It's hard to see what we've achieved in other bands. I hope we can continue like this for the rest of our lives.”
Wikimetal (Nando Machado): We're starting another brand new episode of Wikimetal, sensational here with my friend Daniel Dystyler, Rafael Masini, and an illustrious guest, one of the greatest, if not the greatest, rock 'n' roll and hard rock bassists in Brazil, Mr. Andria Busic. So, Andria?
Andria Busic: Is everything alright?
Wikimetal (Rafael Masini): We're going to start this program with a promise... We're going to record today with Andria, but we have to do a part two, together with Edu and Ivan, right?
Wikimetal (Daniel Dystyler): The Dr. Sin special will have to happen later…
AB: With Edu, it's indispensable, right? He says things that are gems, doesn't he?
W (DD): So it has to happen, right Andria? And it was really cool… We're in Dr. Sin's studio, right?
W (RM): That's it…
W (DD): An amazing setup, really cool. We even looked at the size of Ivan's drum kit there, it makes you tired to even think about doing a live show, and setting up and taking down all that stuff, huh?
AB: I'm having some problems... I just put the battery up there, there are about five batteries here, it's crazy!
W (DD): Five drum kits, fifteen amplifiers, twelve guitars and basses. Very cool, very nice setup.
W (NM): Well, starting the interview here with Andria, we were present at Platina's first show, in 1985, on April 8th, which, coincidentally, was opened by Viper.
W (DD): Viper's first show.
W (NM): Viper's first show was also at the Teatro Lira Paulistana, the now-defunct Teatro Lira Paulistana. So, at the beginning of Platina's career, was that show at the Lira his first?
AB: It was… No. I think we had a few shows, about five or six shows before Lira. It wasn't even Platinum at the time, it was Prisma, Ivan sang, it was a total mess.
W (NM): I remember a very funny story from another show we went to, at the Zuleika de Barros School Theater, which…
AB: Yeah, that one was Platinum indeed.
W (NM): It was Platina, right? Viper opened too. And then I remember that during the encore at Platina, Daril Parisi, who was the guitarist and also sang in Platina, said, “Now we’re going to play whatever you want. You can choose whatever you want.” The whole crowd was like, “Deep Purple, Deep Purple,” “Did I hear Scorpions, did I hear Scorpions?” You remember that, don’t you?
AB: There are some things that are better left unsaid.
W (RM): Andria, besides the questions, our podcast features a lot of music. And we have a classic question that everyone answers, and it's always on the spur of the moment, which is… What song immediately comes to mind if I ask you: nowadays you're in traffic, on the subway, in the shower, wherever it plays, it will make you start headbanging, it will get your adrenaline pumping. What song is that that gets you going wherever you are?
AB: Does it have to be just one?
W (RM): That's the biggest challenge. We always have a setlist, but the first…
W (NM): We're going to hear it now.
W (RM): We're going to listen to it now. You just ask, you announce, and it's going to play.
AB: Back In Black!
W (DD): Well, going back to Back In Black, there was a live version, right? Because Amy Lee from Evanescence had requested Back In Black, and it clicked with you, really cool.
W (NM): Well, I remember once, Andria, I was in Campos do Jordão, I think it must have been around '87. And I was walking down the street, I started hearing some live music, and I saw you and Ivan playing jazz with your father. And I remember the sound you guys made was really cool. It was a very traditional jazz. Jazz like… New Orleans style. What is the importance of your father as a musician, as an inspiration for you?
AB: It was totally, totally inspired by my father, right? Because we started listening to music with my father, right? And the whole tendency to be musicians, to like the life of a musician, came from him, right? So we started listening to Jazz, Blues, everything more traditional, right? And then he himself introduced Rock to us. So one thing that was the inspiration… The life of a musician, we wanted it because of my father.
W (DD): The seed started with him.
AB: The seed. And to this day we still meet up, sometimes we jam.
W (NM): And is he still active?
AB: He's still active. I recorded an album with him, I produced one of his, and one with Andria Busic. And it turned out really beautiful, it was released by Unimar. It's out there, it's selling.
