[Introductory clip of “For Whom the Jingle
Bells Toll” from Panzerballett’s “X-mas Death Jazz”]
AG: This is Anthony with MakeWeirdMusic.com
and I am here with Jan Zehrfeld from Panzerballett
and they--well, Jan has a new album with Panzerballett.
It’s a Christmas album and I thought it’d
be cool for him to talk about why a Christmas
album and about some of the guest artists
on the album.
So, why Christmas music?
And what’d you do with it?
[Laughs.]
JZ: Well, Christmas music--it started in 2003.
I got a new computer, I started recording
guitars and I started recording just for fun
Christmas songs for my friends and contacts.
And it was nothing special yet.
It was just three voices of guitar, some Brian
May-style thing and it got good responses.
So I chose to do another one a year after.
But then I was playing in a speed metal band
at the time and I thought, “Well, what about
mixing speed metal with Christmas songs?”
I wrote just a 20-second thing and it was
a whole lot of fun.
After that, a year after again, I did something--this
was Jingle Bells and this was already in the
Panzerballett style.
It got like--it was even better--it got tradition.
For 13 years, I’ve been doing these 1-minute
Christmas greetings.
[Christmas greeting examples: “Let it Snow,”
“White Christmas,” “Rudolf the Red-Nosed
Reindeer,” “Es Kommt Bald”]
JZ: After a couple of years, some of the prog
stations started airing them and people were
looking and asking me, “What’s your next
Christmas song?”
It was always big fun and why I chose to go
on.
It was because I feel that’s my actual feeling
about the Christmas time.
I feel not very calm and peaceful.
The message that I get from the Christmas
time is a different one.
It just reflects my inner world better to
channel aggression, channel the aggression
in the traffic that happens, to channel aggression
in the shopping malls, and everything.
Everyone needs a present.
It has to be.
It’s like forced joy, forced cheer from
this forced happiness.
I don’t like it.
It just makes me angry and I think it’s
like--I like the contrast.
The reason why I make music is to channel
aggression.
One of the main reasons.
And all the ingredients I use for making this
music are like the absolute opposite of the
ingredients that are used in Christmas music.
I think this contrast is very exciting and
fun to do.
AG: You’ve got some special guests on the
album.
JZ: Yeah.
AG: Who’d you find and why’d you bring
them aboard?
JZ: So, first and foremost of all, Mattias
IA Eklundh from Jütebog.
The crazy Swede, freak.
IA: I sing a very strange, hedonistic pagan
version of White Christmas and Rudolph the
Red-Nosed Reindeer.
To this very day, Rudolph is scaring the shit
out of me.
[Clip of “Rudolph the Red-Nosed Reindeer”]
IA: Because Jan Zehrfeld is a mad-scientist,
he sent me this beefy score with sort of the
melody, but since he’s been to school and
he learned many adult chords with numbers
and stuff, the harmonies were so--can I say
“fucked up?”
AG: Yes.
IA: It was, “No no no.
This is impossible.”
It was one of the hardest things I’ve ever
done.
I’m trying to convince him to make a very
strange video.
Maybe we’ll do it naked.
Because it’s really spooky.
It’s not the Rudolph you’re used to.
It’s really weird.
Really weird.
Make weird music.
Well, that’s Jan Zehrfeld for you.
[Laughs.]
AG: Did you do the--did you scream “Rudolph”
in the background?
[Clip of “Rudolph” screams.]
IA: I am screaming.
AG: You’re screaming all that.
IA: It’s kind of fun because I live in the
Swedish woods, as you know, and there are
not many people here.
Occasional mooses and a few birds and I have
my big dogs, but I have a great neighbor not
super-far and he was up in the middle of the
night working with his car and I was late,
as I--I’m always late when it comes guest
appearances.
I wait until the very last minute.
Ane he would hear me.
We talked the other day.
“Are you okay?
Because around 1, 2-ish, I could hear you
scream ‘Rudolph!’ and ‘Red-nosed!’
What was going on?
Complete silence and then outburst of just
insanity!”
So, that was kind of fun.
I said, “Yeah, I was working on a Christmas
album with some German friends, you know.
We needed that screaming, Rudolph screaming.”
But it’s not every day you scream, “Red-nosed.”
You know, blood is coming out of your mouth
and red…
I think I have the score somewhere.
Give me a second.
AG: Okay.
IA: Oh yeah, yeah, so here is--do you see
this?
AG: I see a little bit, yeah.
IA: Yeah.
This is the vocal part of Rudolph and [laughs]
this is not kid’s stuff.
