By Carl Begai
Ayreon mastermind Arjen Lucassen has returned to form with his progressive metal opera project’s ninth album, The Source. In 1995 he introduced his “more is more” mindset with The Final Experiment, setting the tone for each future production stamped with the Ayreon name, garnering a loyal cult following and high expectations from those fans. It was the third album, Into The Electric Castle released in 1998, that laid a solid foundation for Lucassen’s multi-vocalist epics, and The Human Equation in 2004 that put him on the metaldom map as a creative force to be reckoned with, or respected at the very least. There have been a few missteps along the way depending on who you talk to – 01011001 from 2008 and The Theory Of Everything from 2013 are not the easiest albums to get into – but the fans are responding well to The Source. In fact, the constant comparisons to The Human Equation and Into The Electric Castle suggest that Lucassen may have struck musical gold once again.
“I know what you mean,” Lucassen agrees. “I had that feeling a twice before because everything came together so easily. The cast came together, the music came together, the story was easy, which are things I had with The Human Equation and Into The Electric Castle. Sometimes that happens and I just try to steer things in the direction they need to go.”
The ease with which the material The Source came together could have and probably should have been a bit frightening for Lucassen. How many musicians have boasted about new music coming together effortlessly only to be carved by the press once it goes out to the public?
“I’m insecure as hell about that,” he admits. “I start with 50 ideas and I hate most of them, really (laughs), because I figure they’re not good enough. The ones that I do like, I’ll play them to Lori (Linstruth / girlfriend, ex-Stream Of Passion guitarist) and she’ll be like “Well, yeah, okay…” So, I’m completely insecure until the very last moment, which is what makes me a perfectionist. That’s what makes me work so much harder, especially when I hear other stuff like the new Opeth or the new Devin Townsend. That’s when I’m thinking ‘Oh my God, my stuff doesn’t even get close to that…’ (laughs). The reactions to The Source have been so good that the insecurity is gone, and usually it’s always there.” Continue Reading
By Carl Begai
Fronted by former Sodom guitarist Andy Brings – from the Tapping The Vein and Get What You Deserve albums – Double Crush Sydrome is Germany’s version of Danko Jones; a solid three-piece rock band with corpse-glam painted punk tendencies backed by a solid metalhead pedigree. Active since 2013, the band is finally making some serious headway with this first official album featuring updated tracks from their 2013 independent release, The You Filter, and brand new songs. Die For Rock N’ Roll kicks off with the Skid Row-does-Ramones sounding “Gimme Everything” and remains full steam ahead through the title track, “Unfriend Me Now” and “She’s A Pistol”, gaining momentum and dynamics as it goes. Aside from sporting a clever title, “On Top Of Mount Whateverest” shows off the DCS penchant for sidestepping predictability, with bassist (and Brings’ former Traceelords bandmate) Slick adding his voice to the proceedings and the band tying things off with a mighty metal outro. The Danko Jones punch of “Yeah! Pain!” is followed by the unexpectedly cheesy (and first official single) “I Wanna Be Your Monkey”, which has legs for miles as a live track and is bound to become a singalong show closer. “Slow Suicide” is the exact opposite, dark and destined to surprise some people given the album’s party vibe with its “please kill yourself” bridge. And so it goes on the Die For Rock N’ Roll rock n’ rollercoaster from the moment it leaves the gate. Continue Reading
By Carl Begai
It’s been seven years since Norway’s #1 loved and loathed black metal export Dimmu Borgir released their ninth album, Abrahadabra. Not the best record in the band’s catalogue according to many a fan, but more than enough time has passed to warrant a crushing return to glory… which makes Dimmu Borgir’s decision to release a live DVD / Blu-ray package featuring performances over five years old confusing. Make no mistake; Forces Of The Northern Night is a beautifully crafted memoir for diehard followers featuring the band performing two special shows with a full symphony orchestra and choir, but after this amount of time people were expecting brand new music. According to guitarist Silenoz, the fans only need to stretch their collective patience until the end of the year because there is in fact a method to their current madness.
“We did some touring with Abrahadabra but not that much, and we took a break that just got longer and longer,” Silenoz says of Dimmu Borgir’s prolonged silence. “We’ve never been the typical run-of-the-mill band that records an album, goes on tour, records an album, goes back on tour. We’ve always taken our time and it works for us, which is the only formula we have.”
