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LEAVES’ EYES – Siren Of The Night
Anthony Morgan
November 2013

Leaves’ Eyes (l-r): Felix Born, Sander van der Meer, Liv Kristine, Thorsten Bauer and Alexander Krull

German-Norwegian symphonic metal group Leaves’ Eyes issued fourth studio full-length album Meredead in April 2011 via Napalm Records. Of the 15 compositions to pool from, 13 were ultimately selected. Two numbers didn’t surface on the effort’s track listing, namely ‘Saint Cecelia’ and ‘Eileen’s Ardency’. The pair eventually emerged on November 2013 studio outing Symphonies Of The Night, the latter as a bonus cut.

“Those were kind of left over, but not in a negative way,” stresses Liv Kristine, lead vocalist of Leaves’ Eyes. “We just had more than enough songs for the Meredead album, so that was our starting point. They’re two great pieces of music, so we thought ‘Okay, let’s start from there.’ We have the tenth anniversary of Leaves’ Eyes in 2013, so through all the interviews I’ve done this week, I started thinking about what’s so special about the production and the composition process for Symphonies Of The Night. Well, yes: the ten-year anniversary of Leaves’ Eyes. Everything we’ve experienced – live experiences, studio experiences – all comes together on Symphonies Of The Night. I feel very comfortable where I’m standing right now when it comes to my own music, so it’s very interesting. It feels, as I said, comfortable.”

The frontwoman’s sister – Midnattsol alumni Carmen Elise Espenæs – lends guest vocals to the number ‘Eileen’s Ardency’. “She just happened to be around for the holidays,” the frontwoman shares. “She moved back to Norway many years ago but she loves Germany, so she visits me here. I’m an aunt now, so she brought her little Rebecca. She happened to be around, so that’s why she’s on ‘Eileen’s Ardency’. ‘Eileen’s Ardency’ is a ballad with a folky touch. I can’t wait to perform it live, especially together with my sister. It’s always payback time someday. My sister just recorded her upcoming album with her new band Savn in July and August here at our Mastersound Studio, so it was payback time. Now, I’m singing on one of my sister’s songs. Savn’s album is going to be released in 2014, so you’ll hear it then (laughs). It’s all top secret information. We just finished the mixing and mastering of the album, so the production is finished. It’s an amazing album, actually. It reminds you a little bit of the early days with my former band Theatre Of Tragedy.”

Writing sessions for Symphonies Of The Night spawned no leftover compositions. “Those recordings we weren’t satisfied with just got deleted during the composition process,” Liv elaborates. “We just decided to go for the very best. For some songs we needed almost two years, whereas ‘Nightshade’, for example – that’s one of my babies on the album – was basically recorded within 48 hours. The good thing is that we have our own studio just 20 metres from our home, so it’s just for me to cross the road. We have two recording rooms, so there is always something going on. Thorsten (Bauer) my guitar player and Alexander (Krull) my husband are kind of night owls, and like to work during night-time. For me, after bringing my kids to school and having my first cup of coffee, I enter the studio and just open the files they’ve just worked on during night-time before leaving the studio (laughs). There’s always something going on at Mastersound. The whole composition process and recording process was a very intense and creative period of time. I enjoyed it very much, and also learnt a lot about my own manners of singing.

“I had a friend visiting me at the studio. She’s called Maite Itoiz; she’s from a band called Elfenthal, and she’s also the wife of John Kelly from The Kelly Family. She’s just the most amazing singer ever. She’s studied music and singing off of historical instruments for years and years. Since she’s my good friend, I asked her for some dirty singing tricks (laughs). I’ve never had a single singing lesson in my whole life, and I’m not really very good at reading notes and things like that. I asked her, and she commented on a couple of things about my manners of singing.

“She knows where to get the power from, the power that you sometimes miss in your voice. If you haven’t really prepared for a recording session or a live situation, there are actually some dirty tricks you can use to feel comfortable walking onstage and doing your thing – the same goes for studio recordings. Sometimes you just feel weak. I used that for myself to develop vocally during the recording period. That was extremely uplifting and a very positive experience, yes. I was very lucky to have Maite around. I hope that I will be able to show her some of my dirty tricks some day (laughs).

“I think every band member actually felt very comfortable during the composition and recording process, and now we have a very powerful album.”

