May 25, 2026
Deadnate's Drummer and Producer Ole Frank - an interview
Guest Ole Frank is the drummer and producer of Danish prog metal band Deadnate, known for his meticulous approach to recording and mixing, which helped shape the sound of Mosaic—a record praised for its clarity, aggression, and emotional depth.
A lot of heavy bands struggle to balance raw energy with polished production, but Deadnate pulls it off effortlessly—and their latest album Mosaic is a masterclass in that delicate craft. Ole Frank, the band’s drummer and producer, reveals how they craft a sound that is both ferociously aggressive and meticulously refined without losing its human, gritty edge. Discover the secrets behind their multi-tracking approach, how they balance emotion with technical precision, and their their present journey from small Denmark venues to international stages.
You'll learn how Ole’s focus on performance and simplicity creates a larger-than-life sound that rivals big-budget productions. He shares why emotion always guides their mixing decisions—whether it’s a crushing riff or a vulnerable vocal delivery. Plus, get insights into their sound engineering, from tuning and gear choices to recording techniques that keep their music authentic yet powerful.
We break down the Danish metal scene’s influence on bands like Deadnate, highlighting underground gems like Baest and the DIY ethos that inspire their work. Ole also takes you through their upcoming live plans, the challenges of performing complex material on stage, and the unique moments in Mosaic that stand out to him—like the emotional weight of “Guilt and Sorrow” or the technical brilliance of “Two Tongues.” If you're a musician or a fan craving behind-the-scenes secrets, this episode is packed with actionable tips and inspiring stories that'll elevate your own music or deepen your appreciation for high-caliber production.
Perfect for aspiring producers, metal fans, or anyone interested in the art of balancing raw emotion with studio craft, this conversation with Ole will leave you inspired to push your music to the next level. Whether you're tracking in your home studio or chasing the big stage, Ole’s journey proves that with passion and precision, you can craft a record that hits hard and sounds incredible—the best of both worlds.
00:00 Intro and producing Mosaic
04:35 Becoming Deadnate's producer, the "DIY" and aggressive vibe
09:00 Ole's "deserted island" albums and Ole's producer influences
14:05 Standout moments on Mosaic
16:55 The Danish metal scene and gear talk
21:55 Perfectionism and Ole reviews the review
26:25 Album artwork and tour plans
29:45 Quickies
WATCH
Chapter 1: Intro and producing Mosaic
We are thrilled today to have with us Ola Frank, the drummer and producer from Danish powerhouse Prague metal band
8 seconds
DeadNate. They recently released uh Mosaic on their own album Dead Records.13 seconds
It is a crusher album and we are thrilled to get a little time to chat with Mr. Ola today. How are you?19 seconds
I'm very fine, thank you and thank you for having me. It's a pleasure to be here.22 seconds
We appreciate you staying up super late and uh doing this with us. Um, I just have to ask and get right into it. You,31 seconds
sir, did a great job at producing uh what sounded like a big budget record.37 seconds
Um, what is the biggest hurdle to make a album sound big uh with a ton of budget behind it? What What did you find was45 seconds
the uh the tricks of the trade with this record? I think what we really focused on was to really get great performances52 seconds
and to not do a lot of layers. So to keep it kind of simple but then focus on so when I was tracking the drums I spent1 minute
a lot of time rehearsing like a few months just going over all the songs and all the details and then when I went to the studio I was super prepared and I1 minute, 9 seconds
knew exactly what what I wanted to get uh to come away with. And the same for the guitars. I mean we didn't or I1 minute, 16 seconds
didn't want to sit there and kind of edit them. So rather than spending half an hour editing, we spend the half hour tracking even if the parts are1 minute, 25 seconds
difficult, I think it uh it makes for uh I don't know, it's just something that we wanted to do actually,1 minute, 34 seconds
you know, keep it a little bit more uh to the point and be a little bit more honest, you could say. So yeah, I I read and correct me if I'm1 minute, 41 seconds
wrong that you guys uh multitrack almost a lot of if not all of your practice and rehearsals. I would assume1 minute, 48 seconds
that is in an attempt to really get things nailed down prior to going in the studio. I'm wondering how many times1 minute, 56 seconds
were there happy accidents that happened during those rehearsal tracking sessions where you know there was an errant you know an errant move that you thought oh2 minutes, 4 seconds
[ __ ] that that's great and you incorporated that into the final product. Oh, I think uh the multitracking we actually do more uh in2 minutes, 13 seconds
terms of the live shows because like having these double lead vocals and pretty technical riffs and some2 minutes, 21 seconds
technical drumming, it's uh it's kind of hard to perform live basically. Yeah.2 minutes, 26 seconds
And we we a lot to get to a point where we feel like it's good enough. So that's why we we've been multitracking it to2 minutes, 33 seconds
