Six albums into their 11 year existence and My Ruin are still fighting for respect. On the one hand vocalist Tairrie B. and guitarist / co-conspirator / husband Mick Murphy continue to enjoy a loyal under-the-radar following, but on the flipside many people that stumble across My Ruin have no idea what to make of them. The hope is that the new album, Ghosts And Good Stories, will change that to some degree by opening a few more doors. The record is a slab of scathing original thinking that has the potential to appeal to metal fans old and new – worshippers of AC/DC down to Zakk Wylde take note – provided they get a chance to hear it. So it goes that the couple remain completely hands-on with regards to the push that is currently underway, ultimately steering clear of two-faced record label maggots in the continued journey towards a larger audience. Familiar ground at this stage of the game for the pair, because it’s this do-it-yourself attitude that has kept My Ruin alive and kicking this long.

“We do what we do on our own terms and have been isolated from the metal community in many ways,” says Murphy. “We’re an autonomous band that has up to this point, pretty much existed on our own. I realize this probably holds us back in some ways, but we’re also one of the more free-spirited bands out there and have enjoyed complete expressive freedom and a very do-it-yourself attitude throughout our entire career. Why bitch about it? We’ve made our own decisions and chosen our own path. Would I like to have a killer opening spot on a big tour? Sure, if it is the right gig for us. Do I think this is going to happen? Probably not, but that’s okay.”

Ghosts And Good Stories is easily the strongest My Ruin album to date, and not merely because it’s the shiny new toy in the band’s sandbox. Buying into that depends, of course, on personal taste and emotional attachment to their previous works. From where I stand the band has never released such a well-rounded album, as it’s completely absent of the occasional emo vibes and sometimes cold production values that have peppered their previous releases. In some ways this feels like a new incarnation of My Ruin, revamped from the ground up.

“I’m glad you like the new record. I do think it stands above our previous albums because it encapsulates the whole of what My Ruin has to offer as a band. I also really like how it turned out sonically. Josh Lynch, our co-producer, really stepped up and helped us achieve a high production value while maintaining that live energy that keeps things exciting. As far as your ‘emo’ description goes, I don’t think anything we’ve done in the past can be considered emo at all. In regards to our older material I think that we have always worked really fast, around obstacles and within the limitations of a small budget – with the exception of our Prayer record – so we have ended up with something other than a super glossy user-friendly collection of past albums. I still love every one of them though because to me, they each have a unique raw character that sets them apart from other modern rock/metal albums. I believe that Ghosts And Good Stories has that quality as well but it is a little more refined and effective this time around because we took more time making this record. We didn’t necessarily spend more time actually recording but we only worked on the weekends so there was a lot of time in between recording sessions to recharge and reflect on the whole process.”

Murphy has long been regarded as an unsung guitar hero by those in-the-know. Perhaps best described as possessing an Angus Young-meets-Tony Iommi style of shred, he puts in a raw wall-to-wall performance on Ghosts And Good Stories that will appeal to both the no-nonsense rock and aggression-happy metal masses. His diversity as a player shines through on the new record more than on any other My Ruin album.

“I planned out the music on this record meticulously and I knew exactly what I wanted to get across,” Murphy explains. “I’m still a very hungry musician and songwriter because we’ve had to fight and work our asses off for everything we have achieved in this band. I watched too many bands that I grew up listening to get boring as hell as they aged and they just seemed too comfortable living in that rock’n’ roll bubble so the music suffered. I think that we’ve maintained our edge because we’ve never had that bubble to get lost in. We’re on the front lines of everything involving My Ruin, from the business to the music and pretty much always have been.”

No surprise that Ms. B has also upped her game. Her trademark screams and spoken word approach have – some would say “finally” – been given a seamless musical canvas to work with. Forget what you think In This Moment’s Maria Brink taught you about female vocal aggression…

“This is Tairrie’s best vocal work of her entire career, hands down,” agrees the proud hubby. “The screams are on point and pretty much rival anybody male or female, the spoken parts offset them perfectly while creating atmosphere and the vocal styling in between work well for each song, not to mention the great lyrics and passion within her delivery of them. Can you tell I’m stoked about it?”

Fans have been likewise stoked for months thanks to the Murphys’ regular video updates from the studio during the making of Ghosts And Good Stories. This is nothing new for the pair even though interactive technology has only become truly user friendly over the last few years. According to Murphy, keeping the fans in the loop has always been a part of My Ruin’s routine.

“We’ve documented, filmed and shared the things we do behind the scenes for a long time now. We’ve been ahead of a lot of younger bands when it comes to this stuff. We were actually selling behind-the-scenes VHS tapes to people at our shows and shipping them to people all over the world as far back as 2000. I really enjoy putting together our documentaries and have taught myself quite a bit about video editing over the years and I think the latest studio film shows this. We enjoy giving people an inside look at our process.”

Check out the review for Ghosts And Good Stories here. For a behind-the-scenes look at the making of the album go to their YouTube channel. Audio samples and purchase information can be found here.