AG: Jan sent me some early mixes and every
time I listen to Rudolph, I laugh so hard
just at those screams in the background.
It’s so passionate.
IA: Yes!
I love Christmas music.
I really do!
AG: Oh, do you?
IA: I adore it!
I love Christmas as well.
I always take December completely off and
I have a little glass of fine cognac and I
listen to Dean Martin and I decorate the Christmas
tree.
I decorate the Christmas tree.
I have a 10-year-old.
He can put up the Gene Simmons decoration
and stuff like that.
My wife doesn’t touch it.
It takes me forever.
I light a fire in our lovely living room and
I listen to Dean and I really work it, you
know?
I’m super-picky.
It’s insane.
I don’t know.
There are a few things I wonder about myself:
why do I like decorating the Christmas tree
and why do I like playing DOOM so much?
It’s weird.
10 years of therapy could maybe…
AG: You are also contributing guitar, right?
IA: I am.
Yes.
AG: On which song?
IA: Both.
I sing both White Christmas and Rudolph the
Red-Nosed Reindeer and I also do some lead
work.
They cut all--I think there are three solos
in White Christmas.
For the video, they wanted to make it “commercial,”
so they took that out, but on the album, there’s
a lot of weedly-weedly.
And again, it’s over adult chords, so I
had to get my shit together.
Every time you play with Panzerballett, you
have to take a deep breath and read music
and--”ARGH!
What is this?
What’s this harmony?”
And so on.
I love them.
I think they’re really really really wonderful.
They are the Spike Jones of this century,
in a way.
It’s musical murder.
AG: Yeah.
And Jen said it was some of the hardest music
she’s ever tried to record.
I actually spent some time with Jan this summer
and he was having a hard time playing through
it, so that was actually comforting.
IA: I saw the video.
I saw the video that you edited together.
I laughed.
[Jan screaming.]
IA: I laughed to tears because he’s--again,
he’s a mad professor.
He’s just hilarious.
Everything he says, even if he doesn’t mean
to be super-funny, he’s just very very funny.
You know?
So, I love those outtakes.
It really made my day.
It was such a funny video.
AG: Awesome.
So, what are some of your favorite moments
of what you recorded on this and what do you
think people are going to get out of it?
IA: Oh, that’s a tricky question.
I think they will like it.
When I did White Christmas, that was the first
one I recorded
the vocals…
[White Christmas clip]
IA: I tried to be funny.
It was not funny.
I tried to overdo it.
And then I said, “Well, I actually like
this music.
I like Christmas music.
Sing it in the most honest way you can.”
I really tried to be a heavy metal crooner
kind of guy and then it clicked.
Then it worked.
So, it’s funny stuff, but it’s also dead
serious in many ways.
You do not kid around.
“Where is 1?”
I tried to find the “da.”
It’s really, really hard so I slapped my
Indian Konnakol to say, “Where am I in this
fucking music?”
You have to do it and you have to play it
like you mean it and then it becomes funny.
Don’t joke around because then it’s turning
out stupid, I think.
I love doing it.
I was always late and I sent it off to Jan
and said, “I don’t know if this is just
utter crap or if it’s good.”
He loved it.
He’s such a gentle guy.
JZ: Who’s already been a guest on Tank Goodness
and I’ve been in touch with him since 2010
when he once wrote me on MySpace that they
were touring with Freak Kitchen and they had
to stop the touring bus because they had to
laugh about a Panzerballett song, what was
happening in there.
So, yeah, we met at Musikmesse and we got
friends and said, “Let’s do something
together.”
Then we started exchanging ideas and writing
together.
So I thought, “Well, Mattias would be really
great to have on this Christmas album again.”
He even does two songs with his awesome guitar
soloing.
It’s just the right thing.
He--
AG: And his vocals.
He sings.
JZ: Yeah, his vocals.
Mattias told me he loves Christmas and not
everyone does that.
I cannot say I love it or I hate it, I just
have my feelings about the Christmas time.
The idea of Christmas, of course, is great,
but it’s just hard to make it as it should
be, actually.
I requested some other guests who declined
because they said, well, they hate Christmas.
I guess they just didn’t listen to the music
because if you hate Christmas, it’s also
an album for you.
AG: The anti-Christmas Christmas album.
JZ: Right.
So, Mattias--we have Mattias.
And then we have Jen Majura.
AG: So, yeah, you play on and sing--wait,
you sing on it.
JM: I sing on it.
AG: You sing.
JM: Yeah.