Liv Kristine

The classical forte is Maite Itoiz’s dominant vocal discipline. “What she taught me and what she commented on definitely helped me in my classical singing, because that’s something I’ve been doing since I was a little girl,” the lyricist reflects. “My parents always told me to shut the door and stop doing the opera thing (laughs), but it has been a very normal thing to me, to sing in a classical way. I’ve never known if I’ve been doing it right, though. That’s what Maite told me: ‘You can use your voice in this or that manner, but if you do it this way then you will sound more powerful.’ There are always things for a soprano voice which can make your voice sound better. You can probably hear it on songs like ‘Saint Cecelia’, or ‘Symphony Of The Night’. With ‘Symphony Of The Night’, the title track, you need to be in good physical condition to be able to perform this live onstage (laughs). I really enjoy it, though. I can’t wait to be able to play five new Leaves’ Eyes songs in Belgium at Metal Female Voices Fest on October 19th. That would be the first five tracks off of the album, actually; ‘Hell To The Heavens’, ‘Fading Earth’, ‘Maid Of Lorraine’, ‘Galswintha’, and ‘Symphony Of The Night’. I can’t wait.”

With each and every full-length, Liv searches for ways in which to improve her vocal abilities. “All the developing steps I have been able to take so far and everything I’ve done in my artistic career so far is based on my own experiences, live and in the studio,” she credits. “I’ve always taken a great interest in singing manners, myself. My parents keep telling me about my early days, being five to six-years-old and imitating singers, especially female singers like Montserrat Caballé. A little bit later, Madonna, Kate Bush, Tori Amos, Enya – actually any kind of female voice. That’s very good advice that I would give to other female singers, to just sing along to anything, and I still do. I sing in the shower, I sing in the car – especially in the car (laughs). It’s a bit embarrassing when you get a red light, because everybody keeps staring at you, wondering what’s going on (laughs). It’s the best way to practice though, to just sing along to anything. For me, it works this way.”

The singer enjoys October 1988 record Barcelona, which paired Montserrat Caballé with Queen vocalist Freddie Mercury. “Oh yes,” she confirms. “I do, I do (laughs). Very much, very much, yes. Lately, I just watched a live gig of Queen in Hungary. It was recorded in Hungary (on July 27th, 1986 in Budapest, and released on DVD as Hungarian Rhapsody: Queen Live in Budapest ’86), and was one of their last gigs. I was moved to tears. Freddie Mercury is just amazing, even if Montserrat Caballé is twice as big in lung volume size (laughs). Both of them have the most impressive voices, and they fit together so well. Freddie Mercury though, he’s definitely someone I will sing along to when practising for my upcoming recordings.”

The musical style on Symphonies Of The Night draws its influence from a wide array of sources. “That’s a very tricky question,” Liv considers. “To start, where we come from, female-fronted metal. It’s symphonic, it’s epic, it’s folky. And, what else? Yes, it’s metal (laughs). It’s metal. It has a very, very kicking sound to it this time, a very powerful sound – as we already talked about. I’m not very good at labelling, especially with my own music (laughs). So yes, female-fronted symphonic, folk-inspired metal, something like that. I like to move outside the definitions and labels, though. I always feel new inspiration with every album, and I never felt like I had to stick to certain musical styles or I just had to go with the flow. That would be pretty easy, but I’m quite immune to input from the outside. I like to just keep the three minds of the composing team of Leaves’ Eyes together, and just concentrate on our own influences and artistic aims. So yeah, I guess I was born with a hyperactive artistic mind (laughs). There is always something going on.”

Liv, Alexander, and Thorsten form the writing team behind Leaves’ Eyes. “I’ve been around for more than 20 years,” the songwriter cites. “Thorsten, my guitar player, and Alexander, my husband and producer and male singer of Leaves’ Eyes, have been around for 25, 30 years almost. It’s amazing when you think about all of the experience that we’ve gathered so far, and also the influences we have. Everybody changes. Thorsten has of course been my guitar hero (laughs). He’s very much into special techniques when it comes to guitar playing, like playing the Spanish guitar. He plays the mandolin, he plays the sitar, and so he’s developing in that field. With his background in Atrocity, Alex always brings in the metal, the powerful elements in Leaves’ Eyes. Then I’m the contrast, bringing in the more female elements. That’s where I come from, though.

