With album number thirteen, Danish rock royalty D-A-D are a band reborn once more. Featuring more of their signature "dirty rock and roll" sound 'Speed of Darkness' sees the four-piece sticking to what they know best. We sat down with front man Jesper Binzer to talk about the band's evolution from punk to glam rock to chart topping mainstream act in their home country, how they navigated Grunge, and hist favourite D-A-D moments. Monster philosophy; Eamon O'Neill.
Hi Jesper, how are you doing today?
Oh, I'm doing so, so fine. It's a lovely day.
It's a pleasure to be chatting to you here from Ireland, and that's a country that D-A-D have never never visited; so what's going on?
That's really a big problem. We toured with The Answer once; you know the band The Answer? And we thought we had them [Irish shows] in our bag, but then something happened and we couldn't.
In your home country of Denmark D-A-D are huge, whereas in the UK you play much smaller places; what's that contrast like for you?
It is something we're very used to in a schizophrenic career, definitely. It's funny because I don't know why, or what happened that we became mainstream in Denmark. I really don't know, because we are just a normal dirty rock band outside of Denmark, and people tend to see us like that. We identify as a dirty, small, dirty rock band; I mean, when we started out, we were punk rockers, all of us, and we never thought that an audience could grow bigger than three hundred people. I don't know what happened, because Denmark is not a rock country, not at all, and so it really beats me. It really beats me.
It's tremendous that you have that success, and you're back with, what I make is your 13th studio album; am I right?
I think that's the number I've heard as well, but I'm not good at that.
It's a long way down the line, and the album's called 'Speed of Darkness'; that's a play on speed of light, isn't it?
Definitely. That's a typical D-A-D play on on words, yeah. It was Stig [Pedersen, bass] who said; "hey, man, "Speed of Darkness'; Doesn't that sound cool?" I said; "definitely!". At that moment, there was, you know, the war in Europe, like in the Ukraine, and the whole thing in the Middle East, so yes, things are changing with the speed of darkness. That was my take on it, so, yeah, we thought it fitted perfectly.
You mentioned 'dirty rock and roll', and the opening track 'God Prays to Man' is exactly that.
Oh yeah. There's many questions in that one, because D-A-D has always been playing what we would call 'Bastard Blues', so it's not like blues, with the three chords, but it's very bluesy; it's riffs and down and dirty, and that's what we've always done. We felt a great kinship with The Cramps and up to the glam era as well, where it was just a dirty riff, and then onwards. And of course, we have this Scandinavian sense of a good chorus. We cannot run away from that, but still for us, we need to riff up; there has some kind of blood, there has to be some kind of things going on to be able to see ourselves as this Bastard Blues, dirty little rock band. And being being able to play for tens of thousands of people in Scandinavia is a funny thing. I don't know what's happening, I just know what we like.
'Bastard Blues' is a great description!
We started out as punk rockers, and it seemed like punk had no home. There was no place, because Punk turned into Post-Punk, which was like Public Image Limited and stuff like that, where it's not really rocking, where it's more of an art project, and we were looking going; "so, where's the energy?" And then suddenly stuff like hair metal, glam rock, and eventually Guns n' Roses, it was like; "ah, okay, there is some dirty rock and roll out there. Maybe we'll jump that bandwagon". But right before that, we had this epiphany with the cow punk, country punk thing, and it was like, we need some some good vibes into this energy, and those three chords have kept us grounded, so to speak; it had to have some kind of bluesy feel to it, it had to be, yeah, 'Bastard Blues'.
Something I love about D-A-D music is a contrast, from that to the melancholic tracks that you've come out with. On his album you have 'The Ghost, for example.
Definitely. When we recorded our first maxi-single ['Standin' On The Never Never', 1985], like, that was the only way we could get a record deal. They said; "okay, maxi-single; that's three songs guys, you can get three songs with us". We had a small ditty called 'Up Up Over The Mountain Top', which we called moped rock style, you know, a little a little fast one for the here and now, and then the big epic one, which on that album was called 'Indian Girl', and then we got the Bastard Blues, which was 'Marlboro Man' at that time, and that those three just followed all the way through. We always have, like a quick rocker, and the melancholic one that you talk about, and then the riff-based ones, the dirty ones, and it's been following all through our career, whereas, you know, Ramones or AC/DC that everybody loves, they stick to one style. We're not even schizophrenic; we are like thriceofrenic!