Watch for my exclusive interview with Tairrie B. coming to BW&BK sooner rather than later.

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Mobile technology. Music in your grubby eardrums at the click of a button. Research and plagiarism made possible without having to go anywhere near a library. Print-’em at home concert / movie / hockey tickets. Not having to risk life and at least one hand scoffing Dad’s copies of Penthouse (again) thanks to Bill Gates products in the privacy of your own room.

Good for them. Pass Junior another Happy Meal, then try to get him out of the fucking house.

I, like everyone in my 40-and-rising age group, remember trying to find that payphone in -10 weather only to discover I didn’t have any quarters. Lining up on Boxing Day for Record Peddler specials that were not to be missed. Frying in mid-summer 35+ heat outside the frickin’ mall waiting to buy concert tickets, and the elation of scoring Red 52’s at Maple Leaf Gardens. Thanking the lord Dad didn’t notice that copy of Penthouse underneath my textbooks (no wonder I dropped Grade 12 math twice).

No matter how much I bitched and moaned at the time, that was living.

This isn’t bitterness talking. I’m reacting to the lethargy that seems to have taken hold amongst the younglings as life picks up speed. I finally understand why, when I did or said something inexcusably stupid as a kid, my parents were prone to laying down the law prefaced by “When I was your age…” Never in a million years did I think I’d ever sound like them.

That said, while I have disdain for the vast majority of next generation gluttonous fleas that are destined to one day inherit this earth, it’s nice when some of them prove they’re not as shallow as I discredit them for.

During my recent return home to Toronto, I attended the Aerosmith show at the Air Canada Centre with The Rev. As we walked to the venue there was some discussion as to what the female contingent of attendees would look like, both of us cringing at the thought of 35 – 50 year-old cougars and moms in spandex and big hair dancing in the aisles (not thinking for a second that we could possibly be regarded as two old and worn out dinosaurs). We decided there wouldn’t be much to look at beyond the stage and our beer.

Oh how wrong we were. For every female fan of an age with ourselves there were two late-teen-to-mid-20s hotties to be seen. A lot of them dressed to the hilt, many done up past casual cuteness, leaving us scratching our heads… and in a few memorable cases holding back the drool. Aerosmith hasn’t done anything knock-down-noteworthy in years beyond Steve Tyler taking that infamous header off stage, many of the ladies (and guys) filling the seats were little more than an idea in their parents’ minds when the Permanent Vacation, Pump or Eat The Rich albums were released. So what in the hell had brought them out to the show? I had my answer following Sammy Hagar’s set….

Steven Tyler, of course.

The women went batshit the moment Tyler hit the stage. It wasn’t mindless scream-’til-yer-tonsils-bleed Backstreet Boys adulation, but it was certainly at a level where boob flashing was an increasing possibility with each song into the set. Every time Tyler’s mug appeared on the video screens or he strutted down the runway extending into the crowd, squeals of orgasmic delight filled the room. Good ol’ countrified boy Jon Bon Jovi couldn’t have garnered more love from the masses.

The two attractive twentysomethings sitting to my left were part of this cheerleading squad, so into the spectacle on stage that I was compelled to ask the closer and better built of the two (my oh my) what it was about Tyler that made him so bloody hot.

“Steven Tyler is hideous! It’s the music!”

Her response took me completely off guard. I was expecting a one-dimensional giggidy-giggidy answer and got slapped with clear cut logic. It made me smile. I wouldn’t call Tyler “hideous” necessarily, and I don’t think I’d mind looking like him when I hit 60, but… of course it was the music. Duh. The band played all their hits, they sounded great, how could it not be?

Given the hefty pricetag for the tickets – well over $100.00 a head for anything below nosebleed seats – there was no way the younger Aerosmith fans in the house showed up just to ogle Tyler or Joe Perry. When I considerd that Iron Maiden and KISS have enjoyed similar turn-outs on their own recent tours, it could only be the music that’s been drawing people out in droves, many of them members of the younger generation I view as being too spoiled for their own good.

Admittedly, it’s nice to have been proven wrong on that score. I’m sure many of the Aero-youth I saw that night download music illegally, a lot of them probably think Hot Topic is the be-all-and -end-all of existence, some probably haven’t ever used a payphone. Signs of the times, but the fact several hundred pre-30 fans – in the truest sense of the word – left their iPods at home to participate in an old school lights-and-sound dress-up gathering was comforting.

It was also a much-needed reminder that when I write about the music that makes my naughty bits tingle, there’s a younger-than-me crowd that is in fact paying attention. An audience that will ultimately allow me to do this journalist schtick until I finally decide to grow up and get a real job. Some of them may even grow up with me – maybe some of them have – which is a humbling thought.

So, to the aftergrowths out there, thanks for keeping me in line. Now turn the damn computer off and go outside. It’s a nice day.

- Photo by The Rev. All rights reserved.

