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Dopelord interview with Klusek, Mroku and Blondyna

May 7, 2014

Dopelord interview with Klusek, Mroku and Blondyna

Combining a love of old movies, the occult, psychedelia,
doom, sludge, metal and weed Dopelord have managed to claw their way to the top
of the killer Polish psych scene.  In
2012 they dropped their first slab of destructive entropy of the world in the
form of their debut album Magick Rites, and they’ve recently followed that up
with another juggernaut of pain entitled Black Arts, Riff Worship & Weed
Cult
.  When you listen to Dopelord it’s
like having towers of smoking amps in your living room, the fuzzy distorted
guitar trudging along like a drugged giant, dragging his club along the ground
as he lumbers forward wreaking utter havoc on the landscape.  Solos explode out of the fiery carnage below
his feet like ember sparks in a droughted Sahara plane, spreading like wildfire
and leveling everything that remains in its path while the bass thunders like
Thor’s hammer tearing the skies apart with the monolithic drums steadily in tow
like lightning.  From the start it’s pretty
apparent that Dopelord worship at the altar of the riff and that Lucifer’s
along for the ride, allowing the gossamer, transparent vocals to drift lazily
around inside of the songs like smoke trapped in a shaft of light, when they so
wish.  It’s always nice to hear a band as
well versed in crafting instrumentals as writing a song with vocals that’ll
melt your face off and have you banging your head in slow motion at the drop of
a dime!  With ties to a lot of the top
psychedelic musicians I’ve talked to recently from all over the EU, Dopelord are
a band that you’re going to be hearing a lot more from without a doubt.  They’ve managed to flourish in the post
Socialist Polish scene, where so many bands simply loose the war of attrition
and starve out.  Relentlessly writing,
recording and releasing music Dopelord’s goals are simply and admirable, to
create bad ass tunes and to spread those riffs like a nuclear cloud on the rest
of the world!  Doesn’t seem like so much
to ask now does it?  I know I’m doing my
part as these albums have been on constant rotation at the house, so bow with
me now to the altar of the almighty riff once more and may he long be known by
one of his most holy of names, all hail Dopelord!
Listen
while you read: http://dopelord.bandcamp.com/
© Pawel Wygoda
Who all is in the
mighty Dopelord at this point?  Is this
your original lineup or have you all gone through any changes in the lineup
since you started playing?
Klusek:  We’re four in
the band, Miodek sings and plays the guitar, Mroku plays the guitar as well,
Blondyna plays the drums, and I’m on the bass. 
Blondyna stepped in for Pan Arek after he parted ways with the band.
My compulsive
nature dictates that I try and figure out what all other bands members of bands
that I dig have been in but I operate at a pretty significant handicap when I
don’t speak the native language.  Are you
all in any other active bands or side-projects at this point?  Have you released any music with anyone in
the past?  If so, can you tell us a
little bit about that?
Klusek:  Dopelord is
my only band now.
Mroku:  Same here.
Blondyna:  I have
something on the side, totally different than Dopelord.  Nothing’s been recorded yet though.
© Marcin Pawłowski 
Where are you
originally from?  What was the local
music scene like there when you were young? 
Did you see a lot of shows?  Do
you feel like that scene played a significant role in shaping your musical
tastes or in the way that you perform at this point?
Klusek:  I’m
originally from a little town, called Hajnówka, in the east of Poland.  At some point I moved to Lublin, where
Dopelord was formed.  Now all the band
members live in Warsaw.  There was no
such thing as a local music scene in my home town.  I’ve been to, maybe, three shows in my
teens.  There was absolutely nothing
going on.  Things got a little better
after moving to Lublin, it’s a bigger town. 
Can’t say that it’s music scene played any role in shaping my musical
taste or anything though, really.
Mroku:  I’m originally
from Lublin, where I met Miodek and Klusek, who were at the time playing in a
band called Klingonian Beauty.  Miodek
and I had a project of our own too, it was called Solarbabes.  Both bands turned out to be short lived
though.  Scene?  I think this word is way too big, but there
may be something to it.  I can’t say I
wasn’t impressed when I first saw Fifty Foot Woman, which has now kind of
transformed into Major Kong, many years ago, which actually was the first thing
that put this idea in my mind, that you can play this type of music and there
will even be a couple of people coming to your shows.
