Fernando Ribeiro talks about tour, Moonspell's new release and "musical racism"

Fernando Ribeiro talks about tour, Moonspell's new release and "musical racism"

Before the Portuguese metal band Moonspell’s concert in Kyiv, we spoke to its mastermind, vocalist and lyricist Fernando Ribeiro. During the lengthy conversation, the musician told us about the latest album "Extinct", preparing for a new release, disputes with the media and much more.

More recently, the band is again on tour, your concert schedule is packed up to the end of the year. Tell us how did this tour in support of your latest album "Extinct" start.

Fernando Ribeiro [hereinafter — F.R.]: It started over one year ago, immediately after the album release. You know, it’s the best way to get people attention to promote properly the album. Thanks for that and thanks to the fans, the album response was very solid and it allowed us to play many-many shows and now more shows are already being booked. We have quite heavy touring schedule. We started it in Europe, played in almost all countries, and then we went to America immediately, where we did a few festivals, I think, the most important was Rock in Rio in Rio de Janeiro, Brazil, because it allowed us to grow up a little bit as the band. Also, we did in Brazil some other shows. After all these festivals we’ve been in the States again with Epica and now we resume touring. We’ve just did the small UK, Ireland, French tour before we came here and now we’re doing some Eastern Europe, we were in Poland for instance, but now it’s Ukraine, Belarus and Russia as well. So we’re very happy with this return.

There a lot of your fans in these countries.

F.R.: I hope, yes. I think so, because it’s a very supporting tour. It took as a while to come to the East because the things were complicated for bands. When we started it was very rare when we went as far as Czech Republic, we went as far as Poland, but it was very difficult to go to the other countries. But then everything changed and people improved much more freedom to grow their businesses. I mean, many bands now playing in Ukraine, it’s an established country for many bands to play. There a lot of people who listen to Moonspell and not only [to us], there are a lot of metal fans here.

"When Moonspell came to the stage a lot of doors were closed because we were a metal band."

For the first time, I saw you at the Carpathian Alliance Metal Festival last summer, you did there really good show.

F.R.: [Smiles] Yeah, thank you. I loved that place, it was great. We were coming there from the festival and we actually traveled from Warsaw it was a really long travel. In Ukraine we have been also in Kyiv and at some other places and festivals, but that place is a quite special, it’s a quite beautiful. You know, we were totally tired of the travel, but the next day we woke up and saw that beautiful place and thought it was very cool. Everything rush on the band because we had another show after Lviv, but that show was incredible, that atmosphere, very beautiful festival. My friend Nergal from Behemoth played there a couple of times and he told me [smiles], "Well, you have to take a lift upstairs", but the place has changed and we could not go there. But he said it was definitely joy because of communion with a nature.

You came to Ukraine from Belgium’s Tongeren Metal Fest, where you performed as a headliner last week. How was it going?

It was good. It’s a small festival that happens before summer. Belgium is a great country for us, we’ve played already many shows there and in summer we’re going to Graspop [Graspop Metal Meeting] as well. You know, the Central Europe is established very much when it comes to heavy metal, festivals, fans — everything. So it allows people there to have many shows and sometimes they want to have a show in their small town, so Tongeren is one of these cases, it started as a small show and now it’s getting a little bit bigger. And it was the last day of the tour, we went to headline, there were good bands like Deströyer 666, who were playing before us. It was a nice end of the tour and now it’s our own shows again.

"We want to be a part of musical history in Portugal. We worked hard for that"

Today's show in Kyiv is not the first one for Moonspell. What memories do you have about the Ukrainian audience?

F.R.: No, it’s probably the third or the fourth time we’re in Kyiv. I remember the first show and it was really crazy [laughs] because there was a light guy, he doesn’t work with us anymore, who was just taking too long and people already started getting mad. There also was an excitement about being there for the first time as well. Then, I think, the enthusiasm is still there but people more got used to the shows. It’s not a big novelty now that bands come here. But, I think, this effect is a little bit the same in Portugal. Like years ago people were realy wild and enthusiastic, sometimes they broke stuff, I was there as well [smiles]. And then we got really used to what it is. It’s just fans coming to the show, enjoying their favourite band, having great emotional experience or physical one. I think, that Ukrainian audience from all the festivals we played and the shows and the fact that we keep coming back here with every new album, shows that there is a good and fortunate story between Moonspell and the Ukrainian fans and it’s funny because at the end of the 90’s we had a big floats of the Ukrainian immigrants in Portugal. And there were a lot of young people that saw us and they are now actually coming to our shows in Portugal.