Audrey Dujardin’s rise as an in-demand photographer is proof that taking baby steps towards a career pays off. It helps, of course, when each step taken lands like a steel-soled Doc Marten rather than a tap shoe.

Dujardin’s work speaks for itself, but trying to slow her down long enough to pick her brain was a welcome challenge. Following is a revealing look through her lens and behind her eyes…

CB: At what point did you come to the conclusion that photography was developing into more than just a hobby? Was there a specific show or event?

Dujardin: “I think photography was never really a hobby. It’s hard to say. I started out as a radio host and reporter. I never thought I’d end up becoming a photographer, but I’ve been an artist my whole life, painting and drawing with pencils, inks and pastels, even sculpting clay. I just ‘had’ to start shooting when the magazines were sending me to shows and asking me to take photos. So I did what I had to do: bought some gear, shot, practiced, bought more gear. I started out totally sucking at photography, so I practiced very hard, reading every book, every website and forum, and every tutorial on the subject, then I practiced until I developed to a satisfying level. At some point a few bands contacted me through my website because they liked what they saw and asked to buy some of my pics for album booklets, DVDs and whatnot, and it just developed from there.”

“Maybe the turning point in making it pro was Finnish Metal Expo 2008, when Moonsorrow recommended me to Terrorizer Magazine, because in the chain of events after that I worked a lot with Terrorizer on tour reports and festival reports, photo shoots and so on. During the same summer Turisas hired me for their DVD, then I got flown in and out from Finland repeatedly for photo shoots, and from there all over Europe.”

CB: What was the deciding factor in pushing you to do this in a professional capacity? As in, figuring you were good enough to sell your pictures to the artists you covered or credible publications?

Dujardin: “I never really thought about ‘Am I good enough?’ I think in the end it’s more a question of just being able to stand behind the work you’ve done without being arrogant or overdoing it. Just know what you’re worth and sell yourself as such.”

“My first promo session was with the Finnish band Rock, headed by producer Anssi Kippo. He recommended me around, word of mouth, and the internet did the rest. Concerning live pics, I think it was a Misery Index show that was my first to be bought by Metal Hammer Germany. Since then I’ve just kept being recommended by more and more labels, bands and magazines up to today, where very fortunately for me, work finds me and not the other way around. That’s something I’m really proud of. Like I said above, I was in the right places at the right time so I never had to look for work. For example, Finntroll had me fly in to Finland for their promo shots, Eluveitie to Switzerland, and most recently Blind Guardian flew into Munich to work with me in my home studio on their new promo pics for a couple days. I was just in Holland last week shooting photos for the promo of Epica guitarist Mark Jansen’s new band. So I guess it’s like you; the profession sort of chose me. And I thank it for that!”

CB: Knowledge and money; two things you absolutely need as a professional photographer. So, was this a case of learning by doing for you in terms of acquiring what you needed to know, or did somebody help teach you the ropes? The money thing; how hard is it keeping things in perspective with regards to spending big $$ on the next bad-ass piece of gear or keeping things moving with the equipment you have? You can be loaded with the best gear in the world and still suck balls in your profession.

Dujardin: “I never had pointers from anyone, really. I am entirely self taught. I know everything I know because of research and study. I have dozens of books on photo-journalism and photography, and I participate in many specialized forum. I never learned anything from the other photographers in the pit, if that’s what you’re asking. I do talk a lot about technique, contracts, and lighting setups with my friend Kalle from Finland, who is already quite established over there, but that’s mainly it. Most people in the pit are working as hobby photographers and don’t really have the ambition to be real photographers, only to shoot the bands they like. The real photographers don’t usually give a shit about the music, so they leave the pit once they’re done. No, I think in my case it’s just perseverance – something I’m insanely good at because when I have something in mind I just never give up – and practice that got me here. Soul-sucking devotion. But sometimes, focusing on what you want just gets you there. it’s a question of ambition and drive.”

“Money and gear…. the eternal dilemma. I like to say ‘Don’t buy a Ferrari if you don’t know how to drive.’ Even I don’t have a Ferrari… yet. It doesn’t matter how much your gear is worth if you have no clue what the buttons do. Nothing annoys me more than seeing bimbos in the photo pit with a 5D and a hot ass, just there to impress whoever and delivering the most boring shots. Sure, the good gear will avoid problems like noise and will surely get you better IQ (Image Quality), but who cares if you don’t know what the band is going to do next. The way I see it, if you don’t feel the music or if you can’t work with the lights or anticipate what the band will do – in short, if you don’t see the photo in your mind before going to the pit – you really should try shooting flowers or something that doesn’t really require much anticipation.”

“Money… I went to school and got a job before gearing up, which helps. I don’t really have to worry about money since I worked my whole life and had money on the side for whatever purpose. Now my gear is paid back by the photo work. I have a planned budget. Right now I’ve just built my studio so I’m in the middle of gathering funds for all the lights and everything I need, but photo work comes in regularly so the investment is smooth and less painful than if I only needed photography to live.”

