By Carl Begai
Nightwish keyboardist/founder Tuomas Holopainen’s first official solo album, Music Inspired By The Life And Times Of Scrooge, isn’t metal by any means. The record is full blown big screen soundtrack music, which falls directly in line with Holopainen’s trademark songwriting over the last several years. The fact that its focus is the comic book character Scrooge McDuck in a book penned by artist Don Rosa, on the other hand, is not what one might expect from the man who turned female operatic vocals into a metaldom staple and crossed over into movie-making with the Nightwish epic from 2011, Imaginaerum. Holopainen is unashamed by his pet project and very proud of how it turned out; if the music convinces some fans to go out and pick up the book that inspired him, so much the better.
“It’s been stated pretty clearly from the start that this is a marginal solo album that has nothing to do with metal or Nightwish,” says Holopainen. “It hasn’t been that big of a surprise to people. The biggest surprise seems to be why I’m being so childish (laughs). Of course, that can be expected if you choose to do and album based on a children’s comic book. It’s just ignorance though, because people don’t know what they’re talking about.”
If you’re a comic book geek you can appreciate the lengths Holopainen has gone to in bringing the Scrooge stories to life, having taken time away from his world famous day job. he makes no secret of the fact that he made the album to satisfy himself and nobody else.
“I wanted to make an album that would do these beautiful stories justice, and an album that I’d care to listen to myself. The music came out incredibly easy. I think it was probably, if not the easiest, one of the easiest albums I’ve ever produced because whenever I read this wonderful book my head is filled with music immediately. It was all about channelling it and getting it out, finding the right arrangements and the right instruments to perform it. I’ve had the dream of doing this soundtrack since 1999, so it’s about time that it saw daylight.” (continue reading…)
By Carl Begai
In March 2013, Saigon Kick put to rest months of speculation surrounding news the band’s original line-up, who recorded the classic self-titled debut and epic follow-up, The Lizard – had reunited. Guitarist Jason Bieler and vocalist Matt Kramer had stated numerous times in the press since parting ways in 1993 that they’d never work with each other again, and neither one was shy about the wording of those statements. Tempers have cooled in recent years, however, and in early 2012 both Bieler and Kramer revealed in separate interviews there had been discussions of possibly and hopefully burying the hatchet, and not in someone’s forehead. At the same time, Bieler was breathing life into his Owl Stretching studio project, which has since taken on a life of its own, and Kramer had released his second book, A Book Of Poems From The Smallest Of Towns. So, there was no lack of creative juice to fuel a Saigon Kick reunion, and in the end the diehard fans have gotten what they wished for.
“It’s gone really well considering the potential for epic disaster,” says Bieler. “It’s gone far better than we anticipated. We’ve been very, very selective about what we’ve done – and I think we spoke about this before – because we didn’t want to do one of those Will Work For Food kind of tours. We did seven shows in these cool markets, and the response from people who are really passionate about the band… it really exceeded everyone’s expectations. And I think because we’ve been staying in really nice hotels and not seeing each other, there’s no friction (laughs).”
Call it a case of being older and wiser, maybe?
“Nobody’s got the energy for those kinds of fights anymore. Strangely enough, Matt and I have been getting along better than we ever have. I think you just get to a point in life where the negative stuff just isn’t worth fighting about. In the early days of Saigon Kick, anybody who didn’t see my point of view had to be doing it on purpose as an attack. There was no other way I could wrap my brain around why someone could not see my logic. As you get older and hopefully a little bit more mature you realize that different people on the planet have a different opinion of things, right or wrong. I learned not to take differences of opinion quite so personally. Yeah, Matt and I have been getting along much, much better, and I think a little bit of maturity on both our parts didn’t hurt.”
Saigon Kick’s volatile history had some fans holding their breaths waiting for news of the band’s reunion going to hell, but the quartet wrapped up 2013 as a complete unit with something resembling a plan for this year. Bieler says keeping things small scale with a ‘baby steps’ approach was the best thing they could have done, and it paid off.