Discussing the band’s last year's performances, some Moonspell’s fans noticed with regret that the band doesn’t have a session singer for performing female vocal parts in such songs as "Scorpion Flower" or "Vampiria". How can you comment on this?

F.R.: Unfortunately, we can not always bring a guest. Many times we had guests. We had Anneke [Anneke van Giersbergen] a couple of times, singing for "Scorpion Flower" live, we got Mariangela Demurtas, our guitar player’s wife, and she always sings with us. But sometimes it’s very hard to get someone who is actually free to come with us on tour so I’m always stressed that I hate opposite, much better when you have a real singer. Sometimes we invite local singers as well. Back in the day, in Brazil we had the beautiful singer in Curitiba that has a band called Semblant, very, very good Brazilian band. But sometimes it just not possible. We rely on the audience to sing along with us [smiles].

So before coming to some countries you are listening to some bands with female vocalists?

F.R.: Yeah, we do it if we make time. Our female vocal songs performed by great singers like Anneke and sometimes we can not wish for having Anneke because she is one of a kind. But sometimes the bar is very high so we need not someone who is not a total amateur, who can perform with the band and make it good for the fans. [smiles] We have such experience, well, she was not very well... So sometimes we did it, but the repertoire for our lives is different and it doesn’t include a lot of female singer vocals anymore. Like it was no female vocals on "Extinct" for instance. We just use it when we feel like, so we’re not doing it anymore. But whenever we have a big show or a big tour we always seek female singers and if they are available. We’ve worked with spectacular singers in a lot of countries, yeah.

Let's talk about "Extinct". In last year’s interview for Loudtvmetal, you said that the album was recorded in special circumstances. What were these circumstances and how did they effect the record?

F.R.: It was very special to us. Sometimes bands make albums because of the agency pressure to go on tour and because the label needs to release new music. And with Moonspell during these 23 years we gained, step by step, total freedom when it comes to release records and to do whatever we want with music and we can not really see it otherwise. More than everything that keeps the band together is this secret moment when we’re creating by ourselves. And I think that this album has special circumstances because we have a lot of invitations to go on tour since "Alpha Noir". I just had an idea and a heavy heart. People called it "inspiration", but you discover an inspiration a little bit after, and we quite stopped everything we were doing, just to make the album. And when we started writing new songs, we didn’t know what people would think, we thought it was quite special. I thought it was a quite mature album that for sure involved us as the musicians and songwriters. I mean, we’re not 20 anymore, we’re 40, so definitely something in our music changed dramatically, but life always brings definitions into music and "Extinct" was so special that for the first day we gathered in our small studio in Portugal up to the last day when we came from Sweden where we worked with Jens Bogren. It was like a period of 9 months [smiles], it was like a prevail of a child on the womb. I think, people kinda felt this clear message. Its concept is an extinction on human level that means the disappearance of things that were dear to you and the history rises many such things. I was growing up at the place where we did our first songs and our first music together in early 90’s and it doesn’t exist anymore, it’s just a little park or garden or parking lot, this kind of stuff. Then we discovered that It’s not only our problems that count, there is a big scope of extinction in alarming rate of extinct species and that kinda of close down of something stronger and more meaningful. Anyway, I think, this fear of extinction, this a discussion of extinction nowadays, not because of our album, but at least of our fans, it’s something people talk a lot and about. I think, everything about this album is a quite special, the title, the lyrics — everything.

Speaking about Jens Bogren, how much his work is important in the album’s success?

