make sure you have some time – the more you read Adrian’s words, the more they suck you into his dark word where everything is bleak, yet very interesting and exciting…

It took you three years to write and record new album “Nekrolog 43”. Why was the break so long this time? As far as I understand, this is the longest break in between studio albums of Diary Of Dreams…

It’s true, yes. The first reason is definitely that after the release of the “Menschfiend” mini-album, which was the last part of the trilogy (“Giftraum”, “Nigredo” and “Menschfeind”) we were on the road for very long, and I had very little time that I could actually spend in the studio. Of course, I had some sketches that I wrote down and some lyric and conceptual ideas that I put on paper during the tour, but I didn’t have the piece of time to really step in the studio and actually start working on a new record. Once I get involved in the production, I like to invest a lot of time in one piece, and I don’t want to be interrupted by concerts. We played in so many countries, we were in Israel, we were in Russia, as you know, we were in the United States, Greece, Portugal, Italy and so many other countries. All together, I think, Diary Of Dreams has traveled to 26 countries so far. I was actually really busy traveling the world, and when at one point I got back, there was, as you can imagine, a whole lot of work on my table, and I needed to take care of it. Just think of it – after we played in Europe, I had over 600 e-mails from fans on my computer, and it took me a couple of months just to answer those.

Then at some point I sat down and finally got started, but I was always interrupted by further concerts. Only in the middle of last year I sat down and said, “OK, here we go, doing nothing but producing the album.” It took very long, and at some point I called our manager Albert and said, “Albert, you know what? We’re gonna release the album on October 26, 2007.” And “Nigredo” was released on October 25, 2004, so that’s pretty much exactly three years. For none of us it felt that long, but it’s very long for the fans. For us, “Nigredo” is still very fresh, very current. I hope that the next album will appear in a much shorter time.

How do you work on an album? Do you come up with the concept first and then start writing music for it? Or do you write a bunch of songs, and then start thinking what they can be about?

I have a general saying for the production of Diary Of Dreams albums, and it’s that our concept is to have none. Every album is a different procedure, and every album is approached differently. That’s the freedom I love about music, I totally cannot understand how bands have a working procedure that’s repetitious for every album. That will bore me to death. I think the exciting part of music is to have the ultimate freedom of doing things differently. This time I wrote some of the songs on classical guitar completely, before even sitting down in front of the computer and transferring them into the computer. But yet before that I started off with the working title for the album, the background story and the lyrics, so I had a lot of information written together for this concept until I really started working on the actual music. That was really exciting, because it was very abstract to sit at a desk with a piece of paper and a pen, and write words for an album before you actually heard a single tone.

That was fun, and really different. For the previous album “Nigredo”, Gaun:A and I pretty much worked simultaneously on the complete album. Sometimes I was working on music, and he was sitting in the background listening to what I did and at the same time working on the graphics. This time we had step-by-step production. We started off with the concept, then the music, then the production, then the mixing, then the mastering, then the graphics. Of course, in the process of the production the ideas for graphic design and photo shoots were born, but still it was not until after the production that we realized all these thoughts. That was very cool. I have no idea how the next concept is gonna be like, but it’s surely gonna be different again.

How much did Gaun:A actually contribute to the music of Diary Of Dreams this time?

This album is dominated by me, I have to admit. Yet Gaun:A did put his unique guitar style on quite a few songs, which is very essential and very important to me. And he was always there to give his input and give his ideas and his thoughts on the songs. That is very important and very useful as well, because he understands the music like very few do, and he feels it very similarly to me. The band as a whole gave their input, and that was important to me, too. We sat down, listened to the tracks at different stages of the production, and we discussed the songs together. Many interesting ideas were the result of these conversations. That was very useful to me, especially since when you work by yourself for such a long time, you kind of lose the overview on things. An external output is something that’s very helpful at times. You kind of get stuck in some moments, and then somebody from the outside comes and says, “Why don’t you approach it from this angle?” Just this sentence is sometimes needed to renew your own perspective and be able to start over again.