Blondyna:  I’m
originally from Warsaw.  I can’t say that
we had any music scene when we were young. 
Local bands at that time were always struggling with getting stuff to
play on and venues that we we’re able to play in.  We’re slowly emerging from the darkness of
socialist realism.
What about your
home when you were a child?  Were either
your parents or any of your relatives musicians or extremely
involved/interested in music?
Klusek:  Yeah, my dad
played in a band as a teenager; he plays the guitar to this day.  He’s always listened to rock music.  He introduced me to The Beatles, Led
Zeppelin, Black Sabbath, Budgie, King Crimson and many more.  My mom also has a musical ear, always loved
her singing.  When I was six or seven my
dad decided I should learn to play the piano. 
I really hated it.
Mroku:  Not really,
but my uncle works on merchant ships and he used to bring back all kinds of
cool records that were unavailable in Poland at the time.  He introduced me to Queen and The Beatles
when I was just a couple of years old.
Blondyna:  Not really
when it comes to playing any kind of instrument, but my dad listened to Black
Sabbath and Zeppelin on the tape recorder. 
I remember my brother and I jumping on the couch while listening to
“Immigrant Song”.  I was like eight years
old probably.
What do you think
was your first real exposure to music?
Klusek:  My father
giving Led Zeppelin II a spin on our home stereo.  The guitar solo in “Whole Lotta Love”, that
could be it for me.
Mroku:  Queen’s
Greatest Hits.  I was probably about four
or five at the time.
If you were to
pick a moment that changed things for you, a moment that opened your eyes to
the infinite possibilities of music and altered reality as you perceived it,
what would it be?
Klusek:  Very
important to me was realizing that it’s not the technical ability that matters,
but the idea; the idea for a melody, a riff, whatever.  There are guys on YouTube that can play a
gazillion sounds per second.  Yeah, and I
heard that there’s a lady in Thailand that can smoke a cigar with her
pussy.  So what?  There are brilliant songs made out of just one
chord.  That’s creativity to me.
Mroku:  During my
freshmen year at high school I saw a friend playing a Stratocaster and I was
hooked in a matter of seconds.  It was a
cheap knockoff plugged into a shitty amp, but it didn’t matter.  When he showed me how to play power chords I
felt like unlimited possibilities just opened up to me, like I could do the
coolest thing possible.  I guess that’s
how most people feel when playing a guitar, like you’re in control.
When did you
decide that you wanted to start writing and performing music and what brought
decision about for you?
Klusek:  Since I
remember I’ve daydreamed about it from time to time.  You know, silly shit.  To be out on stage, performing ha-ha-ha-ha!  Music always was very important in my life, I
just needed an impulse to actually start trying to make it happen.  And then, one day, friends of mine were
looking for a vocalist.  Then I switched
to bass.
Blondyna:  There were
always a bunch of guys playing in a few bands in my high school.  My closest friend was playing a guitar, and I
decided to give it a shot on the drums. 
That was it basically.  I got
hooked up.
What was your
first instrument and when/how did you get it?
Klusek:  My first
instrument was a little Polish keyboard my father bought.  It was called Student, had pretty shitty
features, a vibrato that stopped working after a while.  I remember that the greatest fun with it was
making strange noises that would cause the whole thing to vibrate.
Mroku:  A CASIO
keyboard I got from my parents when I was eight or nine.  I got bored with it and started playing the
guitar when I was fifteen.
Blondyna:  A drumset
that my parents bought me for my eighteenth birthday.
When and how did
you all originally meet?
Klusek:  Miodek was
looking for a band to sing in and he wrote my previous band on MySpace.  That’s how we met in about 2008 or 2009,
can’t remember.  Then he introduced me to
Mroku, cause they were playing together in another band.  I met Blondyna through my wife; we worked
together for some time.
Mroku:  I remember I
first saw these guys at an Atomic Bitchwax show in Lublin, but we didn’t
actually meet until a couple of months later. 
I met Miodek through a common friend of ours and we started
Solarbabes.  Dopelord’s first drummer,
Arek, had a pub in Lublin called Kwadrat, which was quite a legendary place
too.  I think things might have gone in a
different direction if it wasn’t for that bar.
