March 20, 2023

Nearly up to date now. Once again courtesy of our Spanish compadres at, the main content of this article and interview is again originally provided by Daniel FromHell – still aided and abetted by the three masked amigos!

yer usual capers!


Having finished their working shift at the Sunshine factory, it was the time for a break, for R&R, for frolicking and for chasing dirty satisfaction. It was the time for the masked mischief makers to scratch an itch that had been slowly burning since Unleashed!. It was time to record a full covers album…

So back to the factory again, but now completely drunk on rock’n’roll and without holding any regard for any security measures. With nothing to hold them off, the band gave free rein to their imagination and no holds were barred when selecting the tracks that would be given the Märvel treatment. This is the band doing one of the things they do best: take any song from any artist and turn it into a full-fledged Märvel tune. Turn Dire Straits’ “Sultans Of Swing” into a fuel soaked rocket? You got it. Let a bombastic bass dominate Monster Magnet’s “Powertrip”? No problem, boss. Make KISS’ “All For The Glory” shine even more? Oh, yes! Or have Elvis’ “Burning Love” explode. Definitely. Was there nothing sacred? Nothing off-limits? Not in the power inebriated hands of Linköping’s demented trio. The result? An army of electricity injected musical monsters ready to blast your stereo with tons of high energy FUN! 

Märvelpedia: “a guilty pleasure is something, such as a film, a television programme or a piece of music, that one enjoys despite feeling that it is not generally held in high regard, or is seen as unusual or weird. For example, a person may secretly like a movie knowing that the movie is poorly made and generally seen as not good…”

But the world was not ready to take on Guilty Pleasures in one go, so the songs had to be dropped carefully to avoid overdosing. The first taste of the nasty stuff (which is always free) was REO Speedwagon’s “Keep Pushin’”, which came in November 2018 preceded by a guess-the-song contest.

The song was accompanied by a neat video filmed partly in the Skovde In Rock Festival 2018 by Karate Jens Löök and… The Aviator!

“Sultans Of Swing” was the follow up single in December and, yes, that brought another “guess what this is!” contest with it.

After that followed Rick Derringer’s “Rock ’n’ Roll Hoochie-Koo”, Monster Magnet’s “Powertrip” and Agnetha Fältskog’s “Can’t Shake Loose”….. all with their corresponding contests!

The last single advanced would be KISS’ “All For The Glory”, paving the way for the release of the full album’s worth – Guilty Pleasures – in April 2019. However, the band would not sit quietly on their sofa at the Märvel headquarters, sending singles into the world. The urge to play live was there. Together with Swedish high energy colleagues The Drippers and Dead Heads, Märvel would play Sticky Fingers in Gothenburg the 9th of march.

But as if Guilty Pleasures was not enough to contain all of Märvel’s lust for covers, the band had participated in the Hellacopters tribute Payin’ Our Dues issued by El Capi’s label, El Behringer Records, in March 2019. You can hardly go wrong covering The Hellacopters, and Märvel certainly hit the spot with their choice of “The Devil Stole The Beat From The Lord”, but why did they choose this song from Grande Rock? You will be able to find the answer in the interview below. Payin’ Our Dues is an extremely difficult to find vinyl pressing. Luckily for everyone, this rare song is available on the compilation Double Decade (it’s the only cover there!) for everybody’s auditive pleasure.

By the beginning of 2020 and unbeknownst to most of us (including the Linköping trio), the pandemic was about to strike. Before those fateful times, Märvel would finally release the tracks of their first, lost EP Marvellous which was originally recorded for the US indie label New York Powerhitters and that never got pressed into vinyl as the masters were lost and finally burnt to cinders as if Arthur Brown had laid his hands on them. The EP, now aptly renamed Märvellous was produced and recorded by the band at Solskensfabriken (of course) during the summer of 2019, then mixed by Robert Pehrsson in Studio Humbucker (a satisfying job) and mastered by Magnus Lindberg. The release of the EP was preceded by two singles, “Marvellous” and “Public School 75”.