For instance, when I was unsure about the way I recorded the vocals, everybody came to me and said, “This is one of the best vocal recordings you’ve ever done.” And I was like, “Wow!”, I didn’t expect this at all. On the other hand, when Gaun:A and Albert heard some songs, they said, “I’m not sure if you should not approach the vocals from a different angle.” And I was like, “Maybe they’re right,” and I tried different things. This is the way production evolves, and that’s the freedom I like. So Gaun:A was as important as ever but not as present as during the last production. But once again, next album is the next concept, and maybe we’ll end up sitting next to each other day by day. It’s nothing that we consciously decided that the production was going to be this way, it just developed this way.

I’ve talked to some musicians, who say that they basically mediators, they kind of receive music and lyrics from somewhere outside, and just transpose them onto their musical instruments or on paper. What do you think of such an idea? Do you consider yourself a creator or a medium?

(Pause) An interesting thought… I would say I’m a creator, because “medium” sounds very esoteric and very spiritual (laughs), and I’m not that much of a spiritual person. Since the ideas and the concepts that we deal with come from our insides, mainly my inside, I would dare to say, “Yes, I’m the origin of the music, and I’m the origin of the ideas and thoughts behind it.” I just really put on paper what bothers me inside my head, it’s something that I struggle with and I want to get out of my system. The origin of the music is very personal, it’s not like I feel that it comes from some other power, it’s my own strange head that demands that I make music.

The cover artwork for the new single “The Plague” has a lot in common with the cover of “MenschFeind”. Does it mean that the releases are connected conceptually as well?

Yes, it’s true. The trilogy is conceptionally connected with “The Plague” and “Nekrolog 43”, but not musically. That’s the main difference. When I started after “Menschfeind”, we had been on tour for quite a long time, and on tour I had a lot of time to really think and reconsider everything I did. I thought “Menschfeind” is such an amazing point in time, it’s such an exciting moment, there’s so much more to say about what happens afterwards. Even though it is the bottom line and it is the end of the story, it’s still not the end of the complete story, and I felt that I had to continue it and say what happens next. The end was still too open and too vague, and I wanted to make it a bit more precise. I don’t like endings that are totally understandable and totally clear, but still the ending of “Menschfeind” was too open. So I thought that there was still a lot of stuff in there that needed to be told, and a lot of things that happened in my life were similar to the position and the state of things I described on “Meschfeind”. I basically felt that “The Plague” was the binding connection between the albums.

“Nekrolog 43” continues where “Menschfeind” left us conceptionally, and musically it goes more into the extremes. There more calm stuff on it, and at the same time more harsh and aggressive sounds, which will certainly appeal to the people who are more orientated on hard guitar music. For some reason we’ve always had a strong following in the metal scene, and funny enough I’m a big metal fan as well.

Oh really?

Yes, I am. Classical music is my big love, but also metal is. I’ve been surrounded by it since my late childhood, since my school times. All my friends were metalheads, so I was surrounded by Slayer, Iron Maiden, Pantera, all the big bands from the metal industry, and these days some of the nu metal material is among my favorites. This is definitely not classical metal, but Korn, for instance, is one of the bands I really admire. I have to admit that I still listen to Slayer as well (laughs), and I think it’s a brilliant band.

My range of music is enormous. I enjoy this musical scale a lot, because it gives me the freedom to find inspiration in different styles. Naturally the metal genre has a lot of unique musicians, very talented people, and watching them play is more than just having inspiration and admiration. Maybe the metal music in general has something in common with Diary Of Dreams, maybe it’s the mood, maybe it’s this characteristic of the music that a lot of people from the metal genre can relate to. In Germany, Italy and Greece, I’ve always done a lot of interviews with metal magazines, which I enjoy a lot. I think it’s wonderful not to be limited to the goth crowd. I don’t dislike goths, please don’t misunderstand that, it’s just that the wider the range of musical styles that I appeal to is, the more beneficial it is for me, too.

Speaking more about the artwork, the previous time you went to Iceland to take photos for the album. Where did you take photos this time?

The location was definitely not as exciting as Iceland, because Iceland is simply an unreal, amazing place. It’s an experience that I will take in the grave with me, because it was unearthly, it was like some other world to me. I just knew that whatever country I would pick now, it could be beautiful and possibly even as beautiful as Iceland… but we had Iceland and this enormous beauty already, so I was in fear that another photo shooting of that style, focusing on an enormous background, could not be seen as the beauty that it is, because we had Iceland before. It’s hard to improve that, because Iceland is an enormous beauty, and I didn’t want to look like somebody who’s just trying to keep the same scale or get the same result out of it, so we actually approached the photo shoot from a totally different angle.