You have that nailed those three styles on the first three songs on 'Speed of Darkness'.
Exactly.
Going into an album, do you know that's exactly what you want?
Well, we've made plenty of mistakes. We try to stay out of everything preconceived, but it ends up in the same place every time. There is definitely, on some of the albums, songs that definitely stepped out of the three, like, for instance, 'A Kiss Between the Legs' [2009] was none of the three.
Oh, I'm doing so, so fine. It's a lovely day.
It's a pleasure to be chatting to you here from Ireland, and that's a country that D-A-D have never never visited; so what's going on?
That's really a big problem. We toured with The Answer once; you know the band The Answer? And we thought we had them [Irish shows] in our bag, but then something happened and we couldn't.
In your home country of Denmark D-A-D are huge, whereas in the UK you play much smaller places; what's that contrast like for you?
It is something we're very used to in a schizophrenic career, definitely. It's funny because I don't know why, or what happened that we became mainstream in Denmark. I really don't know, because we are just a normal dirty rock band outside of Denmark, and people tend to see us like that. We identify as a dirty, small, dirty rock band; I mean, when we started out, we were punk rockers, all of us, and we never thought that an audience could grow bigger than three hundred people. I don't know what happened, because Denmark is not a rock country, not at all, and so it really beats me. It really beats me.
It's tremendous that you have that success, and you're back with, what I make is your 13th studio album; am I right?
I think that's the number I've heard as well, but I'm not good at that.
It's a long way down the line, and the album's called 'Speed of Darkness'; that's a play on speed of light, isn't it?
Definitely. That's a typical D-A-D play on on words, yeah. It was Stig [Pedersen, bass] who said; "hey, man, "Speed of Darkness'; Doesn't that sound cool?" I said; "definitely!". At that moment, there was, you know, the war in Europe, like in the Ukraine, and the whole thing in the Middle East, so yes, things are changing with the speed of darkness. That was my take on it, so, yeah, we thought it fitted perfectly.
You mentioned 'dirty rock and roll', and the opening track 'God Prays to Man' is exactly that.
Oh yeah. There's many questions in that one, because D-A-D has always been playing what we would call 'Bastard Blues', so it's not like blues, with the three chords, but it's very bluesy; it's riffs and down and dirty, and that's what we've always done. We felt a great kinship with The Cramps and up to the glam era as well, where it was just a dirty riff, and then onwards. And of course, we have this Scandinavian sense of a good chorus. We cannot run away from that, but still for us, we need to riff up; there has some kind of blood, there has to be some kind of things going on to be able to see ourselves as this Bastard Blues, dirty little rock band. And being being able to play for tens of thousands of people in Scandinavia is a funny thing. I don't know what's happening, I just know what we like.
'Bastard Blues' is a great description!
We started out as punk rockers, and it seemed like punk had no home. There was no place, because Punk turned into Post-Punk, which was like Public Image Limited and stuff like that, where it's not really rocking, where it's more of an art project, and we were looking going; "so, where's the energy?" And then suddenly stuff like hair metal, glam rock, and eventually Guns n' Roses, it was like; "ah, okay, there is some dirty rock and roll out there. Maybe we'll jump that bandwagon". But right before that, we had this epiphany with the cow punk, country punk thing, and it was like, we need some some good vibes into this energy, and those three chords have kept us grounded, so to speak; it had to have some kind of bluesy feel to it, it had to be, yeah, 'Bastard Blues'.
Something I love about D-A-D music is a contrast, from that to the melancholic tracks that you've come out with. On his album you have 'The Ghost, for example.
Definitely. When we recorded our first maxi-single ['Standin' On The Never Never', 1985], like, that was the only way we could get a record deal. They said; "okay, maxi-single; that's three songs guys, you can get three songs with us". We had a small ditty called 'Up Up Over The Mountain Top', which we called moped rock style, you know, a little a little fast one for the here and now, and then the big epic one, which on that album was called 'Indian Girl', and then we got the Bastard Blues, which was 'Marlboro Man' at that time, and that those three just followed all the way through. We always have, like a quick rocker, and the melancholic one that you talk about, and then the riff-based ones, the dirty ones, and it's been following all through our career, whereas, you know, Ramones or AC/DC that everybody loves, they stick to one style. We're not even schizophrenic; we are like thriceofrenic!
You have that nailed those three styles on the first three songs on 'Speed of Darkness'.
Exactly.