W (NM): And you guys still play together, right?
AB: Sometimes we play. It's just that playing at night is a thankless job, so we kind of gave up that life. Because of the lack of respect from the homeowners, you know? They don't pay musicians anything. So when I play with my dad, it's more for fun. It's like that… We go out to have fun, have dinner, play. So it's become a hobby.
W (DD): Cool. And besides being there that April night in '85 watching the first, one of the first Platina shows, I was also in '93, in January '93, at Hollywood Rock, if I'm not mistaken it's the same night Nirvana played.
AB: That's right. L7 too.
W (DD): That's it! L7, Nirvana and you guys.
AB: And Alice In Chains? No, Alice In Chains was at another one.
W (DD): It was the other one. Well, and along with that Hollywood Rock there was Monsters, which you guys participated in, there was the M2000 thing…
AB: That's right.
"There aren't any more bands that achieve success in a way that lets you know who the bassist is, who the guitarist is, what they do."
W (DD): I wanted you to talk a little about your memories of those shows, of that time. And what do you think has been the high point of your career so far?
AB: I think the highlight was… it's hard to say just one highlight, but what we enjoyed the most, because it was something different, right at the beginning of the band, was Hollywood Rock, right?
W (DD): That was a very special night, wasn't it?
AB: It was a special night. It was two nights, right? One in São Paulo and the other in Rio, so they were unforgettable experiences for us.
W (DD): And do you remember anything peculiar about that night? Or about Nirvana, or about you guys, or about the show?
AB: I remember several things, but one thing that caught my attention the most was at another festival. It was at M2000, when we played in Santos, I think there were about 100,000 people on the beach.
W (DD): It was an open-air show on the beach, right?
AB: Wow, it was wonderful. And then I got to spend the night with Billy Sheehan, right? With the guys from Mr. Big. They're really cool, and Billy Sheehan is a fantastic guy, a genius like no other on bass. They can try, nobody will ever reach his level.
W (DD): And coincidentally I heard an interview with Billy Sheehan the other day, and he seems like a very down-to-earth, very cool guy.
AB: He's very simple. Very simple indeed.
W (DD): I remember he said something funny in that interview, he said... That the bass is a really cool instrument, that it's the first instrument where you can say, "You take a finger from your left hand, a finger from your right hand, and you can already play something. Of course, to take that to another level, you need many years of study."
AB: He makes the bass sound like something even guitarists can't play, you know? So it's really crazy.
W (NM): Billy Sheehan is your number one bassist, if you had to choose one?
AB: The real number one is Geddy Lee.
W (NM): Geddy Lee?
AB: So… But I'm disagreeing with Billy Sheehan because they have two different styles, right? One plays at the speed of light, and the other plays bass like a dream, right? So I love them both equally.
W (DD): Legal.
W (RM): We who follow the bands, we don't need to deny our age anymore, everyone already knows, but since childhood, back in the 80s… And we've seen a lot of bands, I personally worked at Black Jack, I saw a lot of bands form, and a lot of bands break up, right? And the question is: What's the secret, for example, of Dr. Sin being together for so long, a power trio there… What's the secret to keeping the group together and producing? It's not that "we took a break," no! It's producing, it's working. What's the secret?
AB: First and foremost, before anything else, there has to be a lot of respect for each other, right? A lot of respect. Respecting each other's space, and loving what you do, loving the band, loving your partners, having a brotherly camaraderie, right? Which is what we have. It's even difficult to see this in other bands, what we've achieved, right? I hope we continue like this for the rest of our lives, because it's something, beyond all love and respect, that's what we have for each other.
W (NM): Well, Dr. Sin is known for having one of the best rhythm sections in Brazil, right? What's it like for you to play with your brother for so many years, and what's the secret to a band having a cohesive rhythm section, and what advice would you give a band to keep the bass and drums so cohesive?