CB: Digital technology is great, but I still love analog equipment. I really believe that if you want to pick the good photographers from the bad you should take away all their fancy shit and give ‘em an old Canon from ‘78 to get the job – whatever it may be – done. Thoughts on that?

Dujardin: “Well, throw me a stone, but I’m not a fan of analog. I had a Nikon analog reflex, but come on, I work for mags who ask me to deliver pics with 48 hours of shooting them, retouched and all. I could never do that if I worked in a dark chamber. It’s probably fun and all but it just doesn’t suit my working style and deadlines. I gave it up pretty much easily, and because I’m sort of a new-generation photographer I never really needed to deal with it much anyway. Man, I actually said I’m not into silver photography… that’s such a no-go in terms of image. Well what can I say, I’m being honest. I travel with my photo backpack about 100 days a year. I can’t email them from London, Helsinki, Vienna or Zurich if I have to walk around with rolls of film. Sorry!”

CB: What makes an excellent, standout photographer in your eyes? Is there any one photographer out there – regardless of focus, if you’ll pardon the pun – that you look at his or her work and think “That’s where I want to be” in terms of artistic integrity?

Dujardin: “What makes a stand out photographer is the ability to get the images they have in their heads freeze in the camera, to seize the right moments at a show and to get the models to give what they want on sessions. Nothing else. Composition, white balance, hues, contrasts and geek bullshit can be fixed later, and anyone can do it. But being there, being in contact with the band, catching their eye, catching their moves, catching the spirit of a band on a shoot, that’s a thing you can only do if you’re involved completely in the job.”

“I don’t really have a role model in terms of photography, but I really like the work of some photographers like Pete Ionian or Caroline Traitler from Austria. Pete has some killer audience and gig pics from Novarock 2009, they’ve really inspired me. Caroline is really good at catching the moment on stage. She has a lot of imagination in her composition and use of shutter speed and flash and those are things that 99% of the people in the pit are lacking, which is a crying shame. In studio, I do like Steve Brown a lot, as well as Heile from Germany. Other than those, I tend to be bored to death with the millions of other people out there who just snap around to get free tickets. I’ve said it before and I’ll say it again; it’s not until you know what kind of moves the band has that you can get anything out of them. Then, you need to look around. What kind of lights are there on the stage? What colour are they? Are the moving, are they blinking? Is there smoke? A good photographer is able to deal with all these different conditions. Imagination. That’s also a skill you see too rarely nowadays. No one wants to see a ‘hair shot’, where you can’t even identify what band is playing. Should I keep on going?”

CB: What bands / artists are consistently the best subjects – live or studio – where you could literally put one cheesy white light on them, dress them in garbage bags, and they’d still look like a million bucks thanks to the vibe / attitude / atmosphere they bring with them?

Dujardin: “That’s easy. Deathstars come to mind first. They’re probably the sexiest band that ever lived, and honestly I wouldn’t mind getting stuck for two days in an elevator with them. They’re just so pretty you can do anything you want, they’re always going to come out all sparkle and sex-appeal. Another one who is hard to miss is Simone Simons of Epica. She’s a natural beauty and I think you’d really have to try very hard to get a bad shot of her. Tomi Joutsen from Amorphis is also probably the most charismatic front man in the industry. Really. And if he’s on a stage, even better. The pictures exhale pure, mysterious virility, any day. Emilie Autumn is also another one who’s hard to miss; she’s just as charismatic as Tomi, minus the moustache.”

CB: This is a male dominated industry blah blah blah. You’ve been on the receiving end of that bullshit (insert perverted innuendo here), but have you gotten to the point where your work speaks for yourself rather than people focusing only on the T’n'A behind the camera?

Dujardin: “God Carl, you’re a real poet aren’t you? (laughs) Yes, I can positively say that nowadays, my glorious tits and ass are most definitely the last reason anyone would hire me. First, by now, everyone in the business knows I will laugh at you if you even try hitting on me, and second, people also know who it is that I work for and usually those people are their record label or the big magazines, so that gives me leverage if I need to tell them to shut the fuck up. But it’s not a secret that any girl, and even moreso a tall blonde with a French accent, needs to work ten times as hard than any guy to get respected as a professional in the music scene. But I understand the game. I knew what it would be like before I started and I’ve managed to get where I wanted to be because of recognized work, and that alone. I’m not really worried or troubled at this point. It’s very rare that people talk to me for the wrong reasons. It happens, and then I try to be the pro in the room and ignore it as much as possible. I don’t think the new chief editor of Metal Hammer would have asked me to shoot the cover of the first issue he was in charge of if he didn’t think I would be able to make the magazine sell. Furthermore, I’d never even met the people in such a big band as Blind Guardian in my life before they flew to Munich to work in my studio. They chose me based on my portfolio and nothing else.”

CB: You’ve gone from being small time to having a respected growing business and reputation. Is there anything photography-wise you’d like to do, maybe outside the music industry? Ever given any thought to releasing a book of your work at some point?