It happened after I asked Jan to contribute
to my album.
He was like, “Oh yeah, let’s do this together.
I’ll do a solo for your album,” and “I’ll
do some vocals for your album.”
AG: You have an awesome voice.
JM: Thank you.
AG: You’re a great singer.
JM: Thank you.
AG: Seriously.
JM: It was a lot of fun, absolutely.
I think it [laughs] it’s been the most insane
experience I’ve ever had in a studio.
AG: Yeah!
JM: Because if you work with a guy like Jan
from Panzerballett--
AG: Yes [laughs].
JM: It’s kind of scary, to be honest.
It’s scary because I consider him to be
a genius in music and I have--not only is
he a good friend, but he’s just so good
in what he’s doing that I felt like, “Oh,
will I survive this?”
So, I asked him for a printed sheet so I could
actually just read what’s going on because,
of course, you can listen to it and try to
reproduce it but with that amount of information,
I was kind of like, “Give me a printed sheet
so I can read notes.”
Then I looked at the notes and I was like,
“Good Lord!
It’s like 11/16 followed by 13/8,” and
I was like, “Oh shit!
How am I going to do this?”
And then I did a take and his comment--he
was quiet.
And I said, “Jan?
Jan?”
And his comment was, “Well, could you do
the second triplet in the 16th again, a little
bit more staccato?”
And I was like, “Dammit, I’m so happy
I just made it through the whole thing.
Okay, let’s do it again and do it again.”
It was really fun.
It was fun to work with him.
AG: It’s funny.
He had that Typewriter II cover thing a long
time ago and I did a cover.
JM: I saw it.
I saw it.
AG: Well thank you.
JM: It’s awesome!
I saw it.
I told you, I love it.
AG: Thank you!
So, I did this cover and I was like--I was
really happy about it, and then I saw the
winners of the contest and I was like, “Oh
yeah.
German precision.”
Jan is like--I’m very loose, I played my
thing, but I realized watching the winners,
I was like, “I see why they won!”
It’s a very tight cover and Jan is very
precise.
JM: Yes, especially when it comes to timing,
note lengths…
It’s good.
That’s why he’s able to keep that band
tied together because he’s got that special
ear for tightness and timing.
It’s been interesting working with him,
definitely.
AG: Yeah, I mean, what a privilege too.
JM: I was honored.
AG: I’m sure it took you up a couple notches
in what you need to do perform it.
JM: Yeah.
I just had ants in my pants, to be honest,
when I came there.
I was like, “Ooohhhh” [nervous noises].
It turned out to be fun.
We did it a couple of times and I had my issues
and then he went to me and said, “Oh could
you try this a little bit more of ‘that’
and a little bit more [screams].”
And I said, “Okay.
Whatever you want.”
AG: Yeah, so what were some of the challenges
outside of, obviously, the timing.
JM: The timing was a big--like, the major
challenge.
The timing.
Then--well, he was also when it came to the
scored notes and stuff, I suggested, “Maybe
we could do this a little bit--like, an octave
higher so it won’t get in the way of the
main vocals,” because I had just learned
in the studio that Mattias was going to sing
on that one.
I didn’t know that.
He just sent me the track and his demo version
and I was like, “Okay, that’s cool.”
And then when I came to the studio to record,
he was like, “Yeah, Mattias is going to
sing the main vocals.”
“Really?!
That is awesome!
Us three together on one song.
I love that!”
AG: Yeah!
I love it too.
It’s awesome.
JM: He was really cool when it came to talking
about the arrangement.
Of course, not the major arrangement, but
sometimes there were words or phrases that
would get in the way with the main vocals
of Mattias, so I kind of suggested, “Could
we do this an octave higher?”
Or, he was kind of inspired and went to me
like, “Hey could you try this and do a second
line?”
We changed some words a little bit.
It was very cool working together.
I really had a good time.
It was interesting to see how Jan was working.
I learned a lot that day.
AG: And there’s a lot of stacking of what
you’re doing.
JM: No not at all.
AG: [Laughs.]
How many vocal parts did you sing at one time?
Three?
JM: I think the most--it sounds massive, but
it’s the max of three different lines.
AG: It’s really complex.
JM: Yeah, but that is the way Jan wrote the
whole thing.
AG: I know.
JM: So, it sort of starts odd against the
main vocals and in the end, it merges together
and ends up in one.
That is just a phenomenal way of writing in
a timing-wise thing.
If you take a look at it, how he thinks about
it, how he starts completely different until
the whole thing merges together and ends up
on the 1.