AB: I think it's more like... Playing together for a long time, right? You end up even picking up on when someone's making a mistake, and you make that mistake along with them to turn it into part of an arrangement, right? It's more about the experience of being together. Knowing what the other person is playing. Playing together for a long time, I think that's the main thing, right?
W (NM): Before recording an album, do you do rehearsals, several rehearsals, just bass and drums?
AB: Lately we haven't been doing that much. But we should be doing it more.
W (NM): Have you done it yet?
AB: We've done enough already.
W (DD): But it also reaches a level of synergy where sometimes you don't even need to do that much.
AB: Yeah, sometimes I think it can even be a hindrance, suddenly. When you reach a certain level, I think if you stay…
W (DD): To lose naturalness.
AB: Yeah, it ends up sounding kind of fake. Which is what happens with a lot of bands, right? They end up sounding like other bands. They lose their identity.
W (DD): Cool. You guys recently recorded an album of covers, Doctor. I wanted to know how that idea came about, and if it was difficult to choose the songs. How was the selection process?
AB: The idea came about. Ivan was, I think, in the car listening to a lot of music, and suddenly two or three songs came up that had "doctor" in the title, and he stopped and said, "Oh, three songs with 'doctor,' why don't we make an album just with songs titled 'Doctor,' right? And then he called me, we started thinking about the songs, some came to mind, some others we had to look for, because it's not that easy, right? And it was something like… We didn't do arrangements. We got to the studio, we took the music as it was, put our own spin on it, and recorded it, right? It wasn't something that was very planned.
W (DD): But it turned out really cool, right?
AB: It turned out great.
W (RM): Even taking this cue of "putting our faces on it." Well, here, at least in informal conversations we have, and we're not ashamed to admit things, we think Dr. Sin is the best Brazilian hard rock band of all time. In all phases, in terms of musical quality, composition, we really like them, right? And so, what I wanted to ask based on that is: How did you manage to survive all this time with the market changes, I mean, from the bad part, piracy, sharing music on the internet, to also the fads of record labels, of styles they want. How did Dr. Sin overcome, fight and work on these aspects?
AB: We've been swimming against the tide since the beginning, right? And we'll keep swimming against the tide until the end of our lives, doing what we love. The secret is doing what you love. Without caring if Michel Teló is the one who's popular right now, and I want him to go to hell, because I can't stand listening to that crap anymore. So, all we do is not think about what's popular, what kind of sound will be trendy. Quite the opposite, we're going to do what's... in our studio, and whoever likes it, will like what we do.
W (DD): And there will always be people who will like it, right?
W (RM): And what about the internet?
AB: So, talking about the media nowadays… The media has failed, right? Because you release an album, and on the same day it's all over your Facebook: download Dr. Sin for free. That's incredibly brazen, isn't it? And what are you going to do? There's nothing you can do, you have to adapt, take the CDs to the shows to sell, and they're selling well at the shows, right? But I think stores like that are disappearing, aren't they?
W (NM): Yes. Something we always talk about on our show is that…
AB: And the music became banal. Because everyone downloads it and doesn't listen to it.
W (DD): There's not enough time to listen to everything you download.
AB: Yeah. They download millions of songs and end up not listening to them.
W (DD): Yeah. We always try to approach our listeners with a different perspective. We say things like: Nobody… This whole market, from the musicians to the people who work around it, nobody is going to keep working and dedicating their lives without making money, because otherwise they'll have to do something else on the side. So, if you want these bands to endure, to continue and everything else, the only way is to support them. How do you support a band? By going to their shows, buying their CDs, buying their t-shirts, doing all that. Because otherwise, they won't continue.
AB: It's going to end. There will come a time when it won't be possible to support oneself.
W (DD): That's the angle we always try to give to our program.
W (RM): Yeah. It might be a nostalgic thing, but for example, I have your last CD. The thing about opening it and picking up the booklet…
AB: But it's something we enjoy. Kids today don't know what it's like to wait for an album to be released like we did. There was a release, and we'd be like, "Damn, who's going to bring it out first?" Or we'd go there with a cassette tape, copy it, so we could buy the album later because we didn't have it. Then we'd start listening to the album, looking at the cover, enjoying every inch of it.
