Interviews

Arising from the ashes of the hard rock outfit, Tricky Beans, Finland’s Sonata Arctica offer an energizing if not giddy form of power metal. On stage the band’s sheer intensity is nothing short of infectious. After being assaulted with countless manic keyboard and guitar solos and the rousing vocals of Tony Kakko, one may find it difficult to fold their arms in defiance for long. Joining the band in 2002, keyboardist Henrik Klingenberg has brought a heavy attitude on board. Not unlike Children of Bodom’s Janne Warman, Klingenberg is not afraid to handle a solo with one hand while employing the other for a hearty drink. In the midst of an increasingly hectic touring schedule the keyboardist takes some time to talk with MetalReview.com about Sonata Arctica’s new live CD/DVD, For the Sake of Revenge, auditioning for the band, and his love for heavy music among other things.

Patrick Rennick: Your upcoming CD/DVD release was filmed in Japan during the Reckoning Night tour. Could you talk to me a bit about the atmosphere of the show that evening and why the band chose this concert to film?

Henrik Klingenberg: When we decided to make the DVD there we actually shot two nights. The first night was not so good. We were a little bit nervous in front of the cameras and everything. But, the second night turned out pretty well so we took the whole show from the second night. It was the usual mood, we were goofing around (laughter) and all the stuff that we normally do. It was surprisingly casual. Whenever there are cameras that are recording there is always an added level of tension. The second night was really much better because we were able to forget about that and just have a blast. Basically the DVD tells a pretty accurate story of what happened in Japan one year ago.

PR: Oh, is there a documentary included as well?

HK: Well, basically it is 15 minutes of us drinking and warming up before the show (laughter). There isn’t a real documentary but there is some stuff.

PR: What is it like for the band to tour in Japan?

HK: It’s really cool. We do really well there so fans are following us around and stuff like that. It’s a blast. That’s also one of the reasons we wanted to shoot the DVD in Japan. Before we went on tour we realized that it was probably one of the only places where we could headline shows at some venues and really get the DVD to look good.

PR: Has the band started work on any new material recently?

HK: We have some demos yeah. We are listening to them and working in some arrangements. I think we will start to seriously work on the album when we have a break from touring after the summer at the earliest. We will still be playing gigs until August. We should have a couple of months in between to get everything ready. We have some festivals in August as well but in September we should be able to have a bit of a break. But, Tony (Kakko) has made some demos and we are listening to them. We are starting to get into the process of making the album.

PR: I understand that currently like you said there are only a couple of demos so far but I was wondering if you could give me something of a preview on what the new material sounds like so far. What direction is the band heading in?

HK: It’s basically the next step from Reckoning Night. At least from the demos I’ve heard. We’re going to have a lot of similar stuff there along the lines of vocals and guitar and keyboard solos. It is still a bit early to say but I imagine we will continue on the same vein.

PR: When you joined was Reckoning Night already completed or did you do work on that album?

HK: I joined during the mixing of Winterheart’s Guild so I didn’t have time to do anything on that one but for Reckoning Night, yeah I was actually in the studio. I got to have my say in some things.

PR: Tony Kakko is often spoken of as the mastermind of the band. He was also formerly the keyboard player. Who is responsible for composing songs in the band as of now?

HK: Tony writes most of the songs. He will make some demos and then we go through the arrangements together. Basically we arrange everything together but he writes the songs and melodies. Sometimes he has some specific ideas how certain lines should go and sometimes he doesn’t. Arranging is really a band effort whereas songwriting is his thing. Of course then the solos are up to me and Jani (Liimatainen).

PR: Over the past few years Sonata Arctica has really picked up the pace with touring playing alongside the likes of Iron Maiden and Nightwish to name a couple bands. Looking back what is your fondest touring memory with the band since you joined and got on this rollercoaster?

HK: Well, where should I start? The funny thing is that after Winterheart’s Guild we just did a short tour of about 50 gigs or something. Now with Reckoning Night the total number of shows has already been 160 or something. The band is certainly getting bigger. I think touring-wise the Nightwish thing was really good in Europe because we got to play for these really big crowds of like 10,000-11,000 people. That was really fun and we know the band so it was fun to hang out with them as well. Then I would say that the first real headlining tour in the states was something we were really looking forward to. We had a really good time over those six and a half weeks earlier this year. We got to see a lot and also realized that there is a lot more to see. With the next album we will come back at least twice I think.

PR: Have you ever had any experiences like this in the past with any of the other bands you have played in? Have you ever done this much touring?

HK: No, I used to just play in Finland.

PR: What has it been like for you to adjust to this?