“I think because we were really careful not to say ‘Okay, this is the We’re Visiting Every Venue On Earth Tour 2013/14′ we were able to take the commitment in small chunks. Obviously everybody in the band has busy lives and other things going on, so we could really only do it for the sake of enjoying it. We didn’t go out there saying ‘Please fund our nine million dollar DVD project’, we made sure we didn’t have any of that baggage. We had to make sure we felt like doing it and it’s been fun. The most impressive thing to me is that we didn’t realize how important some of this music is to some of these people. That’s been the exciting and refreshing thing, discovering that. It’s encouraging meeting people and hearing why a certain song or album is important to them.” (continue reading…)
By Carl Begai
Rumour has had it for over a decade that Gamma Ray frontman Kai Hansen isn’t a fan of touring, yet every time you turn around he and his Rayniac bandmates are on the road somewhere in the world either as headliners or a support act. He added to Unisonic to his to-do list in 2011, which put him on the international live circuit in between Gamma Ray commitments and personal life in 2012. And at press time – well before the release of the band’s new album Empire Of The Undead – Hansen was preparing to take the band through Europe for a month. You have to wonder if Hansen started the “Kai Hates Touring” rumour himself for shits and giggles, just to see how far the press and fandom would stretch it.
“The things is, I like touring and I liked it back then as well,” laughs Hansen, “but I didn’t like to be on tour for too long. Two or three months in a row is a bit heavy for me, but I think I can cope with the whole touring business better now than I did when I was younger. In general I don’t like long tours.”
Hansen also isn’t a fan of the constant push-pull in the metal world about who’s playing what kind of metal, whether an artist is metal enough, or if a band/album/song even warrants the stamp to begin with. Some fans, for example, raked Gamma Ray’s previous album To The Metal! (2010) over the coals for not being heavy enough. Going back for a listen to refresh the memory, it’s a ridiculous complaint
“It’s very hard to find a definition of what metal is,” Hansen says. “I never made a big distinction when I was growing up with glam rock and hard rock, and then later on heavy rock and heavy metal. In the end, for me, it’s all hard music with distorted guitars and attitude. Of course all these bands sound different, but to me it’s one thing. The spirit is the same so I don’t see the necessity to make a distinction, so I don’t.” (continue reading…)
By Carl Begai
Cluttered as the metal scene is with female-fronted symphonic metal bands, news that Delain has a new slab of metal to offer isn’t likely to burn up the hype lines. Not until word on The Human Contradiction truly gets out. The fact they’re Dutch doesn’t help matters given their Netherlands is home to much bigger names of the genre such as Epica, Within Temptation, and former After Forever vocalist Floor Jansen who went off to join a little band called Nightwish. As vocalist Charlotte Wessels puts it, however, Delain is a very stubborn band, and although they’ve been on the bottom end of the ladder since their 2006 debut, Lucidity, it hasn’t discouraged them from pushing forward. The Human Contradiction marks their biggest step thus far, up and over the metal microscope and those ready to dismiss Delain without even hearing a note.
Still, the comparisons to bigger and badder female fronted bands must be a pain in the ass.
“It comes with its challenges because we’ve been compared to Within Temptation forever, which is very natural because their sound is in our DNA,” says Charlotte. “Our keyboardist Martijn (Westerholtis one of the main songwriters in Delain and used to be a member of Within Temptation. But, in general, those comparisons and connections have done more for us rather than being an obstacle because, let’s be honest, our first record was a studio record featuring lots of guest musicians. I think a lot of people picked up that record because there was a guest on it they liked, so it is difficult when you face certain competition. In our case, though, we have a lot to be grateful for, so I choose not to ponder over that too much.”
The Human Contradiction finds Delain in what is probably best position of their career. Signed to Napalm Records, they paid their dues in a big way leading up to and following the release of their previous album, We Are The Others (2012). Trying to follow the updates on said album was a confusing exercise, and it sounded like Delain was on their way to being crushed by music industry politics. Charlotte admits it was a painful rough patch for the band.
“When we started working on We Are The Others we were on Roadrunner, but in the middle of that Roadrunner got sold to Warner. We didn’t choose to be with them and they didn’t choose to have us on their roster, and because some people that we worked with at Roadrunner were still with the company we were basically working with two different teams. There were all kinds of ideas and opinions coming in from both sides and we’re a pretty stubborn band, so we didn’t let any of them steer us away from what we wanted to do. (continue reading…)
By Carl Begai
At this point in time violinist Anna Phoebe is best known as a member of the Trans-Siberian Orchestra, a gig and title she gave up in 2010 in the interest of family and exploring other avenues. During her six year tenure with TSO she made two solo albums, the organic Gypsy (2006) and the raging full-on metal assault Rise Of The Warrior (2008); two releases that offered a look at different sides of Anna’s musical personality. After a long stretch of silence peppered with reports that a new album (or two) was definitely in the works, she closed 2013 with the release of a four track EP entitled Embrace. Like Rise Of The Warrior, the music on Embrace was another unexpected turn and marked the first official studio-recorded collaboration with her friends in UK prog metal band Jurojin; a venture that was long overdue. The EP was also the first big step towards a full length Anna Phoebe record due to be released in 2014, entitled Between The Shadow And The Soul.