W (RM): Yeah. Looking for the Iron Maiden symbol, removing the scratch from Eddie, I don't know.
AB: That's right, that doesn't exist anymore. For any band. There aren't any more bands that are successful in a way that you know who the bassist is, who the guitarist is, what they do, you know, it doesn't exist.
W (NM): Who made that song, who made it?
AB: They're the old ones, really. They're our idols, and when they're gone, it will all be over.
W (DD): Sometimes they don't even know the name of the song, right? People just say "song number three".
AB: You know nothing. It'll last a month, and then nobody will remember who the band is.
W (DD): But the Metal and Hard Rock audience, and so on… Maybe they preserve that a bit more, right?
AB: He still keeps it. He's the only one who still keeps it, because they maintain this... It's almost a tradition, you know?
W (DD): That's right. Cool.
W (DD): Okay, so now Nando, you're going to ask Andria to choose a song, and just picking up on what Rafael just said about how much he liked the album, like all of us, right? The intro, which we didn't even mention, is the title track from Dr. Sin's latest album, Animal. It's really cool, the sound is amazing, isn't it?
AB: Thanks!
If you're a musician, you have to learn to play at least a little bit of everything. And listen, and respect.”
W (NM): Andria, now… You chose a song that drives you crazy, now choose a song that you guys made, that you're really proud to have made.
AB: I never stopped to think about that.
W (DD): Now is the time.
W (RM): Moment of reflection.
AB: Wow, that's a tough one to choose.
W (RM): The good thing is when it's like this, there are many to be proud of. The hard part is when the guy can't find any, and keeps digging because there aren't any.
AB: One that I was proud of, especially because of the way I recorded it, and it turned out to be a song I didn't expect, was Emotional Catastrophe, which I played without touching my big toe after breaking it.
W (RM): Wow, without support.
W (NM): Emotional Catastrophe.
W (DD): Very cool. Music video, right?
W (NM): The single from the first album, right?
AB: Yes. It was a song that made an impact, so I think it had to be this one.
W (DD): Cool. Emotional Catastrophe.
W (RM): I'm a guy who's a fan of that album, I even asked for it in the interview with Lars. The Metallica album with the symphony orchestra. I think it's a combination that maybe wasn't imagined back then, but I think many bands have done since. And my wife and I, for two years we were subscribers to Sala São Paulo, which is another breathtaking place. You walk in there, even if there's nothing on stage, it's already wonderful. I wanted you to talk about what Dr. Sin was like, the experience of playing at Sala São Paulo, from when you were invited, the project, what goes through your head when you go up on that stage?
AB: It's like you said, it's a dream, right? When you get to perform in a place like that, playing with musicians who are truly orchestral musicians, they're wonderful people… Besides everything else, they're marvelous people, it was all so good, it almost felt like a dream that whole time. So, we enjoyed it from the rehearsals until I performed the show. It was even funny, because on the day of the show we had to pay close attention to the music so as not to lose all that emotion…
W (DD): To take care of.
AB: I had to be careful, because tears kept coming and choking my voice a little, so it was a hindrance. It's very emotional to play in a place like that, with those arrangements, and with the orchestra, so… It's indescribable, isn't it?
W (RM): Do you have any idea if this project could be repeated? Because the big issue is the tickets. You had to go armed to try and get them, because it was…
AB: It was sold out. We performed twice at Sala São Paulo and once in Campos do Jordão, which was also very beautiful. We closed the winter festival there. If they do it again, I'd love to do it. I'd really like to always be doing this, because it's so much fun to do.
W (NM): Well Andria, you're a great musician, we've talked to several high-level musicians like you, from Zakk Wylde to Andreas Kisser, and I think all the great musicians agree that they listen to various styles of music, and so on. You started playing Jazz, that is, influenced by your father. How important is it for a musician not to be prejudiced against other styles?