Dujardin: “Yes, I’m currently working on several very, very cool projects in photo. I don’t want to tell you too much about it because I’m that superstitious, but believe me, it’ll kick a lot of ass. They’re ideas of mine that I’m working on with some bands and magazines, and they’re things I’ve always wanted to do, and now I’m crossing fingers for the whole thing to finally be published. I’m so excited that I’ve been given a chance to make basically all my dreams come true, and I’m really proud because not everyone has that opportunity. I’m thankful for every job and every person who’s given me a chance in the business.”

“I just love and live for what I do. I’m not really able to work outside of the music business, first because that’s what I’m specialized in and second because I’d simply never have time. To me it’s more than a job, it’s my oxygen. I love what I do so much that I think it reflects on the people I shoot. I almost always get what I want because I’m one step ahead in my mind, every time. That only happens if you feel it. You hold you cameras ready, you hold your breath, you look into that guy’s eyes and you just zap it right out of him and get what you came for. Nothing is cooler than getting sent all over the world and paid to do the job you love. I couldn’t live without it.”

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Earlier this year Stratovarius issued what has been viewed as a cash grab. Dubbed a Special Live Edition of the band’s 2009 comeback album, Polaris, it features new packaging and a 14 song live “bootleg” bonus disc featuring recordings from their recent world tour, but it isn’t the half-hearted hackjob so many of these productions tend to be. Along with some of Stratovarius’ most popular songs – ‘Hunting High And Low’, ‘Kiss Of Judas’ ‘Father Time’ and ‘Speed Of Light’ – the package includes four tracks from Polaris and some unexpected gems from their catalogue, clocking in at a high quality press-repeat 75 minutes. Take it as you will, but for the fanatic diehards a live Stratovarius album was long overdue, with the one and only official on-stage showcase, Visions Live, having been released in 1997. Polaris Live is a surprisingly solid outing that doesn’t disappoint in spite of the fact original guitarist and visionary Timo Tolkki isn’t involved in any way.

“It’s been a while,” laughs frontman Timo Kotipelto. “As you know, though, this isn’t a ‘proper’ live album. We had to leave out a lot of songs, but this was always meant as something special for the fans rather than an official release. I think maybe in a few years we’ll do an actual proper live album.”

That said, the bonus album was never meant as a way to line the band’s pockets. Chance are good it’s drumming up some business after all…

“I think the label originally asked us if we wanted to record some live stuff for release, and when the tour was coming up we thought about recording a couple shows,’ says Kotipelto. “Then we decided to just bring the recording equipment with us to record the shows whenever we felt like it. At that point we promised the label we’d record some stuff and then mix it, and if it sounded good they could use it for a future release. It was also a good idea because there are a lot of fans that didn’t get the chance to come out and see Matias (Kupiainen) on guitar with us. This gives them the chance to hear how this band sounds with him in the line-up.”

The focus of the Polaris tour wasn’t on the album but rather on Kupiainen, who ultimately enabled Stratovarius to make a comeback. Tolkki personified the Stratovarius brand, making him irreplaceable in the eyes of many fans, but Kotipelto says the band didn’t encounter the fallout they’d expected when they brought Kupiainen to the people.

“I was expecting there would be some fans making noise that they wanted Tolkki back, but there was none of that. It was the complete opposite. Okay, there were some people that spent the first few songs check Mathias out, but when they realized ‘Oh fuck, this man can play..’ they accepted him. It was in like that in some countries or cities, but everyone was very supportive in the end. They realized we’re having a lot more fun on stage now that we had with somebody else on guitar, and I think that makes a big difference. It was great. Of course you’re performing for the fans, but especially in my case, when I’ve got stress in my life and it feels like the band isn’t at 100% is affects my performance. It sounds stupid, but with Matias joining the band there was this new energy like you see and hear in a newcomer band.”

With Tolkki out of the picture for Polaris and all future activities, Kotipelto also found himself in the unusual position of being able to decide with his bandmates when, where and how Stratovarius would move forward. No longer driven by Tolkki’s vision, they are now a democracy.

“It was a totally different situation,” Kotipelto says of Tolkki’s absence. “Suddenly it wasn’t just one guy saying ‘Okay, these are the songs; you play, you sing, we’ll be going on the road in two months.’ It wasn’t exactly like that with Tolkki, but a lot of it was. He was the main guy – maybe not so much at the end – but suddenly we were five guys with our own motives. If we didn’t like a song, for example, we could say something about it and choose not to play it, so it was easier. I have to say, though, that Tolkki was a very good producer and he composed brilliant songs, so when we started working with Matias we didn’t have any real songs (laughs). The table was clean, we came up with what I think is a pretty good album with Polaris, and realized that yes, this is the way things should be. If someone in the band doesn’t like playing a certain song, he’s welcome to speak about it openly with the others and we’re able to make a band decision. It’s a lot different now.”

