Bangalore Choir
Mending Fences with the Past

20.10.2025

Interviewing people like David Reece, you don’t really know where to begin. As a singer, he was involved in several bands that are known to pretty much every hard rock and metal fan on the planet, with Accept (on the “Eat The Heat” album back in 1989) and Bonfire (on “Glorious” some 25 years later) being on the top of this list. Over the years David has participated in a multitude of other projects, such as Iron Allies, Wicked Sensation and Sircle Of Silence, and released several solo albums, but the band that he keeps bringing back is Bangalore Choir. The band started back in the early 90s with an album called “On Target”, a melodic rock/ hard rock gem, which may not have received instant recognition, but has grown to be widely respected in the scene. In 2025, Bangalore Choir are back with a new album, “Rapid Fire Succession: On Target Part 2” (out Oct 24 on Bravewords Records), that successfully revives the original spirit and offers quite a few surprises to a long-time listener. We thought it was a nice opportunity to get together with David and finally ask him a few questions about some of his adventures in the wild world of hard rock and heavy metal…

The new Bangalore Choir album clearly references “On Target” in its title. In your opinion, what connects these two records? Did you start out with the idea to make “Part 2”, or did it become clear to you that you were making “Part 2” already in the process?

It began last year in December. I was on tour in France, and I play a lot of “On Target” in my live set. To be honest, as a solo artist, you’re doing OK live venues, but you need the brand name, Bangalore Choir. You can’t just be called “David Reece” live. I compare it to Mike Tramp and White Lion - [he goes out as] Mike Tramp’s White Lion. I started thinking about bookings and branding because for live shows they want the nostalgia and the name, the recognizable name. To answer your question, I said, “I’m gonna remake Bangalore Choir, but I wanna go back to the authentic sound of the first album”. That’s why you get the reference in the artwork and the title - it’s “Part 2”. I had it fully planned in my mind. 

The album is divided in two “acts” – what is the rationale for such division?

One problem was that I had over 20 songs, and it was very difficult to choose. Giles Lavery, the A&R guy with Bravewords Records, said, “Why don’t we do Act 1 and Act 2?, a kind of like Meat Loaf thing, like Steinman did”. We put eight songs in Act 1 and eight songs in Act 2 because I couldn’t decide which should go on the record and which shouldn’t. There’s probably six or seven songs that I like that are not even on the record, by the way. That was the concept of that - a kind of “2-for-1” record. (laughs) 

Why did you decide to re-record “Prisoner” by Accept? Why this particular song?

That wasn’t really my idea. That was Giles’ idea, he’s a big fan of that song. I personally never really liked the way the song came out when I was in Accept. I didn’t like the drum sound, the vocals, so I said, “If I re-do this song, I wanna remake it with heavier guitars. Do you know what I mean? There were too many keyboards and a sugary sound”. He said, “OK”, but that was pretty much Giles’ idea. I play “Eat The Heat” songs in my repertoire as well, and everybody knows it. Maybe I would have chosen a different song, I don’t know, but they wanted “Prisoner”, so I did it.

This album once again features guitar playing and songwriting by Andy Susemihl. You and Andy have worked together for nearly 20 years, but not on a permanent basis – for example, he wasn’t involved in your latest solo album “Baptized By Fire” (2024). Why does it happen – I mean, you kind of drift apart and then get together again…

We’re brothers. We’ve known each other since I was in Accept and he was in U.D.O. That’s where we met - in Germany, at Dierks Studios, we were doing both albums at the same time. Andy understands Bangalore Choir music, and in my opinion he’s probably one of the greatest players in the world, he’s an amazing talent. But Andy wants to be a solo artist himself. We work together, a lot of times we write songs together, or I offer him ideas, or he needs help for something he’s doing, but we’re always in contact. We’ve done hundreds of live shows together. It’s like we can’t get away from each other (laughs), we always end up back together. We’ve never had a fight or a problem, it’s just he goes his way sometimes, I go my way, and we always somehow come back full circle. 

There are three more guitar players on the new album. You have played with Mario Percudani before, but what about the other two guys, Diego Pires and Eric Juris – how did they become involved?

