After all, our idea was to construct 'Sing No Evil' like a progressive concept album, including various styles (and sometimes surprising) elements that'd still fit together. Honestly, I think I wouldn't have done it any other way, even if he'd suggested otherwise. I discussed the angle several times with our Finnish editor, but he convinced me it's worth the gamble. I'm really glad to hear this, as we definitely knew the risks when scripting the book this way. Was it a challenge to juggle those aspects? While the early chapters have a mystical element, the outright horror doesn't truly come into play until 130 pages into the book, yet it feels very natural when it happens. The book balances humor and horror, the mundane and the extraordinary quite well. How it eventually plays out will be seen later on during the series. In the first story Aksel takes his first step towards becoming the true frontman of the band and a proper, responsible adult. I think you don't even have to be a music junkie to appreciate the story I'm pretty sure most readers can still relate to the problems. After all, the band, composing and performing are all allegories to expressing yourself and focusing on your ambitions whatever they may be.

I hope the readers will find the ones that address them the most, so I don't necessarily want to pinpoint anything. The actual story includes several themes, Aksel finding his own voice being just one of them.

Jp ahonen perkeros