Asked for his feelings on Polaris now that he’s had the chance to live with it, Kotipelto sees room for improvement. It did a solid job, however, of obliterating band’s weak self-titled album from 2005 – touted as a comeback album following their initial Tolkki-instigated break-up – from memory.

“At the time I was very satisfied with the album because of where our starting point was, but now I think the next album will be better because Matias has been in the band for over a year now. It was a relief to be able to do Polaris without Tolkki, so that made it a good album, but the next one will be excellent (laughs). There were some ideas of trying hurry things up and try to release it by the end of 2010, but that might be too early. I think it’s better to concentrate on the album and work on the songs, maybe release it in February or March 2011. We’ll see.”

Kotipelto considers himself fortunate to be able to talk about Stratovarius’ future some 15 years since he joined the ranks. Especially given the break-up drama and mudslinging in the press that cast a shadow over 2003 / 2004.

“Well, I’ve been in and out of the band in that time, but mostly in (laughs). In a way I’m surprised I’m still here, but I get the feeling this is the way it was meant to be. The drama… it’s been too much if you ask me. I only ever wanted to concentrate on the songs and the music, but there were some people in the band who wanted to push things in a different way. That’s in the past now, though, so there won’t be any more of that crap.”

Wrapping things up, Kotipelto discusses the slim possibility of a new solo album at some point, making it clear that Stratovarius has always been and remains his first priority.

“When it comes to composing songs there might be only one song from me on the next Stratovarius album. Maybe there won’t be any. The other guys have been writing a lot and I haven’t been that active. If I happen to write something that doesn’t really fit the Stratovarius sound – power metal or whatever you want to call it – then I might put it on a solo album. The thing is, I don’t have a reason or a need to do another solo album. If it happens, it happens. There definitely won’t be a Kotipelto album this year or even next year, but you never know. If I suddenly come up with 12 good songs, why not?”

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Return To Zero is trademark ‘70s-flavoured Spiritual Beggars, but the announcement prior to the recording sessions that vocalist Janne “JB” Christofferson had been replaced by Firewind frontman Apollo Papathanasio suggested this wouldn’t be the case. Up to this point Papathanasio has been known as a power metal singer, all bombast and polish, making his performance on Return To Zero a pleasant surprise. Amott says bringing him on board was indeed a case of getting past preconceived notions and hearing Papathanasio in a completely different environment.

“Apollo is a local guy, which is weird because everyone thinks he’s from Greece. His parents are Greek, but he was raised in Sweden. I’ve been aware of him forever, long before Firewind. When it became clear that JB couldn’t sing on the new record I was really disappointed and I seriously began thinking maybe that was it. Ludwig called me and suggested Apollo because the two of them play in a bar band doing cover songs. Apollo had in fact offered his help to get the ball rolling, get the songs done, rather than stepping in as a full time vocalist. I thought no, he’s too metal, but I thought ‘What the hell…’ and asked him to learn a few songs, then come down and jam.”

“I was so surprised because he sounded like our first vocalist (Christian “Spice” Sjöstrand), he could really hit that pitch from the Ad Astra album. Apollo has this grit and attitude in his voice that I wasn’t aware he had. It was very cool, but I knew people were going to be very skeptical (laughs). When he did some JB stuff from On Fire and Demons it sounded great; I was really surprised by his range. Then we started working on a new song idea I had and Apollo threw out some vocal melodies and improvised, which is something Spiritual Beggars used to do. I really missed that whole jamming aspect of our songwriting, because JB lived eight hours away which made that impossible, so working with Apollo felt good. I felt there was some real potential.”

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“We had the impression that there would be a wide variation of songs on the album, so we just had to fill in the gaps,” says Kürsch. “But again, there was no pattern, so we could have gone onto the wrong track at some points. Luckily, we had very open discussions about how the songs were progressing and where they should go, and we followed that line all the way through the production. I’d say that in 90% of all cases we were very successful. Once we came to a decision we went for it. That wasn’t necessarily the case with albums like Night At The Opera or A Twist In The Myth.”

“This album. I think it features all the great qualities that make up Blind Guardian; the let your hair down stuff we did at the beginning on the ‘90s, the more epic stuff from the end of the ‘90s, and the more progressive stuff we did on the last two albums. There’s a little bit of everything, and I feel it’s the proper way to go. People who didn’t like A Night At The Opera or A Twist In The Myth, I think they’ll find it easier to relate to the songs connected to this period of our career.”

“People I’ve spoken to consider At The Edge Of Time to be more driven in an older direction. That is the case at certain points; there are a lot of older qualities that weren’t featured on A Twist In The Myth, but I agree that the variety we have in the direction of the music has been moved forward on At The Edge Of Time.”

Go to this location for the complete interview.

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Not until this year’s highly anticipated return home to Toronto.

Folks that know me are painfully aware of how much I love coming home. It’s my annual respite from all the things that piss me off about Germany – and there is definitely a book in there – a return to the people and places that make me feel like me. With that in mind, I’m inclined to brush off the general chaos and stupidity that’s bound to crop up on an overseas-with-a-connecting-flight trip and focus on the awesomosity that awaits me in Toronto. I realized this year, however, that when the airline loses your luggage and takes its sweet time in recovering it and getting it to you, no matter how much fun you’re having the questions of “Where?” and “When?” and “What if?” have a tendency to dampen one’s mood. Not a good thing.