Robert Pehrsson (Thunder Express, Death Breath, Dundertåget, Robert Pehrsson’s Humbucker, mixer of albums): I was asked by the band to mix 4 songs for the Märvellous EP. I really liked the songs, the mixes came out great and the band was happy.

This re-recording of early songs is technically Märvel covering themselves – to hear this, go to:

Prior to the release of Märvellous, Märvel would test the songs live by taking part in the Swedish dates of The Sign Fest. Unfortunately the German dates that were planned for 2020 never took place due to the infamous pandemic.

At the end of the day, when it comes to covers every Märvel fan will have his or her own choice, whether out of Guilty Pleasures or otherwise. That being the scorching “Sultans of Swing” or the catchy “Keep Pushin’” out of Guilty Pleasures, the hit that is W.A.S.P.’s “L.O.V.E. Machine” on The Hills Have Eyes or the classic “Come In Out of The Rain” by Parliament from Five Smell City. Some may even favour Etiquette Mona’s “Amsterdam” on Unleashed. Pick your choice as other people have already done. 

Juju Pelle (maximum boss at Black Juju records): The best cover song is definitely their version of Agnetha Fältskog’s “Can’t Shake Loose”. Amazing!

And in a meta twist, there is one person that prefers the cover of the covers album… 

Mats Engesten (occult cover artist): My favourite cover is Guilty Pleasures. There’s some hidden messages there. Look closely. In Graces Came With Malice too.


The end is nigh, folks! In our next and final chapter, life will prove capable of giving the best and the worst at the same time. 

Meanwhile, indulge yourself…..

That world of dirty vices that is Guilty Pleasures is just one click away, at…

Ladies and Gentlemen – Guilty Pleasures!

Now, read what Märvel have to say about their unlawful search for shameful bliss in the “Guilty Pleasures” interview, again undertaken by Daniel Fromhell from

DFH: “Guilty Pleasures”. Great name for an album, even if in music I personally do not believe there are any pleasures to be guilty of. There is just good music and bad music. So, how did you decide to do a covers album for your second record in your own studio, Solskensfabriken. And how were the recording sessions compared to your first full studio invasion, “At The Sunshine Factory”?

The Burgher: It came pretty naturally to continue working in Solskensfabriken since we were so happy with the first round and our lives weren’t less complex this time around than the first time. These sessions were, as I remember them, even more remote, right? I think we met for two weekends to set the drums and to discuss how we were going to destruct these songs and build them up in the Märvel fashion and then we handle most things remotely. 

The King: I have some feeling that in the beginning we didn’t take it too seriously, just a fun side project while waiting for the next album of original songs. 

The Vicar: Since “Unleashed” it had been bubbling off and on with us wanting to do a follow up cover album because we felt it was kind of nice doing it, and it’s always fun and often quicker if you choose to write songs too, to do a couple of covers. 

TB: As I remember it, it started with us doing the “Sultans of Swing” cover a couple of years before, right? I know that we played it a couple of times live before we even settled on the “Guilty Pleasures” project. I think we recorded the drums for that one in a separate session. I think that was earlier? Or at least I know I laid the bass for “Sultans of Swing” sometime before I did the other ones. 

TK: Yeah, I think it was because that one was the first single. 

TV: Okay, so we had already decided on the covers album by then. 

TK: I think you’re right in that we had already played it live. I think the first time we did it was at The Sign Fest in 2017. The idea of the album started out as something more sporadic or more like doing something with your left hand, but then eventually it grew into something more ambitious and I don’t think we spent any less time on this album than on any other. It’s just that the attitude was more not to take it too seriously. But then in the end of course we went through the whole process with it regardless. 