I have taken five photo shootings for this album so far. One was for the cover, one for the internal booklet, one for the final of the story, and… well, I don’t remember the rest, there were so many photo shoots this time. (laughs) The main photo shoot was probably the one we took in a mental asylum. You can actually not see that it’s a mental asylum or that it was a mental asylum, because everything that is typical for a house like that was torn out. It’s really just an old house being almost torn down. In this house, we basically organized our executions, which was quite an impressive sight, because I was hung, and the others were shot, poisoned and drowned. It sounds very movie-like, and it had the mood of a movie, too, because the pictures are very strong, and they look very real. I didn’t apply typical B-movie horror effects to them, I rather made them very plain, very realistic. We had very simple clothing on, we were barefoot, we ran barefoot in this house for three days until we were completely filthy and dirty.

It’s funny to say this, but I enjoyed this photo shooting very much, because it was very intense. The photographer came to me after the shooting and said that it’s very rare that she experiences bands that are so much focused on putting onto picture what they have in mind. She enjoyed this shooting with us very much, and I did, too. This was definitely a very amazing moment for us.

One more shooting that I forgot initially was the shooting for “The Plague” single with Ingo Roemling, with CGI effects applied afterwards. So we had very different ways of approaching the photo shoot this time – one in front of a blue screen and the rest being done on the computer, and the second one was no computer work at all, except some coloring. Everything you see in the booklet is real, every little detail in the pictures was put in front of the camera by ourselves. In the latter case you could look into the screen of the photographer’s camera and see how the picture was going to look like, but in the former case, you just saw a face a face in front of a blue screen, and you had to decide whether this is the way you wanted it or not. You need a lot of fantasy to be able to look further. Luckily with Ingo Roemling, aka Monozelle, we were able to achieve remarkable results.

The pictures are quite shocking, and I very much like this effect. First of all, it draws your attention, and I hope there’s more than that, I hope it makes you think. I hope it makes you hold on for a moment and recapture what you see, reconsider it and ask yourself, “What could this picture possibly try to tell me?” That’s where a process starts that could be continued in the mythology of the album, in the lyrics of the album, and in so many other moments. Musically, as well as lyrically, you could really go on a little journey. Basically for me the pictures are a shocking invitation to the concept of the album.

I guess with the attention you pay to the visual side of Diary Of Dreams, you weren’t very happy with the idea to release your music as paid digital downloads, right?

You’re very right. That’s why I’m very happy that we can still release CDs. We still put into visualization what we have in mind. For the tour, we’re at this moment printing a vinyl record…

That was actually my next question! I was wondering whether you have released anything on vinyl so far…

It’s so funny - it was so long ago when vinyl was dominant at record shops, and so much time later Diary Of Dreams are doing a vinyl record. OK, it’s funny, but I think it’s a dream that every musician who grew up in the CD industry has. There’s nothing like the size of a vinyl cover! (laughs) There’s such an enormous impression that you can have. And our vinyl record itself is going to be a picture disk, so on both sides of the vinyl we’re gonna have pictures, which is something I as a child found to be the most amazing thing – to have a record on your turntable, and have a cool picture on top of it. Yes, we’re gonna do this vinyl to satisfy ourselves, but we also have to offer our music as a legal download. It me, legal download is a good alternative to an illegal one, but still nothing that is a representation of an album. I think it’s very sad that these days we are forced to do digital downloads, because the younger generations don’t care about graphic design. There’s nothing we can do except drown if we don’t fulfill this need. (sighs) So I give the kids what they want, though I find it sad to imagine that some people just download three songs from the album and they’re not able to experience the album as a whole. They’re not trying to make this journey with us, and they don’t feel the development of the album that goes through ups and downs emotionally. It’s an exciting process that allows musicians to put a lot of heart and attention even into the running order of the songs on the CD… But I can’t change it, I can’t change the world, I can just do my best to have as many different options as possible.

We have already mentioned the single “The Plague”. How much does it represent the sound of the full-length record?