“Back in 1993, founding my former band Theatre Of Tragedy in Stavanger, Norway, my thoughts back then were already focused on the contrasting elements within music, like the beauty and the beast concept. You have the female vocals and the male vocals, and the guitars contrasting the symphonic elements. You have the symphonic elements contrasting the folky elements, so that’s something I’ve always paid a lot of attention to – contrasts in music. I’m glad to have Alex and Thorsten next to me, because they’re my best critics as well. We have a lot in common, the three of us each being perfectionists (laughs). It’s always interesting to see what happens during a pre-production for an album, because we actually have the deal that everybody is allowed to bring in any kind of influence into the music. It’s very exciting, and I’m very grateful to have such a professional composing team in my band to be a part of this.”

A staple within female-fronted metal, the beauty and the beast concept is arguably a formula nowadays which a newer crop of groups replicate, as opposed to delving into fresh areas. “Yes, it’s true,” Liv agrees. “The artists introducing the beauty and the beast concept, and also female vocals, angelic vocals in metal, were Theatre Of Tragedy, The Gathering, Nightwish, and Within Temptation, with bands like Epica coming later. Some of the bands coming up now, that’s 20 years after this genre came into existence. It’s interesting to see how some bands just try to pick up the formula, as you already mentioned, 20 years later (laughs), smelling the surface of the genre but not really being a part of it. I just hope and pray that some of us ladies from those bands which were already around in the 90s and introduced this genre will still be able to be around in ten years time. I’m very positive about it. Anneke from The Gathering is still here and still around, Tarja (Turunen, ex-Nightwish) – although she came a bit later – is still around. That’s great, that’s great. It’s relieving, and I’ll meet all my girl friends this upcoming week in Belgium. I’m looking forward to that.”

The vocalist tends to experience albums in compact disc format, as opposed to digital format. “I’m probably one of the last people on this planet who go to the music shop and actually buy CDs, and read the booklets,” she laments. “I spend quite a lot of time listening to music, and discovering new bands and new directions. So far though, my feelings are for the earlier bands, I have to say.”

This journalist shares the same preference for compact discs as opposed to digital files. “You’re probably much younger than I am, and still you’re buying physical CDs,” Liv continues. “I think that’s a very important thing, because you support your band if you do that. I grew up with cassettes and vinyls (laughs), and then the CD came. I probably have a different relationship with music when it comes to how music is produced, or manufactured, and promoted. It’s interesting, but still some day, we have to find a way that the artist will get rewarded when people download their music. We tend to believe that everything is so fast. Everything is going so fast these days, so then you expect everything else to be fast. Art is something that happens because of synapses in your brain connecting though, millions and trillions of synapses in somebody’s brains, and that takes just as long as it did 2,000 years ago. What happens inside our brains is just the same. It takes the same amount of time, although we live faster and everything is faster.

“That’s something you should think about when you get hold of a product by your artist. If you want to support your artist, think about how much time this person actually spent on this product or project. It’s always a matter of giving and taking, and accepting an artist’s steps, and accepting that there’s depth to it. Of course it makes it more difficult for an artist to be a full-time artist. For me being a full-time musician, times were different I would say up until 2000, 2001 – then things really started to change. For me, it’s a privilege having fans and friends all over the world, making it happen for me. That’s why I’m able to be a full-time musician. Sometimes it’s really hard, especially when it comes to all of the downloading. That’s what all of the record labels are complaining about. In the very end, it’s the artists who suffer. I’m still here though, and as I already mentioned, I hope I will still be around for ten, 20, maybe 30 years.”

Touring is costly. “Oh yes, definitely,” the frontwoman concurs. “I remember my first tour with Theatre Of Tragedy, supporting Atrocity in ’96. We actually got paid for being a support act; we got paid every night. Nowadays, you pay to play. Yeah, think about that (laughs).”

Paying to perform concerts – better known as ‘paying to play’ – was the sole reason behind guitarist Daniel Dlimi’s decision to part ways with Aeon. Revealed on October 10th, 2013, the news item garnered attention in heavy metal circles. “Yes, I read that,” Liv acknowledges. “It’s actually the truth for a few of us. So far, I’ve actually said ‘No’ to paying to play. I’ve been forced to say ‘No’ to a couple of offers. We will do a couple of shows in Asia – we have China, Taiwan, and Thailand coming up – and because these are tours, there will be costs there for the promoter to pay. It’s the first time we’re going to Asia, so I understand that there will be no money left. That’s fine with me, but if there’s a tour, and you know that those bands would match well, and you’ve sold a couple of albums throughout the years, and then you get told that you have to pay to play, that hurts. It really hurts. So far, I’ve always said ‘No.’ I won’t do it. No, I’ve never had anybody to pay for being my support act. Never.”