TV: And with the guilty pleasures idea, we discussed it numerous times. I think we agree as well that there’s this good music, bad music thing. But at the same time there’s people that regard some songs as a no-go, especially within the rock scene, although in every scene there’s maybe some blindfolds towards other types of music and we wanted to go against that because our listening tastes are very eclectic. We listen to everything. I think we had the selection of all the songs before we settled on whether we could call it “Guilty Pleasures” or not. It just felt like these are some songs that are maybe weird or could be perceived as weird for us to cover, although the idea of them being “Guilty Pleasures” for at least half of them, I guess you could argue, are absolutely not. 

TK: We were aware that the name wasn’t 100% correct, but it seemed to capture the spirit of it. So it made sense anyway. And of course, we wanted to provoke a little bit with it. 

DFH: It has a funny side to it anyway…….. when you cover other artists’ tracks the final result is always a full-on Märvel song, that’s for sure. Having said that, do you think there has been any change in the manner of how you approach covers since “Unleashed” back in 2006 until “Guilty Pleasures” in 2019? 

TV: I don’t think so. Maybe we didn’t know how to approach things when we did “Unleashed”, but what happened there was something that just organically happened and that was the formula we have followed.

TK: Yeah. We have never been fans of just playing a cover song, or trying to copy the original. What’s the point? 

TV: And on “Unleashed” and the covers we did before that, I think we already had the angle. It’s always nice to put in something that no one’s ever heard from a completely different genre and then make it sit well with our other songs. 

TK: Yeah, and we got a few examples of that like “El Camino Real” (that no one has heard) or “Sultans Of Swing”, that everybody’s heard and everybody has an opinion about. And that turned out to be one of the best. 

DFH: The Monster Magnet cover was pretty surprising to me. I love Monster Magnet and when I saw that you guys were going to cover this song I said to myself ”I really don’t know how this is going to turn out”, and the result is quite cool and, again, it’s a Märvel song. 

TB: That’s kind of the exact reaction we were hoping for. 

TK: Yeah, exactly. But I was just gonna say that before we found the angle of making it something like early Iron Maiden, we wanted to do the song but we didn’t really know how to do it justice. When we found that way of playing, it became very obvious. We had a long list of songs that were possible for this record, but you have to find the angle for each one. 

TV: And that was kind of funny because you read reviews and I guess many people think that we do “Power Trip” and we do it the same way as it is in the original, which is completely not true. It’s double tempo and another riff. Everything, more or less, has changed, but it seems to come through as something that sounds super natural to the song still. Like we haven’t changed anything and that, I guess that’s a good thing, you know.

DFH: Well, it must be difficult to achieve that: cover a song and make it something different, turning it into a Märvel song, but still have the song be itself. 

TK: The hardest one I think was “Girl Goodbye” by Toto, because it was just not possible to play in the original way. So I came up with that figure that became the basic rhythm and I remember recording it and sending it to you guys. “Yeah, that’s it. Let’s do it that way”. And I wanted to sing it in the original key just for myself to sing in the same key as Bobby Kimball. That was important!

DFH: I’m going back to “El Camino Real” because I love that track. How did you decide to do this one? 

TB: It was that time in a nightclub… 

TV: Yeah, it was after the release party of “The Hills Have Eyes”. That was an acoustic set in a cafe, so after that people went out to a garage-soul club. I don’t remember the name of it. We were just hanging by the bar drinking and the DJ played this 7”, and The King took his phone out and recorded a bit and then went over and asked what it was.

TK: I was immediately struck by it and thought it was brilliant. Maybe it could be the right move. So we all agreed that it was a really good point but we couldn’t find the 7” at all. It was impossible to find it. So that made it even more interesting, that it was something no one knew about pretty much. The original artist, Lee Dresser, had one or two songs that were a little bit known but not mainstream in any way. 

TV: But now it’s available anywhere. 

TK: The funny thing was that just like a month after we released it there was a rockabilly band in Germany releasing it as well as a single. We thought, “oh, man, they listened to our album and put it out”. But when I talked to the singer in the band, he said “We were so frustrated that you guys made it first because we had planned that for a long time. We didn’t know you were releasing it”. So it was just a coincidence, but a big coincidence, picking up this obscure song in the same year. 

