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…)

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…)

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

It’s fair to say that former Venom bandmates Tony “Demolition Man” Dolan (vocals/bass) and Jeff “Mantas” Dunn (guitars) do their best work as a unit. There are folks that labelled Dolan a pretender to original / current Venom singer Cronos’ pincushion throne when he stomped in for three albums from 1989 – 1992 (Prime Evil, Temples Of Ice, The Waste Lands), but Dolan is still recognized as an integral part of the band’s history. The fans were reminded of this in 2004 when Dolan joined Dunn’s new albeit short-lived project, Mantas. It was a venture that died before its time, largely regarded as a nice try and not much else. When the buzz of another reunion project started up in 2010, however – this time with ex-Venom drummer Antton Lant in the mix – people were all ears, particularly since the trio had chosen to work under the banner Prime Evil as a tip of the hat to their collective past. One name change and Lant’s unfortunate but amicable departure later, Dolan and Dunn are in arguably better form than ever with Mpire Of Evil.

“We had a long discussion before anything got off the ground,” Dolan admits. “Every time we’ve tried to get back together it’s been because we wanted to, and every time we stopped it was because of some other fucker, never because of us. The Mantas thing for example; we did the album (Zero Tolerance), we shot a video, we did the Earthshaker Festival in Germany, but when we got back it became apparent to me rather quickly that the record company (Demolition Records) might not be spending the money promoting the album they way they should have been. I told them that if they didn’t invest in it, thing were going to go the same way they always have. We had a big discussion with management and the record company, and I wouldn’t let it go. I kept bringing it up and they got so pissed off at me in the end, thinking that I’d become a bit of a problem saying they should do this and that. The label eventually told Jeff that he either dropped me or they were going to drop the band.” (continue reading…)

By Carl Begai

Like any serious band, the members of Toronto-based trio Modified – Tricia Stanley (vocals), Anthony Xander (guitars/vocals), James “Jones” Rose (drums) – are fuelled by their individual rock star dreams. Those aspirations are tempered, however, by keeping their collective feet firmly planted in the real world. Every step they’ve taken since the release of their EP debut Cruel Intentions in 2009 has been with a goal in mind rather than to prove a point to curious people watching from the sidelines. Battle Of The Bands competitions, sharing the stage with screamo, pop rock and death metal bands, shooting live-off-the-floor studio footage or an official video clip, Modified have taken on the music scene with a professional and thought-out approach unexpected in a young band still learning the ropes.

Ironically, Tricia sent out a message via Facebook a month prior to this interview stating that Modified were finished with Battle Of The Bands competitions from here on out. Not quite a rant, but a clear indication the band has had enough of being a number on a ballot.

Tricia: “I’m not pissed off, but it just seemed like we were getting bombarded by these promoters coming to us all at once saying ‘Do you wanna play this show?’ which was always followed by ‘Here’s the catch…’ It’s not like: ‘We love your band, we believe in you guys.’ It all comes down to how much money they can make off us. I know that’s the reality of the business, but I feel we’re past the stage in our lives where we can drive around the city for two weeks selling tickets. I don’t like it, so I’d rather not be involved in that part of it. And half the time it’s not a true contest; it comes down to how many friends you bring and whose ass you’re kissing. If it was a true contest where you could get something significant out of it to help the band, that would be fine, but we just don’t have time for that.” (continue reading…)

By Carl Begai

In North America the Trans-Siberian Orchestra has become as traditional at Christmas as Santa Claus, coloured lights and holiday parking. Even if you’ve never attended one of their seasonal shows – which usually hits a city near you anywhere from November through January – you’ve definitely heard of them, as the TSO rock opera format appeals to people from all walks of life, to everyone from children to the elderly. Plain and simple, the Trans-Siberian Orchestra has proven for well over a decade that you don’t need to be metal to ride this ride, regardless of the outfit’s Savatage-rooted history.

Producer/composer Paul O’Neill is known for pushing the envelope with every project he devises. It was his collaborative efforts with Savatage frontman Jon Oliva in the late ’80s, in fact, that slowly but surely transformed the legendary metal band into something much more theatrical in nature, which eventually spawned the Trans-Siberian Orchestra. And while TSO established itself as a Christmas-themed project when it launched in 1996, O’Neill got rid of the sleigh in 2000 for Beethoven’s Last Night, an album telling the fictitious tale of legendary composer Ludwig van Beethoven’s last night alive. TSO finally toured for the album in North America in 2010, went to Europe the following year, and 2012 sees the band on the road again, this time supporting a fully narrated re-release of Beethoven’s Last Night.