What exactly led
to the formation of Dopelord and when would that have been?
Klusek:  Dopelord was
an idea Miodek and I shared.  We were
tired of not playing music we wanted to play, stoner doom that is.  It’s funny cause we both went like, “Man, I
got this riff you need to hear” and it appeared to be the main riff from
“Lucifer’s Son” in both cases, ha-ha-ha-ha! 
Strange, funny shit.  It was in
November/December of 2010.
Mroku:  We all shared
a rehearsal place, so we jammed on occasion even before Dopelord was
started.  Now that I think about it, it
really is hard to say when the band was actually formed.  I would say our first rehearsal as Dopelord
was sometime around November 2010.
I love your name
and I can only assume I know what you’re referring to but I always prefer to
hear it from the horse’s mouth.  What
does the name Dopelord mean or refer to? 
Who came up with the name and how did you all go about choosing it?
Klusek:  We formed the
band, we started to play, but we couldn’t decide what to name it.  We brainstormed for days and nothing
interesting came up.  We were even on the
verge of calling ourselves Kozorog, but then one day I checked the name
Dopelord on the internet and it appeared to be available, which surprised me a
lot.  It was quite obvious and fit
perfectly.  We play what we play,
man.  It’s tunes to fire up a bong to,
nothing more to it, really.
Mroku:  We wanted a
name that has either occult or drug connotations to it.  No biggie, we like to play stoned and our
lyrics are mostly about witches, Sabbaths and Satan.  I think with Dopelord we kind of hit the
sweet spot.
Is there any
shared creed, code, ideal or mantra that the band shares or lives by?
Klusek:  Riff is the
law!  Smoking a joint and drinking a beer
to it won’t do no harm either.
Mroku:  Just don’t be
a dick and don’t Bogart that joint.
Blondyna:  Yes there
is.  Groove is the law!  Although everyone has a different way of
perceiving it…
Where’s Dopelord
located at these days and how would you describe the local music scene there?
Klusek:  We all live
in Warsaw now, the capital city of our beautiful country.  There’re lots of bands located in Warsaw
these days, many who’ve moved here just like we did.  The scene in Warsaw, to me, is Belzebong
(Interview here), Major Kong (Interview here) and Weedpecker (Interviewhere).  At least I find those three the
most important.
Blondyna:  There are a
lot of bands.  What I dig is Weedpecker
and Major Kong.  The Kong is very groovy
while performing live.
Are you very
involved in the scene as far as booking or attending a lot of local shows?
Klusek:  We don’t book
shows, but I myself try to help organizing gigs when I can.  I participated in dragging Ampacity
(Interview here) to Warsaw last year, this year I helped Ceremony Booking with
the Death Hawks gig.  I try to attend as
many shows I can, of both, local and foreign bands.  A lot changed in the last couple of
years.  Great bands come and visit
Poland, so I try to take the opportunity to see them perform whenever I can.
Are you involved
in recording or releasing any local music at all, if so can you tell us briefly
about that?
Klusek:  No, man,
recording and releasing our own shit’s quite enough, ha-ha-ha.  Can’t say that I wouldn’t want to run a label
or something, though.
Do you feel like
the local scene has played a large role in shaping the sound of the band or an
important role in the history of Dopelord? 
Or do you think you all could be doing what you’re doing and sound like
you do regardless of where you were or what you were surrounded by?
Klusek:  There was no
stoner doom band in Lublin when we formed Dopelord.  So no, the local music scene’s had no impact
on us whatsoever.
Mroku:  To me it’s not
that simple.  Even though there’s still
no real “scene” in Poland, there are a couple of bands that stick
together more or less.  We play shows
together, we use similar gear and we lend it or trade it to each other, we
exchange ideas and get wasted together. 
It’s not a huge influence, but it’s there.
We’ve talked a lot
about where the band came from and what you are all about but I’m curious who
some of your major musical influences are? 
What about influences on the band as a whole rather than individually?
Klusek:  It’s obvious
that most of us listen to lot of stoner, doom, sludge, punk, psych and so
on.  Black Sabbath are gods, that’s no
secret.  I love many of the 70’s rock
band, they’re my endless void of inspiration.