Nevertheless, the wordsmith enjoys the experience of live performances. “It is definitely worth touring,” she emphasizes. “During the Firewind in 2012, I felt that the audience really wanted to see their favourite bands live. They want to know if their bands have a substance, a certain substance, especially in the rock and metal genre. That’s very positive, so it’s very important to go out to play now, and be a good live band. You’re a winner if you have a lot of experience, I can tell you that. I really enjoy being onstage, and the experience you gather from playing live shows is just unpayable. It definitely made me the artist I’ve become today, yeah.”

At Cardiff, Wales venue The Globe on January 15th, 2014, Leaves Eyes’ begin a trek of the United Kingdom. “We got the news recently, and I’m very excited about it,” Liv exclaims. “I’ve always had a big heart for the UK, and the UK audience. I was an exchange student in Cardiff when I was 16, and then later touring with my bands. Manchester and London is always packed. It’s great; it’s just great to go out and play for the UK audience. I’ve really enjoyed it. We even had the chance to play in Belfast, Northern Ireland in 2012 with Firewind (on September 16th at Limelight). That was really nice. I had never thought that I would be able to do a metal gig in Belfast, but it was really nice. I can’t wait to be back in the UK. Unfortunately, we won’t be visiting Belfast, Northern Ireland this time. That’s probably up to the promoters, but the rest of the UK I hope will be able to come by.”

Liv Kristine

A press release described Symphonies Of The Night as ‘the heaviest and most epic Leaves’ Eyes experience to date,’ meanwhile. “Yes, definitely,” the singer verifies. “As I already mentioned, there’s ten years of Leaves Eyes’ experience. There’s nothing lacking on this album. That’s what I was told recently on the phone (laughs), which makes me very happy, yeah. It’s a very nice statement, so it’s very powerful and very heavy.”

Title cut ‘Symphony Of The Night’ was originally titled ‘Carmilla’. “Carmilla is the main character in (Joseph) Sheridan Le Fanu’s novel,” Liv informs. “I think it was written in 1871, and that’s actually a lesbian vampire story. Carmilla is feeding on her girlfriend Laura, but then she falls in love with her. That’s kind of tricky love, but we still needed a title for the album. That was actually a journalist asking me about my influences, to which I mentioned Tchaikovsky’s ‘Swan Lake Symphony’ (written in 1875-76). Right, there you go. Symphonies Of The Night. ‘Carmilla’ was then titled ‘Symphony Of The Night’, and the whole album Symphonies Of The Night.”

Hammer Productions’ movie adaptation of Carmilla arrived in 1970 under the moniker The Vampire Lovers. “I’ve seen the Hammer Horror film as well,” the composer recalls. “I had some reactions when I just mentioned this track on our home page, and talked a little bit about the content of the song. The word ‘lesbian’ was then written. There’s nothing special about that, but I got some reactions from some groups of people (laughs), telling me ‘We won’t have anything to do with you because of this lesbian thing.’ That was funny. I won’t tell you where it came from, but it’s funny that people get upset about these things. I mean, Le Fanu’s novel is well known. It’s interesting to see how things like that just evoke feelings in people.”

Additional female characters lyrically surface on Symphonies Of The Night. “‘Ophelia’ is of course Shakespeare’s Ophelia from Hamlet (written between 1599-1602), and since my studies in linguistics, I’ve always been into Hamlet,” Liv enthuses. “I just love Hamlet, and also did during the times with Theatre Of Tragedy. So yes, there just had to be a Shakespearean female character on this album. Then we’ve got ‘Fading Earth’, which is actually based on Sir Philip Sidney’s poem ‘The Nightingale’. There is one line there, which I think goes ‘Thine earth now springs, mine fadeth.’ It’s actually a female character being a main character, and it’s this kind of unhappy, grotesque love again. We’ve got ‘Saint Cecelia’, who’s also a female character. Actually, she’s a heroine who turned into a ghost. She was beheaded three times but didn’t die, so she’s a ghost. It’s a legend, actually. ‘Hymn To The Lone Sands’ is the only track based on Norwegian characters – it’s about a married Viking couple. He’s kind of forced to leave a cold, dark Norway, and travels with the rest of his Viking team. Their direction, the Arabian world. ‘Éléonore de Provence’ is about a true story. Éléonore was a queen married to an English king, but she didn’t make herself very popular.