I recently sat down with Anna and Jurojin guitarist Nicolas Rizzi to discuss the new music and the events that influenced this new chapter of Anna’s career. The first order of business was to clear up a few murky details regarding the collaboration, however. Initially it was reported that Anna was working with Jurojin on her album, which would be followed by a Jurojin album featuring Anna as a guest performer. Now it seems the proposed albums have been mashed together into one production.
Nic: “The idea ages ago was to do a Jurojin / Anna Phoebe album – the typical heavy Jurojin sound with Anna’s playing on top of that – but as we got deeper into the songs and started demoing them, that’s when we decided to go for a much different approach, something a lot more experimental and a lot less heavy. We had some discussions as to how to put the new music out, and even though it’s all of us we decided to go under the Anna Phoebe name, to make it sort of a continuation of her previous two records. We thought it made the most sense to do things this way. We had a 10 track album, and then we removed four tracks for the EP. The idea was to release the EP and spend the time to really develop this new project and new sound. The full length album will be nine tracks, but none of those will be the EP tracks. The only crossover might be a rearranged piano and violin version of ‘Embrace’.”
Looking back on Rise Of The Warrior, which saw Anna take her TSO persona to the next level, she says it was a success even though it may not have sold hundreds of thousands of copies because the album gave her exposure outside the Trans-Siberian Orchestra live spectacle.
Anna: “I guess each album you do is a reflection of where you are in your life at that time. My first album, Gypsy, was made after I’d been touring around the Middle East a lot and had been with the Trans-Siberian Orchestra for a year or two. Gypsy was my world music sound mixed with a bit of rock – I was dipping my toes into it – and by the time I did Rise Of The Warrior, I was fully into the musical pyrotechnics, the loud symphonic rock / metal world. Those were the people I was hanging out with musically and socially. That album is definitely a blueprint of who I was at that time.” (continue reading…)
SEASON OF GHOSTS Vocalist Slams Former BLOOD STAIN CHILD Bandmates – “I Was Treated Like A Sick, Stray Animal”
By Carl Begai
In July 2012, Japan’s Blood Stain Child and their Greek vocalist Sophia parted ways, citing musical and personal differences after only two years and one album together. Since then, neither Sophia nor her former bandmates have said very much about the split in the press, but during my interview for her new Season Of Ghosts project Sophia decided to reveal her reasons for jumping ship.
“I’m not gonna lie: it was a bittersweet journey – probably with emphasis on the ‘bitter’ – wild and fascinating in the beginning. Everything was new to me, so I invested all the connections I’d built throughout the years in the management business, so Blood Stain Child got to tour the US and Europe for the first time, they got an actual marketable internet presence, and Epsilon sold well internationally. Didn’t you think it was pretty weird for a band that had played on kind of the same level for 12 years to suddenly pop up everywhere?”
“The downside was that I was expected to give endlessly while having no say in anything. I was expected to stay in Japan permanently, even if the band rarely rehearsed. This cost a fortune of course, but what disappointed me immensely, was the leader’s reaction after the huge 2011 earthquake/tsunami. Refusing to provide refuge in Osaka for a couple days because ‘Everybody’s busy and you’ll be in the way’ he heartlessly ordered me to stay in Tokyo, thus endangering my safety. As Tokyo was too chaotic after the meltdowns, I decided to leave for Greece earlier than my planned holidays, citing a state of emergency. For the first time as a member, I showed I had a strong character that couldn’t be manipulated so this was not received well at all. I was a new member, a foreigner, a woman and dared to show my personal opinion in the workplace. Uh-oh…” (continue reading…)
By Carl Begai
“Whatever we do with Iron Savior, we have to have fun. If we don’t have fun we don’t do it.”