It just represents a little portion of it. The reason why I put “Allocution”, a ballad, on it right after “The Plague” is that I wanted to tell the people even with this single, “Don’t worry, it’s not all gonna be guitar-driven, rhythm-orientated music. There are also very calm, very peaceful and very quiet ballads, it’s very complex and deeply-structured music with several layers on top of each other.” That’s really what I tried to demonstrate with this single, but of course, it’s very difficult when you have just two tracks. “The Plague” is a representative of the more aggressive part of the album, but surely not of the rest, the rest is more or less represented by “Allocution”. But songs like “Alone”, which is the second last track, or “The Valley”, which is the last track, or “Tears Of Joy”, which is track four, or “Son Of A Thief”, which is track three, are very different worlds. You need to hear them and experience them to be able to tell the difference, and the difference is huge. Also vocal-wise – and that’s something I did very much on this album – I really punished myself being very precise about the vocal work. I wanted one very specific and very individual style in the vocal work, so I really spent a lot of time in the studio doing different vocal takes, sometimes a couple of days just on one track.  

The single contains the live version of the song “Traumtanzer”, which is a kind of tribute to the fans that visited your shows. But why this particular song?

In my eyes, there were just two songs that were possible as a thank-you for the fans. One is the live acoustic version of “Amok”, which contains just the piano and the vocals, and the other is “Traumtanzer”. These two songs were celebrated like crazy all over the planet, everywhere we played. And since we had the acoustic version of “Amok” containing just the acoustic and the piano part already on the DVD and the live CD, all I could have done is to make a different version of it, and I thought that would be quite poor. So I decided to take “Traumtanzer”, which was also one of the fans’ major favorites, because, as you can hear on the DVD and CD, the whole audience kept singing the chorus with me over and over again at the end. I thought that was a very unique moment, no matter if we were in South America, Italy, Greece or wherever. That’s enormous, especially since it’s a German track. So I took this track as a representation of the complete setlist to say “thank you” to everybody that supported us on this tour, to everybody that showed up at the concerts and celebrated the tour with us. I’m very thankful for this tour from the bottom of my heart, it was for me the most amazing experience tour-wise that I had in my life. Also in general, it was an amazing experience, I really had a great time. I met wonderful people, I saw amazing countries, it was just a privilege and an honor. Next year we’ll start over again, and I hope it will be even better. (laughs)

It’s quite strange to hear that you had a great time on tour, because, as far as I understand from your previous interviews, you are not particularly happy when you have to be in a crowd of people…

It’s a question that I’m very frequently asked, which I understand. But on the other hand, you will hardly ever see me in an audience, that’s the main difference. I have my backstage, where I’m for myself, or at least with my guys, then I go on stage, and I have a lot of room onstage for myself. When I need room, I have room, which I don’t have in an audience. As you might know, pretty much after every concert, there are very few exceptions, I go into the audience to have conversations and to meet the people that have supported us. This is a much more difficult task for me, because then I’m being approached by a lot of people at once. Sometimes it’s too much, sometimes it’s not too much, and I can handle it, but the point is: I don’t like masses of people, I just don’t. The older I get, the less I like it. You will never find me in public transportation, you will never find me at big concerts or big festivals, and if we go at big festivals ourselves to play there, I hardly ever go in the crowd. I just don’t feel comfortable, it’s an inner feeling of insecurity or unhappiness. I need room to move, and I need the knowledge in my head that I can step back any time and be by myself. The stage offers me this possibility, and that’s why I’m totally in peace with the stage. But after the tour, when I come back to my little house in the forest, I will surely be by myself for weeks.

Do you remember your very first live concert? When did it happen, and what were your impressions?

The very first concert was in June 1992. Actually I found a picture of this concert in a box a couple of months ago, and it showed me the date. That’s why the date that you can see on the website is the absolutely correct date of that concert. Actually it was not a festival or a typical concert, it was a performance night, which was quite interesting. It took place in a very beautiful old theater, which was later used as a cinema, and then for some reason they stopped that use and just arranged little concerts and theater performances there. They also had these performance nights, and I participated in one of them. There were the strangest people performing – some were just reading poems that they had written themselves, some were making absolutely strange music, whose conceptional idea was not to make harmonic music, but to have an accumulation of sounds, some were doing pantomime, some were staging little plays, fire games, or whatever. This was just a crazy bunch of people.