I played with Eric in Hamburg, I did a Bangalore Choir headline show two or three years ago maybe. I was fine with Niccolo Savinelli on guitar, and I wanted two guitar players, and a friend of mine recommended Eric. He fit perfectly, but after the show Niccolo said, “I don’t want two guitar players”. I said, “OK”. And then Giles called me and said, “Hey, I really need a guitar player for Warlord. Can you recommend anyone?” I said, “Yes, Eric Juris”. They met, and it was perfect. So, Bangalore Choir is a two-guitar band, and Andy, as you said, is doing other projects, and Andy may be moving to South America, so Andy cannot commit full time to touring with me. Working with Eric, he brought Diego in, who’s also in Warlord. I saw them live with Warlord in Milan, I watched them work together, and I said, “That’s a great guitar team”. Because they’re gonna be in my touring band, I wanted them to play rhythm and some solos on this record, so that it would have a touch of their musical style - rhythm, some solo pieces here and there. Probably most of the solos are Andy and three songs are Mario playing solo. But yeah, they’re gonna be my touring guitar team on stage, starting this month.

On the keyboards you have Jimmy Waldo and Ferdy Doernberg. We know that you played with Ferdy before in Sainted Sinners. How did he get involved this time?

We’ve always loved each other. Ferdy and I used to jam a lot alone when Sainted Sinners was happening. We would do gospel songs, Ray Charles songs, stuff like that… One day he looked at me and said, “David, there are only two singers that I can jam with like this, it’s you and Joe Lynn Turner. You always know where to go, it’s natural for you”. I always knew he had something special, and I like his work with Axel Rudi Pell. His contribution is on the song “Mending Fences”. I said, “I wanna call him”. I said, “Hey, what do you have? I wanted to do something like Elton John, a little bit of gospel, you know what I mean? Do you have anything like that musically”? He said, “Yeah, two pieces”. And I chose this one. He’s perfect.

And Jimmy, of course, works with Giles in Alcatrazz and Warlord. It’s kind of a family thing, we all work together, we all know each other, and I’ve done recordings with Jimmy many times. Jimmy added some colors and all. I have great respect for Jimmy and Ferdy. They’re great, great musicians.

What is going on with your solo project? Do you plan to continue releasing solo records?

I don’t know. I really wanna focus on Bangalore Choir. I mean, I have a double album basically, and a lot of shows coming. I think I wanna ride this for a while. Honestly I have a solo album recorded right now. I have one put away, I finished it before I started this, so it’s there. But you know, I did “Baptized By Fire” and some heavy stuff, I really like heavy groove rock, but I’m a hard rock singer. I come from Deep Purple, Paul Rogers, that’s the kind of singer I am. And I realize that live, I realize that when I’m doing “On Target” songs - the people respond to me singing like this the best. And I feel more natural. I don’t listen to heavy, heavy stuff when I’m home alone, I listen to The Allman Brothers, I listen to Bad Company, I listen to Tom Petty, and I listen to a lot of very laid-back SoCal stuff. I’ll get heavy once in a while – Stone Sour, Slipknot, or Soundgarden, or something like that, but honestly I’m more of a 70s hard rock singer, I hope it makes sense.

Is it true that you changed the name of your solo project from simply Reece to David Reece because you cannot use the name Reece for legal reasons?

Yeah, it’s very ironic. I was booking shows in the UK, and all of the venues that we contacted said, “Why are you calling me now? This Reece has just been here”. My name apparently is very common in the UK, especially in the south, like Wales and places like that. So there were three brothers with the same spelling. Everybody would say, “Why would I book you now? I just had you two weeks ago!” I’m like, “What?” (everybody laughs) I started looking around, and I found out that there are three brothers in a band called Reece. So I just put David in to differentiate, because many people were confused about that. It was a strange irony.

On the Reece album “Blacklist Utopia” (2021) there is a song called “American Dream”, which is quite critical of what is going on in America these days. In your opinion, is the situation in Europe better than it is in America?

No. I think the whole world is politically troubled, to be honest. I live in Italy, and I see there’s no work, venues have closed, COVID really hurt us in Europe. I just see a lot of unhappy people. Before COVID it wasn’t great, but I think for the whole world, it’s time for change. What do you think?