AB: If he's prejudiced, to begin with, he won't learn much of what he could be learning in other types of music. He might not play, might not like it, but he has to know how to do it. Especially if he wants to make a living from music, right? Otherwise, he'll be limited to what he does in the world he likes. For example, we have to record a lot of things... Produce, record. I've done everything in my life and I'll do much more, right? When someone comes and asks you to record samba, you have to know how to play samba; you can't be a bad player at samba, otherwise you can't even consider yourself a musician, right? So, I can choose not to play much samba, but I have to know how to play it. So, if you're a musician, you have to learn to play at least a little bit of everything, right? And listen, and respect, right? There are styles that don't have good things, but you have to know how to extract what's good from that style. You'll always learn something that you didn't know how to do before. That's a rule. So, you have to know how to listen and extract what's good for you to use in your world, you understand? In what you like, you have to… Or at least learn to play it, you understand? And respect those who do what they love? Because sometimes you don't like it, but the guy does it and loves it, right? Too bad for him, right?
W (DD): We're going to listen to the last song of the episode now. I wanted you to choose, but I'll leave it up to you... Since you freely chose the other songs, I'll keep this one very private, because actually... I don't know if they're my favorite Dr. Sin songs, but they're possibly among my top 5 favorites, which are Fire and Zero.
AB: Fire and Zero.
W (DD): What are we going to hear?
AB: Well, one of those?
W (DD): One of those. If we have time, we can do both.
AB: Light the fire for the kids, light it up!
W (RM): We're back from Fire.
AB: One of the most requested, right? Fire is the one we have to play at every show. We don't play Zero at every show, but people are always asking for it, right? I think it's very good. Both songs are very good and have two somewhat different styles, one leans towards Irish and the other is Rainbow Metal.
W (RM): 2012 if I'm not mistaken, 20 years of Dr. Sin.
AB: The world is going to end.
W (DD): Beyond the end of the world.
W (NM): Before the world ends.
AB: We were a band for 20 years before the world ended, you see.
W (RM): What can we expect this year?
AB: We're going to make a 20th-anniversary DVD; we release one at least every ten years.
W (RM): Oh, cool.
AB: So we're going to record a DVD this year and it's going to have a lot of different things, there's going to be a kind of acoustic part and an instrumental part, like we always do more live, some songs quite different from the first DVD, right? So it's not always the same repertoire.
W (RM): When is the launch scheduled for?
AB: We're even going to open a poll later to see who... so people can choose the songs. The most requested ones will be included on the DVD.
W (DD): Look how cool, Wikimetal folks, so pay attention to this poll, which could even influence which songs will be included on the DVD.
W (NM): You've already talked about this song, and it was even your chosen one, Emotional Catastrophe. I remember very well the first time I saw this video on MTV, when I heard this song in the 1990s, and I had never heard a Brazilian band so well produced. I know that at the time you had a very interesting experience, you went to live in the United States, you recorded there. I wanted you to tell me about that experience at the time.
AB: When we decided to form the band, we packed our bags too. Then we went to New York and played there for a while. We did quite a few shows in New York's nightlife scene, we even had a following there, people were already chasing after us, and it was at one of those shows that the Warner people, who we had left the tape with, unbelievably went to the show and called us the next day, after the show, saying that they had been there, that they liked it, and that they wanted to sign us. I even remember that when he called we joked around, right?
W (DD): Did you think it was a prank?
AB: I found it. The guy said, "I'm from Warner, I want to sign the band," and I said, "Okay," and hung up the phone.
W (NM): Seriously?
AB: “Why did you do that?”, Idiot, right? Then the guy called again, lucky me. He answered, my brother, and said, “It’s true, don’t hang up, let’s schedule a meeting.” We went to the meeting, and then on the day of the meeting Ivan still had a bad tooth, his face turned into a basketball, we had to cancel, and the guy thought we were being snobbish, I think. So we rescheduled for the following week, and it all happened very quickly, right? For us to go to the United States. It was all very… we structured our minds to do it, it seems like it was so centralized that everything started to work out very well. Unfortunately, it didn’t work out over there because it was right around the time grunge came in… So it cut off all the bands that were coming out in the 80s and 90s. All the bands of that style fell apart, only grunge and Nirvana remained, right? Everyone had to sound like Nirvana, or maybe Pearl Jam, otherwise it wouldn't work.