Guitarist Chris Caffery, a long time member of Savatage and the Trans-Siberian Orchestra, offered his views on the current Beethoven’s Last Night tour versus the annual winter shows during some rare and fleeting post-soundcheck downtime:

“It’s a very different vibe. The winter tour has the holiday and runaway theme to the story line, the music marries that story. This tour is the complete Beethoven’s Last Night album, and it’s not like the winter show isn’t a rock concert, but the Beethoven show has a darker feel because of the story and the theme. Beethoven is battling the devil to save his soul and his music, it’s a pretty intense story. For me personally it feels more like I’m performing a rock concert because of the way the songs and the album is structured. It’s a little bit more to where my roots were when I performed growing up. (continue reading…)

By Carl Begai

It takes remarkable strength of character to throw yourself to the wolves knowing you’re going to get bitten and potentially ripped to shreds. So it goes that, regardless of what Into Eternity fans may think of vocalist Amanda Kiernan stepping in to replace Stu Block – now a member of Iced Earth – for the band’s live activities, they have to respect her for willingly putting herself in harm’s way. With a few gigs under her belt at the time of this writing, Kiernan had made more friends than enemies amongst Into Eternity fans even as they mourned Block’s absence, the majority seemingly able to give her the benefit of the doubt. It’s anybody’s guess how the future will play out now that the band essentially has two singers and Block’s Iced Earth career has exploded, but the bottom line is that Kiernan is committed to shedding even more blood, sweat and tears to make things work.

Kiernan’s journey began in November 2011 when Into Eternity put out the call for a “touring only” singer. She jumped in with both feet.

“I found out about the audition and called (Into Eternity drummer) Brian Newbury right away,” Kiernan says. “I just wanted to push myself to the top and prove to myself and others that I can actually do this, and that there are no limitations. After I called him we both went to my studio and spent two days recording the audition songs that Tim Roth (guitars / founder) wanted me to do.” (continue reading…)

By Carl Begai

When word came down in March 2011 that Canadian bashers Into Eternity’s vocalist Stu Block had replaced Matt Barlow as the singer for Iced Earth, it caused major confusion amongst fans in both camps. Iced Earth followers that were aware of Block’s shriek-and-growl style were convinced guitarist / founder Jon Schaffer had lost his mind, while Into Eternity fans were left wondering if the band had a future without Block’s unique vocal talents. Both he and guitarist Tim Roth have maintained that Block is still with Into Eternity – a claim that rang true with the recent release of the single ‘Fukushima’ – but news that The Order Of Chaos singer Amanda Kiernan had been brought in as Block’s live replacement so the band can tour served up another barrage of questions. With that in mind, Roth was happy to hook up and set the record straight.

“We were rehearsing on a Friday, and after a whole weekend of rehearsals he hit me with the news that he’d joined Iced Earth,” Roth recalls when asked how Block broke the news of getting the gig. “And then he hit me with a CD of him singing some new Iced Earth stuff. So not only did he tell me, he showed me some of the material they’d already recorded. I was just floored. Stu and I are best friends, and we weren’t doing anything at the time, so it makes sense that someone would come in and invite Stu to join their band. Jon Schaffer knows talent, I know talent, and Stu has always been that shining diamond in the rough. When I’d seen him in his previous band he really impressed me. I knew I had to have a guy with his kind of vocals in Into Eternity.” (continue reading…)

By Carl Begai

When former Helloween vocalist Michael Kiske announced the launch of his new band Unisonic in 2009, the buzz that followed was minimal at best. Having ex-Gotthard guitarist Mandy Meyer and the Pink Cream 69 rhythm section of Dennis Ward (bass) and Kosta Zafiriou (drums) on board did little to sweeten the pot, largely because Kiske had built a dubious track record for lack luster solo albums and making one-shot guest appearances on other projects since his 1993 departure from Helloween. Add to this his rather vocal disdain for the metal scene and many of his fans felt they’d been stabbed in the back. He redeemed himself somewhat with the Kiske / Somerville album in 2010 and his continued participation in Edguy frontman Tobias Sammet’s popular ongoing metal opera band, Avantasia – dating back to 2001 – but expectations surrounding Unisonic remained painfully low.

Enter former Helloween bandmate Kai Hansen, a long standing friend and fan of Kiske’s vocal talents. Hansen infamously left Helloween mid-tour in 1988 and went on to form Gamma Ray a year later, calling on Kiske to do guest vocals on the song ‘Time To Break Free’ for the Land Of The Free album in 1995. Since then the pair have crossed paths on various projects, with things coming to a head on Avantasia’s world tour in 2010, when Sammet called upon them to reprise their studio roles for the stage. Both Kiske and Hansen agreed, doing a string of shows together for the first time in 20 years. A few months after the tour Hansen announced he had joined Unisonic as a full time member. (continue reading…)