One of the performances was ours. I was doing keyboards and vocals, another guy was doing keyboards, and my former guitarist was playing the guitar. The place was packed, there were 600 people, which I though was very amazing, I’m sure that today you won’t get this crowd together for an event like this.  But it was a very artistic event, and very theatrical.

Anyway, at the very early stage of the concert I remember the organizer coming up for the bands that were playing and asking them, “How long can you play?” One of the bands were the biggest assholes, they were like, “Oh, we can play as long as you want!”, and they were really lousy. Actually they played for 10 minutes, because the audience booed them out! (everybody laughs) Then the organizer asked us how long we can play, and we said, “25 minutes, not more.” They laughed at us, but it turned out that we were the only band that evening that got standing ovations, and the audience wanted an encore. I came to the microphone – I remember it just like it was yesterday – and said, “I’m very touched, but we have no encore.” (everybody laughs) There were 600 people laughing, and I was standing there onstage being totally irritated and totally insecure, because I was a young man, I was overloaded with emotions at that moment, and I didn’t know what to say, so I was just honest. I said, “Sorry, we have no encore, these have been the only tracks we rehearsed for this concert,” and the standing ovation just kept on going. I still remember it as if it was yesterday.

We had told nobody about that show. None of our friends, none of our families were there, it was a completely unknown audience. And I’ll tell you why we did that. I didn’t want to have friends in the first rows clapping, applauding and screaming because they knew us. I wanted an honest audience. I was very insecure in those days, I didn’t know if the stuff I was doing was good or bad, so I thought, “This could be a chance to get some feedback.” And the result really convinced me that the path I took was rather interesting one.

How do you decide which language to use in a song? When you look back, do you think you’ve always made the right choice, or do you think, “Oh, I should have sung this in English or in German”?

I think the choices I’ve done were very good, because we’re very careful with these choices. Some songs were actually even written in a different language, I recorded them completely in another language, and then at one point I decided that it just didn’t work, erased it and re-did it. I’m very careful about steps of this sort, and once I decide upon the language, I’m very secure about what I did. I remember very well the point in time when I decided that English has to be the main language, it was in the end of the 1990s. At that point of time music in the German language was very popular, there bands like Goethes Erben, Das Ich, Lacrimosa and a few others. It’s not that I dislike them or anything, but I didn’t want to be part of this musical genre just because of the language. Dark music, German vocals… no, I didn’t want to limit myself to a certain realm of people. Also I wanted an international appeal, I wanted an opportunity for more countries to understand what I was talking about than just Germany. On top of that, I lived in New York for 1.5 years, and my parents lived in Scotland for a long time, so I spent a lot of time in my childhood either in America or in the United Kingdom, so the English language was very familiar to me. I was very much used to picking up the phone when I was a little boy and having somebody on the phone that was English. Of course, over the years, you lose some of the feeling of using the language as your mother tongue, and you start to be forced to think before you speak again. But still the English language is quite familiar to me, and I feel kind of comfortable using it. I love the English language to death, I think it’s a wonderful language, just like French and German, but I think that mixing these language is enormously interesting. Be sure that I would use more languages if I were able to speak more. I do speak a little Italian, but most of it is lost. Unfortunately in most other languages it’s just “spasibo” (laughs), and that’s really it.

What artists or poets have influenced you as a writer? Are there any bands on the current music scene whose works you like?

Well, there are some, and there have always been some, but I will never consider them as an inspiration, it’s rather something that challenges me, that is able to get my attention and free my mind of all the other things that I have in my head. For instance, I think that 30 Seconds To Mars is a really amazing band, I enjoy listening to them, and Korn is a band I’ve always admired, then there’s Unkle, Massive Attack, Pink Floyd, Peter Gabriel… There’s a number of bands that I really love and I listen to on a regular basis, but they’re not an influence, they’re bands whom I admire for what they do.

As to literature, it’s classics, I have to admit. Unfortunately I don’t have too much time for reading (laughs), I focus so much on music. But once I grab a book, it’s some French literature such as Albert Camus or Jean-Paul Sartre, or German or Austrian expressionists, such as Georg Trakl, Gottfied Benn and Georg Heym – difficult names, I’m sure (laughs), and probably a lot of them are not very popular in your country.