Going into an album, do you know that's exactly what you want?
Well, we've made plenty of mistakes. We try to stay out of everything preconceived, but it ends up in the same place every time. There is definitely, on some of the albums, songs that definitely stepped out of the three, like, for instance, 'A Kiss Between the Legs' [2009] was none of the three.
You've once again worked with producer Nick Foss, and he goes right back to the early days with D-A-D, doesn't he?
He produced 'No Fuel' ['No Fuel Left for the Pilgrims', 1989], and then onwards. He wasn't with us on 'Monster Philosophy' [2008], and he wasn't with us with 'Soft Dogs' [2002], in the sense that he was always right behind the scene being, like an a&r guy or, not the producer, but the guy that fixes everything in the end, kind of thing. Yeah, Nick Foss is a heart with ears; I mean, he doesn't have a black book, he doesn't have stuff that he needs to have settled; he's just all ears, and he says; "I like it /I hate it", and that's it. Then, of course, he's very good at handling this dysfunctional band. He talks to us one on one, and everybody seems to agree with him. He's really the coach.
I wanted to touch on some of your history, going back to the two Warner Brothers albums that introduced D-A-D to the UK, and the awesome video for 'Bad Craziness'.
I mean, we had some great fun. The whole thing about the sofa on 'Riskin' it All' [1991] was; "you won't believe what I believe when I'm alone" and "when I'm at home", and that sofa was like, whoa, the angst couch! So we had a lot of fun.
The video featured some memorable claymation which included characters of all the ban members.
The claymation part of the video was a good friend of ours, Torleif [Hoppe], who was had been with us for the first five albums. He was into all that animation stuff, so he was really using his skills into our music, and we had a great time doing stuff like that. On 'No Fuel', he was using normal animation, and with 'Riskin' it All' he had risen himself into claymation. I mean, we always had this thing about the fun part; we always have to have some kind of uplifting thing going on, and as we grow older, nothing's uplifting, so it's become more and more blues. I mean, yeah, we still have that. We still have the take on it.
You must have been proud of that one, and how that album turned out.
Oh yeah. It was funny because this was the second album after a big success, because 'No Fuel' just blew up, so what happened was that with 'No Fuel', there was actually a lot more Bastard Blues, whereas with 'Riskin' in All' we said to ourselves - and we almost did it consciously; "okay, the world likes D-A-D, and this part of D-A-D, so let's try to fold it out a little more". That was our folding out of D-A-D and our ideas, and that was to have a little more fun with it. It didn't go down well in America with the fun part, but that's how it is, because as you say, 'No Fuel Left for the Pilgrims', and 'Riskin' it All' were both Warner Brothers releases, so obviously, that's when you were coming into the UK and stuff, and Kerrang! magazine and all that.
What was it like to be thrust into that next league, with the major label and everything?
We were young, so we didn't take it as as like a big, heavy weight on our shoulders. We're really having fun with it; lots of travel, lots of interview, lots of almost everything. But you felt that you were part of an industry, and we've never felt that we were part of an industry, so that was a very new thing. I mean, suddenly you had to step into some kind of framing that, growing up being punk rockers in a rich and happy country, it didn't really fit well with us. That was; "what's going on here? People are trying to put something down, and they're trying to frame us". And I remember that right after 'Riskin' it All', we got dropped by Warner Brothers, and we signed with EMI straight away, and it was like this feeling of; "so hey man, we're still on a roll!" For me, I only found out later that we should really have maybe just moved to America, and did the grind, but no. I mean, I hang out with Mike Tramp nowadays back here in Denmark, and he's a sweet guy, but man, did they ruin him. I mean, he was really living up to everything, and still, you do everything; dress up right, do all the right things, get your American accent, all that stuff; doesn't matter. D-A-D is still alive and doing what we're doing because we sticked with it; yeah, maybe we couldn't do it, but we did what we could do.
He produced 'No Fuel' ['No Fuel Left for the Pilgrims', 1989], and then onwards. He wasn't with us on 'Monster Philosophy' [2008], and he wasn't with us with 'Soft Dogs' [2002], in the sense that he was always right behind the scene being, like an a&r guy or, not the producer, but the guy that fixes everything in the end, kind of thing. Yeah, Nick Foss is a heart with ears; I mean, he doesn't have a black book, he doesn't have stuff that he needs to have settled; he's just all ears, and he says; "I like it /I hate it", and that's it. Then, of course, he's very good at handling this dysfunctional band. He talks to us one on one, and everybody seems to agree with him. He's really the coach.
