Carl Begai

By Carl Begai

The long awaited Nightwish follow-up to Dark Passion Play from 2007, Imaginaerum, is a masterpiece. The greatest thing since the creation of fire. Grander the invention of the wheel. A tour de force that has pushed the power metal and classical music scenes to learn French and admit they have no clue what “bombastic” really means. A showcase of musical genius that has composer John Williams considering changing his last name to Holopainen. Better than half-drunk pre-marital sex. So awesome they had to make a movie about/for/with it. Blah blah fucking blah add nausea…

Yes indeed, the media hack hype machine has been puckering up and kissing ass ever since the album was made accessible to the press, likely upping the sales of Chapstick by 200%. Only thing is, Imaginaerum is a bloody masterpiece, particularly if you’re a Nightwish fan that’s been able to see beyond Tarja Turunen’s cleavage.

If not for potential accusations of plagiarism, Nightwish could have gotten away with calling the album Tuomas In Wonderland. Spawned and nurtured by keyboardist / songwriter / founder Tuomas Holopainen, Imaginaerum is his full blown journey into the depths of fairytales and fantasy, something that’s been a here-and-there part of the Nightwish formula from album to album since the band’s inception. It earns the title “epic” before things are even a third done, the majority of the songs being a clear cut and necessary step up and away from Dark Passion Play on almost every count. Just how far one is willing to be yanked down Holopainen’s personal rabbit hole depends on how much time you’re willing to invest in a new, insanely ambitious, and occasionally bizarre take on a traditional soundtrack. (continue reading…)

By Carl Begai

An excerpt from my recent interview with Piet Sielck, frontman and founder of Iron Savior, a band that should probably be dead and buried. In spite of some brutal odds, Sielck has succeeded in keeping things together and putting out a new album worthy of attention from the power metal legions. And from what he says, he’s getting it…

“The will to do this came back when I finally managed to solve the major issues with Dockyard 1. I sold the remains to AFM Records and (distributor) Soulfood Music in October 2010, and that was the point where I finally saw some light at the end of the tunnel. From that point on I definitely felt better, so I went in and cleaned out the studio, made it comfortable again. It was a good thing because it also cleared my mind. I was able to sit down and write music again. At the beginning I wrote the first complete song for The Landing, which was ‘Heavy Metal Never Dies’, and if you take a look at the lyrics and relate them to what I just told you about Dockyard you can say it was musical therapy for me (laughs).”

As Iron Savior albums go – seven in all – The Landing ranks as one of the strongest since the 1997 speed-happy self-titled debut. More metal-oriented than Megatropolis, the vibe and energy level is very reminiscent of Condition Red from 2002. Sielck agrees.

“It’s funny that you mention Condition Red because it was written under similar circumstances. I had a personal crisis to deal with before I started that album, but when it was over I went into writing Condition Red with a great attitude. It was the same thing when I wrote ‘Heavy Metal Never Dies’ for The Landing; it kicked my ass so bad that I was on fire (laughs). It felt like I could go on writing songs forever, to the point I was actually kind of sad when the writing sessions were over.” (continue reading…)

By Carl Begai

When a press person sings the praises of a band or artist in a public forum, it’s a safe bet that swag is involved. Every music journo has done it at some point, thinking “I scratch your back, you give me a free (insert item or sexual favour here)” until he or she realizes / remembers it’s supposed to be about the music first and personal gain last.

With the above in mind, I’ve shamelessly pushed and promoted My Ruin to anybody withing spitting distance for the better part of two years… and believe me, I’m a projectile saliva expert at this point. My efforts haven’t been in the interest of adding wearable aggressive blasphemy to my wardrobe, however. Nope; I just happen to be a My Ruin fanboy, dating back to the late ’90s and vocalist Tairrie B. Murphy’s first real metal edged smackdown, Tura Satana. And oddly enough, after years of silence we reconnected somewhere along the way and became friends. Thus, any stories, reviews, thoughts, musings or dirty jokes based on My Ruin’s brand of noise were spawned by that friendship.