HK: Well, it took a while. Basically I am happy now. Looking back at the Winterheart’s Guild tour it was so short and of course at that time I wanted to tour a lot more. But, it was good to get to know the guys and then have a break to go home for a little bit and have some time off to reflect on it. It is something that you grow into or don’t. It took maybe a year for me to get comfortable with this band. Now it feels like I have been in the band forever. But, the touring was probably the hardest part for me.

PR: In a live setting do you prefer the keyboard or the keytar? Why?

HK: Live I prefer the strap-on controller (keytar) because it allows me to move around and I don’t have to stand in the corner. I think that is best because when you are playing live people expect you to do something on stage. It is also fun in many ways because you can jump and do all sorts of stupid things. When I record I would probably just work with the normal keyboard.

PR: Do you have to train yourself to use the strap-on controller? It seems to me like both instruments must handle very differently.

HK: Yes, they are much different. Basically with the standard keyboard the keys are right there at your fingertips. But, when you have the controller around your neck it becomes really hard at first to learn how the keyboard moves when you move. When you are playing a normal keyboard it is always right there and it never moves but when you use the controller you take one step and it is in a totally different place. Basically that is the hardest part. Also I think that guitars are easier to play when they are around your neck. The keyboard is more of a percussion instrument you have to hit the keys. It can be tricky. But, I think it is going better now. You just have to practice a lot. I think that I am much better with the controller now.

PR: In 2002 you auditioned for Sonata Arctica. What compelled you to try out for the band?

HK: Actually a band I played with, Requiem had opened up for Sonata Arctica six months earlier or something like that. At the time I was studying at a university and I saw the want ad on the internet and I was like, yeah, I should do that. It has always been a dream of mine to play rock n’ roll for a living and I saw the opportunity and took it.

PR: From what I have read I understand that the competition came down to two people including yourself. Apparently the final examination took place at a bar. What happened exactly?

HK: Yeah (laughter). Well, basically after I sent in my stuff they called me in for an audition between me and the other guy. They had us on separate weekends. I went to their hometown where I think they were recording the guitars or something for Winterheart’s Guild and we played a little bit and then headed out to the bar for some partying and drinking. When you tour a lot it is really important that you can get along with your band mates. I think this is really what they wanted to test.

PR: Did you ever find out why you were better than the other guy?

HK: Well, there was some talk afterwards, but that would be unfair (laughter).

PR: Alright, fair enough.

HK: It was not about the playing anymore at that point. They knew that we could both do the job. It was more about hanging out and getting along with one another.

PR: Like you were saying you were once a member of Requiem and I saw that outside of Sonata Arctica you are involved with a few other bands. Could you talk to me about the melodic death metal project, Graveyard Shift you play in with Jani?

HK: Well, there isn’t anything going on with that project right now. We did a demo with a drum machine just fooling around and we tried to get a deal. We sent it off but nothing is happening at the moment. I haven’t talked about this in a while. Maybe if we get some time to put some songs together or we get a deal we will put an album out sometime.

PR: What drew you to the death metal?

HK: I like harder stuff, Strapping Young Lad, Pantera, In Flames, and stuff like that.

PR: I understand that you also handle vocals in a thrash band called Mental Care Foundation, could you talk to me about that?

HK: We actually have recorded our second album. It is almost done now. We are still working on the deal thing trying to get someone to put it out.

PR: What is it like for you to drop the keyboard and take up the microphone?

HK: It is fun. Basically I don’t want to lie around the house and do nothing so this band is something of a hobby for me. It is good to do something different. We play a couple shows a year or something. This autumn after I’m done touring with Sonata Arctica I think we might do some clubs and bars around Finland during the week and stuff. It’s really a good release to go out and have some beers and scream.

PR: What is your favorite kind of music to play?

HK: I would probably say the harder metal stuff. When I’m out playing melodic metal for a living then I don’t listen to it much when I’m at home. It kind of spoils the music in one way. The stuff I listen to the most at home is thrash metal like Slayer, Pantera, and stuff like that.

PR: When and how did you first start playing the keyboard? What made you choose that instrument over another one?

HK: Well, it was probably my parents. I started playing classical when I was five or six. At some point in my teens I realized that the classical thing wasn’t for me and I decided to try rock keyboard. I actually play a little bit of guitar as well but I decided to become serious with the keyboard because a lot of my friends played guitar anyways and there really wasn’t a need for more guitarists. There was actually a school in my hometown, Kokkla in the middle of Finland called “Rock School” where kids get together and have teachers who help them play different songs. It helped. The teachers were very helpful.

PR: Some people have compared Sonata Arctica to Stratovarius, claiming that the band is merely refining an already established style. What are your reactions to this?

HK: Some people do stuff and there always people who walk behind you and bitch about it. I don’t really care about that. The thing is that on the first album the band was very much influenced by Stratovarius so there is some truth to that. I don’t mind being in a band like that. Everyone works on some kind of previous music it is all connected. So, I don’t care basically.