Which is the reason Iron Savior is still alive and kicking some 18 years since vocalist/guitarist Piet Sielck had the wild idea of clambering out of his producer’s chair and forming a band with pre-Helloween bandmate Kai Hansen and ex-Blind Guardian drummer Thomen Stauch, both long departed. It’s also the reason a cover of the Mando Diao pop hit ‘Dance With Somebody’ appears on Iron Savior’s new album, Rise Of The Hero. Not at all what you expect of an outfit that fills the gap between Primal Fear and Gamma Ray and started as a dead serious hammer-and-nails concept band, but Sielck and his merry men couldn’t give a damn.
“We were just really tired of doing rather predictable old classic metal songs,” Sielck says. “Basically that’s a case of just re-recording the song and maybe giving it better production. I think we did a pretty good job with the Mando Diao song; it reminded us of the work we did with SEAL’s ‘Crazy’ (for the Condition Red album from 2002) because the outcome is definitely different from the original. Our version has a vibe of its own, and that’s actually the main reason we decided to have it on the regular album. It was originally supposed to be a bonus track for the Japanese release. It’s not really metal, it’s kind of alternative, but I actually like the original version and I like the guy’s voice. When the song came out on 2009 in Europe, I thought it was a great alternative to all the Top 40 stuff that was out at the time. It definitely stuck out against everything else.”
“The video we did for the first single from Rise Of The Hero, ‘Burning Heart’, this is us and this is the vibe we’re carrying,” he adds. “Some people may ask ‘Are they serious at all?’ but we’re doing this basically for the fun of it.”
This lighthearted approach to their craft seems to be paying off. Shortly after its release Rise Of The Hero hit the album charts in Germany, which Sielck admits was completely unexpected.
“I think Unification (1999) is the only Iron Savior album that hit the charts until now, and 15 years later we’re back on the charts. It feels awesome, and I never thought we’d achieve this again with Iron Savior. It’s no secret that it’s easier to hit the charts during specific times of the year, and obviously this is such a period. So, we didn’t sell 30,000 records or anything like that, but from what AFM tells me the sales are significantly better than they were for The Landing (2011). That’s a bit of a surprise because The Landing was appreciated by the fans and sold well, much better than AFM or I expected it to at the time. Rise Of The Hero is selling even better, so we must have done something right (laughs).” (continue reading…)
By Carl Begai
What started five years ago as an interesting concept of mashing a rock band with an orchestra live on stage in support of popular vocalists of yesteryear, Rock Meets Classic has set a new standard for itself and anyone dumb enough to try and rip them off. Following successful runs through select parts of Europe – primarily Germany – with stars such as Ian Gillan (Deep Purple), Paul Rodgers (Bad Company), Steve Lukather (Toto), Dan McCafferty (Nazareth), Chris Thompson (Manfred Mann’s Earth Band) and Eric Bazilian (The Hooters) to name only some of ‘em, the 2014 edition of Rock Meets Classic serves up its most diverse line-up yet with unexpectedly positive results. As in, a brilliant high quality ass-kicking.
In all honestly, hearing that Alice Cooper, the Uriah Heep duo of Mick Box and Bernie Shaw, and Joe Lynn Turner were going to share the stage with the likes of ’80s popsters Kim Wilde and Midge Ure (Ultravox) for the tour left me scratching my head in disbelief. As in, I was curious as to who was smoking what when they dreamed up a supposed musical car crash. It’s supposed to be ROCK Meets Classic after all, and although The Mat Sinner Band and the Bohemian Symphony Orchestra Prague have never disappointed in the past, I wondered who the hell would even care about Kim Wilde and Midge Ure.
A whole hell of a lot of people as it turns out. And rightly so, as the duo stood toe-to-toe with their rock pedigree tourmates.
So, rather than penning an overblown review with too many windbag adjectives, the following is a list of highlights from Rock Meets Classic’s fifth show of 2014 on March 14th Würzburg, Germany:
- the Würzburg show and audience crushed the Nuremberg production from the night before.
- backing vocalists Amanda Somerville, Tiffany Kirkland, Kolinda Brozovic, Ralf Scheepers and Sascha Krebs were given the deserved opening spotlight with a great rendition of the Queen classic ‘Show Must Go On’. It was also nice to see they still have their own individual looks and a minimal choreography rather than being decked out like penguin clones. Scheepers still looks metal, and nobody is trying to hide Kirkland’s rather awesome haircut (especially the lady herself).