I wanted to touch on some of your history, going back to the two Warner Brothers albums that introduced D-A-D to the UK, and the awesome video for 'Bad Craziness'.
I mean, we had some great fun. The whole thing about the sofa on 'Riskin' it All' [1991] was; "you won't believe what I believe when I'm alone" and "when I'm at home", and that sofa was like, whoa, the angst couch! So we had a lot of fun.
The video featured some memorable claymation which included characters of all the ban members.
The claymation part of the video was a good friend of ours, Torleif [Hoppe], who was had been with us for the first five albums. He was into all that animation stuff, so he was really using his skills into our music, and we had a great time doing stuff like that. On 'No Fuel', he was using normal animation, and with 'Riskin' it All' he had risen himself into claymation. I mean, we always had this thing about the fun part; we always have to have some kind of uplifting thing going on, and as we grow older, nothing's uplifting, so it's become more and more blues. I mean, yeah, we still have that. We still have the take on it.
You must have been proud of that one, and how that album turned out.
Oh yeah. It was funny because this was the second album after a big success, because 'No Fuel' just blew up, so what happened was that with 'No Fuel', there was actually a lot more Bastard Blues, whereas with 'Riskin' in All' we said to ourselves - and we almost did it consciously; "okay, the world likes D-A-D, and this part of D-A-D, so let's try to fold it out a little more". That was our folding out of D-A-D and our ideas, and that was to have a little more fun with it. It didn't go down well in America with the fun part, but that's how it is, because as you say, 'No Fuel Left for the Pilgrims', and 'Riskin' it All' were both Warner Brothers releases, so obviously, that's when you were coming into the UK and stuff, and Kerrang! magazine and all that.
What was it like to be thrust into that next league, with the major label and everything?
We were young, so we didn't take it as as like a big, heavy weight on our shoulders. We're really having fun with it; lots of travel, lots of interview, lots of almost everything. But you felt that you were part of an industry, and we've never felt that we were part of an industry, so that was a very new thing. I mean, suddenly you had to step into some kind of framing that, growing up being punk rockers in a rich and happy country, it didn't really fit well with us. That was; "what's going on here? People are trying to put something down, and they're trying to frame us". And I remember that right after 'Riskin' it All', we got dropped by Warner Brothers, and we signed with EMI straight away, and it was like this feeling of; "so hey man, we're still on a roll!" For me, I only found out later that we should really have maybe just moved to America, and did the grind, but no. I mean, I hang out with Mike Tramp nowadays back here in Denmark, and he's a sweet guy, but man, did they ruin him. I mean, he was really living up to everything, and still, you do everything; dress up right, do all the right things, get your American accent, all that stuff; doesn't matter. D-A-D is still alive and doing what we're doing because we sticked with it; yeah, maybe we couldn't do it, but we did what we could do.
You mentioned Mike Tramp, and obviously he came from White Lion which was very much styled in glam rock, and then when grunge came along, he changed his style with Freak of Nature; do you think Grunge had an effect on D-A-D?
Definitely, and also, D-A-D, the funny thing with Grunge was that we came from the same background, so we were also punk at heart, and we just jumped the hammer, the bandwagon at one point, finding out; "okay, where's the energy? Where can we go with our music? Where are we going? " And suddenly with the onslaught of Grunge, I had this feeling that; "ah yes, they knew we had to go back to that kind of the punk rock ethics". We had to go back to something that really tore the whole thing apart, and on the other hand, still, we come from a happy, rich country; we couldn't be punk, we couldn't be sleaze rock, we couldn't be Grunge, we're just who we are, and that's how it is.
Did you find that period in the mid to late '90s difficult waters to work in?
It was, looking back, difficult, but for us, it really felt like freedom. It's a funny thing because, when we did 'Helpyourselfish' [1995], the reviews here in Denmark said; "well, not much of a pop song, but they definitely put ten years more to their career", and that was like; "wow, we can", because, when we went from the whole country punk thing, we had what we thought was the best audience, and that album sold 10,000 copies. That was like, whoa, the best we have ever done. Then we changed with 'No Fuel' and became a hard rocking band, because we got older, and we go to pubs and you drink, and you get existentialist crisis because you're so hungover and you have to write a song about it!
So you're saying you were used to changing?