kind of really dig in and like to hear, okay, what is uh Simon doing on the guitar while he's singing because sometimes you have no clue what your2 minutes, 42 seconds
hands are doing. So sometimes they could be all out of sync. Uh and you might not hear like the whole picture, but when you're like isolated, you can hear like,2 minutes, 50 seconds
whoa, okay, what the [ __ ] going on here? So it really Yeah. It gives you that kind of super precise uh thing where we can really dig into.3 minutes
Yeah. Any happy accidents, things that a slight mistake that you turned into something intentional down the road?3 minutes, 7 seconds
Um could question. I I would say that's more in the song writing sometimes. you know, you write a a section of a song3 minutes, 15 seconds
and you don't think much of it, but then suddenly when it's like put in the context of some something else, you kind3 minutes, 22 seconds
of some idea might come and you suddenly you have something that's great. So, I think it's more in that way it uh some of those maybe accidents have happened.3 minutes, 33 seconds
Mosaic is a very emotional um and vulnerable uh record and I I'm3 minutes, 40 seconds
curious what what is more important to you? The emotional ex I guess explosion of the vocals and3 minutes, 48 seconds
and the singing or is the does the music take precedence over it? Like if you were to if you're when you're producing3 minutes, 55 seconds
and and mixing and mastering, what takes precedence? making sure that that emotion gets gets heard or is it the riff?4 minutes, 3 seconds
I think it's always emotion on top basically. I mean like a super technical engineer or4 minutes, 10 seconds
anything. So when I'm mixing or producing I'm always just going off what hits me. So and that can be a riff as4 minutes, 18 seconds
well because if you have the right riff at the right time, you know, it can be like [ __ ] yeah. And it's just that's cool emotion as well. It4 minutes, 25 seconds
sure is. you can have like a more beautiful harmony thing with the vocals or layers in the guitars or whatever. So4 minutes, 33 seconds
yeah, emotion is I think the most important thing for me.Chapter 2: Becoming Deadnate's producer, the "DIY" and aggressive vibe
4 minutes, 36 seconds
Yeah. What was your path to sort of adopting the producer role in the band?4 minutes, 41 seconds
Is that something that you had done prior to Detonate or is that was it just an evolution after you guys got together4 minutes, 48 seconds
that that was something you were comfortable with? Uh it was just a kind of necessary evil I guess when we were4 minutes, 56 seconds
breaking uh our first EP. Somebody had to do something. So it was like oh can you do this I guess. So and that's that's how it went.5 minutes, 8 seconds
Fake it till you make it.5 minutes, 10 seconds
Exactly. Yeah. Yeah. But I also like that because you can then you can hear the DIY DIY aspect of our sound. I mean,5 minutes, 17 seconds
and I really like that you can hear like the first EP and how the level production or whatever is how is how it5 minutes, 25 seconds
is on that one and then to the next record and then to Mosaic now. So, I like that kind of that progression and5 minutes, 32 seconds
that you can hear it very clearly. So, when we reviewed the album, I I mentioned that I was unfamiliar with the5 minutes, 39 seconds
band prior to Mosaic and Derek sent it my way and so that was my introduction.5 minutes, 44 seconds
So, I uh I have learned your catalog backwards. And none of your albums, none of them have a DIY feel. They do all5 minutes, 52 seconds
have a very raw, aggressive quality to them that I think sometimes disappears with super highly produced material.6 minutes
Mosaic is there is nothing about it to me that feels DIY on any level. It feels6 minutes, 7 seconds
very pro, a very polished record, but still maintains that the teeth and the bite and that that aggression. How do6 minutes, 15 seconds
you balance? Because I presumably you guys want to put out a good finished product, which by the way you did, but how do you find the balance between6 minutes, 22 seconds
keeping it raw and garagebased while still finding that perfect level of polish? Well, thank you. Uh, that's like6 minutes, 32 seconds
a kind of a what do you say? like a knife's edge kind of thing. You have to balance, you know, you can go too far with with like the editing of the drums6 minutes, 41 seconds
or whatever it is and you can end up taking out some of the personality if you edit it or do all kinds of sampling6 minutes, 49 seconds
or whatever it is you're doing. You know, some at the end you don't really hear what the drummer played. Uh, and the same with the guitars and the bass.6 minutes, 57 seconds
So, and vocals you can also So, it's that kind of balance. And I just think the music that we like always has a bit7 minutes, 5 seconds
of that human element to it. So I think it kind of natural that you know none of us are listening to very super produced7 minutes, 14 seconds
music. I don't think we're going to go to that extreme with like overproducing because we don't listen to that music.7 minutes, 22 seconds
Yeah. Yeah. Would you say when you were coming up and building your chops in terms of engineering and producing, mixing, things like that, when you7 minutes, 31 seconds
started, at what in what musical era did you start? The reason I ask is when I first started getting into into studio work7 minutes, 39 seconds