That is really--it was beautiful to see.
AG: How did you get connected with him?
JM: I expected you to ask that question.
I have no clue.
I thought about it earlier today, but I don’t
know.
I think I was at the Freak Guitar camp in
Sweden with Mattias and I think we talked
about Jan and then I saw your interview of
Mattias when he--I love what he said there.
He was like, “Jan is exploring the depths
of madness.”
I loved that so much, so I think I just wrote
him on Facebook.
AG: Oh, so it’s recent?
JM: Yeah, it’s like two years?
Two or three years?
Something like that.
AG: Wow.
I thought you were old friends or something.
JM: No, we really became close friends since
then.
It’s nice.
We’re in steady contact and everything is
cool.
AG: Okay, yeah, because he speaks very highly
of you.
JM: Thank you Jan.
I know you’re going to see this.
[Blows a kiss.]
AG: Awesome.
So, anything else about the recording experience?
JM: After I finished recording White Christmas,
I went to have a break and a coffee.
I came back to the studio and I remember Jan
was in there singing, “We Wish You a Merry
Christmas.”
AG: Oh yeah.
[Clip of “We Wish You a Merry Christmas”
from Es Kommt Bald.]
JM: And he was yelling, too!
He was like, “AAAGH!
I can’t do this!
It’s too hard!”
And I love when people write music, like musicians
write and are challenging themselves to get
it out what they hear inside of their ears
and inside of their mind.
So, Jan apparently wrote something that drove
him nuts as well and he was like, “Jen!
Come here and sing that!
I can’t!”
I was like, “Okay!”
So I tried it and I was suffering too because
it was just so hard to sing.
AG: Oh, that’s funny.
JM: It was fun.
We really had a great, great, great day in
the studio.
AG: What about the rest of the album?
I know you’ve heard some songs.
What do you think?
JM: It’s craziness.
It’s like exploring the depths of madness.
AG: Absolutely.
JM: I think it’s a beautiful idea to put
that Christmas album out there finally.
I know it’s been on his mind for quite some
time and it’s a great idea.
The final result is technically, arrange-wise
and musically, from my understanding of music,
beautiful.
I really like the style of music, the style
of Panzerballett in general.
They started with the quintuplets and then
turned into--well, where are we now?
Seven-tuplets or something?
AG: Yeah, they’re starting with nines now.
JM: Are we at nine now?
AG: I think he said there’s sevens and possibly
some nines on this Christmas album.
JM: Yeah, sure.
[Laughter.]
AG: For those twirling their mustache listening
to the record.
JZ: She’s a fan of this wacky music and
odd music also.
She loves it.
She’s singing along with Mattias on a song,
on White Christmas actually.
AG: She does an awesome job.
JZ: Yeah, exactly.
AG: So great.
JZ: I didn’t even know she was singing.
She just one day played something to me and…
“Who’s singing?!”
“Okay, that’s me doing some background
vocals.”
And I thought, “Wow, okay.
This could be a great fit.
Male and female voice.”
Mattias and Jen together is like something
I thought I could imagine well and fits well.
AG: It does.
JZ: Yeah.
And then we have Steffen Kummerer of Obscura,
who’s singing on Let It Snow.
We needed some real death metal stuff.
[Clip of Steffen’s singing on Let It Snow.]
JZ: Sebastian [Lanser], he’s playing drums
for Obscura as well.
So I thought, “Well, let’s use this connection
for making it even more evil.
To express maximum evil with death metal vocals.”
And the album is called “X-mas Death Jazz.”
The death jazz, that’s kind of a running
gag.
When we started as a band, someone was like--we
played a lot of jazz clubs and some of the
people who didn’t know us and just walked
inside the club, “Hey, Panzerballett.
What style of music are you playing?”
“Uh, well, we are playing death jazz.”
Not death metal.
I thought, “This is a nice thing.
Christmas death jazz is the right title for
this album.”
And Steffen brings the death part.
And on the same song, we have Mike Keneally,
who’s a tremendous awesome musician.
When looking for someone, a singer to do this,
I was asking myself, “Who could possibly
‘get’ the rhythm and wouldn’t get lost
in all the rhythmic terror that we’re doing?”
MK: Good description.
JZ: Some unusual rhythms going on there and
I couldn’t ask just a regular rock or metal
singer to do this.
Of course, it’s set to be musician’s music,
so it would have to be someone who’s really
used to intricate rhythms.
I’ve known you as a guitar player before.
I just knew from two YouTube videos that you’re
actually doing singing as well.