DFH: Then you have “All For The Glory”, the KISS cover which has also appeared in the recent KISS tribute put out by Devil’s Beat Records in Argentina, “SSIK Action!”. It was really a surprise in a good way that you chose a song out of “Sonic Boom”, a really good album but very much overlooked.

TK: I remember when that album came out, The Vicar said immediately that this was a really good classic KISS song, but they should have sped it up and put more energy into it. And then we remembered that idea later on, when we were doing “Guilty Pleasures”. I think that was one of the first songs that we rehearsed when we were in the Stockholm rehearsal studio. 

TB: Yeah, I remember we had a little space there. That must have been 2015 or something like that. 

TK: It’s fun because I recorded it on my phone or something and it’s a really rough recording, but you can still hear that we are excited about how it turned out because it has a lot of energy.

DFH: Here’s the raw and rough recording of the first rehearsal of “All for the glory”:

DFH: All the songs in the album get the high energy treatment for sure. “Sultans Of Swing” should probably have been renamed “Sultans of High Energy”… Out of curiosity, have any of the bands you have covered ever given you any feedback ?

TK: I think we got something back from Etiquette Mona. They wrote something, you know, an email or something, but I don’t remember what they said, but it was something along the lines of “nice to hear you do our song”. 

TV: Wasn’t there something from W.A.S.P. as well? 

TK: Yeah, the guitarist I think, made a comment online somewhere like, “I gotta play this for Blackie” or something like that, but we never heard anything more than that. And of course, when me, The Aviator and Charlatan met Frankie Banali (drummer in WASP), he was listening when we played it live and he really loved it. I think that’s that.

This is what Fankie saw at the Hard Rock Hell 2016 VIP gig.

DFH: In the past you have mentioned that when you are considering a song to cover you try to think whether that song would make a good Märvel song, so we are going to play a little game now. I tell you a song and you guys tell me your first impression of whether it would be a good choice for receiving the Märvel treatment, the first one is “Turbo Lover” by Judas Priest. 

TV: Just playing it in my head…

TK: Don’t know it, but I think what makes it interesting is that we all have our different things musically and we have some place where we intersect a lot of course. But to know all those old metal bands… I only know the ones that I have records of. The Burgher knows a lot about hardcore that I don’t have a clue about. And maybe I might have listened to weird music you guys haven’t. Anyway, I was just sidetracking.

TV: If I remember “Turbo Lover” correctly, I think it’s a very straightforward 80s production, right? Very clean, but I think it might be lacking melody in the verses and maybe in the chorus as well if I remember correctly. 

TB: Didn’t we discuss doing a Judas Priest cover? I can’t remember now, I know that we had a period when we listened to “Point Of Entry” quite a lot when we were out playing. 

TV: But it’s never been like if we were going to do anything, if you think about Judas Priest it would have to be Rockandrolla or something really early, which has some 70’s flair to it. 

TB: Our philosophy, like with “Guilty Pleasures” is chasing the pop melody at the bottom and then trying to build something out of it. Even if the song is not very Märvel, as long as the melody is there… 

DFH: So what’s next? “White Wedding” by Billy Idol? 

TK: I hate that song. That’s the worst. 

DFH: So that’s a no-no, then!

Märvel at the Malmö edition of The Sign Fest, 2019.

TK: If you can make me do it, it would be an accomplishment because that’s one of the two songs that I really hate. That one and “Banana Boat” by Harry Belafonte. 

TB: I would like to hear you trying to impersonate Billy Idol’s style of singing. 

TK: Only at your wedding and if you married in white. Maybe it would be good for me to come to terms with that song. 

DFH: What about “Mighty Wings” by Cheap Trick from the “Top Gun” soundtrack? 

TV: It’s somewhere in my head but I can’t get it out… 

DFH: “Tears Are Falling” by KISS

TV: Classic 80’s KISS. Desmond Child, right?