It’s difficult for us to say, because we haven’t been to Europe since pre-COVID. It’s very difficult these days to travel to any European country from here, there are tougher visa requirements, and there are no direct flights. That’s why we wanted to know the opinion of an insider, and you’ve lived on both of these continents…

I’m not a radical right-winger, I’m not a left-winger, I’m what you call independent. I’m in the middle, I watch what’s happening round. Now we have people in Europe who are really anti-immigration, and we have people who love immigration - same as America. I see the wars happening around Europe - Ukraine-Russia, Israel-Palestine, I see this madness in the United States. I think everything needs to stop and get a break, get back to the beginning and maybe just start all over, I don’t know. It does affect my writing, to be honest. I don’t like to write songs about party time, rock’n’roll backstage, girls, all that stuff - it means nothing to me. I wanna write lyrics that have a story. I would be lying if I said that if I look at stuff in the media, it didn’t affect me psychologically and emotionally. A lot of that is lies. I have a hard time knowing if I’m reading the truth or it’s a lie. I try now not to pay attention to the political turmoil in the world, because I don’t know what to believe.

It’s very difficult to figure out whether anybody actually tells the truth these days, we’re 100 percent with you on that.

Yeah! Even the bands. Let’s take Motley Crue - two days ago they said everything’s doing great, Vince is really doing well, and yesterday I read that they’re looking for a new singer, and he’s out. I don’t know what the truth is. I hear Steven Tyler is finished, and then I see he’s doing other things - it’s like, “OK, I’m done”. I like to watch podcasts like Rick Beato, people like that, who speak personally with the artists, and they’re not talking about politics, they’re talking about songwriting and their career, like we’re doing right now. I think COVID for me - I got sick after I did all the shots, they put me in a hospital. I released “Company Of Souls” on March 13, 2020, and the following week the whole world was closed. In Italy I couldn’t leave my yard, I couldn’t go out in the street for nine months. And then two years later I suffered really bad health side-effects, my doc said it affected my heart, my liver, my kidneys, everything. I was really upset about that. I was in darkness I can’t explain. Maybe you experienced it too, I don’t know. 

Well, we got hit by COVID two weeks after it started. By the end of March 2020 we were in bed with high fever…

When COVID started, I was literally working with Mario. He called me one morning and said, “Don’t come to my studio, everything’s closed”. I said, “What happened? A terrorist attack? Why do you say it’s closed?” It turned out that a man in his village had been in China working, and after he came home, 200 people in his business were infected. It kind of started about 45 minutes from my house in Europe. Isn’t it crazy? We lost a key family member here, they died from it - a very dark time. A lot of the venues… I played in a venue just two weeks ago, they saved the show, but they went bankrupt. I said, “Don’t pay me, I’ll play it for free, keep the money”. They were like, “Oh, thank God, I can feed my family”. I said, “You’re honest, and you’ve lost your club”. The government didn’t help them anything. There’s a lot of damage done by that. 

By the way, what made you move to Europe? Is the political situation one of the reasons, or did it have more to do with other factors?

Both. I lived in Germany at first a few times. I come from Montana, which I love. I love the Western lifestyle - countryside, horses, saddle, I like to hunt. I’m not your typical rock’n’roller, I do a lot of redneck shit, that’s what I call it. But I had met a wonderful Italian lady through a friend of mine, and we were sort of corresponding. I was in Bonfire at the time, and I said, “When I come over, tour with me!” I wanted to see how it goes, because being a woman in a bus full of men is not a very easy thing to do. For the first 10 shows it was fabulous, and I said, “OK”. I went back to America, and when I went back, I said, “Come back out with me for another 10 days”. I knew the second time I would marry her - and I’ve been here since 2014. Now, the other side of it is - I’m more known in Europe than I am in America. People know me, bookings and my career, because of the Accept thing many years ago, that’s what made me big. So there’s two sides to the answer.

What is the origin of the Native American chief on the covers of your solo albums? Do you have any Native American blood in you?

Yeah, I have some. Most Americans do. My granddaughter is half Blackfoot, Montana Blackfoot. I’m told from my grandmother’s side there’s a lot of native blood. I was born in Oklahoma, and if you know American history, that was kind of where they put all the Indians in one place, which is called the Trail of Tears, and you had many national tribes forced in Oklahoma. So you get all these Irish and English people going to Oklahoma, having land, and they said, “I need a wife”, and they would marry a native woman, so the children were half-blood, and their children were quarter-blood, and so on, and you get all these mixtures. In Italy it’s the same – we have Gypsy blood, Romanian blood, German blood… I don’t know how much native blood I have, to be honest. I have recently found out I have a lot of Scottish blood, my sister has done like a family tree. We’re like an old dog that has puppies, and every puppy has a different brother. In America, we say we’re mud, everything is mixed. (laughs) I do have many native friends and native relatives. It’s a terrible thing that white men did to them, in Montana for many years that was all native land, and the Pioneers killed everybody and took it. It’s a terrible story. I’ve got a bunch of Indian friends, and they’re great people, part of the Earth. They still practice their culture, but a lot of the younger ones don’t want it, they want a modern lifestyle, but the older Indians I know – great stories.