Well, at least Albert Camus and Jean-Paul Sarte are very well known…

Really? Well, I assume that’s because they won major prizes, the Nobel Peace Prize. The German and Austrians are from 1909-1930, they had enormously dark poems. They are striking, I’ve never read anything else like that. That’s why I still grab the old books and read them – they are so word-strong, they’re what I call “painting with words”. I think they celebrated this to the ultimate. They’re sometimes even very bloody and very brutal, it’s definitely worth checking out, and I’ve had many fans of my music pick up their books. Even some Americans did so, even though they used translations, and then they contacted me and said, “Wow, that is really amazing, that is unique literature!” And that really is.

The next question is going to be kind of trivial: What are your impressions from visiting Moscow and Russia?

I think we’ve played in Russia three times (the interview took place before the latest Diary Of Dreams gig in Moscow which occurred on February 23, 2008 – ed.), and for us it’s always an anniversary. The first show in Moscow was Gaun:A’s first performance with Diary Of Dreams, so for us it’s always a very important date, plus, we return home to a certain extent. And every time backstage we celebrate that for us. A member came to the group that is extremely important for all of us, and we very much enjoy being together, it’s something very strong and very unique. So from scratch, Moscow was in a very good light. On top of that, the audiences we had in Moscow were always amazing, it was a pleasure to play and to have such a strong support. I very much enjoy being in the city. Next time we hope to go further than Moscow, see other cities and more remote places and celebrate the new album with more people in Russia. It’s a privilege and an honor for me, I can’t wait to be back in Moscow, because the audience there is one of the best in the world – and I’m not saying this because I have you on the phone. (laughs)  

I was quite surprised when I found out that you will play acoustic sets at release parties of the new record. What made you do it? It’s quite hard to imagine the music of Diary Of Dreams played just on acoustic guitars…

You’ll be surprised how well it works, it’s very cool, and I very much enjoy it. Actually in 15 minutes or half an hour Gaun:A is coming over, and we’re rehearsing again. On stage there are gonna be three people with one piano, two acoustic guitars and three vocals. And it’s very exciting! It really is very exciting, because you start to rework the compositions and actually notice that harmonies on guitar or piano work much better if you do them differently. Suddenly the complete song becomes a very different song with a very different feeling. We’ve always done a few acoustic things in the middle of concerts, on the last tour we did “Amok” with just piano and vocals, and there was already a bit of acoustic feeling. Afterwards, in the end of 2005, we had a little tour in Germany that had an acoustic block in the middle, when we played six or seven songs just on guitar, piano and vocals. The fans love it so much, they’re so excited to hear these versions, and they’re so peaceful and so calm, it’s so quiet when we play acoustics, that it’s amazing. At home we all play either piano or acoustic guitar, so for us it was a chance to make a dream come true. I’m sure once we’ll play in Russia, we’ll also play an acoustic song.

And the final question: is Hates your real last name?

(giggles) I wish!

OK, when and how did you get it?

That was a long time ago. Over the years Adrian Hates has been closer to me than my real name, especially in English-speaking countries, because nobody’s able to pronounce my real name correctly. When I started working on this concept for Diary Of Dreams and writing first songs for it, I wanted my name to be part of the whole illusion, the fantasy, the story, the dream that is Diary Of Dreams. I just felt that my name needed to be… (pause) distorted, it needed to be hidden, because the band is not about individuals, the band is about the music, and the band is about the passion for what we do. That’s why in the early days everybody still had a lack of ego and needed to have written “guitar by”, “keyboards by” in the booklet. It’s all so fucking uninteresting to know who played what. These days the booklet just says “music composed and produced, lyrics written by Diary Of Dreams”. That’s all you need to know. It doesn’t matter what person did what part, because we talk about music, we talk about songs, we talk about an album as a whole, not about what person did what part. I find it exciting, so I decided to hide my name as well.

Diary Of Dreams on the Internet: http://www.diaryofdreams.de

Special thanks to Alexei “KIDd” Kuzovlev (Irond) for arranging this interview

Roman “Maniac” Patrashov
November 28, 2007
© HeadBanger.ru