TK: Paul always has good melodies, so there’s always something to work with then. When a song is just about attitude then it’s really hard to do something new with it. But, yeah, I always liked that one. 

DFH: “Separate Ways” by Journey. 

TK: I love that one. I actually brought it up as an idea for “Guilty Pleasures”. I think it was in a movie… Yeah, “Tron: Legacy”.

DFH: “Die Young” by Black Sabbath. From “Heaven And Hell”

TV: I’ve listened to it a lot, but “Mob Rules” was really my album from the Dio era.

TK: I don’t know that song very well, but Dio is always interesting. You also have to think that when you approach a covers album a lot of the things have to do with whether it makes an interesting compilation or not. You might have really good songs, but maybe one of them is just too much. So it’s not necessarily down to each individual song. But more about the whole album.

DFH: I do understand that there needs to be some sort of cohesion. Having said that, I am still a bit puzzled about you not being much into Cheap Trick.

TV: It’s interesting that you thought about them for this game because it reveals something. They should be close to us considering the type of music that we are producing but the fact is that I’ve never really gotten into Cheap Trick. There’s something weird about their melodies for me and I do not really connect with them. I have tried several times. 

TK: Yeah, me too. I don’t know why. Maybe we got there too late or something. 

TV: There’s something… Maybe it’s something progressive. I have no idea. But there’s something with Cheap Trick that’s not catching on to me. But they’re one of the most iconic power pop bands, right? So it should be in my back pocket. I should probably listen to them every day! But I can’t understand them. Bugs me. So I keep coming back to them. But it never works. 

DFH: Nobody should be forced to listen to, or to like something just because you are supposed to like it. 

TV: Yeah, but there’s so many people that I know have the same taste in music and listen to the same things as I do, that love Cheap Trick. So, it’s kind of weird in that sense. 

TK: I’m not saying I don’t like them. I’m just saying that I never got into them. Anyway, there’s just too much music out there. You can’t pay attention to everything. 

DFH: No one really can. Well, considering the reactions, I think the best received song has been Journey’s “Separate Ways”, so this should be your next cover!

Flyer for Märvel’s gig with Dead Heads and The Drippers at Sticky Fingers in Gothenburg.

TK: I don’t know. We don’t want to do things or songs that people think we should do. That’s the main thing. So if you suggest something we will most likely not do it (laughs) because we want to go our own way. Olle Hedenström suggested we should cover “He’s Back” by Alice Cooper. Good song, but too obvious with the mask-thing etc. So, no, thank you!

DFH: Is there any cover that you have in your mind that you have always wanted to do but you have not gotten around to do yet for whatever the reason? 

TV: Yeah, it’s “I’m Gonna Make Her Love Me”, a soul-country song by Jim Ford. We’ve been having that one sitting on the cover bench for 15 years or something. 

TK: We have spoken about the Märvel treatment for the songs in Guilty Pleasures, but we crossed the line with one track on the album in that respect. 

TV: Rock’n’Roll Hoochie-Koo

TK: It’s pretty much like its original, isn’t it? We tried to make it like that live performance. We didn’t really know how to improve it. 

DFH: It still sounds very much like Märvel… 

TK. But structure wise we didn’t change the arrangement in any way. 

DFH: It’s a pretty straightforward song anyway. So maybe it didn’t need any change.

TV: It’s perfect. Maybe we shouldn’t have done it (laughs).

With the Snap Sisters who recorded backing vocals for Rock and Roll Hoochie Koo

DFH: I would not have taken any cover out of “Guilty Pleasures”. Speaking of covers, in 2019 you also participated in this tribute to The Hellacopters, “Payin’ Our Dues” covering “The Devil Stole The Beat From The Lord”. When we spoke about “Warhawks of War” you mentioned that “High Visibility” was the record that started everything for you, and I was surprised that for this tribute you decided to do a “Grande Rock” cover instead. 

TK: There is a reason. 