“‘Nightshade’ is probably my baby on the album, because it was recorded within 48 hours. It just happened during my morning cup of coffee. I just ran to the studio, and recorded it. The only things we had to do were record a classical orchestra and folk instruments, but ‘Nightshade’ is actually dedicated to a barbarian woman being forced to choose between family, love, and being a warrior in the Middle Ages. What else, what else… Did we forget any? ‘Maid Of Lorraine’, of course – Joan Of Arc. I don’t think I have to say anything more, other than Joan Of Arc. ‘Hell To The Heavens’ is about Hecate, who’s the original witch of all witches. We have witches, we have vampires, we have female warriors, heroines, barbarians, ghosts. ‘Angel And The Ghost’ is also a track which is dedicated to all of the ghosts out there, to all of the female characters or tragic historical female figures dying at the hands of a man, because of men’s abuse of power. Yes, 11 female characters. That’s what we have on this album.”

Leaves’ Eyes platters feature lyrics spoken in several languages. “On Njord, I think that was eight languages,” the vocalist remembers. “Meredead, seven I think. On Symphonies Of The Night, we have five. We have English, Shakespearean English, we have Norwegian, and then there’s a little bit of French and a little bit of Irish, so there are five.

“I love singing in different languages. I’ve always been into linguistics, phonetics, phonology, intonation, so why not? My mother tongue is Norwegian, but in Norway we are lucky to start learning English in the first grade. We kind of grow up with English, and there are no subtitles on television. Every movie has an English title, so it’s a good way to learn a foreign language. When I then moved to Germany when I was 19, I learnt German. On a daily basis, I speak three languages here in my home. It comes natural. My son has two mother tongues. He’s bilingual, so he speaks fluent Norwegian and German. Since he’s been touring with us since he was two-and-a-half years old – he’s nine now – he speaks fluent English as well, so he already speaks three different languages (laughs).”

Partnering musically alongside your husband theoretically causes further complications. “Working together means that we often need to have time apart from each other, which is very important,” Liv divulges. “We’re a very good team, though. We fulfil each other, we really compliment each other. I’m very good at planning, so that’s my thing (laughs). I take care of all of the daily planning, like the family – everything which concerns the family. Alex is also good at planning, but he does the planning for the band. He is the manager, as well as also being the producer of my solo band, Atrocity, and Leaves’ Eyes. We compliment each other, but I would be lying if I told you that we never, ever argue about things when it comes to band stuff. Of course we do (laughs), and that’s important. Everything else would be boring otherwise, I guess. We’re quite different. We’re two quite different characters when it comes to personality.

Leaves’ Eyes (l-r): Sander van der Meer, Thorsten Bauer, Liv Kristine, Alexander
Krull and Felix Born

“Still though, it’s wonderful being his wife, and it’s wonderful working with him and also standing on the same stage as him, performing with him. I do believe that he thinks the same – he just told me this morning (laughs). So yes, it’s good, it’s good. We have our own studio, and we have our son. The balance is there. It feels like a privilege being able to combine music and family. Of course family comes first, but having both things is really dear to me. Since I entered this planet, I’ve always wanted to sing and become a musician and to have my own children. So yes, I consider myself to be quite a lucky person.”

When musical disagreements surface, there has to be a concerted effort to prevent them from becoming of a personal nature. “It’s very important to leave all personal matters out of the picture when you have a discussion in the band, although we’re a family here at Mastersound Studio,” the frontwoman reckons. “With Leaves’ Eyes, Atrocity, and my solo band, some of the people are members of all three bands. Alex, Thorsten, and myself, we’ve been working together for 20 years. I think we know very well where the line is, the delicate line where you have to stop because it’s getting personal. Thorsten is also mine and Alex’s best friend. He’s definitely a part of the family. Some members have left the band and new members have come into the band, but the three of us, we’re the core of Leaves’ Eyes.”

Across Symphonies Of The Night’s respective tracks, the required production time varied. “For some of the songs we needed almost two years, like ‘Eileen’s Ardency’ and ‘Saint Cecelia’,” Liv discloses. “For tracks like ‘Ophelia’, ‘Nightshade’, and ‘Hell To The Heavens’, meanwhile, we needed a week or a couple of weeks. The whole production went smoothly, but we had gigs and tours in-between. There’s always interruption, but playing live is just as important as being in the studio. Thank God we have our own studio. That’s the only way to finish an album, actually.”

