By Carl Begai
I’m going to start this story with an apology to Tobias Sammet and all those involved with the Avantasia machine.
In my initial overview of the new album The Mystery Of Time (found here), I did a fair job of smack-talking Sammet’s previous Avantasia effort, The Wicked Symphony / Angel Of Babylon double album. In my world it was just too damn long, with only three songs of a possible 22 having left a mark on my brain since the 2010 release (‘Scales Of Justice’, ‘Stargazers’ and ‘Death Is Just A Feeling’ in case anyone cares). In stark contrast The Mystery Of Time boasts only 10 songs, and after only one time through during the listening session at the Nuclear Blast offices in Donzdorf, Germany there were melodies and riffs still resonating in my head days later. I blame my harsh view of The Wicked Symphony / Angel Of Babylon on being smacked with too much information at one time, while The Mystery Of Time is an exciting “buckle up” ride if you’re a fan of the genre. It seems my enthusiasm may have gotten the better of me. I still say Avantasia’s previous outing pales in comparison to the new album, but by no means had I intended to dumb down Sammet’s vision or the work that went into making it a reality.
That said, during the listening session for The Mystery Of Time, I did mention to Sammet that I thought The Wicked Symphony / Angel Of Babylon was too big for its own good.
“Definitely, I agree,” says Sammet. “Not that I would throw away any of the material because I like all the songs, but some of the songs suffered from being just one out of 22 songs that came out at the same time. The songs that would have been really appreciated on an album of 10 tracks were called ‘weak’ or ‘fillers’ because there was so much competition. That was something that I wasn’t able to predict. I thought, ‘I wrote the material, I like each song because I had months to become acquainted with them.’ I knew every detail of every song, so they were very important to me.”
The Mystery Of Time offers so much more to sink one’s teeth into because of its compact nature. Short-ish, sweet, wonderfully diverse, and straight to the point.
“I’m really with you on that,” Sammet agrees. “This album is an entity all its own, and compact is the best way to describe it.” (continue reading…)
By Carl Begai
I recently attended a listening session for Avantasia’s new album, The Mystery Of Time, at Nuclear Blast headquarters in Donzdorf, Germany for BW&BK. An excerpt from my report is available below. I have to admit, I was pleasantly surprised by the strength of the record, which made a much bigger impression on me than Avantasia founder Tobias Sammet’s previous double-album venture, The Wicked Symphony / Angel Of Babylon.
Folks have said vocalist Tobias Sammet (Edguy) and guitarist/producer Sascha Paeth lost the plot last time out in 2010 by releasing a 22 song double album that pounded the listener into submission with too much information. The Mystery Of Time sees the dynamic duo taking a step back and focusing on crafting a ‘simple’ no-nonsense rock opera; 10 songs, two of ‘em ballads, two of them hitting the 10+ minute mark, and influences/inspiration worn shamelessly on the Avantasia sleeve. Of all their releases thus far, the new record is by far the most theatrical, a point driven home by opening track ‘Spectres’, the epic ‘Savior In The Clockwork’, and the closing Meat Loaf-esque ‘The Great Mystery’. The use of a flesh and blood orchestra really DOES make a difference against dial-up digital magic, made all the more special because the boys didn’t use it on every single track (which is usually the downfall of productions like this).
Plenty of heavy over-the-top metal moments from Paeth’s treasure trove of riffs, to guitar leads from Bruce Kulick (ex-KISS) on three tracks, and Arjen Lucassen (Ayreon) trading licks with keyboardist Ferdy Doernberg (Rough Silk) on ‘The Watchmaker’s Dream’. Michael Kiske (Unisonic, ex-Helloween) blows the doors off with his circa ’87 performance on ‘Where Clock Hands Freeze’ (speedy and heavy), but the big prize goes to ‘Invoke The Machine’ for it’s blatant tip of the hat to cult fave Danish bashers Pretty Maids featuring PM vocalist Ronnie Atkins in a duet with Tobi. Several journalists at the session agreed the song is the high point of the record. (continue reading…)
By Carl Begai
During a recent interview for the as-yet-untitled follow-up to his HDK album from 2009, System Overload, former After Forever guitarist Sander Gommans discussed his involvement on the new metal solo album from singer/songwriter and Avantasia / HDK vocalist Amanda Somerville. Gommans enjoys being his own boss, but he freely admits the creative process for the Trillium debut, Alloy, made him realize that even the master of the universe has to take the back seat once in a while.