For the record, it took KLM three days to get my bags to Toronto and deliver them to my home address. I daresay they wouldn’t have made it at all if it wasn’t for me harassing their call center and baggage claim people with phone calls and emails.

Of course, some people might be wondering what I made a big stink about the situation if I was at home. After all, it wasn’t like I was in parts unknown with only one shirt, shorts and a pair of flip-flops. Well, KLM lost not only my luggage, but The Girlfriend’s and The Kid’s bags as well. I know from experience that two women who need their stuff are destined to make my life miserable if things aren’t brought under control ASAfuckingP.

(Women and stuff = peace of mind. Very important if you’re a man travelling with the fairer if slightly deranged sex).

And so, a breakdown of my little adventure in tribute to the monkeys at KLM:

August 1st
- Land in Toronto, blast through customs in under three minutes, head to luggage carousel.
- After 30 minutes of waiting around, start entertaining worst case scenario that luggage hasn’t come along for the trip.
- After 45 minutes, convinced that luggage is now in Zimbabwe. Go to baggage claim desk a notice the “Oh shit” look on Geekboy’s face. Ask for a baggage claim form.
- Thankful that I was second in line when 60 people from the same flight show up behind me asking where the fuck their bags are. Hand in baggage claim form, leave chaos behind. They’ll be working late.
- Home an hour later, first Canadian beer in 11 months. Takes the edge off. Fuck KLM, I’ll deal with them tomorrow.

August 2nd
- Unable to trace my lost luggage on KLM’s convenient Trace Your Lost Luggage page. No new information available. Wonderful.
- Call KLM’s Oops We Fucked Up help line. Smart boy that I am, I wait until the flight out of Amsterdam is en route to Toronto. Ask for an update. Doodness tells me that the bags are still in Amsterdam. They’ll be on the August 3rd flight to Toronto. Really.
- Do you swear on your pet hamster’s life?
- They’ll be on the August 3rd flight to Toronto. Really.
- Uh-huh. And how much $$ is KLM going to cough up for the necessities that need to be purchased thanks to the airline’s raging ineptitude? You know, for basic things like toiletries and, I don’t know, clothes? Wearing the same shade of black for days on end will even get on my nerves at some point.

August 3rd
- Still no updates on the KLM To Trace Or Not To Trace page, call KLM help line.
- All lines are busy (big surprise), I wait ten minutes listening to some mind numbing Euro-pop ballad. Probably meant to soothe the savage beast. Fail.
- Miss Help Line 2010 tells me that her update shows no changes have been made.
- What does that mean?
- “No changes” means the bags should be on the flight to Toronto. Flight will arrive at around 4:00pm, at which point they have to be processed and sent through customs. Once that’s done they can be delivered.
- So basically, no way in hell they’re being delivered today. Happy camper. Not.

August 4th
- Call Center Girl is now aware of all details of my August 1st trip from Amsterdam, including my in flight meals, my take on that boring-as-hell Percy Jackson movie, and my innermost thoughts of the hot Dutch flight attendant in sections 51 – 68.
- According to the Trace Your Bags In 340 Easy Steps web page my luggage was processed on August 3rd. So, where is it?
- I’m informed that when KLM fuck up, they do so with vigour and full commitment to the task. Over 100 bags have to be delivered to less-than-pleased customers.
- Translation: “You won’t see ‘em until 7:00pm tonight. Better wash your socks…”
- Phonecall from KLM Driver Lackey at 3:00pm. Doodness was smart enough to not show up with only one of the three missing bags, figuring (correctly) that if he didn’t have all three, future meals would be consumed through a straw. Will come by between 7:00pm – 11:00pm.
- I’ll kill someone if I sit here waiting. Going out for a beer or ten. Okay… only one… I’m driving.
- Home at 12:30am, convinced that when I walk in the door my bags will still be MIA. Lo and behold, all three globetrotting suitcases are waiting in the front hall. Sunshine and happiness for all.
- But… (because there is always a “but”… and not the hot kind)
- … it seems my bag has been ripped wide open during the trip. Looks like it stopped at the polar bear cage at the Metro Zoo on the way home for a stress test. No measures have been taken to secure the contents inside, but amazingly nothing is missing. Nobody thought to rip off some rather spiffy metal threads, nor did my gifts for the crew get scattered across the Atlantic. I suppose this is a new version of Dutch air conditioning.

August 5th
- Back on the phone with Call Center Girl. The adventure continues…

Thank you for flying KLM, where we Kill Luggage by the Mile.