Mroku:  I think our
initial idea for the sound was a mixture of Wizard and Sabbath.  It hasn’t changed all that much since then,
ha-ha.
Blondyna:  I listen to
a lot of different music the other guys don’t. 
I think it ends up well, as we try to patch it all together during
rehearsals.  From my point of view, it’s
very difficult to say that we have one vision on how Dopelord should sound or
play.
Whenever I do
these interviews I inevitably have to describe the way that a band sounds to
readers who may or may not have ever heard them before.  I do it but I’m not always happy about
it.  Sometimes I feel like I can really
tell what’s going on in a band, but other times I get the sneaking suspicion
that I’m just putting my own perceptions and ideas of stuff onto them and doing
them a real disservice when I try and describe them.  Given this open forum I’d like to ask you,
how would you describe Dopelord’s sound to our readers who might not have heard
you before?
Klusek:  Well it’s not
that complicated, I guess.  Dopelord
sounds heavy and dirty.  Sometimes it
reminds me of the AT-AT Walker.
Mroku:  Loads of
fuzz.  And then some more fuzz.
Blondyna:  Groovy fuzz
with a little touch of black magic.
What’s the
songwriting process with Dopelord like? 
Does someone usually come in to practice with a riff or an idea for a
song and then work that out and develop it with the rest of you, or do you all
get together and just jam on stuff until something kind of comes together out
of the back and forth?
Klusek:  Usually
Miodek or I bring in some riffs we think are worth trying to work with.  We try to play them with the band, to see if
they are good enough and then try to combine them with other ideas. Sometimes
we bring almost an entire song idea to practice, sometimes it takes months to
build up a track from a single riff.
What about
recording?  As a musician myself I know
that recording can be difficult, but that most of us can really appreciate that
end result.  Holding an album in your
hands, knowing it’s yours and no one can take that fact away from you, well
it’s kinda hard to beat!  Getting to that
point though, getting everything to sound the way that it should, especially as
a band can be extremely difficult to say the least.  How is it recording for Dopelord?
Klusek:  Well, in our
case the recording of an album only takes a few days.  So it all has to be prepared earlier and
that’s the hardest part.  If you’re
prepared, the recording should be a pleasure. 
Of course, there’s always some struggle with time, but it’s rather
motivating I guess.  When we feel we’re
ready to enter the studio, we just do it and record the album.
Blondyna:  Recording
happens very fast.  We laid the basic
tracks during the first evening and next afternoon.  I think if we had more time a lot of things
could be better, but still it’s quite fun to do it so quickly.  This way, it has this unique mood when
everybody’s so time motivated.
Do you all utilize
a DIY approach when you’re recording where you prefer to handle things on your
own, or do you head into a more professional studio environment and let other
people handle the recording aspect of things?
Klusek:  We decided to
use a professional studio space because of the way we record.  Plus, we’re not very skilled at recording, so
it would make no sense for us to try and record the material ourselves.  A studio gives you a lot of advantages that
you can’t deny, like tons of equipment you can use, for example.  We also invited Jan Galbas, known for
Ampacity and other great polish bands, who was responsible for recording along
with the help of Michał Anuszewski, as well as the mixing and mastering of our
second album.  It’s quite comfortable
when you can focus all of your attention on playing riffs.
How large of a
role does improvisation play in your music? 
Do you all spend a lot of time getting things all planned and worked
out?  Some people who play instrumental
music, especially stoner and doom, are very into improvisation and only have a
vague skeletal idea of what they’re going to do before they do it and leave a
lot of it up to how they feel at the moment.
Klusek:  There’s no
improvisation in our tracks, really. 
Maybe a little bit in the guitar solos, as they’re created on the go.
Mroku:  Yeah, my
approach to solos is more or less what you just said, a vague skeletal idea of
what I’m going to do before I do it.
Blondyna:  Still,
improvisations happen quite a lot during rehearsals.
You all released
your first album, Magick Rites last year in 2013 on basically every conceivable
medium out there!  It seems like the
album must have been pretty well received considering how many formats it’s
been released on.  Can you tell us about
the recording of the material for Magick Rites? 
Where was that recorded at?  Who
recorded that material and when was that? 
What kind of equipment was used?