Yeah, tough guy, so what? Big deal.

(continue reading…)

By Carl Begai

Call it a case of “You say tomato and I say tomahto.” Ottawa-based Doll, who officially grabbed the public eye in 2009 with their debut album Inside The Dollhouse, remain steadfast in stamping themselves as a modern day grunge-flavoured act, but my finely-honed musical sensibilities protest. It must be a generational thing, because going into the band’s new album, The Ragdoll Diaries, there’s very little that conjures up visions of the unkempt angst-clenched Vedder / Staley / Cobain-worshipping legions of the ‘90s. Maybe it’s the street-level grit under the band’s proverbial fingernails, but Doll exhibit a healthy aggression delivered with a refreshing punk attitude built for a live audience. For those that have been following the band since their debut, The Ragdoll Diaries has been a long time in coming, and it was a wait that wasn’t made easier with the early 2011 release of three songs – online and for free – as a tease. Vocalist/guitarist Christina Abraham Kasper makes no apologies, calling the move to do so a necessary one.

Christina: “We started recording this album over a year ago, in August 2010. We did the first album in two weeks, but for this one we really took our time. We went into the studio a few times a week and worked on songs here and there. We made them perfect; if there was something bugging us about one song we had the time to fix it. The three songs that we put out, we just wanted to get a buzz going and let people know that we were still around and working hard on a new album. I think some people were a bit surprised that we were working on new songs, so they were excited to hear it. We were playing a lot of new material at our live shows, too, so that’s helped get the buzz going as well.” (continue reading…)

By Carl Begai

On November 25th and 26th, Hamburg-based AFM Records celebrated 15 years in the trenches. It was a remarkably well-organized weekend of work and play, featuring fine dining, an open bar (or two), great people, an early morning label showcase to introduce new AFM signings (that not everybody attended due to the late late late night), a hotel bar that never closed (and was abused accordingly.. all hail Motel One), culminating with a festival at the Markthalle in the heart of downtown. Rather than the usual cattle call of press hacks, the vast majority of folks invited to attend were in fact AFM business partners, responsible for keep the label in people’s faces over the last several years. Being one of the aforementioned journalists, it was an honour to be asked to come out on behalf of BW&BK for the whole knock-down-drag-out event, and it was certainly worth the time spent.

On the work end of things, the label presented priority releases for early 2012, including German glamsters Kissin’ Dynamite, Orden Ogan, Lyriel, Solution .45, Fear Factory, Buck Satan And The 666 Shooters (industrial country… really) and of particular note, Ministry’s comeback record, Relapse. This included a special video message from frontman / mastermind Al Jourgensen, and two tracks that are the closest Ministry will (n)ever get to a ballad.

As for the play side – other than the carrying on like kids in a candy store backstage – the Markthalle hosted 15 AFM bands on two stages, including U.D.O., The New Black, Voodoo Circle, Mob Rules, A Life Divided, Dark Age and Lake Of Tears. Doro Pesch, a former member of the label’s roster, attended in a strictly non-performance capacity but took plenty of time out for her fans backstage. As did Piet Sielck of Iron Savior fame, who soaked up U.D.O.’s show with us normal folk. And staff members from some of AFM’s international partners – INgrooves.com, Soundforge Music Group, Scream Magazine, Tangra Mega Rock Radio to name a few – kept the good vibes up in the rafters from the first glass of champagne. (continue reading…)

While you recover from those idiotic Christmas carols that did your head in the last time you were out shopping, some info on new quality Canadian noise guaranteed to give Santa a reason to skip your house this year…

Ultimate garage rocker Danko Jones, who just happens to have a huge metal-loving fanbase in Europe, has issued a new five-song EP entitled Mouth To Mouth as a digital-only release. Three of the tracks – ‘Rock ‘N’ Roll Proletariat’, ‘The Kids Don’t Want To Rock’, ‘Guest List Blues’ – have surfaced over the last couple years as b-sides, while ‘She’s Too Pretty’ and ‘Mouth To Mouth’ are previously unreleased must-have songs if you’re a diehard fanboy/girl. An audio player featuring the latter two tracks is available at the bottom of this update.