F.R.: I think, he is probably a top producer right now, not only with Moonspell, but he did amazing work with Amorphis as well. I had a feeling… not against our old producers they are all good, well-experienced, great I have to call Waldemar [Sorychta], Tue Madsen, Hiili [Hiilesmaa], all people that worked with us on the previous albums, but I had the feeling that Jens was a right guy, not really because of his profession skills which are unimpeachable and everybody knows and it wasn’t really because of his client list which heads with the great bands like Amon Amarth, Paradise Lost, Katatonia. Of course, Paradise Lost’s and Katatonia’s working interests is fit more as musicians because it’s our style as well. But we couldn’t get him in a good moment, because he was doing a lot of stuff, but he was telling us, yeah, he likes the band but he wants something like a bit challenging and it’ll be more darker and gothic. So how I wrote him he immediately wrote me back and said "Yeah, of course, I know Moonspell, I’m a big fan, especially of your gothic stuff". I said, "Well, then you’d like to be the part of this album because it’s a metal album and there are a lot of gothic influence on this one as well". So we kinda found him in a right moment and, I think, he contributed a lot to the band with the right dose of discipline, because after all we’re Portuguese and we’re very stubborn at doing things in our away. He also encouraging us, you know, Swedish people they’re not cold, but they’re not easy on complimenting you, and Jens was complimenting us a lot because he very liked music. All the period here was quite magical, of course, we could choose the easy way, like I go and record vocals and then come home to my kid and my wife and the same for the other guys, but not, I asked him and sometimes I forced him [laughs] because I had this idea and I really wanted to bring it together, we were going to stay all together for 35 days in Sweden, even if we are doing nothing, we are there. Like, if I need you to put a keyboard part, and not for me, sometimes Jens needed us in the middle of the night, so it was our experience for "Extinct". I believe on these 35 days we had like 2 days off. Something like that.

So it was very hard work?

F.R.: Very hard, but very pleasurable work. We love to record albums and we love to come home and listen to them for the first time. It’s a work of passion and pleasure, and for Jens as well.

Moonspell is one of these bands, whose each new album is different from the previous one. Your discography is full of experiments with genres of black metal, gothic rock. It also has some electronic elements. Talking about "Extinct", can you say that it’s a release to which you were going for all these years? Or are there any possibilities of further experiments with genres?

F.R.: We’re already making new stuff which sounds different than "Extinct". It’ll be just an EP with live DVD, but we want to make some music as well. Some new music for people. I think, probably the fans would disagree, but you don’t arrive to perfection or a good place, or a mature place with the first album. I think, "Wolfheart" is a great album because it’s original and it was surprising for everyone, but we always thought we couldn’t stop by here. There is much more future ahead and obviously we’re listening to different music, we’re meeting different people, but in the end of the day it was never a plan to sound just like one style. If you listen to our early stuff, there is a symphonic stuff, even in "Under the Moonspell" there is a lot of black metal. But then we started discovering more interesting things than black metal, there are still many great black metal bands around like Behemoth, Mayhem, but even black metal bands on their origins and diverse into other stuff like Arcturus for instance. We belong more to, let’s call, the 90’s avant-garde bands, like Samael, Amorphis, Katatonia, Opeth — the bands that always incorporated, changed and have different perspectives and different sound in their music and that’s our nature. Probably, the fans would like something more straightforward, a part of "Wolfheart" or a part of "Irreligious"... But I think, when someone starts listen to Moonspell for sure he or she will be interested on something different, on the different experience. I agree that "Extinct" is probably the highest step that we climbed on the ladder, at least musically, and we’re very happy because we don’t have any hype, we’re not like Babymetal, we are true band [smiles].

Babymetal. Do you like them?

F.R.: [Smiles] Actually, for me it’s novelty. I don’t think they should get so much attention as they do. I disagree it’s metal, the instruments are metal, the other stuff is Japanese cartoon music, the vocals I mean with very poppy the chocolate songs ["Gimme Chocolate!!"]. It’s funny to see die-hard fans from other bands that are really defending them, but, I think, it’s an Internet phenomenon, for sure, they sale a lot of records. I have a kid and I won’t show him Babymetal, but I’ll show him Hevisaurus, the Dinosaur band because it’s a band for the kids. I think, Babymetal is a phenomenon in Japan and the US and, for sure, it will pack everyone else, unfortunately, Europe and one else who can not make their own mind up about the bands with a few acception, but it’s a novelty, it wouldn’t be a new Black Sabbath, it would be nothing. I think, it’ll eclipse when people will just get tired of novelty. For me, it’s a metal equivalent of lambada or the Turkish songs with a little kisses that is exactly how I find Babymetal. Their fan club elected "Extinct" as one of the best albums of 2015 [laughs], so probably they would hate, I respect that, but for me it’s a novelty. It’s not for me, how I see it, metal is not an entertainment, it’s intelligent, dark, depth, a bit of entertainment as well, but metal was never about chocolate. It’s about Alexander the Great or, fucking, Aces High or the Rime of the Ancient Mariner [Iron Maiden’s songs] that is a metal for me, not Babymetal and not a baby as well [smiles].

