Carl Begai

By Carl Begai

With the world being linked up, down, and ten ways to Sunday thanks to the internet, it’s hard to fathom that a metal band can rise seemingly out of nowhere, secure a deal with a respected record label, and find its way onto two high profile North American tours almost immediately thereafter. California-based Huntress did just that, signing with Austria-based Napalm Records in November 2011 and confirming an early 2012 release a short time later for their official full length debut, Spell Eater. It’s particularly disconcerting for someone like Yours Truly, who effectively lives on two continents simultaneously and supposedly has a finger on the metal scene’s international pulse. The jury is still out on whether this slip was a case of jaded journalistic ignorance, particularly given that Spell Eater is a meat-and-potatoes wallop of old school thrash-and-burn metal.

“No, you’re not at all ignorant; we did just appear, quite magically” says vocalist Jill Janus graciously. “Huntress was birthed in the underground metal scene, but I clawed my way through the roots and dirt rapidly. I have been visualizing this moment for a long time. I finally met four people at my level of musicianship who share the same vision. It’s simply our time now. I could have appeared sooner fronting some false trend metal band, but my integrity is sacred. We don’t compromise on our art.” (continue reading…)

Your semi-regular update on Maple metal and associated rock continues…

Toronto rocker Danko Jones is gearing up for the release of a new DVD entitled Bring On The Mountain. The package features a documentary on the band spanning the early years all the way up to the present day, 14 live performances, and a whopping 19 (!!) official video clips. This one’s a keeper for the diehard fans, and for the diehard fans that pre-order (shipping date is June 13th) a free 10 minute preview is available online. Go to the band’s official website here for pre-order details and DVD formats. A three-minute documentary trailer can be found here.

French Canadian unsigned progsters Southern Cross are currently one of the featured artists on the BW&BK website, in support of their new album From Tragedy. I recently had the pleasure of speaking with frontman David Lizotte – story can be found here – an assignment I took on because I actually enjoy the new record. Song-oriented prog-metal is hard to come by, and it’s rarer still to find a band of this kind penning songs of the foot-stomping kind (see ‘Tightrope’). Fans of Ayreon, Pain Of Salvation and Parallells-era Fates Warning would do well to check them out.

My review of From Tragedy can be found here. (continue reading…)

By Carl Begai

Folks on this side of the music industry desk will tell you that the vast majority of press releases and band biographies are loaded with hollow bullshit. Many of these essays are too bloated with adjectives, mixed metaphors and blatant flavor-of-the-month ass-kissing to be taken seriously, often peppered with keywords and band names popular at the time and space in question, or yanked from a Wikipedia heavy metal page. These things raced through my head while scanning the bio for Moonspell’s newest outing, Alpha Noir, wondering out loud more than once if the newbie dweeb hired to write it had ever heard of the band before. Dropping names like Bathory and King Diamond as influences to describe an act hailed as one of the few and true remaining old school goth metal bands was absurd to the point of insulting.

Give Alpha Noir a spin and you’ll discover the description is dead on.

“I’ll let you in on a little secret,” frontman Fernando Ribeiro grins. “I tend to write those things myself. It’s not that I don’t trust someone else to do it, but I like to write and I think that sometimes the people at the record labels kind of miss the point. A lot of labels have many bands, and sometimes the people that write the press releases have to do it in a rush. I’d rather make things a bit more personal by doing it myself, so I’m glad you found everything in the press release to be true (laughs). With all the metaphors and poetry and personal notes that we put into the press releases, it’s good to know that people check out the new songs and realize that we’re not just blabbering and self-praising. We really tried to give people a clear view of what’s going on with Alpha Noir.” (continue reading…)

I was recently given an advance listen to vocalist Sarah Jezebel Deva’s new three-track Malediction EP, due to be released via Listenable Records on May 28th. Following is a rundown of what the digital-only shot in the head has to offer…

Back when vinyl was king, it was common for bands to release 12” EPs featuring exclusive material to tide fans over while waiting for the artist’s next full length album. More often than not this material was top notch stuff rather than the uninspired cut / paste filler “bonus tracks” that often get tacked onto the end of present day releases. That said, it’s something of a pity that vocalist Sarah Jezebel Deva’s new Malediction EP is a digital-only affair, because the three songs featured reflect that era; quality music created in the interest of giving the fans something special.