In addition, Danko will hit the stage for a spoken word set at the Wacken Open Air 2012, which is set to take place August 2nd – 4th in Wacken, Germany. As of today the festival was officially sold out, so anyone who doesn’t have tickets will have to content with watching his performance during the online simulcast. (continue reading…)

By Carl Begai

When a band releases an album for free, the knee-jerk reaction is to dismiss it as a collection of odds and bits that aren’t worthy of an official “real world” physical release. A Southern Revelation is available at no cost to friend and foe alike (details below), featuring brand new material written and recorded in the wake of a label-instigated shitsorm that would have ripped a lesser band to shreds. Call it nine shots of venom capped off with a chaser celebrating the good old days, served up as a middle finger dedicated to Tiefdruck Musik boss Daniel Heerdman following the botched release of My Ruin’s previous record, Ghosts And Good Stories.

A bloodletting rather than an exorcism, vocalist Tairrie B. Murphy tears down Heerdmann, false promises, industry politics and the posers it spawns, ever the elegant wordsmith whether she’s a raging scream or calculated spoken word. Always a treat to listen to – “listen” being the operative word – lyrical violence abounds, with Tairrie venting in her trademark no-bull fashion on ‘Walk Of Shame’, ‘Middle Finger’, ‘Seventh Sacrament’, ‘Deconsecrated’, and the killing blow, ‘The Soulless Beast’. And while certain folks may feel that there’s no such thing as bad publicity, being compared in song to the devil and stamped as “The Great Pretender” by name should be food for change of thought. (continue reading…)

By Carl Begai

It’s been a long, long, long time since Iced Earth has done anything for me, with Something Wicked This Way Comes from 1998 standing as the last knock-down no-holds-barred skull basher in guitarist / founder Jon Schaffer’s catalogue. There have been some noteworthy moments since then – ‘The Phantom Opera Ghost’ from Horror Show and ‘The Reckoning’ from The Glorious Burden being the mindblowing faves – but nothing that dug its hooks in down to the bone for the space of a full album. With that in mind, the usual industry hype that preceded the release of Dystopia sounded like smoke-blow for the hopeless fanboy, automatically setting my expectations on the low side as a failsafe against disappointment.

The first spin through Dystopia yanked jaw to floor. Repeated listens since then – again and again… and again – have convinced me that Iced Earth is back in the game and capable of surpassing the brightest moments of The Dark Saga / Something Wicked… breakthrough era from over a decade past.

Dystopia’s charm and staying power stem from the fact that Schaffer has dialled back his penchant of the past five years for delivering music in epic and sometimes too-big-to-be digested portions. By no means is this a sign he’s lacking in ambition these days; it’s just being channelled in a new (old) way. And, Schaffer should be applauded for stripping things down and keeping focus on the bloody point. (continue reading…)

As much as I enjoy making the world a more dangerous place with BW&BK, I have one major issue with our little empire; it moves too damn fast. Case in point with The Boss’ recent interview with William Shatner, which was pinned as a top headline before being moved to the regular Features section on the site and subsequently buried by a gazillion other metallic stories and news bits. Yes, THAT William Shatner… the rock star’s rock star, out supporting his new spoken word rock album Seeking Major Tom, which is worth more than a cursory glance. Assuming, of course, you have a sense of humour.

That said, following is an excerpt from ye olde CEO Tim Henderson’s exclusive chat with a living legend…

By Metal Tim Henderson

With one listen to Seeking Major Tom, you either get it or you don’t. And Shatner gets it.