and and developed an interest in that, everything was still analog and on tape, ProTools was not a thing. So, playing to a grid wasn't really a thing. You know,7 minutes, 48 seconds
you had to go in and you had to get it right. Yes, you could edit it, but there was no moving around individual nodes.7 minutes, 55 seconds
Did you start in an analog era or straight into digital where you could snap everything to a grid?8 minutes, 3 seconds
Can I Well, we started I guess it's digital, but the the very first EP is tracked without a click track. So, in8 minutes, 11 seconds
that sense, it's kind of you only have your ear in a guide.8 minutes, 15 seconds
Yeah. So, that was tracked live because of that. We we like that at that point.8 minutes, 22 seconds
So, but yeah, we've it's always been digital, but uh I kind of I like the idea of doing one performance when I'm8 minutes, 31 seconds
tracking drums, for instance. It's I like playing the whole song and then do that a few times and then go8 minutes, 38 seconds
back and then punch in. I I mean, it's I can tell which parts are the most difficult. So then I go back and I punch8 minutes, 46 seconds
in those parts a few extra times and then hopefully from those few takes you have a full song.8 minutes, 53 seconds
We'll get back to Mosaic because it is an incredible record, but I want to uh understand who you are as a human a little bit. Um you know what are threeChapter 3: Ole's "deserted island" albums and Ole's producer influences
9 minutes, 2 seconds
albums that if you were, you know, you needed to never sacrifice and you needed to hear um for the rest of your life and9 minutes, 11 seconds
you could not live without them, what what are those three albums? Uh, I would say it's got to be something with Metallica. So, I don't know if it's like9 minutes, 20 seconds
a Justice for All or Black album. Maybe one of those two. Mhm.9 minutes, 25 seconds
And then it has to be some Gojira album because I Yeah. Also, I think maybe that9 minutes, 32 seconds
would be uh Lefan Sabash or Magma, one of those two probably.9 minutes, 38 seconds
Uh, and then I don't know, third maybe highway. Uh, no, sorry. Uh, Machine Head by Deep Purple. That was the first9 minutes, 45 seconds
record like rock I heard. And yeah, also has great performances and like full takes and it's so super raw and9 minutes, 53 seconds
just great playing. So those What is that? Five records.9 minutes, 57 seconds
That's okay. Well, I I'm going to ask a piggyback. Um, it's John. I'm sorry. We usually go back and forth, but I'm going to I have to ask it. You you mentioned10 minutes, 5 seconds
the Black Album and I got into a debate with my 12-year-old about what album sounds the best of all time and I10 minutes, 13 seconds
thought that I think that Bob Rock did such a great job with the Black record.10 minutes, 18 seconds
It's such a rich sound and and it doesn't get any better than that. I'm just curious what your take is as a producer. Well, I like the sound of it a10 minutes, 25 seconds
lot. It sounds great obviously, but at the same time, I also talking about Metallica for instance, I also like the10 minutes, 32 seconds
sound of Injustice for All just as much because it hits a certain way. I mean, you can kind of tell what they were thinking. I mean, you have no bass.10 minutes, 42 seconds
That's what everybody says, but that also produced a specific sound and the sound that they liked at that point. So, I like that. I like if you know, it's10 minutes, 50 seconds
kind of boring if everything is just super well produced. Like if you have a whole catalog of just the same sounding album kind of that gets a little so I10 minutes, 58 seconds
like when bands kind of take a little like chances if you know what I mean.11 minutes, 3 seconds
Who are you drawing your producer role influences and inspiration from? Are there any any studio rats out there that11 minutes, 11 seconds
you listen to bands they work with or bands they're in and think I like what they're doing. I'm going to see if I try a little bit of what they've got going.11 minutes, 20 seconds
I'd say actually Bob Ruck is a great example. I like the way he was able to say no to certain things and push them11 minutes, 28 seconds
to get better or play something more exciting or whatever. So, I like that. I like him. Um,11 minutes, 35 seconds
and then also um I think Joe from Gojira also because of that's that kind of DIY11 minutes, 43 seconds
aspect again, you know, doing everything yourself. Um, I like that. And uh, well,11 minutes, 50 seconds
I mean, there are many great producers, but and then you sometimes you pick out small tricks from them, like how to do11 minutes, 59 seconds
some gating on a snare drum or whatever it is. So, but I would say those two are probably Yeah. I don't know actually.12 minutes, 6 seconds
Pretty solid. Pretty solid guys to draw from, for sure.12 minutes, 9 seconds
Yeah. Yeah. Yeah. Have you had any moments uh pinch yourself moments where you're playing a festival or you're playing a show with a band that you12 minutes, 18 seconds
never believed that you would ever play with?12 minutes, 21 seconds
Good question. We I think we've had a few shows. So last year we did a u12 minutes, 27 seconds
festival in Copenhagen. Uh and uh we played we've played there two times before on a small stage, but then this12 minutes, 35 seconds