Klusek:  Magick Rites
was recorded in November of 2011, released on CD and tape in 2012 and then, a
year later, it finally got released on vinyl. 
We recorded it in Studnia Studio, based in Białystok, which is run by
our friends from another polish band, Pokrak. 
The studio sounded nice, was pretty well equipped and we could afford
it.  The recording process was similar to
the Black Arts, Riff Worship & Weed Cult recordings, we recorded the basic
tracks live and then dubbed vocals and guitar solos over it.  The material was recorded by Piotr Polak and
Mateusz Trykozko, and was then mixed and mastered by Michał Anuszewski.
Mroku:  As far as the
gear goes, we used some classic amps, including my AOR and Miodek’s
pre-Supergroup Laney Plexi.  It’s
actually a legendary amplifier, manufactured in Englaind in 1968.  Tony Iommi used exactly the same amp to record
Sabbath’s debut album.
You just followed
up Magick Rites this last month (April 2014) with your second full-length Black
Arts, Riff Worship & Weed Cult which right now is only available
digitally.  Did you all try anything new
and radically different with the songwriting or recording of the material for
Black Arts, Riff Worship & Weed Cult?
Klusek:  Yeah, the
material itself is more complex, that means more riffs, more riffs and more
riffs.  There are pretty radical
changes.  We added a second vocal here
and there and so on.  You can hear it all
as you listen to the album, man.  As for
recording I think it was a wise move to let one person take control over
recording and mixing this time.  Also the
studio we recorded the album in was better sounding and better equipped, so
listeners can expect some radical sound improvements.
Can you tell us
about the recording of Black Arts, Riff Worship & Weed Cult?  When and where was that material
recorded?  Who recorded it?  What kind of equipment was used?
Klusek:  We recorded
it in February 2014 at Quality Studio in Warsaw.  It was recorded by Jan Galbas and Michał
Anuszewski.  Jan Galbas also mixed and
mastered the album.  We used Laney,
Orange and Fender amps, some vintage guitars, fuzzes and other shit.  Even a grand piano, that was pretty
crazy.  For bass we used my Orange Terror
Bass head and Orange cab, combined with a Big Muff.  The recording formula was the same as for the
recording of Magick Rites, only we had more mics and other shit this time.
Mroku:  Miodek and I
used a Fender Blues DeVille 4×10 combo boosted with an original Big Muff Deluxe
from the 70’s, an Orange Dual Terror and an orange 2×12 cab for rhythm
guitars.  For leads I mostly used the
Laney I mentioned before.  As for the
guitars, I used my Greco SG for both solos and rhythm parts.
Blondyna:  I used my
Tama Starclassic Bubinga set.  Big thanks
to Grabaż from local band Spirit for lending me the Vinnie Paul snare.
Does Dopelord have
any music that we haven’t talked about, a song on compilation or a split that I
might not know about?
Klusek:  Yeah,
man.  We plan to make a 7” split with
this band…  We recorded one extra track
during the Black Arts, Riff Worship & Weed Cult session.
Mroku:  The song is
called “Distant Lights” and we are actually quite happy with the way
it turned out.  Playing it live is a lot
of fun.  It’s slow and kind of
psychedelic, I like the way it drifts.
Blondyna:  In my
opinion it’s our best piece.
With the release
of Black Arts, Riff Worship & Weed Cult this past month and Magick Rites
last year do all have any releases in the works or on the horizon at this
point?
Klusek:  When the
vinyl version of Black Arts, Riff Worship & Weed Cult is out, we’ll start
working on releasing that 7” split, I think.
With the
completely insane international shipping rates that have continued to increase
over the past few years I try and provide our readers with as many possible
options for picking up import releases as I can.  Where’s the best place for our US readers to
pick up copies of your stuff?
Klusek:  Well,
shipping rates may be insane, but I noticed that they are far more insane when
it comes to shipping from the US to Poland than the other way around.  Don’t know why, really.  The best, and cheapest, way to pick up copies
of our stuff is to contact the band directly at dopelord666@gmail.com.  We’ve got some CDs and LPs left, and all of
our merch.  Vinyl fiends can also write
our label at heavymetalvomitparty69@gmail.com for the lowest prices on the
Magick Rites LP.
What about our
international and overseas readers?