“Let me tell you about hard rock,” he begins on the phone from somewhere in outer-space. “Everyone is asking me the same question – what the fuck are you doing? I had no idea about the energy, the purity and the excitement of heavy metal until I worked with Zakk Wylde. I laid down my tracks to (Black Sabbath’s) ‘Iron Man’ first and then I went to Zakk Wylde’s house a couple of weeks later and the sound of Zakk Wylde’s guitar and voice taught me the meaning of heavy metal. And I have nothing but deep respect for it.”

You’ve got some heavy-weights of the scene. To actually get Ritchie Blackmore (Blackmore’s Night, ex-Deep Purple) out of his tights and Renaissance garb is quite the feat!

“Yes, it’s incredible. There’s some 20 of the greatest musicians alive today are on this record, it’s phenomenal! And how it happened is a little bit beyond me. Most of the people we asked jumped on board.”

Which artist had you awestruck or even starstruck?

“All of them. I know that’s a cop-out, but I mean, how do you choose between Brad Paisely playing that guitar, or Ritchie Blackmore, or Peter Frampton. And Sheryl Crow? Singing that song (‘Mrs. Major Tom’) a capella with bell-like tones. What an incredible voice. So how do you choose? I’m awestruck by the generosity of these people that gave me their time and their talent. And I’m filled with that tentative sort of offering like when a kitten comes in with a bundle from outside and offers it. I’m offering this record and as I see the reaction I’m braver about it. I didn’t know how it was going to be taken. I mean, the people who were in on the making of it were saying ‘awesome’ and ‘great’, but I’ve been in a lot of productions where you think you’re great. Or in the horse business it’s called being barn-blind. And I didn’t know we were being barn-blind or not. I felt great about it, but I didn’t know if it was going to be accepted or not. And it’s becoming quite popular.” (continue reading…)

By Carl Begai

Way back in November 2004, I had the opportunity to interview Def Leppard guitarist Phil Collen. By that point I’d pretty much dismissed the band as a lost cause with their best years behind them, but as a diehard fan of their first three albums and one of the millions willingly sucked in by Hysteria – featuring Collen on the latter two – I accepted without a second thought. It was a fantastic conversation, with Collen being unexpectedly receptive to what I figure were some unexpected questions given the amount of ass-kissing that usually goes on between journos and rock stars during press junkets.

Read on, stay tuned for a Manraze review, sample a few bits and pieces from PunkFunkRootsRock at the end of the story, try to tell me I’m wrong And remember, this interview took place in November 2004…

I used to be a Def Leppard fan. I admit to owning a copy of the band’s Hysteria opus from 1987 – an album fellow Knucklehead Martin Popoff so accurately describes as “tasteless and devoid of all life” in his Collector’s Guide To Heavy Metal. It was the beginning of the end of my fanboyship, although their first three albums kicked my ass and continue to do so to this day. Gritty, raw, bare bones hard ass rock-to-metal packages, On Through The Night (’80), High ‘N’ Dry (’81) and Pyromania (’83) were laid down by a band with stars in its eyes, grateful for every pancake they sold because it meant an extra round of pints at the pub. The gazillion-selling hit that was Hysteria changed all that, of course, with each album that followed offering up more and more ultra-layered processed cheese based on producer Mutt Lange’s original blueprint of How To Make A Better Sellout, which incidentally, actually began to take shape during Pyromania. Present day feedback and sales suggest that I’m not alone in my thinking, as Def Leppard hasn’t had a major blow-the-doors-off hit since Adrenalize (’92). Their last album, X, sewered out worse than Ashlee Simpson on SNL, yet the band’s label recently saw fit to release a Best Of compilation featuring, lo and behold, lots of older pre-hysterical material.

Needless to say I was surprised. I mean, the schmalz-loving Top 40 cuddle-rock contingent that keeps Def Leppard afloat today either doesn’t know, or more likely doesn’t care about the old classic songs. Given the chance to speak to guitarist Phil Collen and ask him what gives – could this perhaps be a sign that times and sound are changing? – I jumped at the opportunity. (continue reading…)