time we got to be on the big stage. Um, so that was kind of special. So being up12 minutes, 43 seconds
there and we also we played a few of the new songs before the record was out. So also a bit of pressure to kind of perform well. But everything went really12 minutes, 51 seconds
well and it uh we again we multitracked all the show all the rehearsals up to towards that. So there was like this huge build going up towards that show.13 minutes, 1 second
So that was a that was a cool show. And then also I would say we did uh two release shows in Denmark13 minutes, 8 seconds
uh for the record and those two were also special because we could tell that um13 minutes, 16 seconds
people really look forward to specific things in the new songs. So you know some uh sometimes uh or some people have13 minutes, 25 seconds
said for instance uh oh that middle section in neon burner where it breaks down and it everything goes to major and all that.13 minutes, 33 seconds
So that's or whatever and uh or the technical intro to whatever two tongues13 minutes, 40 seconds
or whatever. So you have all these specific moments that people kind of uh hang on to or pay attention to. So13 minutes, 49 seconds
that's kind of special because we didn't have that before I feel. So actually that would be the three last show shows we've done. So13 minutes, 58 seconds
fulfill So it's fulfilling for you those that just knowing that that your music is got is is you know people are sinking their teeth into it.Chapter 4: Standout moments on Mosaic
14 minutes, 6 seconds
Exactly. Yeah.14 minutes, 7 seconds
What moments on Mosaic stand out to you the most? What are your favorite? Do you have any favorite moments? Either an14 minutes, 14 seconds
entire song that you liked or a section of a song. either your performance or any of the other guys. Are there moments that just holy every time you hear you14 minutes, 23 seconds
think, "Holy [ __ ] that's incredible." Uh yeah, as you said, you know, it sort of uh depends on what you're listening14 minutes, 30 seconds
to. Uh so I would say maybe from like a emotional uh point of view, it would be guilt and sorrow because of the lyrics.14 minutes, 39 seconds
They're pretty heavy and uh also the vocal delivery from uh Kenneth and Simon is I mean great. So uh so every time14 minutes, 49 seconds
that first verse kicks in and then going into the first chorus that is always great. I love that. But then as well as14 minutes, 58 seconds
I said before two tongues with the like technical intro uh that was like a drum exercise I had.15 minutes, 6 seconds
So when I hear that I'm also like [ __ ] yeah. Yeah.15 minutes, 11 seconds
Yeah. Amazing track that Neon Burner and Two Tongues are two of my standouts on the record. They're just fantastic pieces of music.15 minutes, 20 seconds
The bass on Neon Burner and like that kind of pre chorus thing I always when that kicks in I always like [ __ ] that's15 minutes, 27 seconds
great. I mean so there like all these small moments depending on what you're kind of listening to. Uh so I guess that just15 minutes, 35 seconds
means it's kind of it has some diversity to it, right?15 minutes, 39 seconds
Yeah. All four of you guys are playing very very technical stuff. Are there any tracks that you guys are not super15 minutes, 46 seconds
excited to play live because they're so technical or do you come at it from a standpoint like no we did it we do it we15 minutes, 54 seconds
can do it live in the studio we can do it live on stage. We want to be that way. But uh right now we're practicing the song Morass, the last uh track. And16 minutes, 3 seconds
uh that's actually not the most like technical song, but it's a bit more atmospheric. So, and you have this very16 minutes, 10 seconds
fast tapping going on. Uh and that's kind of a tough nut to crack to get that kind of because it's so emotional and16 minutes, 18 seconds
that can be difficult when you don't have uh like reverb on the vocal and stuff.16 minutes, 23 seconds
It's kind of so you have to make some compromises. Uh so that's a little bit tough. And then we've also learned from16 minutes, 31 seconds
all the hours of practicing the previous songs that eventually we'll get it. And uh you have to be open to like16 minutes, 40 seconds
change certain things in songs in order like because we don't want to have uh backing tracks and all that stuff live.16 minutes, 47 seconds
We want to keep raw. So, um, so we have to make some compromises sometimes with certain parts, but, uh, that's fun and it's, uh, also kind of creative.Chapter 5: The Danish metal scene and gear talk
16 minutes, 58 seconds
The Danish metal scene is, um, breeding some incredible forwardthinking metal.17 minutes, 4 seconds
Um, how is that scene helped craft your identity? And then the second part of the question is, who's some bands that17 minutes, 11 seconds
maybe us in the States haven't heard of that we all should check out?17 minutes, 16 seconds
I think uh the first part there are quite a lot of bands right now and for17 minutes, 24 seconds
the past maybe 5 10 years uh Danish bands who have managed to get17 minutes, 32 seconds
out and play Europe even in in the states. So just being able to I mean we have uh our rehearsal space is just17 minutes, 39 seconds
across from I don't know if you know the band based they play like old school death metal and I think maybe have transitioned into something a bit more17 minutes, 48 seconds