Malediction is short, sweet, and to the bloody point, boasting material as good as if not better than that featured on Sarah’s previous solo outing, The Corruption Of Mercy. Lead track ‘Lies Define Us’ is a gorgeous and memorable hook-laden piece standing head and shoulders above typical goth metal fluff, featuring Soilwork frontman Björn “Speed” Strid singing clean harmonies against Sarah’s leads and clocking in under four minutes for maximum impact. In contrast, ‘When “It” Catches Up With You’ is about the Sarah Jezebel Deva band as a whole rather than being a vocal showcase, officially smacking Angtoria off its pedestal as being the strongest band-oriented work Ms. Deva has ever done thanks to riff-heavy guitars, monster drums, with everyone involved getting a chance to shine.

The icing on the cake, however – or the thorn in the eye as he’d probably dub it himself – is Cradle Of Filth frontman Dani trading lead vocals with his former backing singer on ‘This Is My Curse’. And it’s a performance guaranteed to please any fan of the Nyphetamine and Thornography albums. (continue reading…)

By Carl Begai

It’s rare that a commercially successful rock band is good for a surprise. The vast majority would much rather stick to a proven formula – and understandably so – than throw their fanbase a curve. Pennsylvania-based rockers Halestorm, on the other hand, took the plunge with only one official full length album under their belt. Two years after the band’s self-titled debut touched down and started a buzz, the quartet issued the six song ReAniMate covers EP, which gave the people that thought they had Halestorm nailed down something to choke on. Covers of the Skid Row classic ‘Slave To The Grind’ – now a fan favourite in the band’s nightly set – and Guns N’ Roses’ ‘Out Ta Get Me’ left many a naysayer’s jaw on the floor, Yours Truly included, largely due to the explosive delivery by vocalist/guitarist Lzzy Hale. The EP set the stage and reined in a new batch of fans for Halestorm’s second record The Strange Case Of…, which rocks harder and heavier than what folks expect of a so-called “average” mainstream band.

“We chose the six songs on ReAniMate for all sorts of reasons,” says Lzzy, agreeing that it was one of the building blocks going in to make The Strange Case Of… “The cover of The Beatles’ ‘She’s So Heavy’ was the first song the guys and I ever jammed to as a band. The Heart cover of ‘All I Wanna Do…’ used to be my go-to karaoke song; the guys would sign me up in hopes of getting free beer from people who liked the way I sang. ‘Slave To The Grind’ and ‘Out Ta Get Me’ were some of my influences, growing up on my parents’ music, and they had tempos that we’ve never experimented with before. In turn, they directly inspired our fastest original song to date, ‘Love Bites (So Do I)’. ‘Hunger Strike’ was a nod to one of Joe’s (Hottinger / guitars) influences, and the Lady Gaga cover (‘Bad Romance’) was the #1 most requested song in a poll we put up for our fans to determine what our final pick for the EP was. It’s a great mix.”

Considering that Halestorm gained notoriety with radio-safe hits like ‘I Get Off’ and the Twilight-fuelled ‘Familiar Taste Of Poison’, choosing ‘Love Bites (So Do I)’ as the first single off The Strange Case Of… was a ballsy move. Folks that respect the band as a live act but have no use for the debut album have embraced the track, which is Halestorm’s take on ‘Slave To The Grind’ at its heart.

“‘Love Bites’ is a great ‘re-introduction’ song. It was a reflection of what people saw at our live shows while touring on our last album cycle. We wanted to give people a first single that was a step up from our last recording, but was familiar to the energy they get from us live.” (continue reading…)

By Carl Begai

This interview is testament to the fact that no matter how cutting edge present day technology may be, it’ll never replace old school principles.