“In the beginning it was hard for me because normally you wrote something for somebody and let it go, but since Amanda and I are partners, I didn’t let it go that easily. I wanted to make the best out of it, and I wanted Amanda to make the best choices. I helped her out with some of the administrative stuff and I wrote a few songs, but it was really Amanda’s project and I had to get used to her big involvement. Not so much in the writing of my songs, but in the vocal arrangements and lyrics. She had a really good idea of how the album should sound and what she wanted, and I kept telling her ‘It’s not metal enough… it needs to be more metal.’ And she would tell me, ‘This is my project, I want to have it exactly the way I want to have it…’ (laughs).”
“She made the choices in the creative aspects of the album, and now that it’s out, it’s about surprising to me how cool it is. It offers so much more than the average metal band, and it has so much more to it that you can really see what a talented person Amanda is when it comes to having her own vision. In my arrogance, I found out that I should stop being arrogant and shut up sometimes (laughs).” (continue reading…)
By Carl Begai
Back in July, vocalist Amanda Somerville spilled the beans on her first official metal solo project, Trillium (interview available here). With the release of the debut album, Alloy, only weeks away she shot a video for the song ‘Coward’, and we got together the following morning over tea to delve a little deeper into the new album.
It’s safe to say Somerville efforts will surprise a lot of fans – in a good way – and earn her some new ones along the way as Trillium plays out. And while it’s a no-nonsense metal album, anyone that’s followed Somerville’s decade-long non-metal career will wonder if some of the songs were consciously tweaked from a singer / songwriter / acoustic state to the tough-as-nails tracks we’re hearing now. Take away the distortion and the tracks in question would easily fit on her 2009 solo album, Windows.
“It was very conscious, actually,” Somerville reveals. “Songs like ‘Path Of Least Resistance’, ‘Purge’ and ‘Mistaken’ were pretty dark, and I’d planned to put them on my next solo album, which was going to be darker and heavier than anything I’d done before anyway. I had all this material that was building up, and since I’m a piano player and not a guitar player, it was clear to me I’d have to work with someone who played guitar as their main instrument like Sascha (Paeth / producer) or Sander (Gommans / HDK) so they could metal it up. That was the idea from the start, and the way things progressed led to those songs being on this album.”
“The songs that I wrote with Sander – and he’s a prolific songwriter, cranking them out like crazy – we already them had in mind for this project. Sander was totally into it, and every time he sits down with his guitar a song comes out of it. The way we typically work, he writes the instrumental parts and then I come in and suggest whatever changes I think should be made. Then I take the song and write a vocal line and lyrics to it. Sander likes a good challenge as well, though, and when he heard the piano / vocal demo I had for ‘Machine Gun’ he asked if he could work on it. He came up with the big main riff, which really supplements the running theme through the whole song.” (continue reading…)
By Carl Begai
Following is an excerpt from my latest BW&BK interview with Edguy / Avantasia frontman Tobias Sammet for the new Edguy album, Age Of The Joker….
“I think Edguy has always maintained the integrity and the key elements of our sound,” says Sammet, “but we’ve always dared – and it’s really stupid to use that terminology – to do what we feel (laughs). It really sounds odd because it’s something you take for granted when you speak to an artist. An artist should always be doing what he or she wants to do.”
Which is the very reason for Edguy’s continued success, as Sammet has no problem dropkicking the box marked “Fan Expectations.”
“I’ve said this before, but we don’t work for a pizza delivery service. Just because the fans ask us for something, it doesn’t mean they’re going to get it from us (laughs). It doesn’t work like that when you’re creating art, and we’ve always done what we wanted. I’m really happy with the album, and it’s a heartfelt happiness. I don’t know what to think about the musical direction of it, if we’ve gone back to the roots or whatever. That was never our goal, we didn’t really strive for that.”
“The thing is, if we were to do 10 songs like ‘Babylon’ for example, it wouldn’t work. Sometimes I really feel the need to do a song like that, and you can hear that in songs like ‘The Arcane Guild’ and ‘Breathe’ on Age Of The Joker. When we did the Theater Of Salvation album, although we loved that kind of music, I think we really wanted to make sure that we came up with a statement. I don’t think it was a conscious thing, but I think we really wanted to make sure we had a label put on us.” (continue reading…)