- Midge Ure’s voice is amazing, and the symphonic rock version of the Ultravox hit ‘Dancing With Tears In My Eyes’ is a keeper. Thank the appropriate diety for YouTube so you can experience it.
- Joe Lynn Turner wore a vest that looked like the couch my parents had back when I was a kid in 1975. He sounds just as good as he ever did, which is bloody amazing.
- seeing and hearing four of five Primal Fear members out of their metal comfort zone is always a blast. They set a new benchmark for themselves this year.
By Carl Begai
In 2013 the annual Rock Meets Classic tour – featuring rock artists from the ’70s and ’80s performing their hits backed by a full band and orchestra – made its way through parts of Europe for the fourth time, once again to rave reviews. As every year changes were made to the roster of artists on board, welcoming Paul Rodgers (Bad Company), Eric Bazilian (The Hooters), Steve Augeri (ex-Journey) and Bonnie Tyler to the stage, with Chris Thompson (Manfred Mann’s Earth Band) being the only holdover from 2012. Changes were made within the usually static ranks of The Mat Sinner Band as well, with backing vocalist Kolinda Brozovic and Primal Fear / DuskMachine drummer Randy Black welcomed to the fold. Black’s presence marked the fourth of five Primal Fear members in the Rock Meets Classic family, and he was only too happy to put his well-seasoned metal impulses on the backburner in favour of performing with some of rock’s finest.
“Not to sound sappy – and I’m going to sound like a wimp (laughs) – but there haven’t been many times in my career when I’ve had tears in my eyes on stage,” Black admits. “A song like ‘Feel Like Makin’ Love’ by Paul Rodgers, I grew up with it and cut my teeth on the cover scene in Canada with them. What people might not realize is that I’m above the stage at Rock Meets Classic, I’m looking down over the orchestra and the band, and I have an in-ear mix of everything. I’m getting goosebumps thinking about it now (laughs). I had this amazing sound in my ears, I was looking down and listening to everything, and I thought ‘I can’t believe I’m drumming for this.’”
“It’s a whole different thing. It’s not metal, but it’s what I grew up listening to; pop rock. There were so many ‘wow’ moments on the 2013 tour, like hearing Bonnie Tyler nailing those notes on ‘Total Eclipse Of The Heart’. Everybody knows the song, everybody knows what Bonnie Tyler sounds like, and she was amazing. I wish my mom could have been there for that.”
Although he was new to the crew, Black was given the spotlight along with the orchestra for a crowd-pleasing rendition of the Pirates Of The Caribbean film’s theme music, ‘He’s A Pirate’. Black played up the part accordingly, making the short interlude one of the many high points of the show.
“That actually wasn’t planned,” Black reveals. “The orchestra rehearsed it without me, and a few shows in they thought drums might add more to the piece, so they put a pirate’s hat on me and away we went. I actually just found out they put it in again for this year.” (continue reading…)
By Carl Begai
There are moments during this interview when Dream Theater keyboardist Jordan Rudess comes across as a peace n’ love kinda guy. Not in a so-chill-he-must-be-on-something way, but rather with a Life Is Good enthusiasm for the band’s current status as prog metal kings. You can’t blame him for being upbeat considering the wave of success Dream Theater is riding with their latest album and the recently wrapped European tour. It’s a buzz that’s sure to get louder when the they kick off their North American tour later this month, featuring (almost) nightly three-hour shows designed and guaranteed to captivate everyone in attendance.
“We decided that we were going to do the An Evening With… shows, which is a big thing because we’ve been going out with opening bands and not offering the whole big production,” Rudess begins, recapping the European tour. “This time it seemed like the fans and the promoters really wanted that and we were ready to make that happen. It was three hours of music and it was a big show; a lot of playing and my fingers are definitely feeling it (laughs). The reaction to it was really great. I felt like the European leg was our best tour so far, especially looking at the ecstatic faces in the audience at the end of a really long show. It proved to me that doing things like this was a great idea. We went into this with the idea that we would try to up our game a little bit and put even more into the show. Not only the amount of time that we played, but the whole experience. We wanted to create a show where, from the time people walk in the door to the time they leave, they’re part of our world. We wanted to take people on a journey with this tour so we put a lot of thought, time and energy into it. At the end of that two month leg, I have to say doing things this was was a gamble that paid off in terms of making the fans happy and bringing more people into the shows.” (continue reading…)