proggy and rock kind of vibe. Um they're really cool and their later records are17 minutes, 55 seconds
I think very exciting for me. Uh and also the whole they were kind of the orunners in that thing.18 minutes, 2 seconds
Is it B A E S T? Exactly. Yeah. Yeah.18 minutes, 5 seconds
Yeah. So, um Yes. So, Colossal is the record. Yeah. Incredible. Love it. Yeah. Okay.18 minutes, 13 seconds
So, the the record before that, Nicosavians, they those two records I think are great. So, yeah. Uh Colossal came out last year and18 minutes, 22 seconds
uh you're right. It is very very uh Death Metal meets Prague. John, you'd probably like it, too. It's it's And I'm remiss on not sending it to you, John.18 minutes, 32 seconds
Yeah. Shame on you. No, no, no. I failed.18 minutes, 35 seconds
When you guys are writing, uh I'm I the I've got some technical questions. I'm a gear guy. I I love the18 minutes, 43 seconds
studio environment and so forgive me if I'm getting in the weeds too much, but when you guys are writing, how do you18 minutes, 49 seconds
map out the low end of what's happening so that it doesn't be, you know, like where the bass can still claim its own18 minutes, 57 seconds
space in the mix, but still lock in with the low-end frequencies of the guitar and the kick drums and floor, you know,19 minutes, 5 seconds
high. How do you how do you balance those things? Do you think about that during the writing? We we think about it19 minutes, 11 seconds
a little bit, but uh I think maybe uh the fact that we're not tuned down helps. You know, it never really gets muddy.19 minutes, 20 seconds
Um it's kind of easy on it. I mean, I think being a producer, I think the low end in detonate is kind of easy to19 minutes, 27 seconds
manage because it's, you know, the guitars aren't tuned low or the bass it's not tuned down, so it's it's kind of it's not that low basically.19 minutes, 37 seconds
Sure. Is it mostly standard tuning, E standard or what what are you guys playing in? All is E standard. So, yeah. Okay.19 minutes, 44 seconds
And then we use the the WHMY pedal to pitch down for certain bits, but those are supposed to sound kind of messy. You know, they they shouldn't sound too.19 minutes, 55 seconds
So, yeah, I think uh and correct me if I'm wrong, you may know the answer to this. There is a pitchbend in Neon Burner.20 minutes, 1 second
It's a quick one. Is that a whammy based pitchbend? It is. short, real fast.20 minutes, 8 seconds
Yeah, it is. It We're actually using uh the U Line 6 Helix. The guys, they just have like a button that they press and20 minutes, 15 seconds
then we've like timed it so it just goes like way we want it to sound basically. Okay. Interesting. Okay.20 minutes, 23 seconds
Is there any other gear that you guys use that you're just blown away by? H not really. I don't know. Let's talk Let's talk about your gear.20 minutes, 31 seconds
What What are you uh what are you using?20 minutes, 32 seconds
Well, uh, I'm using an old Tama drum kit from the 80s. Uh, a Tama Grandstar, like20 minutes, 40 seconds
a Birch and the two 24 in kicks and then 12, 14, 16, and 18. So, kind of big20 minutes, 50 seconds
drums, but uh, I like that like silen symbols mainly. Pretty standard like high head, two crashes, right? And, uh, one or two chinas. I guess that's it.21 minutes, 1 second
heads. It's like whatever makes sense.21 minutes, 4 seconds
You know, I'm not super religious about brands. Sure.21 minutes, 7 seconds
Sorry. I'm only I only want to play T because of Las Ul and uh Mario.21 minutes, 13 seconds
Of course. Sure. Well, they do they and you are doing the brand justice and I love that you're using an 80s era grandstar, too. They're great drums. Um,21 minutes, 21 seconds
from a producer standpoint, you clearly have got your head wrapped around the gear that the other guys are using, too.21 minutes, 27 seconds
Is there anything from that producer standpoint that you say, "Hey, maybe you should try this pedal or do that with your tone that suggestions that you make21 minutes, 36 seconds
for guitar or bass?" Yes. Uh, a lot. And we work together a lot with uh like to get the live tones21 minutes, 43 seconds
and the studio tones uh like the way we want them. Uh, and I also have a lot of21 minutes, 50 seconds
input on that. Uh because uh you know if I'm going to mix it, it needs to be like something I can work with.Chapter 6: Perfectionism and Ole reviews the review
21 minutes, 58 seconds
Yeah. So are you a perfectionist in life or just with music? Yes, mostly with music.22 minutes, 5 seconds
So you don't roll your socks in your sock drawer?22 minutes, 7 seconds
No. Um you just throw them in. Yeah, whatever.22 minutes, 12 seconds
Okay. So you're not that that anal? Um that that's good because John is I mean John, you can see wears the top button.22 minutes, 19 seconds
He, you know, he closes the top button on his shirt. He's that anal. So, you know, you can guarantee that his socks are are in a ball in his his sock drawer.22 minutes, 28 seconds
Also, I could tell uh from uh your review, which by the way, thank you for all like the whole review. It was amazing because I think it was one of22 minutes, 37 seconds
the best reviews we've had because well first of all obviously because you like the record but then also because of all22 minutes, 43 seconds