We remember reading an interview which you did some years ago, and you said that when you played with Accept, for the German guys it was sort of more work than play, which was quite different from what you as an American was used to. Was it easy or difficult for you to adapt to the European mentality when you moved to Europe many years later?

What I said about Accept was – when I started, we played the clubs in America, and in the old days you played seven days a week, four hours a day, and you traveled, we played 350 shows a year at minimum. It becomes kind of a grind, where you absolutely despise it, but now I wish I’d be doing it all over. In the late 70s and early 80s rock’n’roll was exploding, it was unbelievable. But after you go to Canada, and you do the Mid-West and the South-West 20 times a year, you kind of want to go home and just shut the door and turn the lights off. But you get kind of complacency where you just have to sing the cover songs, try the right songs in a hotel, go on stage, do your job, go back to the hotel and party.

When I joined Accept, it was absolutely a revelation. This was a real big band, and they flew me over to do rehearsals. The first day I was there, the next day after I landed, Peter (Baltes, bass) took me to the studio, and we started writing and recording “Eat The Heat”. There was no time to stop. They taught me this very German professional work ethic. My mind, being a 26-27-year-old kid, was like, “I’m great, I can sing great, that’s all I need to do”. That’s absolutely wrong, because it’s all work, and if you really want it, you have to work for it – because if it were so easy, everybody would be famous, right? It’s not easy, maybe one out of thousands of people has great success. I’ve had average success in my career, I’m not a superstar, I’m well-known, but Accept are not superstars, at one time they had a bigger status, but the star fades on everybody. What I learned from them – this is real, this is not a game. 

The one thing that Dieter Dierks said to me, and I always remember this – we were doing vocals for the album, and he stopped recording one night, and he looked at me and said, “Do you realize that if this record fails, they’re gonna blame you, and they’re gonna blame me?” I said, “Nah, impossible. I’m famous, I’m gonna be a rockstar”. He was absolutely correct, because for the metal scene, especially in Germany, Udo is their god, and the fans were kind of insulted by changes in their favorite metal band. “Why did you do that? You take a totally different direction”. OK, we have “X-T-C”, “Hellhammer”, “D-Train”, which I thought should have been the first singles, but the record company in New York said, “No, we’re gonna do this weird song ‘Generation Clash’”, and it wasn’t successful, just a couple of hundred thousand records. But It’s gold now. I mean, the weird thing about “Eat The Heat” now, when I’m playing live, people come to me with the record and say, “Forgive me, I really love this record”. OK, 36 years later I say, “Thank you, better late than never”. (laughs) At that time 50 percent of the people loved me, and 50 percent of the people absolutely hated me. It was a tough thing. 

One night I went to see Udo with Accept, and I asked the manager, “What is it about him that people go crazy for?” They looked at me and they said, “Because he’s one of them. He’s a hard-working, blue collar, Bavarian factory worker that came from nothing, and he made it. Not great looking and physically fit, but getting all the girls. He’s one of them, so they identify with Udo”. And it made total sense to me. And it’s the same now, that’s Udo’s advantage, in my humble opinion. 

Everybody knows that you are good friends with Udo. But why aren’t you singing on this recent remake of “Balls To The Wall”?

I don’t know. I wish they would have asked me, but I don’t have any problems. I would like to have participated on that. I was his special guest on the “Steelfactory” tour in 2018-2019, we did like 35 shows together, it was fantastic. To me he got some very strange singers to be on that record, and I thought, “He should have called me, I would have loved it”. 

That’s what we heard from a lot of fans – “Why isn’t David singing there? Is it because he’s still having problems with Peter because of that incident 35 years ago?”