How would you comment on the view that the band with its two last albums returned to gothic rock with the aim to repeat the success of "Wolfheart" and "Irreligious"?

F.R.: People can say what they want, but reality is very different from what they write online [smiles]. We’re an established band and, like I said, we’ve always since "Wolfheart" been in search of music connection with people. If people listen to Moonspell, it’s about our music and lyrics, it’s not about anything else and, I think, it’s pure relationships. When "Wolfheart" and "Irreligious" commercial success came, that never came at a time. It’s not like — the album is out and everybody enjoys it and running into the shops — that’s what people think, but reality is different. "Wolfheart" just became a popular album because we’ve been month and month on a road in little a van touring all around Europe. There was no Internet, there was no other way of doing it. So we praise our freedom and people might believe it or not, but we don’t have any commercial agenda. Actually, I think, we risk a lot [smiles] not to make like other bands, I don’t say that they have commercial agenda, but they have a style, "it would be like this or like that". But for us, like I explained, it’s not like this and Moonspell’s fans should know that. Obviously, "Irreligious" is 20 years this year and we are thankfull to everybody who bought it and made it such a big album and our career the same for "Wolfheart". But I completely disagree when people try to reduce Moonspell to these two albums, especially when we have many new fans that just discover us and not with "Wolfheart" or "Irreligious", but with "The Antidote", "Memorial", "Night Eternal". So we’ve always been from 90’s [smiles], probably we were very young, but it was a great time: many bands, many albums, there was no Internet or not a lot, so people were more pure, they didn’t care about their opinion, they cared about the band’s emotions. So if the band changes, let me tell you, the audience changes a lot in way they approach music. And sometimes it’s not better, sometimes it’s worse.

"Nowadays if a kid goes to his mom and dad in Portugal and say, "I wanna be in a metal band", and if they start laughing at him and say, "It’s difficult to achieve success in Portugal, it happens once in a decade", he could say, "No, Moonspell did it". That’s the kind of precedent we made at our home in Portugal."

It will hardly be an exaggeration to say that "Extinct" cover art is the most brutal in Moonspell’s discography. Tell us about this work by Spiros Antoniou (Seth Siro Anton).

F.R.: It’s very brutal indeed. We have a lot of talks with Seth, but when I hire an artist I’m not ordering a pizza, so I don’t say, I want cheese, onion and tuna, or whatever I like. I give him one idea what the album is about, I give him the demos and then he creates from our music, from the understanding the image he had for that. And he understood "Extinct" in a very strong way, so I think, what he wanted to do was to represent the woman as… It’s not really a woman, it’s a bit of strange being, it’s between of a woman and a man or something, that’s my interpretation, of course. When he takes for instance small species on the art, even a little bug or plant, it’s hard to imagine for people who don’t study it or at least who don’t show their interest on extinction and be confused about the things he creates. There is a very famous story with the killing of the sparrows by Mao Zedong. He said that the birds affected corns [smiles], I don’t know, he was crazy. So had people capture all the sparrows in China and once there were no birds, the insects came and ate all corns, so the great hunger came from this small action and millions of people starved because the crazy guy made the species extinct. And the human end on "Extinct" is something we want to talk about as well on this album because it’s a strong thing, it’s a statement as well I think the music should press the button so you think about it. It’s imbalance, it’s a small versus big and, I think, it’s a subject not just in our music, but also in our history as a band. People sometimes say, "We want to see the big picture", but the fan see the small picture.

It was your idea to make different covers for CD, LP?

F.R.: He created so much artworks, he had like an open authorization to do everything he wanted and he made this brutal cover with the limbs ripped out. Yeah, they’re ripped out and it’s a sense of the art, it’s not like we’re talking about chocolate, we’re talking about something that is heavy that is happening, that is real at the same time. I think, he made a lot of incredible artworks and I said why not have different covers for each, why not show all of it like an exhibition. We decided it would be much more interesting for the fans. I said, "Seth, you decide what’s going on with digipack [smiles], what’s going on with normal CD, but I decide the vinyl". And, I think, I decided very well because I wanted to do something like "To Mega Therion" of Celtic Frost. When you open their vinyl, If you ever saw it, you could see this beautiful piece of art, very beautiful and it was Giger’s picture [smiles].