the things you heard in the songs like very specific things and they were all like those are exactly the things we hear in the songs of the ideas that we22 minutes, 52 seconds
wanted to get a so you managed to kind of basically hear all of those things or like most of them. So that's and not a lot of reviews23 minutes, 1 second
have like hit those things the way we hear them at least. So So I think the way you you've listened to the record is23 minutes, 9 seconds
actually the way we do it ourself or listen to it ourself.23 minutes, 14 seconds
Thank you so much. We appreciate it so much.23 minutes, 16 seconds
Yeah, it's all John. I I don't understand music at all. I just like what I like. But he he's the he's the technical guy. He's the producer and uh23 minutes, 24 seconds
and he hears all that stuff. Um, but you know, I'll tell you a story. I I sit and listen to music. Um, and we get23 minutes, 33 seconds
thousands of stuff sitting coming our way and um, Mosaic just popped out, you23 minutes, 41 seconds
know, it's like 5 in the morning. I was up with, you know, we've got four cats and a dog and we're up early with those23 minutes, 48 seconds
animals and I just listened to music, you know, and and Mosaic hit me over the head. I waited till John got up, sent it23 minutes, 57 seconds
to him, said, "These guys are are good." And that was it. And then we were hooked from that point forward. And um24 minutes, 5 seconds
appreciate your kind words because we we really felt it. We feel what you're doing. And um you know, the the sky's24 minutes, 13 seconds
the limit for where you're going and I hope that tons of doors open and if our review does a little justice to open those doors, then we're happy for you.24 minutes, 21 seconds
Thank you so much. I think your review does a lot of justice. I mean, yeah, many I mean, it was beautiful. So, thank you so much.24 minutes, 30 seconds
Thank you. Was there anything we got wrong?24 minutes, 32 seconds
No. And that was that's exactly uh why we liked it so much because I mean, it's always subjective, but like like when24 minutes, 41 seconds
you uh like um what is that called? like when you dove into like specific parts of the songs. Mhm.24 minutes, 48 seconds
It was like you got the ideas behind them like super right. Right on.24 minutes, 53 seconds
Uh we intended them. So it's nice to kind of feel heard in that sense because25 minutes
a lot of reviews can be a bit you know uh then they mention something random and you're like what is that?25 minutes, 9 seconds
Yeah.25 minutes, 10 seconds
But you didn't do that. So I I really appreciate that. So, well, it was an album that was easy to easy to want to go in depth on because25 minutes, 18 seconds
there is so much there. Um, I'm a I'm a big Prague fan myself and so this right off the bat, I knew I was going to like25 minutes, 26 seconds
it, you know, 30 seconds into the first song. Um, but I think one of the great things about the record is that with so25 minutes, 34 seconds
much data happening, there's so much transpiring throughout, but at no time does it feel scattered or disconnected.25 minutes, 41 seconds
It's all perfectly I don't want to say it it feels like it's coming down a tube at you, but it's it all sits so25 minutes, 49 seconds
perfectly next to and within everything else. It's just it is a you know, congratulations on putting together a25 minutes, 56 seconds
[ __ ] phenomenal record. One, the songwriting is great. The performances are great. The production of the album is great. The artwork is great for that26 minutes, 4 seconds
matter, too. I'd like to ask who who did the artwork, but it's just it is I I find it to be really difficult. And a lot of bands try who great players and26 minutes, 14 seconds
great bands sometimes fail with the end result because they can't make so much data work together. And so I I you know26 minutes, 23 seconds
it I'd say it's a bit of an accomplishment to do what you guys have done. So props to all of you for putting it together and making it happen. But yes, who did the artwork? Thank you so much.Chapter 7: Album artwork and tour plans
26 minutes, 32 seconds
Of course. Yeah. Who where did the artwork start from? Um that's a guy from Seattle actually uh called Andrew Durgen26 minutes, 40 seconds
Barnes. He did uh this band Lifcick from Denmark. He did their album or their26 minutes, 47 seconds
last record. And we like that uh kind of style. He's painting on like uh canvas or what what do you call it? Like he's26 minutes, 55 seconds
actually paint by hand, not digital. Uh and we that also like that idea of keeping it real. And so the whole27 minutes, 5 seconds
process was kind of a little bit um how do you say it was on edge because you can't really do hit like a control C and27 minutes, 14 seconds
go back exactly because he's actually so that was exciting and also like in this time where you have all this like AI and27 minutes, 22 seconds
computer stuff it was cool to kind of go back and be like this is the way it's supposed to be if you know what I mean. Yeah.27 minutes, 29 seconds
So, yeah. So, he did an incredible job. Uh, it took some time to get there, but like the end result we're super happy with.27 minutes, 38 seconds
Uh, and I also think it looks it looks a bit different compared to like most metal album covers that you see.27 minutes, 47 seconds
Yeah.27 minutes, 47 seconds
So, what do you have coming up for live shows? Anything that you want to share that folks across the pond can go see?27 minutes, 53 seconds