James LaBrie of Dream Theater fame is gearing up for the release of his new solo album, Static Impulse, on September 28th. No question, it smokes. Fans of his 2005 outing Elements Of Persuasion will be pleased to hear that guitarist Marco Sfogli and keyboardist Matt Guillory are still on board and shredding up a storm. LaBrie’s band also inclides Halford bassist Ray Riendeau and Darkane drummer Peter Wildoer, the latter being particularly significant in that he does a fair bit of kicking and screaming throughout the record. The song ‘One More Time’ is currently available for streaming here and… let’s just say some of the diehard Dream Theater fanatics are going to need a sedative. A full-on review is in the works but has to be held back until the beginning of September due to certain promotional requirements. As in, I don’t want to bite the hands that feed. Suffice to say LaBrie has made some ballsy decisions on the album and turned out a killer piece of work.

One of my personal faves out of Montreal, former Scarlet Sins drummer Elie Bertrand, has resurfaced with the blues-oriented band Blue Boots. Or as she puts it, a “blues country rock cover band.” Audio samples can be found here and I’d suggest checking out the track ‘Why’ for a real indication of what the band is all about. In addition, Elie has been tapped to perform at the Montreal Drum Fest – the second largest drum event in North America – which takes place October 23rd and 24th. Click here for event information.

In addition, Elie opted to leave Harbinger due to creative differences. It was an amicable split, so nobody should expect any mudslinging or badmouthing any time soon.

Toronto rockers Modified have released their new five song EP, Cruel Temptations, via CDbaby.com. Audio samples are available on the page, full clips are available for streaming on their official MySpace page. From where I sit they remind me of a cross between Lacuna Coil’s present day metal approach and severely underrated Vincent Black Shadow. Solid work that won’t necessarily hit home first time through but definitely has staying power. And in true Canadian fashion Modified is a three piece, putting the them in some bloody good company

I’ll be catching up with vocalist Tricia Stanley while I’m home, so watch for an interview in September.

Finally, according to assorted updates and scattered comments Devin Townsend and InsideOut Music have plans to release a DVD at some point showcasing the Devin Townsend Project’s performance of the complete Ziltoid The Omniscient album at the Tuska Festival 2010. There will be much more to it than that by the sound of things, especially considering Devin has been “collecting mixes and live shows for years.” He’s currently working on his highly anticipated Ghost record, which will cap off his four-album journey into all things Hevy Devy. Watch his official Facebook page here for updates, cryptic comments and dietary advice. Seriiously

“I was shocked, yeah,” Drenning says of the similarities between La Torre’s and Midnight’s vocals. “It came as a complete surprise because we were preparing for the ProgPower X tribute show to Midnight, organizing these metal singers from around the world who had graciously offered their time and talent, so we really didn’t need another singer. Matt Laporte from Jon Oliva’s Pain dedicated his time as well to play guitar and dulcimer on the night because he and Midnight had been good friends, and he mentioned to me that he knew a drummer who was an aspiring singer. He said ‘I think he might be your guy.’ I told Matt there was no way. There were people from all over the world interested in auditioning, there was no way I was going to find a singer for Crimson Glory in my own backyard. Finding one Midnight was special enough. Finding another singer with those qualities in my own backyard again… what are the chances of that?”

“We did ‘Queen Of The Masquerade’ and ‘Azrael’, and he really got the attitude and the high notes. Todd was nervous but it sounded great. I asked him to learn a few more songs and come back the next night. That second night we did ‘Valhalla’, ‘In Dark Places’, ‘Masque Of The Red Death’, ‘Mayday’, and we were blown away.”

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On the musical front Ghosts And Good Stories surpasses everything the band has done thus far. It has a seamless flow similar to that of Tairrie’s pre-My Ruin effort Tura Satana; a nice change from some of the previous albums’ jagged and stumbling execution. Murphy is easily one of the most underrated guitarists around, playing off Angus Young, Tony Iommi and Zakk Wylde as the mood requires, sometimes all in the same song. The man isn’t afraid of laying down riffs and solos, and his aggressive playing style is refreshingly melodic rather than tedious-trendy, putting to death any further discussion of whether My Ruin belongs in a box marked “emo” or placed in metaldom’s good graces.

The only hiccup of the proceedings is a plodding cover of the Henry Rollins classic ‘Turned Out’. There’s nothing wrong with the My Ruin rendition; it just feels out of place on a bare bones slash-and-burn record that otherwise shows no sign of letting up. Given the band’s recent online offerings of AC/DC’s ‘Have A Drink On Me’, KISS’ ‘War Machine’ and the Dr. Dre / Ice Cube rap classic ‘Natural Born Killaz’ done under the Death Work Professionals moniker, ‘Turned Out’ may have been better suited to that forum as well. When all is said and done, however, Ghosts And Good Stories makes a lasting impact on anyone willing to look a little deeper underground for a kick in the teeth.

Fave tracks: ‘Suicide Tuesday’, ‘Long Dark Night’, ‘Excommunicated’, ‘Abusing The Muse’, ‘Malediction’

Check out behind-the-scenes video footage from the recordings of Ghosts And Good Stories here.