Klusek:  We’ve got one
international shipping rate in Poland now, so it’s all the same for everybody
out there.
Are there any
major goals or plans that Dopelord is looking to accomplish in 2014?
Klusek:  Our goal has
been the same the whole time; play the riffs and share them with people that
dig it.
Do you remember
what the first song that Dopelord ever played live was?  When and where would that have been at?
Klusek:  I remember
that the very first song Dopelord ever played was “Lucifer’s Son”.  But when it comes to playing a song before an
audience…  It could’ve been “The
Pentagram”.
Mroku:  It probably was.  I think we played our first show in June
2011.
Do you all spend a
lot of time out on the road touring?  Do
you enjoy being out on the road?  What’s
life like on the road for Dopelord?
Klusek:  We spend far
less time on the road than we want to. 
And yes, we enjoy it very much, man, that’s the fun time after all!  Life on the road means tough times for my
liver, lots of smoke and near deaf experiences.
Mroku:  Touring’s
amazing.  I don’t see any other way to
feel tired, excited and happy all at the same time.
What, if anything,
do you all have planned as far as touring goes for 2014?
Klusek:  Well, we just
got back from playing a few gigs in Austria and Slovakia.  We play in Gdynia, Poland, on the 19th of
April, and then we hit the road again on the 29th.  We play in Berlin, Hamburg the day after and
then we worship the almighty riff at the Heavy Days In Doom Town Festival in
Copenhagen, Denmark, that should be pretty crazy.  Other touring plans are a bit hazy for now.
© Pawel Wygoda
Who are some of your
personal favorite bands that you’ve had a chance to play with so far?
Klusek:  Ufomammut,
Cough, Mars Red Sky, Major Kong, Weedpecker, Belzebong.  Lately we had a great time playing with
Timestone at KAPU in Linz, Austria; which reminds me.  KAPU is, to this day, the best club we’ve
ever played in; period.
Mroku:  We also had
lots of fun with the guys from Cough and Witch Mountain.  Those Richmond dudes are pretty cool and I’m
looking forward to meeting Windhand in Copenhagen.
Do you have any funny
or interesting stories from live shows or performances that you’d like to share
here with our readers?
Klusek:  Well, it’s a
thing with inside jokes and stories; they’re only really funny when you’re
inside.
© Łukasz Piotrowski
In your dreams,
who are you on tour with?
Klusek:  Spinal
Tap.  Or Wyld Stallyns.  Or Still Water.  Or Kathleen Turner Overdrive.  Yeah, that would be great.
Do you all give a
lot of thought to the visual aspects that represent the band like artwork for
flyers, posters, shirts, covers, logos and other artwork?  Is there any kind of message or meaning that
you’re trying to get across or convey with your artwork?  Do you have anyone that you usually turn to
when you’re in need when it comes to those kinds of things and if you do, who
are they and when and how did you originally get hooked up with them?
Klusek:  We only
cooperate with people whose work we admire. 
And where can you find almost anything these days?  The internets, man, the internets…
Mroku:  Miodek is
quite a talented graphic designer himself. 
He’s actually responsible for most of our gig posters.
With all of the
various mediums of release that are available to musicians today I’m always
curious why they choose and prefer the various methods that they do.  Do you have a preferred medium of release for
your own music?  What about when you’re
listening to and or purchasing music?  If
you do have a preference can you talk a little bit about why?
Klusek:  Sure, I love
vinyl.  It sounds nice, the cover art
gets enough exposure it looks great and I can understand how it works.  That’s what we aim for in regards to our own
releases.  When it comes to listening,
well, I listen to it all, LPs, CDs, tapes, mp3s.  Every medium has its advantages and
flaws.  You can take your whole mp3
collection with you, CDs are still the most popular, at least in Poland, and
cheaper than vinyl, so…  The best way is
to collect everything you can ha-ha-ha-ha.
Do you have a
music collection at all?  If so can you
tell us a little bit about it?
Klusek:  Well, I know
a little bit about your collection, man, and that forbids me from calling my
bunch of LPs, CDs and tapes a collection. 
But seriously, it’s growing record after record.  One day, maybe, I’ll be ready to talk with
you about it.