So, one I think you played with Zappa and
you’re younger than now wearing a hat, I
think.
And then the “daa doo dak,” something
like this.
Very fast.
And the other one is a video where you play
something in the rain, but you played double
as fast, which was slowed down again.
It was a track a couple of years ago.
MK: Yeah, “I’m Raining Here Inside.”
JZ: Right.
MK: Yeah.
You, fortunately, provided such comprehensive
materials to work with for the recording.
He had instruments playing exactly what the
vocal was needing to do.
Rhythmically and pitch-wise, so I had the
option of listening to these melodies, which
is identifiable as the melody from Let It
Snow.
I love that song, by the way.
I love your arrangement, but I’ve always
enjoyed the song Let It Snow, and I have a
real weakness for Christmas music.
I’m a total Christmas geek, but I also like
the idea of taking these traditional songs
and messing with them almost beyond recognition.
But, it’s still identifiably the song even
though rhythmically it’s going all over
the place.
This particular track travels through about
18 stylistic variations.
[Clip of Mike singing on Let It Snow.]
MK: So it’s great.
I was able to hear the melodies that he needed
me to sing, both in the context of these crazy
rhythms and also could make all of that go
away because you provided stems so I could
just listen to the vocal over the click.
So, at that point, or I should say I listened
to the vocal melody over the click because
it was keyboards playing the vocal melodies
that you sent me.
So I could just listen to a keyboard playing
whatever I needed to sing as it related to
the click.
That made it very easy because all I had to
do was relate it to something very steady
and not be distracted by the [rhythmic noises].
And it’s like, “Okay, so it’s not a
question of how do I sing these quintuplets
over this rock groove and make it lock in,”
it’s just, “All I have to do is sing it
against the click and sing exactly what the
keyboard is playing, then bring back all the
instrumentation and make sure it lined up
with what you were hoping to do.”
It was the same way with the harmonies, especially
in that Andrews Sisters section where it’s
extremely dense four-part harmony.
If there were four of me, in reality, and
we were all trying to sing that stuff perfectly,
it would be a struggle because it’s four
voices seemingly singing a whole tone or a
half tone apart in some sections.
But, you break it down to one track at a time
and just sing exactly what you had the keyboard
singing or playing, and then listen to them
all together and make sure that the phrasing
all lines up nicely.
I was experimenting with different recording
situations.
I had friends who had studios and stuff because
I don’t have home recording right now.
So, I was going to different places and the
first time I tried it out, I sang that Andrews
Sisters section an octave too low, which was
extremely dense and then he kindly said, “It
sounds very good, but this one section [laughs]
should be an octave higher.”
I was like, “Okay, that makes sense to me
now.”
Then I went to Double Time, which was fun
to record.
That was the studio where I recorded Boil
That Dust Speck and Sluggo! and various projects.
I haven’t worked with Jeff Forrest, the
engineer there, for quite some time.
I worked with him on Jamie Kaim’s solo record.
That’s the last time I worked with Jeff,
but I haven’t done any singing with him
in a long time.
So it was fun to go back there and do vocal
tracks there.
Kind of nostalgic.
It came together pretty quickly.
It took me about 2 hours to record all the
stuff.
JZ: Great.
MK: Jeff really enjoyed it and he’s listening
to your arrangement and it’s incredibly
intricate and beautifully played and all your
stuff is brilliant.
And he’s like, “Who is this guy?!”
It was fun to introduce you to him via this
track.
I was like, “Oh I’m going to sing on this
Christmas song.”
I didn’t tell him what was going on.
He was like, “Holy shit!
What is this?
This is amazing!”
I’m very happy to be a part of the track.
It’s super high quality and I suspect that
the whole album is going to be that way.
I’m jazzed to hear the whole thing.
JZ: Yeah!
That’s great.
I have a question about--for myself, when
I arranged it and learned it, at first I’m
arranging and then I can learn it and then
it takes me some time to really get to nail
it down, but the hardest part was this quintuplet
part.
I think the first version I sent you was with
a quintuplet click, but then I remember how
I thought the first time when I did the pre-production
back in 2012 how I recorded it back then and
then I used, actually, the other click, the
triplet click.
MK: Yeah.
JZ: Which first just as well to the part,
but is way easier to perform to.
MK: Easier to feel.
It’s funkier.
JZ: Right!
Right.
MK: It’s not as clinical.
Yeah, I was able to sort of get in the character
of your intention with that different click.