The break from touring and recording played a big role in enabling the band to pull off the two shows featured on Forces Of The Northern Night – first in 2011 with the Norwegian Radio Orchestra and Schola Cantorum Choir (KORK) in Oslo, then with the Czech National Orchestra at the Wacken Open Air 2012 – and compile the material for official release.
“It really takes a lot of preparation to pull off something like the orchestral shows, and it’s been a dream of ours for many years to be able to perform with a live orchestra since we’ve utilised symphony orchestra on our albums. It was just a matter of time until it happened, and it was great that the orchestra approached us about doing it rather than the other way around. That’s what made it feasible for us to be able to do it. Then the Wacken Open Air asked us if we could do a special orchestra show in 2012, and because we did it the year before one thing just led to another. Next thing we know, we’re playing this epic show in front of 80,000 people with 100 people on stage, and we didn’t really have a soundcheck (laughs).” Continue Reading
By Carl Begai
In 2014, Sanctuary fans celebrated when the legendary metal outfit made their four year reunion official with the release in The Year The Sun Died. The music was distinctly Sanctuary courtesy of guitarist Lenny Rutledge’s style, albeit fatter and heavier thanks to modern day production values, but some people were put off by the absence of frontman Warrel Dane’s – formerly of Nevermore – signature ’80s high end vocals and assorted shrieks. It was an unfair criticism given Sanctuary’s classic albums Refuge Denied and Into The Mirror Black were released in 1988 and 1990 respectively – the man’s voice had simply aged with him – and it certainly wasn’t enough to halt the band’s forward momentum. Work is building slowly for a follow-up, tentatively titled Dead Again, but in the meantime Sanctuary fans can feast on Inception. Dubbed a prequel to Refuge Denied, the record features remixed and remastered demo recordings from 1986 that were all but forgotten until Rutledge stumbled across them by accident.
“I didn’t realize they were stored where they were stored,” Rutledge says in what has become a well worn story by this point. “I did some recordings of other bands in the mid-’90s, so I would find miscellaneous tapes here and there; they weren’t stored in any organized fashion. I’d forgotten about the Sanctuary tapes. I have a two-storey barn and the top floor is all messed up, it leaks, there are squirrels and birds up there… it’s just like a barn on any property. The lower part was converted into a studio, which is really nice, so going upstairs you’re in a completely different world (laughs). I happened to be up there looking for some stuff and I came across the box that had those particular Sanctuary tapes in it. It was a surprise to find them, and to find them in the condition they were in. My heart kinda sank because those tapes had been up there for 15 years, and when I discovered them I was sure I made a big mistake by not keeping track of them.” Continue Reading
By Carl Begai
Following up their respectable low-key 2015 debut, Behold, the German trio Fall Of Carthage return with a thundering second record that quite frankly puts album #1 to shame. Everything about The Longed-For Reckoning is bigger, better, and loaded with major league potential. Best to leave the genre-specific tags, stamps and brands in the box; Fall Of Carthage are a no-nonsense bordering-on-brutal metal band, as they encompass and embrace the groove and thrash that made Testament, Pantera and Machine Head go-to bands for rivet-heads the world over. Additionally, there are dozens of crushing moments reminiscent of guitarist James Murphy’s classic Convergence album. Quite the victory for guitarist Arkadius Antonik, who is currently celebrating a 20 year career under his belt as the frontman and brainchild behind folk metal veterans Suidakra. Fall Of Carthage gives him the chance to simply shut up and play, cranking out some of the juiciest riffs of his existence since Suidakra’s classic Emprise To Avalon album released way back in 2002.
And the song arrangements…. prepare for a rollercoaster ride thanks to drummer Martin Buchwalter, who goes beyond anything he’s done with Perzonal War. Grab a listen to “Turning Point”, “Dust And Dirt” and “Fast Forward” for an overview of what to expect, then prepare to be knocked ass over teacup as you wind your way through the record. Continue Reading
By Carl Begai
During a recent BraveWords interview with Danko Jones for the band’s new album, Wild Cat, frontman and namesake Danko was met with a question he didn’t expect, which led to the revelation of a new project coming down the pipe. An inquiring mind (mine) wanted to know why the band has never covered a full-on metal song even though Danko is a diehard nail-spitting metalhead who is loud and proud when it comes to the bands and albums he holds in high regard. Sure, he’s performed on stage with Motörhead and Sacrifice, the band has covered The Ramones, but Danko Jones have never gone into the studio to lay down their best versions of their favourite metal cuts, which seems odd somehow.