We had we changed, and the thing was that we come became so much more popular after the change. So we never had a problem with changing with 'Helpyourselfish' as well, because we just thought we were paving a new road, new freedom, new anything, but the same thing with Mike Tramp's experience with Freak of Nature, maybe, was that you cannot really follow a trend; you can be lucky to fall into a trend, and then you are the trend, you are the now, but you can never build a new now. What you have to do is be thankful for when you were in the now, when you were in the pinnacle, and then keep on doing; "okay, here's your shelf", then be you from now on. That's like what I would say to any rock artist in in general; you get a rocket lift, and then you have to be you to survive.
You did that, and in 2002 you got your first number one album in Denmark with 'Soft Dogs', which has some killer tracks on there. What do you think it was that landed with that album that got you your number one?
Oh, many things. I mean, most of all, maybe because 'Everything Glows' [2000] was big in Scandinavia, the album before. It was so big, so there was some kind of afterburner effect, which was perfect and lovely. We worked pretty hard, and too quick to make the 'Soft Dogs' [2002] album, because it was too hasty. We were really, really working hard to meet deadlines, which was great, because the timing was there, but, you know, half the album, the songs were not, unfortunately, there. But I agree with you, the first half of that, and especially 'Soft Dogs' [the title track]; brilliant sound, brilliant songs, but it's like we were really working hard, and most of the reason for the number one was because of the all the good mood that 'Everything Glows' was making.
Bringing things back to the present, and you recently released the single 'Keep That Mother Down'; how has the response been to it?
People are saying; "yes, yes, yes!", but you know, people haven't heard 'God Prays to Man' yet because they only heard the four singles out. You journalists have heard the whole album, but the audience hasn't heard, so we walk around still with a little secret, and have secret smiles about; "just wait and see!" But they're very happy, and it's going to be a good live song as well. It's going to be great playing that live.
Definitely, and also, D-A-D, the funny thing with Grunge was that we came from the same background, so we were also punk at heart, and we just jumped the hammer, the bandwagon at one point, finding out; "okay, where's the energy? Where can we go with our music? Where are we going? " And suddenly with the onslaught of Grunge, I had this feeling that; "ah yes, they knew we had to go back to that kind of the punk rock ethics". We had to go back to something that really tore the whole thing apart, and on the other hand, still, we come from a happy, rich country; we couldn't be punk, we couldn't be sleaze rock, we couldn't be Grunge, we're just who we are, and that's how it is.
Did you find that period in the mid to late '90s difficult waters to work in?
It was, looking back, difficult, but for us, it really felt like freedom. It's a funny thing because, when we did 'Helpyourselfish' [1995], the reviews here in Denmark said; "well, not much of a pop song, but they definitely put ten years more to their career", and that was like; "wow, we can", because, when we went from the whole country punk thing, we had what we thought was the best audience, and that album sold 10,000 copies. That was like, whoa, the best we have ever done. Then we changed with 'No Fuel' and became a hard rocking band, because we got older, and we go to pubs and you drink, and you get existentialist crisis because you're so hungover and you have to write a song about it!
So you're saying you were used to changing?
We had we changed, and the thing was that we come became so much more popular after the change. So we never had a problem with changing with 'Helpyourselfish' as well, because we just thought we were paving a new road, new freedom, new anything, but the same thing with Mike Tramp's experience with Freak of Nature, maybe, was that you cannot really follow a trend; you can be lucky to fall into a trend, and then you are the trend, you are the now, but you can never build a new now. What you have to do is be thankful for when you were in the now, when you were in the pinnacle, and then keep on doing; "okay, here's your shelf", then be you from now on. That's like what I would say to any rock artist in in general; you get a rocket lift, and then you have to be you to survive.
You did that, and in 2002 you got your first number one album in Denmark with 'Soft Dogs', which has some killer tracks on there. What do you think it was that landed with that album that got you your number one?
Oh, many things. I mean, most of all, maybe because 'Everything Glows' [2000] was big in Scandinavia, the album before. It was so big, so there was some kind of afterburner effect, which was perfect and lovely. We worked pretty hard, and too quick to make the 'Soft Dogs' [2002] album, because it was too hasty. We were really, really working hard to meet deadlines, which was great, because the timing was there, but, you know, half the album, the songs were not, unfortunately, there. But I agree with you, the first half of that, and especially 'Soft Dogs' [the title track]; brilliant sound, brilliant songs, but it's like we were really working hard, and most of the reason for the number one was because of the all the good mood that 'Everything Glows' was making.