"I think, because of being in heavy metal, you are not forbidden to dream. In our country we have achieved many-many things that people told in my face it was impossible and it was possible!"

Last year, there was a release of the video for "Extinct" title track, it’s a very impressive and gloomy music video. Tell us about the work on it and are there any ideas for new videos?

F.R.: Since we decided about the cover we immediately decided to approach listening to Moonspell's "Extinct". We contacted a lot of people who have no limbs and, believe me, some people said, "Are you crazy? You just want to make these people look freaky". No it’s a miracle of art inspired by movies like "The Warriors". So there are a lot of metaphors, it’s a very visual metaphoric video clip with the band playing and you couldn’t imagine the happiness of these people participating because the thing is, and I hate these things about the society, that still today in 2016 these people have to hide, you know, like lepers in the Middle Ages. And I believe that even it’s a metal band and it’s something bizarre they love being there, they love being a part of the video clip and, actually, a lot of people praised us for bringing them to do what they do. There was an incredible dancer, a boy dancer that didn’t have an arm.

That one in a good shape?

F.R.: [Smiles] Yes, he is a dancer and a handsome man. There was also a guy, I think it’s from birth (he interact with our main character, that girl), he doesn’t have legs or arms. He is an actor, he has already read some of my poetry live and also he has a great life, he has a beautiful girlfriend, he was just about to be a father, so I sent him an SMS. So, I think, the world is ugly and there is no use of hiding it, the world is not perfect or not normal, we’re not perfect, we’re not normal and people around us as well, that’s why Moonspell goes to play with forbidden sometimes, but for us it’s not forbidden. For us, it’s a manifestation of our art, a manifestation of our sort of brutality, of extinction and it’s also a way not of shocking people, but of showing the things as they really are. And believe it or not, but these people are nothing, but an example to us. Especially, this guy who has his life, he is an example of strength. And it’s always a problem, I don’t know how it’s in Ukraine, but in Portugal, like with heavy metal, it’s something outside the norm, but for me, it’s not outside the norm. It’s our norm and we have to accept it. And I fight a lot in Portugal for that, have a little bit polemic on the Internet. I think, I learned how to fight for our things otherwise, how to be capable of fighting and taking a little bit criticism by fans, yeah. Some people don’t like it [laughs].

In late March, you accused the Portuguese newspaper "Público" of "musical racism" [who called electronic/rap group Buraka Som Sistema as the most popular abroad band]. Therefore, tell us about the status of heavy music in Portugal. Is there any support on the part of the government, publications in the major media, broadcasts on TV or radio?

F.R.: Well, it’s a big question [smiles]. Many people have to understand, when Moonspell came to the stage a lot of doors were closed because we were a metal band and that’s the truth. But then we got so popular that we broke the doors, our crowd broke these doors. "Extinct" was #1 in the charts. Only Madonna came to that [laughs] for #1 in Portugal and she was in that charts many times. I’m happy because nowadays, at least, not only Moonspell, but especially Moonspell in Portugal it’s working. And we have big shows we’re just making [agreement for] our first area for six thousand people on the 2 of December and it sounds very well. So, I think, because of being in heavy metal, you are not forbidden to dream. In our country we have achieved many-many things that people told in my face it was impossible and it was possible! [smiles] And it’s Moonspell, and it’s a story that everybody knows.