Booked for a phone interview in the midst of a European tour, Accept guitarist Wolf Hoffmann dutifully took on the task during a travel day, only to be confronted with a mobile signal that refused to cooperate as the band’s tour bus hurtled down one of Germany’s highways. Thus, two dropped calls later and Hoffmann questioning the wisdom of interviews being scheduled while the band is in transit, he opted not to call back a third time, leaving BW&BK with half an interview and a half-baked story. Fast forward 24 hours to an unplanned and completely unexpected phone call from Hoffmann, settled in his pre-show (and stationary) hotel room, who had chosen to step up of his own free will and finish the job rather than write us off as a digital-age hiccup.

Not that Accept desperately needs the coverage. Hoffmann is certainly happy to have it, but the buzz surrounding the band’s new album, Stalingrad, is as loud and in-you-face as the justified hype their rousing 2010 comeback, Blood Of The Nations.

“I guess we’re just firing on all cylinders at the moment,” muses Hoffmann. “We were away for quite some time, so maybe that recharged out batteries enough to give us the energy to keep going like this, but sometimes I ask myself how we’ve managed to do it again. I don’t know. We just go out and do it.”

Stalingrad marks Accept’s second outing with vocalist Mark Tornillo, who replaced original singer Udo Dirkschneider behind the mic for the reunion when the U.D.O. frontman made it brutally clear he wasn’t interested. Months of touring behind classic and new Blood Of The Nations material quite naturally tightened the bonds of this new Accept incarnation, suggesting the band was much more focused going in to do Stalingrad.

“It wasn’t dramatically different,” Hoffmann says of the creative process. “The only difference was that we were, as you said, a little more in tune with what we were going for. When we made Blood Of The Nations we were fishing a little bit; where does Accept belong in 2010? We weren’t sure if we should go the totally old school way or of we should try to incorporate some newer elements in out sound. But, because everything worked out so well with Blood Of The Nations we kind of decided not to change a winning formula. We just tried to come up with new songs that were as good as the one on Blood Of The Nations. The ideas on Stalingrad are fresh along the same lines, and that was our goal.” (continue reading…)

By Carl Begai

Call it a safe bet that a fair number of progressive metal fans feel slighted by having two giants of the genre – vocalist Russell Allen (Symphony X) and Mike Portnoy (ex-Dream Theater) – slamming down ton of bricks modern-edged metal with nary a 5/8 time signature or widdly keyboard flourish in sight. Nope, this is feelgood freight train mayhem minus the seatbelts done up old school, with the dynamic prog duo and guitarist Mike Orlando relying on musicality rather than gutteral aggression and the same old boring-ass downtuned chords to get their message across. Allen is a monster right out of the gate, his melodic bellow on lead-off tracks ‘Undaunted’ and ‘Psychosane’ laying the groundwork for some of the strongest material of his career (and wiping those damn Allen/Lande albums from memory). Orlando was either schooled in Stuck Mojo, or the band’s guitarist Rich Ward – who was in Adrenaline Mob for about 5 minutes – made a lasting impression on his songwriting. When it comes down to the groove crunch, and there’s plenty of it, Orlando’s shred is also an echo of Zakk Wylde, giving folks a welcome taste of Black Label Society. With Portnoy providing the backbone for the Allen/Orlando-penned tunes, it shouldn’t be a surprise that Adrenaline Mob’s overall sound is far and away from your average balls-out 4/4 metal band.
(continue reading…)

By Carl Begai

When Trans-Siberian Orchestra / Savatage guitarist Chris Caffery refers to Tears Of The Sun, he’s not talking about a new sadboy love song he’s just written, or taking a shot at launching a Broadway play. Nope. Tears Of The Sun is, in fact, a Caffery-created hot sauce that has gone from his kitchen to the stores through a series of fortunate coincidences. And unlike a lot of “celebrity” marketed products – which usually feature little or no actual input from the star in question even though his/her name is slapped on the label – Caffery can lay claim to having created Tears Of The Sun hot sauce from scratch.