As with past efforts, production duties fell to Alexander. “Alex, who’s the producer of all three bands, is the mastermind,” the lyricist compliments. “He’s amazing. He’s also a tester for special recording devices for certain companies in Europe, providing studios with equipment. That’s great, because then Alex is always able to try out new things, gain new experiences, and maximise the sound. He’s a perfectionist, so you can always expect the maximum if you leave a production with Alex.”

Symphonies Of The Night is bookended by bonus track ‘One Caress’, a Depeche Mode cover interpretation, the original rendition included on March 1993’s Songs Of Faith And Devotion. “That was actually an offer from a German music magazine,” Liv reveals. “We just got the offer, and was asked if the song would be suitable for Leaves’ Eyes. ‘One Caress’ is one of my definite favourites of Depeche Mode, so it was an honour. I’m glad for doing it, yeah. This song is on a tribute to Depeche Mode, but I think it’s only available here in Germany. We got the allowance to put it on our own album though, so I guess it’s a very interesting musical piece (laughs).”

Cover artwork duties were overseen by Stefan Heilemann, meanwhile. “He’s the artist we’ve worked with for the last three to four albums, and he’s just amazing,” the singer raves. “He had this idea with the forest, the old trees having faces, and the bird. It was Stefan Heilemann in co-operation with my husband Alexander. They just got this brilliant idea of how they would imagine somebody walking through the forest, and being in the middle of a symphony during the night. So yeah, I’m very happy about the artwork, definitely.”

Liv lends guest vocals to the cut ‘Born With A Broken Heart’, included on forthcoming outing Delivering The Black. Due for January 2014 issue, it will be the tenth overall from German heavy metal outfit Primal Fear.

“That was a request I got one Saturday morning,” she notes. “Ralf (Scheepers) lives not that far away from our place, so he came to the studio. I fell in love with the track at once, and that’s the only reason if I choose to do a duet or not. If I like the song itself, that’s first priority. Not the money, or whoever sings on it – any famous names. That’s just not important. The most important thing is if I like the musical piece itself, and the other voice I’m singing together with. Ralf is an amazing singer, and the song is great. It’s a metal ballad. It’s a very rough, raw metal ballad, but still you have the contrast of the female vocals in the song. It turned out really well, and Ralf is also a great guy – a very, very nice, humble guy.”

Liv Kristine

‘The Lay Of Our Love’ additionally features Liv’s vocals, the track surfacing on September 2013 Týr full-length Valkyrja. “Heri the singer of Týr helped us out,” she enlightens. “When Leaves’ Eyes headlined Wacken Open Air in Germany during 2012, I needed a male guest singer for one of our songs on the setlist. That was ‘Solemn Sea’, and Heri helped me out there. I told him ‘If you ever need a female duet partner, I’ll be there. It’s payback time.’ Heri and Týr had this amazing ballad finished, and he asked me to join him. I just think it’s amazing, yes. I really like it. We’re gonna shoot a video for it, very soon. They will fly me in to the video shoot. I’m really looking forward to that.”

At the time of writing, no further guest appearances are on the horizon. “I had quite a few very interesting requests for duets in 2013, but we really have to go out there and tour now, and do lots of promotion for Symphonies Of The Night,” the songwriter reminds. “We’ll just try to stay away from the studio for at least a couple of weeks, or a couple of months (laughs).”

A fourth solo full-length album is in the pipeline. “I will start working on another solo album as soon as we’ve finished Asia – China, Taiwan, and Thailand – and Russia,” Liv tells. “After that, I will probably start composing again. I just need to focus on the live situation right now. As I already mentioned, it’s good to switch off for a little bit, and be away from the studio (laughs). I have a couple of ideas, but so far I’ve been busy with Leaves’ Eyes and I don’t like mixing things up. I always concentrate on one production. My solo album will probably be out the end of 2014.”

Symphonies Of The Night was released on November 13th, 2013 in Spain, Sweden, and Norway, on the 15th in Germany, Austria, Switzerland, Finland, and Benelux, on the 18th in the United Kingdom as well as the rest of Europe, and on the 26th in North America, all via Napalm Records.

Interview published in November 2013.

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