I grew up around
my dad’s enormous collection of sweet vintage psychedelia, garage and blues and
I was really encouraged to dig in and enjoy it from a young age.  I loved sticking something in the player,
kicking back with a set of headphones, staring at the cover artwork, reading
the liner notes and letting the experience transport me away.  Having something to hold and physically
experience along with the music made for a more complete listening experience
for me.  Do you have any such connection
with physically released music?
Klusek:  Yeah, I had
the same experiences when I was listening to tapes when I was younger.  To the point I knew all of the song titles,
band lineups and the song lyrics.  It’s
impossible to make such a connection with an mp3, that’s sad.
Mroku:  That’s the
best part, when you’re putting the CD into the player and you can open up the
booklet, sit on the sofa and just go with the flow of the record.  I noticed that when I listen to an mp3 I’m not
able to dig in deep enough, and very often the records don’t get the attention
they should.
As much as I love
my music collection digital music has really changed things in a lot of ways
for me.  I’m able to really take it on
the go with me for the first time and when you team it with the internet that’s
when you have something revolutionary on your hand.  Together they’ve exposed me to an entire
universe of music that I would never have had access to, led alone heard of
otherwise and it seems to have leveled the playing field to a large extent for
independent bands willing to work hard and promote a healthy online
presence.  On the other hand illegal
downloading is running rampant and with everyone being given an equal voice
it’s harder than ever to get noticed in the chocked digital scene out there
right now.  As an artist during the reign
of the digital era, what’s your opinion on digital music and distribution?
Klusek:  Well, I think
it’s great.  I honestly see more bright
sides than the dark ones.  The sad part
of it all is that most of the people download the same shit that’s played on
the radio.  Well, too bad for them I
guess.  But when it comes to having a
band, the internet is really great.  You
upload your album and minutes later you see via last.fm or whatever, it’s being
played in Brazil.  How awesome is
that?!?  I don’t give a fuck if the
Brazilian dude downloaded it from a Russian torrent sites or bought it legally
via our Bandcamp page.  The music is out
there, that’s important to me.  Of
course, it would be nice to get paid for every single copy of an album, cause
it speeds up releasing a vinyl or printing some sick t-shirts, but hey…   The dude is in Brazil and he’s listening to
a Dopelord album.  Awesome!
I try to keep up
with as much good stuff as I possibly can but there’s just so much going on out
there that it would be impossible to keep up with even one percent of the
amazing stuff happening right now.  Is
there anyone from your local scene or area that I should be listening to that I
might not have heard of before?
Klusek:  You’ve talked
to almost all of our friends, but I’ve got a tip for you.  The band’s called MOAFT and they’re on the
verge of releasing a debut full-length. 
Check them out, they kill it live, man, mark my words.  Oh, and they’re not stoner nor are they doom.
What about
nationally and internationally?
Klusek:  Well, I
really enjoyed the Self-Titled album by the Finnish Tombstoned, definitely one
of my favorite releases of the 2013.  I’m
also waiting for an album by Comet Control, a band that was formed after the
disbanding of the Canadian group Quest For Fire; very nice psychedelic
journeys.
Blondyna:  As I listen
to a lot of very different music than the other guys, I’d recommend sticking
your nose into Nerve with Jojo Mayer. 
That’s electronic music but played totally live.  For me that’s the thing that takes me on the
out of reality trip.
Thanks so much for
doing this interview, it was awesome getting to learn so much about the band
and I hope it was at least a little fun for you to look back on everything that
you all have accomplished as a band! 
Before we call it a day and I sign off, is there anything that I could
have possibly missed or that you’d just like to take this opportunity to talk
to me or my readers about?
Klusek:  Well, smoke
weed and listen to Black Arts, Riff Worship & Weed Cult!  Thanks for having us, Roman!
DISCOGRAPHY
(2013)  Dopelord –
Magick Rites – digital, CD, Cassette Tape, 12” – Self-Released/Can’t Tell You
Records/Heavy Metal Vomit Party Records (Cassette Tape limited to 66 copies,
12” limited to 300 hand numbered copies on Black and Olive Green 180 gram
Vinyl)
(2014)  Dopelord –
Black Arts, Riff Worship & Weed Cult – digital – Self-Released
Interview made by Roman Rathert/2014
© Copyright http://psychedelicbaby.blogspot.com/2014
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