A: No. We became friends when we were 14 and 15 years old. We were a couple for a four years when we were 17 and 18 years old. It lasted four years. These days we look at ourselves more as brother and sister.
 

A: No. Paw is together with is girlfriend Ditte and they have been together since 2003. Lina has been with her boyfriend, Kasper, since 1999.  

A: we met through mutual friends in July 1991. 

A: Yes. Paw has a ten year older sister, Tina. Lina has a sister; Frederikke, who was born in 2000 (same father, different mothers). 

A: Paw was born on the 30th of July 1977 and Lina on the 12th of August 1976. You do the math… 

A: We are both from Copenhagen, Denmark and we both still live here.  

A: Yes, Soeren Haahr helped found Infernal and he was an equal part of the group for the whole of the first album (Infernal Affairs – released in 1998). He also featured under the alias Red$tar on the track Banjo Thing off Infernal’s Dansih release of their third album. 

A: Soeren was a DJ and he had an enormous drive. On the other hand he has no patience what so ever. After the success of Infernals first album everything became difficult and took a lot of time. For all of us, it was a frustrating time, but for Soeren it was too much. After a while we all agreed that it was fine, he moved on to other things – he had started a tour prodction company that was going well – and Paw and I (Lina) continued the work of Infernal on our own. We’re all still frends and get together occasionally and for a long time Soeren was our sound technician and all tour production for Infernal was managed by him. 

A: Paw started out making music on an Amiga 500 computer back in 1989. It was low-key to say the least. Lina became a part of it in 1993 and things became more serious in 1994, where Paw had a single release with his first project, called XL-Vision. Paw and Lina had a single out together with a couple of friends in 1996 called ”Hit Me In the Ass”. The outfit was called Bordeaux. In 1997 Lina, Soeren and Paw founded Infernal and released their debut-single ”Sorti de l’Enfer”. A euro-techno-dance-track featuring bagpipes(!). 

A: Basically Paw og Lina ARE Infernal – songwriting, recording, production, mixing, parformance, vocals, keyboards and programming is done by them. Occasionally we use co-writers and co-producers. As neither of us play the drums or guitar we have people who come and do that for us.
Live we also have a full band and backingvocalists to help us perform all the songs live for real.  

A: The first single was released only in Denmark in November 1997. Outside Denmark it wasn’t until 2004 that things started happening. By then we were on to our third album – the album called From Paris to Berlin.
 

A: In Infernal there are no people ”behind it all”. Paw and Lina are ”it”. We have our own studio in Copenhagen, Denmark where we write, produce and record everything. We often co-write with songwriter Adam Powers and for our fourth album (to be released in the near future). We have also had Anders Øhrstrøm to record backing vocals and orchestral elements such as strings and horns. We collaborate with lots of different people for different tracks and songs, but to mention them all would take too long. Check out the cover-sleeves for more details. 

A: Yes. Often people think it is impossible to do ”dance-beats” live and so they assume that our performances are semi-live at best. This is not so. We have found a way to stay true to the sound of the tracks AND do it completely live.
Most bands either go all rock when they perform live (Faithless, Aqua and others) and completely abandon their sound from the recorded material or they chosse to have the basic beat come from a harddisc recorder og computer (Basement Jaxx, Chemical Brothers, DJ Aligator).
For us it has always been essential to keep the sound of ”dance” (the mulit-processed/compressed bass-drum that won’t feed no matter how much you gain it or turn it up in the mix because it is not accoustic and the snare/clap that is often a combination of more than one single sound). At the same time we wanted the complete freedom you only get when everything is performed by a real living, breathig human beeing and not a machine of any kind. Only when a musician performs each instrument you get the opportunity to improvise over, prolong or break up the song as you please in the moment.
The solution we use is using something called ”triggers” for the bass-drum and snare-drum. Loads of bands around the world uses these, but for some reason they are mostly heavy rock bands?!? If you don’t mind me getting really nerdy, here’s an explanation of how we’ve managed to be live AND true to the style of music that we love the most.
Our drummer (Thomas Holmen) plays the beat all the way through on all tracks. We get the sound of the base- and snare-drum from each track exactly right because when the drum is hit what you hear is not the sound of the drum. The trigger picks up the ”stroke” or hit and it then connects with a sampler that then play the sound of the sampled sound of either the bass-drum or the snare-drum. For a while now, we have had a double bass-drum set-up – an accoustic bass-drum and one a trigger-bass-drum. For a long time we have had a double snare-drum set-up, using the accoustic snare-drum for fills and the trigger-snare for the two-and-four-disco-feeling.
From one track to the next our drummer changes programmes so the audience always hear the right sounds for each track.