When we recorded, I had both of your clicks,
so I had them both lined up and I found that
there were some sections--I couldn’t tell
you precisely which--some sections where it
was easier to perform to one click and other
sections where it was easier to perform to
the other.
JZ: Right.
MK: And then of course having the actual instrumental
tracks as reference as well.
But, it was very satisfying, especially when
I finally executed the Andrews Sisters harmonies
correctly and listened to them against--just
a capella and just against the click and then
with everything in--it’s such a fun arrangement.
It’s really good.
I think people are going to get a huge kick
out of it.
AG: Your voice sounded so good on that recording.
MK: I’m glad to hear that because I tried
various approaches and I found that the best
thing to do was just try to sing it as straight
as I could.
There’s a couple of moments that are attitudinal,
but for the most part, I just wanted to execute
this as cleanly as possible and get the point
across without trying to play a character.
I did consider doing the death growls at the
end, but I thought it would be better to hand
that off to a specialist.
[Laughs.]
JZ: Right.
Right.
I wasn’t sure in the beginning, but this
last part, “Is this Mike’s thing?
I think maybe, maybe not.”
MK: I think that’s the right call.
Orchestrationally, I think it makes more sense
just in terms of the sound of the thing to
have somebody who really knows what they’re
doing.
AG: What I loved about your vocal performance
on that song, it’s clearly enthusiastic.
MK: Oh yeah.
AG: You sound half your age, too.
You sound like you’re 20 years old on it.
MK: That’s interesting and delightful because--and
I think some of that might have to do with
the setting because I was working again with
Jeff, with whom I worked on Hat and Dust Speck
25 years ago.
AG: Right.
MK: There is something I think that happened
that was a little bit of a time tunnel that
brought me back to who I was when I did that
stuff.
AG: That’s what I thought.
It was so reminiscent of your Sluggo! vocals.
Your new stuff, I love all of it, but it’s
clearly been an evolution.
When I heard that, I thought, “Wow, I haven’t
heard New Mike like that in quite some time.”
MK: That’s real interesting to hear because
I didn’t dare breathe a word of that out
loud, but I felt the same way when I heard
it back.
I said, “I sound more like the way I did
in the 90s.”
So that was real interesting.
So, thanks for bringing that out.
[Laughs.]
JZ: I’m very happy to have him on this album.
And then we have someone maybe not everyone
knows because he’s mostly in Bavaria.
He’s singing in the region of Regensburg
and Landshut and Bavaria, but he’s a great
singer.
I was looking for a singer for this German
song Leise rieselt der Schnee.
Actually I had trouble finding singers.
I first thought, “Maybe some celebrity or
something.”
And everyone declined because they thought
it’s something they cannot sing or don’t
want to sing it or it takes too long to learn
or they just don’t get it.
And I thought, “Well, I didn’t know anyone,”
so I asked the producer, “Do you know any
singer?
We need next week we need something.”
He said, “Oh yeah, here’s a friend.
He’s a great singer.
He lives kind of in the next village.”
And this was Martin Strasser.
He sang really awesome on it.
I was just looking for awesome singing.
Unfortunately, I didn’t know him before,
but there he is and does a great job.
AG: Yeah.
Definitely.
JZ: Martin Strasser.
AG: Cool.
So, when does the album come out?
JZ: I think it’s the 24th of November.
I’m not 100% sure about the date.
It will be November for sure.
AG: End of November.
JZ: End of November.
AG: All right.
Cool.
Awesome.
And where can people buy the album when it
comes out?
JZ: The best thing they could do is to go
to the website of Panzerballett, panzerballett.de,
and order the album there.
It’s the best thing they could do.
Or, maybe even better, go to a show and we’re
basically playing only Germany.
Maybe Switzerland, but only Germany.
The very, very best thing they could do is
come to the show and buy the album there.
The second best thing is go to the website.
And then there is plenty of other possibilities
to buy it.
AG: Awesome.
And I want to say if you’re this far in
the video.
You gotta buy this album.
It is so freaking good.
Seriously.
It’s incredible.
It’s a work of art.
I enjoy Christmas like Mattias and I enjoy
this album.
So, it’s an album for everyone.
People who hate Christmas.
People who love Christmas.
People who get stressed out by Christmas.
JZ: And for our fans: I think the whole band,
we’ve talked already about it.
Probably it’s the best album we’ve--best
Panzerballett album.
AG: I think it’s the best sounding album,
too.
JZ: As well, yeah.
AG: All right.
Thanks a lot, Jan.
It’s awesome.
Can’t wait for this album to come out.
JZ: Thanks, Anthony.
