Carl Begai

By Carl Begai

Change has been a regular visitor to the Epica camp over the last few years, all in the interest of keeping the band moving forward. Original drummer Jeroen Simons left the band in 2006 and was replaced by God Dethroned’s Ariën van Weesenbeek for the recording of the band’s all important third album, The Divine Conspiracy. More recently, guitarist Ad Sluijter stepped down of his own free will, making room for ex-God Dethroned shredder Isaac Delahaye to add a needed touch to Epica’s most recent work, Design Your Universe. The time in between the two records brought what was perhaps the most significant, albeit temporary, change to the band’s line-up. Sidelined by a bacterial infection (MRSA) in 2008, vocalist Simone Simons was replaced by collaborator / vocal coach Amanda Somerville for a North American tour with Symphony X. A bold move that raised eyebrows and questions, with Simons’ future as Epica’s frontwoman in doubt as far as rumour mongers were concerned. In the end Simons made a full recovery and reclaimed her rightful place behind the microphone, much to everyone’s relief, including Somerville.

Guitarist / founder Mark Jansen, the man responsible for putting Simons in the spotlight with Epica’s debut in 2003, freely admits her health issues gave him a scare.
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By Carl Begai

Pulled from the wreckage of her shattered-to-bits favourite teacup, Emilie Autumn quickly proves she’s more than just a pretty face with a sarcastic wink. Delightfully off-the-wall and refreshingly candid, the self-styled Victoriandustrial vocalist / songwriter / performer is an interview that demands you bring your “A” game and a genuine interest in what she does. She picks your brain as you pick hers, goes off on tangents that offer valuable insight on her artistic drive, and has no problem taking the piss out of anyone, herself included. Within the first few minutes of discussion it becomes clear that Emilie Autumn’s image – the hair, clothes, make-up, barbed online prose, stage show; everything right down to the pasties – is the real deal. There’s no striving for Alice Cooper / Marilyn Manson shock value, no calculated controversial remarks nor turn of bare thigh to keep the goth community entranced just a little longer. What you see is most certainly what you get.

“There’s not a damn thing contrived about me,” Emilie says of her image, which most fans and naysayers quite logically assume gets shoved into the closet when the curtain comes down. “I often times wish that it was and that I had a much more normal life, but I don’t. I can’t lie to you, I tone it down for the stage (laughs).”
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The Great Canadian Curveball is back. Not a reference to Townsend’s neatly shaped skull, rather a tribute to his ability to change gears from album to album without losing his fanbase or footing as one of metal’s / music’s most original contributors. Addicted is part 2 of Townsend’s four part musical journey through all things Dev, picking up the pace considerably from the quietly brilliant Ki album from a few months back. Hatemongers need not apply, however, as Addicted is the big dumb rock record the man warned us about. On top of that, it’s a good spirited big dumb rock record celebrating the stomping foot and banging head and singing-for-the-hell-of-it voice. Lots of heavy crunch, no splatter, and far from weak. (continue reading…)

Hails!

Just a brief update on things going on away from this page that involve me or just happen to be my fault (which is one and the same, I suppose). So, in other words and bunch of metal-related stories scattered about cyberspace for your amusement.

I caught up with KITTIE drummer Mercedes Lander a while back to discuss the band’s new album In The Black, which was one of the biggest surprises of the year for me… until Devin Townsend’s new one showed up in my mailbox (more on that later). All kinds of Metallica and Carcass influences on the record, which is something I never expected of a band that annoyed the shit out of me a decade ago with their debut, Spit. The ladies have indeed grown up for the better. Check it out here.
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Back in 1996 I attended seven shows on Iced Earth’s first European tour in support of their fourth album, The Dark Saga. I wasn’t a huge fan of the band, but having Nevermore on the bill as a support / co-headlining act made the tour time well spent. Admittedly, even though Nevermore dominated every night Iced Earth put on a solid show and The Dark Saga grew on me in spite of being the trendy album of the moment. Overall, a great touring package and some pretty incredible experiences over that two week period.

A couple shows in, however, I noticed that there was an unusually large number of women in the audience. “Unusual” because Iced Earth’s traditional metal sound and Nevermore’s neo-thrash insanity wasn’t known for attracting large numbers of the fairer sex. But there they were, night after night and boob to elbow, headbanging and screaming their approval at the stage. At which point I realized what it was that had a large majority of the ladies hanging around the backstage door, the tour bus, and crushing into the first few rows for a closer look.

The hair.
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By Carl Begai

Four albums into his long suffering Warmen project and Children Of Bodom keyboardist Janne Wirman can officially say he has a second band. Not that he needs one. Bodom has grown from a little known Finnish punk-fried neo-death flavoured export to one of the most popular and equally loathed metal bands around, giving Janne very little free time between touring and the studio. Even so, he and his brother Antti (guitars) managed to spit out what is hands down the strongest album of Warmen’s career. A song-oriented platter rather than a showcase for Janne’s keyboard acrobatics – although there’s plenty of pseudo-ivory shred to be had – Japanese Hospitality sounds like a band effort. Straightforward and to the point, it touches on everything from rock and pop to a full metal racket that smacks more than a little of Children Of Bodom, yet keeps things streamlined and focused. No dicking around this time. At this point the music is easily identifiable as a Warmen album rather than an attempt by Janne to do something away from the comfort of home.

“Everybody’s been saying that Warmen finally sounds like a band with this one and I agree,” says Janne. “Warmen has found it’s path, I guess you could say.”

A path that was beginning to look like the one that swallowed the long-awaited and presently lost Sinergy album featuring Children Of Bodom vocalist / guitarist Alexi Laiho and guitarist Roope Latvala…
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