TV: We immediately turned to “High Visibility” because that’s, at least for The King and me, THE Hellacopters album. But then we thought that it would be more interesting for us to do a song from an album before that, where we could see in the songs that they were going towards “High Visibility” and then try and make that song evolve, add extra harmonies and work with it and make that one shine as much as the “High Visibility” ones in our mind. 

TB: I remember that we discussed that “Grande Rock” is the perfect break point between early Hellacopters and the modern Hellacopters. That’s the first Hellacopters album that I owned. I really like it. So me, personally, I was very happy to do that song. We are heavily influenced by Hellacopters, so you could argue that most other songs would be suitable for us, but this one really hit it.  

DFH: It caught my eye that this Hellacopters song is the only cover that you have included in “Double Decade”, and I was pretty surprised because for me the way in which you do covers, all that we have been speaking about turning them into songs of your own, is an important part of Märvel’s music. I would have expected a couple more of your most popular covers in the “Double Decade” compilation, like maybe “L.O.V.E. machine” and “Come In Out Of The Rain”. 

TK: The simple answer is that there’s limited space on an album and we felt that it was a waste to use it for covers. We felt like highlighting our own songs instead. Covers are of course an important part of us but we just felt that there wasn’t room for that. That’s my recollection of it. 

TV: I don’t think we discussed the angle you’re taking now, which makes sense also, of course. 

TK: Sometimes it’s just a coincidence. If someone would have brought up the perspective like “this is an important side of you, you need to have covers in it”. Then maybe we would have said, “oh you’re right”. But we came to the “no covers” approach and we just worked with that and it felt good. 

TV: The reason that there’s this one cover in the compilation is because it’s a rarity.  It doesn’t exist anywhere else than on the Hellacopters tribute. That’s why it had its place here. 

TB: We wanted to sum up over 20 years and it felt more fun to focus on the originals rather than covers.

DFH: I know that your musical DNA is extensive and that’s probably one of the things that makes Märvel what it is. Despite that, I’m going to ask each of you to tell me three bands that are particularly important to you. For whatever the reason. Who wants to start first? 

TB: I think we’ve talked about it before. I didn’t grow up with rock and roll. I mean, I listened to Hellacopters before, but I got into rock and roll, or got more heavily involved into it, when I joined Märvel. So if you ask me, a band that spontaneously hits me is Husker Dü. I’m really influenced by it. Something that is in the break point between punk, which I grew up with and more melodic pop stuff. 

Märvel at the Mälmo edition of The Sign Fest, 2019.

TV: It needs to be three bands?

DFH: Well, between one and three, as many as you want.

TK: The criteria being? 

DFH: Bands important to you. That is a big garden to choose from.

TK: Yeah. But it feels like I’m on trial. It’s too important to say the right ones. So it becomes painful. But let’s try… 

TV: I can say, and this is maybe really far from what we’re doing, A Tribe Called Quest. A hip hop band. I don’t know if they are the most influential band, but definitely their “Low End Theory” album, their second one, is probably top three or maybe top five of all time greatest albums in any genre for me. And I had a period in the 90s where I only listened to hip hop music. The creativity and the finesse and the coolness of the execution of everything in that album is beyond anything else. And also pushing the boundaries technically for what you could achieve in that genre at the time, as well as creating and looking, for using almost only jazz albums in the sampling. Fantastic album and a great band. 

TB: If I have to give two more, I can give you Leatherface and Depeche Mode. 

TV: If it’s possible to switch out a band for a record label, I can give you Motown mid-sixties to mid-seventies. 

DFH: Let’s just take an open mind approach with this choice.

TV: It’s just that it encapsulates the essence of Soul. Probably I wouldn’t choose any of the artists, or maybe I would. For me it’s the artist, of course, but it’s also very much the songs. There’s many one hit wonders in the obscurity of the Soul genre. So that period would not be all of the soul genre but at least an attractive representation.