I remember when the bass got its first scratch, I was crying, "Damn, it scratched my bass," but then things went downhill.
W (NM): But then you had a worldwide contract?
AB: Yeah, we did pretty well. I remember we did really well, we were first in the Philippines, in a bunch of places, wow, we didn't even know about it, you know?
W (NM): And the guys terminated the contract, just like that?
AB: Yeah, everyone at the record label changed. There was simply no one left from the label, so we no longer had contact, nor anyone to talk to properly.
W (NM): How long did you stay in the United States during that time?
AB: We stayed there for almost a year, eight months. We were going back and forth during that time. We've been to the United States more than fifty times in our whole lives, so it was a constant back and forth. It's been a while since we've been to the United States. We've been going more to Europe, to other places. But now we're thinking about going back there, but the scene in the United States has changed a lot. You go to the clubs, the rock clubs still exist…
W (DD): And the market is big, right?
AB: The big thing there is really the Hip Hop scene, that kind of thing, Rap.
W (DD): It's really popular there. But I mean, since the market is so big, even with a smaller percentage…
AB: Ah, rock 'n' roll… The American samba is rock 'n' roll, so you'll never stop having good bands playing there, and touring all over the United States, so that's a wonderful thing in the United States that will never die.
W (DD): My daughter, she's thirteen years old, her name is tattooed here with the Iron Maiden letters, Amanda, she started taking bass lessons a month or two ago. And I wanted you to talk a little about what you would say to a girl, to a boy of thirteen, fourteen years old, who is thinking about starting to play bass, thinking about forming a band, right? What advice would you give?
AB: To do it with a lot of love, with a lot of passion, to play what you want and from the heart, and not just to be trendy, or because someone trendy is playing it. To do something that truly comes from the heart. Then it will never die, and you will do well doing what you do.
W (NM): We asked Ian Gillan the same question and his answer was very similar.
W (DD): And Mark Farner's too.
W (NM): Yes, exactly. Well, I recently learned that you're now sponsored by Yamaha, which has excellent instruments, and so on. How are you going to manage with your Gibson bass, and tell us a little about this love story between you and that bass, which I don't know…
W (DD): That has lasted for years.
W (NM): It comes from way back at the beginning…
AB: It's a special thing, isn't it? I even put it aside, I only use it for recording, I don't take it to shows anymore because if it breaks I won't have another one.
W (NM): And the sound of it, haven't you found anything like it until today?
AB: It's unbeatable. It's something... You just turn those two little buttons all the way up and it's already at full volume. Impressive, but Liminha even wanted to take this bass and give me two... One Ken Smith and another one, but I said "No".
W (NM): So tell me, since when have you had it, when did it appear?
AB: It was in '81, my dad brought it back from a trip he was taking on a ship. I was starting to play and I asked for a bass, right? I asked him to bring a Fender, which was the one I knew best at the time. And then he brought it to me, and since I was a Kiss fan, when I saw it was Gene Simmons' bass, from Alive One, I said, "I can't believe it, he brought Gene Simmons' bass!" Ivan and I went crazy. I remember when the bass got its first scratch I was crying, "Damn, my bass got scratched!", but then it all went downhill.
W (NM): It's a bass like that, it must have helped you because it's not such an easy bass to play, right?
AB: Yes, even his arm is a little thicker, but it's just that I've gotten so used to it that…
W (NM): It even helped.
AB: In butter.
W (NM): So let's talk about Animal, which was released by Laser Company, right? What was the reception like? What was the recording process like, the compositions? And what was the reaction to it? I personally really like it, I think the name is redundant, the album is awesome, you know? I'll explain, because they don't understand… I thought the album was awesome.
W (DD): Explain again. What's the joke?