Bringing things back to the present, and you recently released the single 'Keep That Mother Down'; how has the response been to it?
People are saying; "yes, yes, yes!", but you know, people haven't heard 'God Prays to Man' yet because they only heard the four singles out. You journalists have heard the whole album, but the audience hasn't heard, so we walk around still with a little secret, and have secret smiles about; "just wait and see!" But they're very happy, and it's going to be a good live song as well. It's going to be great playing that live.
What are your plans for this album; are you going to go out touring, big style?
Yes. We've been so we've been itching, I mean, the whole career, we've been itching; "now let's do it! Let's go, album, on tour, album, tour, album, tour"; this time around, we've had some time. We've spent some extra time writing the songs. We were actually in the studio for six months; cheap studio, and not all the time, but six months. That's not good for an ADHD brain to spend that much time on a single thing! But now we have this feeling; "ah, maybe that's the way to do it". So we've said that the next three years, it's going to be about coming out of Denmark, simply just doing the hard work, just playing, coming to Ireland, coming to UK, just playing the small shows, just time aside to do that stuff. We were in Australia a little over a year ago, and we haven't been there for twenty years, and the experience with Australia was just beautiful. We know that in the Mediterranean we have fans; we just need to go there and, and we know that in Japan, there's fans, and we need to go there. So instead of just, you know, picking up local currency, we're going to go and do what we've been dreaming of all these years.
What was it like headlining Copenhell in your home country in 2022?
That was very special, because people got the chance to vote for the set list. They were actually voting which songs they wanted to hear, and the funny thing is, being an old band playing to audiences that also are little old, suddenly, you find yourself; "ah, clap along! Come on, let's hear it!"; you know, enticing the audience, and I had all this up my sleeve, all these stupid sayings to the audience at the Copenhagen show, and they took the show by themselves, and they didn't need it. It was one big freight train! So that was a different and a beautiful and a very successful evening.
What for you are your top three D-A-D albums?
Whoa. Well, 'No Fuel' is such a no brainer. I would go for 'Everything Glows', because there was a freedom, and quality of the song writing, and what we did, and Laust [Sonneame, drummer] came on board and started, so there was some whole different; "wow, we got another chance!", so I really like 'Everything Glows'. And I really, really love this album as well. You shouldn't be saying anything until at least two or three years down the line, but I really like this one.
D-A-D's 'Speed of Darkness' is out now.
Yes. We've been so we've been itching, I mean, the whole career, we've been itching; "now let's do it! Let's go, album, on tour, album, tour, album, tour"; this time around, we've had some time. We've spent some extra time writing the songs. We were actually in the studio for six months; cheap studio, and not all the time, but six months. That's not good for an ADHD brain to spend that much time on a single thing! But now we have this feeling; "ah, maybe that's the way to do it". So we've said that the next three years, it's going to be about coming out of Denmark, simply just doing the hard work, just playing, coming to Ireland, coming to UK, just playing the small shows, just time aside to do that stuff. We were in Australia a little over a year ago, and we haven't been there for twenty years, and the experience with Australia was just beautiful. We know that in the Mediterranean we have fans; we just need to go there and, and we know that in Japan, there's fans, and we need to go there. So instead of just, you know, picking up local currency, we're going to go and do what we've been dreaming of all these years.
What was it like headlining Copenhell in your home country in 2022?
That was very special, because people got the chance to vote for the set list. They were actually voting which songs they wanted to hear, and the funny thing is, being an old band playing to audiences that also are little old, suddenly, you find yourself; "ah, clap along! Come on, let's hear it!"; you know, enticing the audience, and I had all this up my sleeve, all these stupid sayings to the audience at the Copenhagen show, and they took the show by themselves, and they didn't need it. It was one big freight train! So that was a different and a beautiful and a very successful evening.
What for you are your top three D-A-D albums?
Whoa. Well, 'No Fuel' is such a no brainer. I would go for 'Everything Glows', because there was a freedom, and quality of the song writing, and what we did, and Laust [Sonneame, drummer] came on board and started, so there was some whole different; "wow, we got another chance!", so I really like 'Everything Glows'. And I really, really love this album as well. You shouldn't be saying anything until at least two or three years down the line, but I really like this one.
D-A-D's 'Speed of Darkness' is out now.
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