“All of it is my recipe, actually, because I’ve been cooking my entire life,” says Caffery. “Steve Seabury at High River Sauces is responsible for getting it out there. The whole idea of making the hot sauce company that he has came about while he was managing some of my solo stuff and dipping his feet into the food business at the same time. I gave him some of the hot sauce I’d made at a business meeting, and he really liked it. From there Steve eventually got into doing it as a business, but this recipe is 100% mine. I measured the ingredients and sent it to the guy that was making it; they cooked it off of that. I had them tweak it a little bit because I wasn’t completely happy with the way it came out, and we ended up with the hot sauce we have now.”

“It’s not like I’m just stamping my name on a bottle,” he continues. “In fact, I didn’t put my name on it at all because I didn’t want it to be presented as ‘Here, a musician put his name on some salsa.’ I wanted to make something that would actually get taken seriously, and it won two really big national hot sauce awards since it hit the market; Best New Hot Sauce Of The Year and Best Fruit-Based Habanero Sauce. I think that if we would have said it’s Chris Caffery’s Hot Sauce, that wouldn’t have happened.” (continue reading…)

Folks that spend any time on this site – and to those that do, thank you – are aware that the passing of Woods Of Ypres frontman/founder David Gold last year affected a lot of people on the Canadian metal scene, myself included. Unfortunately, I wasn’t able to attend the tribute shows that took place at home earlier this month, but drummer Rae Amitay – who was gearing up to tour with Woods through 2012 – and Eclipse Eternal frontman Voldamareshave issued their own special recaps of the events dedicated to David’s memory. They both appear below.

Rae issued the following via Metal Review:

“When I try to put my experience from Ypres Metal Fest into words, everything from that night and the days leading up to it seems to blur together into a mess of emotions that I can’t properly articulate. As those reading this may know, David Gold had asked me to play drums for Woods of Ypres in support of the brilliant album Woods 5: Grey Skies & Electric Light. I accepted without hesitation, and my days quickly filled with practicing and making plans with him, Joel Violette, and Brendan Hayter. For each of us, being in Woods was a dream come true, and we were greatly looking forward to being a part of the band together. It all felt like the beginning of something extraordinary. (continue reading…)

By Carl Begai

When Halestorm surfaced in 2009 with their self-titled major league debut – after a decade in the trenches creating a buzz – they hit a home run with fans of modern day radio rock. The band was immediately lumped into the Nickelback / Shinedown section of the bus and rewarded with a legion of fans for their trouble. Safe, predictable and formulaic, they became a success through a mix of pushing the right commercial buttons, good looks, and touring their collective asses off on some big-name road trips. For all the accolades, however, Halestorm was considered by those listening from the sidelines as a solid act but not worth writing home about. The release of the ReAniMate covers EP in 2011 punched a king-sized hole in the “safe and predictable” tag-line, scaring the hell out of the naysayers (and some fans) with wonderfully obnoxious covers of anthems ‘Slave To The Grind’ (Skid Row) and ‘Out Ta Get Me’ (Guns N’ Roses), and a ballsy rendition of The Beatles’ classic ‘I Want You (She’s So Heavy)’. The live shows around the release sent a clear message that in spite of popular fluff in their repertoire, Halestorm is a tooth and nail rock band capable of bringing the roof down around your ears.

For anyone that didn’t jump on board at the beginning of the Halestorm trip, new outing The Strange Case Of… is exactly that: strange. It kicks off with a tip of the hat to the fans of all things heavy with ‘Love Bites (So Do I)’, essentially daring rivet-heads everywhere not to get roped in by the up-tempo shred and vocalist/guitarist Lzzy Hale’s rant-tastic delivery. Second track ‘Mz. Hyde’ is just as much of a surprise thanks to a chugging Stray Cats groove (!), followed by the soaring crush of ‘I Miss The Misery’ and the too-Papa-Roach-for-its-own-good rocker, ‘Freak Like Me’. Only four songs in, it’s clear as to why Lzzy is considered to be one of, if not the best female vocalist on the scene today. Her delivery is classic Joan Jett attitude mixed with Corey Taylor intensity (as needed) and a young Sebastian Bach’s insane vocal range. Everything you hear has been and can be pulled off live, with interest. (continue reading…)