AB: We were listening here, every time we heard "it turned out great, it turned out great," and hearing all that, I said, "Wow, everyone's saying the same thing, I'm going to give it a name, the album has to be called Animal." Then everyone liked the idea and it stuck.
W (DD): And it still sounds good in English, it sounds good in Portuguese.
AB: Yeah, Animal… whatever.
W (NM): And you said he's selling well at the shows, is it being well received?
AB: It's being very well received, especially at shows, right? In stores these days it doesn't work so well anymore, there's not that demand. In stores, you go to buy something and it's even disgusting to see what's on the shelf.
W (DD): Bravo was Dr. Sin's biggest commercial success, wasn't it?
AB: No, I think it was the first CD.
W (DD): The first CD? Oh, cool.
W (NM): And tell us a little about this, Andria. For anyone who wants to get in touch with Dr. Sin, Dr. Sin has a studio, Andria is a producer, Ivan teaches, if I'm not mistaken at Souza Lima, and Edu also teaches and does workshops. How can someone who wants to take lessons, hire you as a producer, or record in your studio do that?
AB: Anyone who wants production at Sonata, here in the studio, and my production as well, or recording and production, just go to Facebook, there's the Sonata 84 studio and also my Facebook Andria Busic, just go there and get in touch and we'll respond and see what…
W (NM): It can be done, whether it's possible or not.
W (DD): WikiBrothers and WikiSisters, so the easiest way is via Facebook, Andria Busic, there on Facebook there will be…
AB: We're still working on a studio website, but it will still be linked to Facebook.
W (DD): Anyway, by contacting you later you can break it down if you want lessons, recordings, workshops, other things…
AB: No problem. Ivan teaches at Souza Lima, and Eduzinho teaches at both Souza and IG&T, over at EM&T.
W (DD): In Jabaquara over there?
AB: In Jabaquara.
W (MN): And Dr. Sin, shows?
AB: There are a lot of shows going on, unfortunately I never know where the shows are, or when, and even on the day of the show I don't get the venue right. Sometimes I even give the wrong quote from the wrong city.
W (DD): Many of these already?
AB: Yeah, some do. But thankfully, people don't even care.
W (NM): I remembered to ask Andria something. We've talked a lot about him as a bassist, but as a vocalist, what are his biggest influences?
AB: The greatest of all is Led Zeppelin, Deep Purple, Mark Farner himself, I tried a lot of his stuff. It's definitely the 70s, the bands of the 70s…
W (DD): Robert Plant, Gillan.
AB: Queen, Rush.
W (DD): Geddy Lee as bassist and vocalist.
AB: So those are the influences, both on the vocals and the bass as well.
W (DD): Excellent.
W (NM): Here's the promise, part two of this program will feature Eduardo Ardanuy and Ivan Busic.
W (DD): That's it, because there are so many cool sounds in the Dr. Sin story for us to play, in the Platina story…
W (NM): Platinum, Cherokee, Ultraje a Rigor, Supla, Taffo… What else?
W (RM): The Key, which Edu touched.
W (NM): Ivan.
AB: Edu too.
W (NM): Did Edu also play in A Chave? And besides that, afterwards, Taffo was Ivan and Andria.
AB: Supla was also Edu.
W (RM): Damn, you can make sounds less like Dr. Sin.
AB: We even recorded Eduardo Araujo.
W (DD): You're talking about things from the past, in an episode of Celso Barbieri's show, Love Ain't No Stranger was played live with Platina.
AB: Really?
W (NM): With Sheman on vocals.
W (DD): With Sheman on vocals.
W (RM): He had it, right?
W (DD): Yes, he had it.
W (NM): Sesc Pompéia, Metal Rock & Co.
W (DD): Directly from the Celso Barbieri archives. Historical.
AB: That's crazy. Funny.
W (NM): Well, that's it Andria, thank you very much for your interview, for your time. And it was a great pleasure talking to you here. And all the best to Dr. Sin, to you, great friends here. We hope you are always well.
W (DD): And whatever Wikimetal needs, our doors will always be open.
AB: Wonderful.