I don’t think so because Peter and I made amends, we mended fences, like in that song on “Part 2”. They played in my town with Accept, and they invited me to lunch, so I went. I know his wife very well, I kind of know his kids, his boys. We’ve kind of grown out of that. There’s not a band in the universe that doesn’t have a fight, it’s normal. It can be ugly, it can be terrible – you know, the album is failing, a lot personal issues go back and forth… It took a long time before we could speak to each other, but I don’t think Peter put a stop to that. I would have heard about it, but I never hear a gossip. I’ve heard rumors of an Accept Fest, something like Michael Schenker did - with all the past people doing the Accept Fest for the fans. That would be a great idea, I would gladly do that – go on first, play five or six songs, walk offstage, and if I have to ride in a rental car or on the bus, fine! What’s the problem? If you think about Michael Schenker Fest, Graham Bonnet was not on great terms with Michael Schenker, but people loved it, it was a history of Michael’s life, and the progression.

Apart from Bangalore Choir and solo albums, you are involved in many other bands and projects. For instance, back in 2022 you did an EP with a synthwave project from Australia called Ion Pulse. Could you say a few words about how this cooperation came together? Do you listen to synthwave or other electronic music, by the way?

Sometimes, yeah. That came about during COVID, I got a lot of offers for work, and I took a lot of work. Another group you probably know about is called Goot. Yan Dissector (guitar, vocals) is a Russian guy, he contacted me out of the blue one day – a lovely guy! So I do listen to it, I like dark stuff, I like Dark Tranquillity, I like some of those bands, but I don’t listen to it a lot. I like more positive major tunings and things like that. I do like the mysterious synthwave stuff, but I’m more of a guitar driven guy, I like power chords and drums. But Ion Pulse was a project offered to me, and I was happy to do it, they are very talented. Actually somebody asked me about it last week, it’s funny that you brought it up too, because sometimes I forget about a project I’ve done, to be honest. And that’s one reason - earlier you asked me about the solo thing – I really want to get away from doing multiple projects and focus on David. I think you can really oversaturate the market, like a lot of singers do. I understand why they do it, because I’ve done it – you gotta survive, it’s a matter of economics. If a song is good, I’m gonna sing it, but I really wanna focus on David.

Nevertheless, there’s another album with Goot that is coming out, and you already recorded vocals for it, as far as we know.

Yes, I think it’s coming out in March 2026, and the reason for that is that Bravewords wanted to focus entirely on Bangalore Choir. I love the record, and I cannot say enough good things about Yan, I love him. I met him personally last summer, here in my home in Italy, and Simon the bassist is now my merchandise artist. I wish them all the luck and success in the world. 

Coming back to Bangalore Choir – are you in contact with anybody from the early line-ups? Does any of the former band members still do music?

I’m in touch with Ian Mayo, the bass player, he was not the original bassist, but he did the touring with us. Sadly the bass player that played on the album, Danny Greenberg, passed away a few months ago. I contacted Ian to be part of this, but he works in the movie business now, and he’s very busy with that. I said, “What about Curtis?” And Curt (Mitchell) basically said, “No, I’m teaching guitar, I don’t wanna tour, I don’t wanna be part of it”. They’re just tired of the music business. That’s why I had to make the decision and call Andy.

You have done quite a few interviews describing the early Bangalore Choir days in great detail. But there’s a question that we’re missing in many of them is the origin of the band name? We know that “Bangalore” is a kind of torpedo, but who suggested it and why did the band decide on this particular name?

My brother is a marine, and so is his son. “Bangalore” is a military torpedo, it’s a pipe piece put together to blow up concertina wire. One day he was home and he said, “Why don’t you call it Bangalore?” I said, “What is that? Is that a city in India?” He said, “No, it’s a bomb!” And then because all of us were singers, we did five-part harmonies live, I said, “How about Bangalore Choir? That’s kind of cool. Explosive vocals!” It’s kind of stuck, but I can tell you it’s difficult for certain countries’ people to pronounce the name, especially in Asia and some Scandinavian countries. They cannot say ['kwaɪə], they say [ʧɔ:r]. (laughs)

And that basically means “doing things about the house”! (everybody laughs)

Yeah yeah! Working on a house, working on a farm. It’s difficult for some languages to pronounce, but everybody knows the name, and that goes back to the beginning of our interview - the branding. I need the brand, everybody identifies with it, so… year!