In Portugal there is a big metal stage, with shows, with great bands, with traditions since the late 80’s, I know them, many of them are my friends, some of them are not my friends, you know, metal stage is always fights. But in the end of the day when you come to the media coverage... You know, it’s like journalists have their favorites and when I accused them of musical racism it wasn’t about the band, it was nothing to do with a band, a band is a band, but people got it wrong, but it’s the Internet and the fans, they are passionate. And, for instance, that journalist wrote an article that not only minimized in a very inelegant, unprofessional way the career of Moonspell, definitely, the most international band of Portugal together with Madredeus. By doing that, they ignore many bands who are touring: More Than A Thousand, Sinistro and many Portuguese bands from all kinds of metal and rock that are coming to the countries and fighting for in foot on the door in a spot light. I think, it’s wrong, yeah, and I reacted and reacted straight to the heart so it was a big fucking polemic in Portugal, but I still maintain it’s a musical racism, because racism is not just a skin color thing, racism is to deny the manner of a style, of a cultural, of a subcultural or whatever you want to call it. And to say, like they said, that they [the bands] have no social, cultural impact, I mean, come on, people from Ukraine, I met them, I read about them because of Moonspell if it’s not cultural, so what? Definitely, it’s cultural.That was my big fight, a lot of people attacked me, I spoke from Moonspell because I’m not anyone’s lawyer. I think, that other bands should have spoken out as well, but that’s the Portuguese metal stage, you know, we say, the Portuguese have a lack of thought. They talk a lot, when they are inside, but when the time strikes to say something they are afraid, we’ve been under fascism for 50 years and it still in our mind. If I disagree with him [the journalist], I don’t give a shit, if he is one of the most famous musical reporter in Portugal, because, I think, he was wrong and he was technically wrong and stand on Facebook. But Facebook doesn’t count for me. I think, it was good for Portugal and for metal music, unfortunately, there were not a lot of people supporting us and they missed the opportunity, but I didn’t. All of the sudden, we were everywhere in the newspapers, we won Sociedade Portuguesa de Autores Award for the best album with "Extinct" and we’re booking in Arena, so sometimes it’s good to agitate the waters. It’s like you buying pasta and you have to [shake it].

So, I think, metal really has a presence right now, but it can be better, it can be improved, I think, many people should cut the bullshit and get together with a great bands in Portugal. Even metal journalists, they figured, you know. There is a band called Ironsword, it’s barbaric power metal like Manowar, and they doing very well abroad and they are nowhere in metal magazines in Portugal, like Moonspell in the beginning and we suffering from this since the 90’s. And I don’t understand this about Portugal. Fortunately, we won against any obstacle, or any ignoring and we did it for us and our fans. Yeah, we want to be a part of musical history in Portugal. We worked hard for that and we don’t want to be a foot melt.

Can we say that, thanks to Moonspell’s success, the Portuguese media began to pay more attention to other local metal bands?

F.R.: I agree with you. But a journalist just sees what he wants to see. For me, the doors that I like most to open, it’s not like to be the first band doing that or selling thousands of records or whatever, for me, it’s more important in Portugal is that now kid can go to his parents and say, "I wanna make a metal band", like I did to my parents and they told me, "Shut up! You’re crazy! Go and cut your hear and get a job or go and study!". And I was later in the band [smiling]. I didn’t have an argument for them, I could told them about Bathory or Metallica, but they didn’t know about these bands. But nowadays if a kid goes to his mom and dad in Portugal and say, "I wanna be in a metal band", and if they start laughing at him and say, "It’s difficult to achieve success in Portugal, it happens once in a decade", he could say, "No, Moonspell did it". That’s the kind of precedent we made at our home in Portugal. I think, that the most important one, than #1 in the charts, and more greater is to create the social effect and that’s the social effect, metal being procedured as a way of life and a job, why not.

And what about your kid does he want to be in a metal band?

F.R.: Well, my kid just want to have fun, be happy and play with dinosaurs [smiles]. Of course, kid imitates daddy, so he has long hair and he likes metal very much, he likes some other kind of music, he likes Moonspell, Hevisaurus, Motörhead and Twisted Sister. "I wanna rock" is his favourite song because it was in "The SpongeBob Movie". But I keep his options open, I think, nowadays it’s a learning process, even for us as parents. Nowadays, I only focus on playing, learning stuff, even some manners, of course, but it’s more carefree education. My thing is let him to figure out things by himself: what’s bad, what’s wrong, what’s right. Then we’ll see. You guys are not parents? [smiles] So, you’ll see it’s a big process and the more open the road is better. Some people ask me, "Do you want him to be a musician?", and I say, "I wouldn’t mind him to be a musician", I said it a lot, but I wouldn’t say it to my kid.

But you be like, "Just don’t play Babymetal" [smiles].

F.R.: [Smiles] I don’t have any plans for him. He’s just a regular kid. I think, it’s great, because many people say him, "You’re gonna be an artist, like your dad or like your mom", (my wife is the singer in the pop band in Portugal) [Sonia Tavares, Fernando appeared in her band Hoje’s video]. And we say, "Why? Maybe, he is a lawyer". It’s just a matter of time.

Also, Fernando Ribeiro told us about his three favorite things of Portugal. Read about them in our new column "Tastemaker".

Interviewed by Anastezia and Yuri Somov
Noizr Zine thanks Napalm Records, Moonspell team and HMG concert agency for helping to organize the interview