TK: I gotta go with KISS, of course. That’s the single one band that’s meant the most to me and I’m still interested in. Don’t listen to them as much as I used to, of course, but still a bit of a religion, and there’s no other bands that comes close in terms of importance. In my life different bands have been really important but they come and go, and the constant has always been KISS. 

DFH: And that’s more than enough to justify the importance of a band to someone.

TK: There’s been lots of bands. When I discovered Led Zeppelin I was a fanatic for a year or so, but then it didn’t stick the same way because for me, I think it has to reach you at a certain age in life or at a certain time. Of course, I listened a lot to Dire Straits and I really love Mark Knopfler’s way of writing songs and playing guitar but that didn’t even come close. So it feels strange to compare them. And I’ve listened to a lot of, you know, trip hop and death metal and of course, Iron Maiden and WASP, all that stuff is really, really important. But it’s another level. And then of course the band that I’ve been listening to the most is Märvel. Not always by choice (laughs). 

DFH: What if I asked you about new bands (those being any bands coming into existence after Märvel) that have caught your attention?

TK: Within the rock genre, I would say Kvelertak

TV: That’s a really hard question for me. I listened to so much new music but I’m consuming music in a completely different way than when I was a kid, so that means things don’t stick in your head in the same way. I don’t have any good answers. None of those bands that, as The King said with KISS, you need to be young to buy into the whole thing and for it to stick and so on. Kvelertak is maybe one of the few bands in recent years that stuck around and made an impression

TK: That’s not what I meant. If it hits you at the right age you can become fanatical and it becomes something for life. When you’re older you can still really, really love it. But I mean, I don’t read about them. I don’t know how old they are or what their parents’ names are… The only band that I’ve read a lot about other than KISS is The Beatles because I think there’s the same kind of magic about them. I watched the “Get Back “movie with those many hours in the studio and I think it’s totally fascinating and I love it. In general I have to say that I’m not that impressed by rock music that comes up. It feels like you heard it all before. It’s seldom something grabs you by the balls anymore. There are lots of good albums, of course, but nothing that sticks out of the ordinary. 

DFH: By this time you re-recorded back the tracks from your first EP “Marvellous” that had been lost in a fire back in New York. How did you come to recover these songs? 

TK: We recorded them again, as we know them by heart. It was just a fun thing to do to return to zero somehow. We needed a break after the “Guilty Pleasures” thing and we had talked for a long time about recording those songs because it felt like something was missing. So it was a fun thing to do. 

DFH: I love the EP, and in particular “Amaze-o”. It’s so simple but it works so well. It is a great show opener.

TK: We used it as a show opener when we did this tour with The Sign and we opened with it, I think it worked out fairly well. 

Märvel at The Sign Fest. Photo by Kristin Carlsson of 

TV: Yeah, I think so. 

TK: But then Corona hit. So we didn’t do much more gigs and when we returned to the stage, we kind of forgot about the song. I think all of the songs turned out pretty well. “Public school 75” went really well. The one we had issues with was the one that’s on the “Five Smell City” album, “Taste Of Platinum.  We had already recorded that one time before. But it had to be there for the sake of history, or just for the sake of it. “Marvellous” was pretty fun to play live. We actually did that at “Märvelfest” last year. Really fun to play with two guitarists!

DFH: So, how do you see “Guilty Pleasures” today? 

TB: I like it. It is a very well liked album. We’ve talked about the process. It was all fun and games, at least starting out and that’s what you want to have when you make music, right? You want to do stuff that’s fun. And back then we felt that it was time to do something else. Let’s do a couple of covers and see where we get to. It was a really fun process even if we ended up doing a lot of it remotely as we’ve talked about before, but the process came together and the result is a really good album. 

TK: I can only agree: People ask us to do another one and maybe we will someday but it has to be the right timing and we need to work out a list of potential songs, I guess. 

TB: And we need to do some originals in between… 


We are done for now but will be back for one last chapter. Until then, enjoy Märvel’s live rendition of Marvellous at the Märvelfest back in August 2022!