How do you take care of your voice? I mean, being able to sing songs like “Prisoner” more than 35 years after they were recorded is a real achievement…

Well, I have to be honest: some of the higher notes on this new “Prisoner” track are Giles. He sang the old high notes I don’t do anymore. With time and age, you do lose a little bit. The way I stay in shape is I sing six days a week, I practice, I don’t drink alcohol, I don’t smoke, I sleep well, and I take care of myself, because the voice is in your body. It’s not like a guitar player - unless you break your fingers, you can have the flu and still play the guitar. But the more you keep the voice muscle healthy… even if you get sick, you can kind of get through it, and take care of yourself. I used to think alcohol was helpful for anxiety before the show and during a show, but it’s not, it’s actually very bad for the voice. Over seven years ago I stopped drinking, and my voice luckily has survived the battle! (laughs) I mean, I’ve probably lost at least an octave at my age as compared to 1988 - it’s normal. I just saw Rob Halford not long ago in Italy, and he’s got the power, but he doesn’t hold the notes as long, and he knows when to hold back. You just have to kind of live with the time. Time is not your side.

In the beginning of the interview you mentioned that you still have several songs that didn’t make it on “On Target Part 2”. What are you going to do with them? Do you plan any future releases with Bangalore Choir?

Yeah! I really wanna tour the record heavily this year, and early next year, and then into the festivals. These last few songs are really good, but maybe Andy and I can write better ones for the next one. I would like to do maybe Act 3 and 4, but the music business is a strange animal right now. It’s very difficult to get shows. If this record is successful - and I hope it’s going to be - then yeah, I’ll do another one, Act 3 and Act 4. I always write, and that goes along with practicing the voice. If I continue writing every day, I don’t get the writer’s block in my head, and if I have any idea, I record it to keep my mind active. It’s a part of the process, it’s work in progress every day.

As long as you mentioned business - the album is coming out via Bravewords Records, a new label, and you have worked with many labels before. Are Bravewords different from the ones that you have worked with before, and if yes, in what way?

Well, El Puerto are dear friends of mine. I had the opportunity to renegotiate a new contract, but I wanted to go more universal than just the European market. As you know, Bravewords, just the site alone, has over a million visitors a month, and they have decided to create a record company in partnership with Global Rock in the UK. I called Giles Lavery, who is the A&R guy, and I said, “I’m gonna do this Bangalore Choir record, I think I wanna try to sign with Bravewords”, and he said, “David, we’re very interested, but it has to be very similar to ‘On Target’, the real Bangalore Choir”. You know, I did a few Bangalore Choir records over the years, they were OK, they weren’t great. Maybe two or three really good songs, seven fillers. To try to go back to 1990 in my mind was not easy. Honestly the first four or five songs that Andy and I wrote - I said, “That’s not it”. There’s a song, maybe you’ve heard it, it’s called “Driver’s Seat”, that’s the first one that really grabbed me. I said, “Now we’ve got it!” Then we wrote “Bullet Train”, and then it’s like raindrops, they come from the sky once you get the rhythm and the understanding of where you’re going. I had to focus and try to capture some of that first album’s sound and vibe. I’m very happy with Bravewords, obviously I’m getting more radioplay now than I’ve had in years, press like you every day, they’re doing a great job. I’ve just learned something incredible - I’m number one for five weeks with the song “Bullet Train” in Washington, D.C. on 97Underground radio. And “Driver’s Seat” is in medium rotation, it’s coming up right now. That’s unbelievable, I’ve just got the message! El Puerto did a great job with media too, but I wanted to expand more globally.

Well, that’s it on our side. Thank you very much David for taking so much of your time to talk to us! We both heard “Eat The Heat” back in the 90s, so for us being able to talk to you now is very special…

Like I said, 36 years or whatever later people come to me at live shows and actually apologize. They’re holding an original copy and ask me to sign it, they go, “I really hated this album, but over the years I’ve grown to love it”. And it’s such a compliment; if it takes that long, fine! Even the first Bangalore Choir album - some people didn’t like it, but now they say, “Oh, I love it, blah blah blah”. I go, “OK”. As long as people talk about it, that’s good!

David Reece & Bangalore Choir on Facebook: https://www.facebook.com/share/1HwR7Kvq48/

Special thanks to Michael Brandvold (Michael Brandvold Marketing / BraveWords Records) for arranging this interview

Roman Patrashov, Natalia “Snakeheart” Patrashova
October 10, 2025
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