Uh, yeah. We have a few shows like uh we're playing Hamburg uh in a month and28 minutes, 2 seconds
then like after the summer we're doing uh a few shows uh with supporting based uh for a show and perhaps a few more.28 minutes, 11 seconds
Yeah. And then next year I think we're going to do more shows hopefully outside of Denmark because uh that's what we28 minutes, 19 seconds
want to do right now. I mean, we want to go and play these songs and like for people outside of Denmark basically because we've played Denmark a28 minutes, 28 seconds
lot. So, it would be cool to go somewhere else.28 minutes, 31 seconds
Are are we allowed to to share you with record labels or could we do that? Sure, of course. Okay.28 minutes, 40 seconds
Like, you know, would you want to go tour the world if you could? Is that is that an ambition for the band or is this just a hang out at home and record? I28 minutes, 48 seconds
mean, we definitely we want to tour. I mean, we're not big enough to do it yet, but hopefully this record is like a step28 minutes, 57 seconds
closer or getting us a step closer towards that.29 minutes
Any uh plans to uh come across to uh the States, do anything over here on this side of the planet? Not right now. Sorry. Not yet.29 minutes, 8 seconds
No. But I I mean, we would love to play the US, of course, because I mean, who wouldn't? It's Yeah. Well, just before this call, Yeah.29 minutes, 18 seconds
just before you got on the call, Derek said that he would buy plane tickets for everybody and have and he'd pay to ship your gear over. So, I thought it was very generous of him.29 minutes, 26 seconds
Made him money. Yeah. Yeah. And we're coming.29 minutes, 30 seconds
Yeah. No, but I I I will I will share I didn't know what you wanted out of the band, but I will certainly share this with some of our the folks that we know29 minutes, 39 seconds
in the industry and say, "Look, get these guys out and uh we'll see what we can do for you." Well, the last thing we like to Oh, sorry. Go ahead, Eric.Chapter 8: Quickies
29 minutes, 48 seconds
No, no, you you go ahead. Do do your quickies. Um maybe maybe unbutton that top button. But just for you, don't be such a tight wad.29 minutes, 57 seconds
Don't be such a tight wad.29 minutes, 58 seconds
The last thing we like to do is is a little thing called quickies. And they're just this or that questions. And you can keep your answer short or feel30 minutes, 7 seconds
free to go as far as you want with the answer. Yeah.30 minutes, 9 seconds
Early bird or night owl? You're a morning or a night guy? A night. Okay. So, this interview is perfect. Perfect time. What?30 minutes, 16 seconds
Nice. Yeah. Um, city life or country life?30 minutes, 20 seconds
It's difficult. Uh, since this record has a lot of uh city kind of metaphors and pictures, I'm going to say city life.30 minutes, 27 seconds
Okay. Uh, I know the answer to this, but I'm going to ask it anyway. Raw unmixed garage audio or hyperpolished sterile30 minutes, 35 seconds
production? raw unmixed garage audio play super well or with a lot of like uh30 minutes, 43 seconds
intention at least. I mean you also hear like punk bands that are great and it's not because of their technical level.30 minutes, 51 seconds
It's just because they have something to say.30 minutes, 53 seconds
Uh let's see. Uh know the future or change the past? Uh probably change the past.31 minutes
Well, hang on. Would you would you go back in time and tell John to unbutton his stop button?31 minutes, 6 seconds
before getting on this podcast. Thank you. Sometimes you got to let it breathe.31 minutes, 13 seconds
You're welcome, Derek.31 minutes, 15 seconds
Uh, let's see. A beautiful A beautiful tragedy or a boring happy ending. God, a beautiful tragedy then. Yes.31 minutes, 24 seconds
Uh, let's see.31 minutes, 25 seconds
John lives in Florida. He loves happy endings.31 minutes, 29 seconds
It's what we do here. There's nothing else. There's just jungle and rain.31 minutes, 36 seconds
Uh, okay. Let's see. A the perfect execution of a boring concept or a terrible execution of a brilliant concept.31 minutes, 44 seconds
That's tough. Probably a uh uh the latter uh the uh31 minutes, 52 seconds
terrible execution of a brilliant concept.31 minutes, 55 seconds
Yeah. Because then at least you could possibly tell that this could become great. So yeah, there's you know there's genius in it. Nice.32 minutes, 3 seconds
Yeah.32 minutes, 4 seconds
Uh, let's see. Only two more, then I'll stop taxing you.32 minutes, 8 seconds
There's a good one. The absolute certainty of how you will die or the absolute certainty of exactly when you will die.32 minutes, 16 seconds
Probably how I will die. Kind of be scary to know when. I think I was just thinking the same thing.32 minutes, 24 seconds
Yeah. Okay. And the last one, an archive of every dream that you've ever had or an archive of every thought that someone else has had about you.32 minutes, 33 seconds
Probably an archive of all the dreams I've had because sometimes great stuff can come from the dreams like in terms32 minutes, 41 seconds
of music even lyrics and crazy ideas. So that would be cool to be able to32 minutes, 49 seconds
remember. I think the idea of knowing like having an archive of like of every thought Derek has ever had about me is32 minutes, 56 seconds
horrifying. So yes, I too would I too would answer the same.33 minutes, 1 second