“There are a few reasons for that,” he begins. “First of all, we could never agree on a song. JC (bass) will suggest something and I’ll go ‘meh.’ I’ll suggest something and he’ll go ‘meh’ and on and on it will go (laughs). We recently did agree on some covers, though, but I don’t know if we’ll ever get to that point. The second reason we haven’t done any metal covers is because I don’t feel I could pull them off without sounding like a joke. And the third reason is I just want to be a metal fan, and depending on what band you’re talking about I couldn’t even begin to try and pull off an Obituary song or an Annihilator tune. How do you even start writing a song from one of those bands? It’s intimidating to me.” Continue Reading
By Carl Begai
Since the October 2016 release of Amaranthe’s fourth album, Maximalism, vocalist and co-founder Jake E. has been conspicuous in his absence from the touring trail and in the press. The band’s triple vocalist attack remained intact for the band’s 2016 European tour, however, thanks to Smash Into Pieces singer Chris Adams, who had stepped in for Jake on previous tours when he was honouring other commitments. In November 2016, Jake issued a statement hinting that he had run out of steam, announcing that he was taking a break from the band for an unknown amount of time. In an exclusive interview with BraveWords, Jake makes his departure from Amaranthe official and final. Read on…
“Me and Olof (Mörck / guitars) started the band seven or eight years ago, and everything took off in a way we couldn’t have imagined,” Jake begins. “Amaranthe became a huge success and we toured the world, and we had a lot of fun doing that. The first two albums (self-titled debut and The Nexus) were exactly what I wanted the band to sound like; a mix between those Soilwork-like guitars and melodic Bon Jovi-type vocals combined with a female voice. Different elements combined, but the main thing in the music was the metal base. On the Massive Addictive album it started to change into something else that I didn’t really control, and you can hear the songs that I was more involved in working on are very metal. When we started working on the Maximalism album I found that it wasn’t the Amaranthe I had helped create at the start. It wasn’t my vision at all and I realized that I had to be true to myself. That was back in March 2016. I love to tour, I love the fans, but I felt that if I wasn’t true to myself.” Continue Reading
By Carl Begai
On the one hand, big budget live DVDs seem like a pointless investment now that YouTube is king. Then again, with hundreds of hours of bootleg footage online showcasing or plaguing a band until the end of time once uploaded, there’s an artistic need for an artist to present their work in the best possible light. Nightwish started releasing live DVD material long before online video sharing became the entity it is today, issuing material in three year cycles (approximately) to capture each chapter on their journey to greatness. Folks paying attention to that particular aspect of the Nightwish catalogue, therefore, weren’t surprised when news came down that the band was releasing Vehicle Of Spirit to commemorate their Endless Forms Most Beautiful world tour. Just how necessary it is can be debated, particularly since the Showtime, Storytime DVD from 2013 – shot at the Wacken Open Air in Germany – is a very hard act to follow if you’re a fan of live retrospectives. It’s doubtful the diehard fans are complaining, however, with shows from 2015 shot in Tampere, Finland and London, England featured along with live clips from around the world.
“We started planning the Vehicle Of Spirit DVD as we planned the tour for Endless Forms Most Beautiful,” says vocalist Floor Jansen. “We knew that we didn’t just want to document one concert, but rather to show more faces of Nightwish on tour around the world. We have a varied setlist, we play different sizes of stages – in Germany, for example, it’s massive, and in the US things are much smaller – and a show in China looks different from a show in Finland. We wanted to document the world tour, and as the planning of the show evolved we chose the London show at Wembley because it was the biggest and very special. This was definitely something that was planned from the beginning.” Continue Reading
By Carl Begai
In 2013, Italian soundtrack composer/orchestra conductor and producer Zombie Sam unleashed his debut album Self Conscious Insanity, a record that blended symphonic and industrial elements to create a unique calling card. The outing yielded two official videos – “A Hallowed Tale” and “Woman In White” – that gave Zombie Sam a Tim Burton-esue identity to go along with the music and earned him a cult following. A lot has changed since then including his musical vision, meaning the fans clamouring for a sequel to Self Conscious Insanity should be prepared for a distinctive new take on an esablished theme.