It's called [ __ ] talk reviews because I I have to find something to make fun of you for.33 minutes, 6 seconds
And I'm largely so perfect. I know it's hard.33 minutes, 10 seconds
It's very hard. It is very hard. But, you know, calling being being all tight wad and buttoning your top button is an33 minutes, 18 seconds
easy It's an easy one. It's a layup. It Derek, it's coming back.33 minutes, 21 seconds
Do you play in any Do you play in a band, John? Do you I used to be very active. Yeah, I used to be very active. Uh, these days I just33 minutes, 29 seconds
kind of write for myself. Um, you know, do a little stuff when I when I get the time. But I do I do miss playing live. I33 minutes, 37 seconds
miss miss playing with other guys. It's been a It's been a long long time and I miss it. You're also playing drums or I have. Yeah, I started my life as a33 minutes, 46 seconds
drummer and over the past five, six years I've sort of moved over to playing more guitar. I played with a33 minutes, 53 seconds
guy for a long time, a guitar player and uh so he of course handled all our guitar needs and unfortunately he passed away and uh I I found it very difficult34 minutes, 2 seconds
to to sit down behind the kit after I lost him. So I took a break for a while and then I thought now I need to I need to get back on the horse and start34 minutes, 9 seconds
making music again. And for some reason, I just gravitated pro to the guitar, probably because that was a big hole that needed to be filled. And so I I34 minutes, 17 seconds
have found that I play much more guitar now than than drums, regrettably, but I I know I have this beautiful gear behind me, and I just don't don't get back34 minutes, 25 seconds
there much. He has an amazing home studio in the jungles of Florida. And um and he actually made me who is a34 minutes, 34 seconds
terrible singer and a terrible player actually sound legitimate, somewhat legitimate.34 minutes, 40 seconds
Um and and so he he's very humble about his his musical capabilities, but he wrote he took something terrible that I34 minutes, 49 seconds
created and wrote music over it within seconds that was blew my mind. So John's too humble. He doesn't sell himself enough.34 minutes, 56 seconds
You're very kind.34 minutes, 57 seconds
Have you released any music you can hear like?34 minutes, 59 seconds
Uh, no. No. I The bands that I was in in the past, which lies?35 minutes, 7 seconds
The music that's at the beginning of our [ __ ] talk podcast and the end he wrote.35 minutes, 12 seconds
Yeah. Cool. So, yes, there there is some stuff floating around out there, but no proper official releases. I'm looking for a vocalist if you'd like uh if you'd35 minutes, 19 seconds
like to rent your guys out. Rent Kenneth out uh for half a day. Well, listen, this has been fantastic. It has been35 minutes, 28 seconds
great to talk to you. And again, we are huge fans of this record. Um, and I've loved getting to know the the earlier stuff, too. And, uh, I I think I can35 minutes, 37 seconds
speak for Derek when I say we wish you guys nothing but huge success. You know, you deserve it. You're writing amazing music, and you are putting out products35 minutes, 45 seconds
that are there right right at the top with with some of the, you know, the quality of the of the big stuff that's out there. And uh I think you guys35 minutes, 53 seconds
should be recognized for that because it's it's not an easy feat. So we applaud you and uh and again I hope that you get to a point where you're hitting36 minutes, 1 second
the road a lot soon because I don't know when I'm going to make it to Denmark. So we hope you get over here so we can watch you guys on stage.36 minutes, 8 seconds
Thank you so much. Uh I appreciate uh being able to talk to you here. Uh we had some great questions. So thank you so much.36 minutes, 16 seconds
Our pleasure.Sync to video time
Drummer & Producer
Hailing from the heavy metal breeding ground of Fredericia, Denmark, Ole Frank is the engine room and sonic mastermind behind the progressive thrash force DeadNate. While many modern metal bands rely on sterile, copy-and-paste grid editing, Ole treats the studio like an instrument itself. As both the band's powerhouse drummer and primary producer, he balances complex, mind-bending rhythms with a fierce dedication to old-school, human grit. It’s a rare combination of technical precision and raw, emotional honesty that prevents DeadNate from ever sounding clinical.
The BreakdownThe Blueprint: For dead-on proof of his production philosophy, look no further than the 2026 sophomore masterclass, Mosaic. Ole guided the band through a rigorous "nail it in the room" pre-production phase to ensure the album was recorded in as few takes as possible, capturing an organic, massive low-end punch that rivals massive-budget studio productions.
The Dual Threat: On one hand, he’s laying down shifting, groove-heavy progressive foundations. On the other, he’s meticulously stacking multi-tracks and engineering "evil" guitar tones, ensuring every mixing decision is guided by the emotional weight of the track rather than just technical showmanship. Standout Sonic Calling Cards: The explosive, thrashy energy of "Neon Burner," the devastating emotional depth of "Guilt and Sorrow," and the intricate, time-signature-fluid architecture of "Two Tongues."
"Emotion always guides our mixing decisions—whether it…Read More