“I don’t try to imitate anybody, I just try to compose what I feel,” Sam says. “A few years ago I had some health problems with my heart, and after that my life changed somehow and I started seeing things in a different way. It also affected the way I compose music, so that definitely had an influence on the songs for the new album. I also wanted to change my sound. People told me the first album was leaning more in an industrial direction like Rob Zombie or Marilyn Manson, and I didn’t want that. I wanted to create something unique, be more myself; not too serious, maybe even a bit funny.”
More rock than metal this time out, Zombie Sam’s new material is, ironically, reminiscent of two beloved Canadian bands: The Creepshow and Billy Talent. He agrees with the suggestion that if his music is going to wear a stamp it should read “Horror Rock”.
“You mentioned those bands to me and I thought ‘Holy crap, he’s right…’ The new Zombie Sam music doesn’t sound like those bands exactly but it is similar. I like the music from both Billy Talent and The Creepshow, I like the way they perform live, so I could learn somethings from artists like that. They have an amazing energy. My new music is going more in the direction of something like The Creepshow. I don’t want to be heavy metal and I think this new stuff is more rock. Some of the vocal lines even sound a bit like pop music even though it’s not. It’s definitely more horror rock.” Continue Reading
By Carl Begai
Many people in our line of sonic debauchery refer to Motörhead as a metal band even though legendary frontman Lemmy always insisted they played rock n’ roll. Not surprisingly, nobody ever dared to argue the point with Mr. Kilmister (that we know of). Thus, if you’re looking for a metal band cut from the Motörhead cloth it’s best to cast an ear in Witchery’s direction. Born from the ashes of Satanic Slaughter 20 years ago, the Swedish quintet originally consisting of members from The Haunted, Arch Enemy and Seance gained a faithful cult following from the get-go with their 1998 debut, Restless And Dead. During a BW&BK interview in 1999 for the band’s Witchburner EP, guitarist Patrik Jensen (The Haunted) put forth Witchery’s plan of adopting a ’70s-era KISS approach and releasing at least an album a year, and with Symphony For The Devil hitting the shelves in 2001 it seemed they might succeed. Unfortunately, real life and other band commitents managed to scuttle those plans, leaving Witchery to assemble only as time permitted, yielding only three albums in 10 years. In fact, their new record, In His Infernal Majesty’s Service, comes a whopping six years after their last outing, Witchkrieg.
“You know what they say; as you grow older time moves faster, ” says Jensen. “It doesn’t seem like it’s been six years but then I look at the calendar and it’s ‘Oh my God, we’re celebrating 20 years of Witchery, we need to make an album…’ (laughs).”
“But that’s the problem we’ve had since 2003 because that’s around about when Angela (Gossow) joined Arch Enemy and things started to go really well for them,” he continues, referring to bassist Sharlee D’Angelo’s top priority and the resulting space between Witchery albums. “The Haunted took off around that time, and I think that’s when Martin (Axenrot / drums) joined Opeth. We were really active between 1997 to 2003 and then things got difficult for us because there were so many conflicting schedules. It’s crazy. We discovered that it was just as hard to get this album out as any other year we’ve done an album because it’s hard to get everyone together. That’s why Martin decided to gracefully bow out; he didn’t want to make it a problem for Witchery to continue releasing albums. The way he put it, ‘It’s not like I don’t have a band I’m going to tour the world with…’ (laughs). We love the guy and we’re still friends, so there’s no animosity. Something had to change and he offered his place up; we found Chris (Barkensjö) to play drums and he’s not as busy as Martin so it’s easier to get rehearsals going. On top of that, Martin was a very sophisticated and tasteful player even before he joined Opeth, whereas I’m more of a Ramones / early Motörhead kind of player. Chris is the same way; he sounds like our first drummer, so having him in the band brought back that old Witchery feeling we had on Restless And Dead. Not only could we get back to rehearsing, we kind of got our old sound back.” Continue Reading