BraveWords Interview: SOILWORK – Making Waves

By Carl Begai

Blame Soilwork guitarist David Andersson for the band’s new EP, A Whisp Of The Atlantic. It’s all his fault. And he’s proud of it.

Of course Andersson’s bandmates were all present and accounted for when Soilwork put the EP together over the summer, but it was the 45 year-old guitarist who fired up the machine again and put everyone back to work. A Whisp Of The Atlantic offers up some startling work from the band, spearheaded by the monstrous 16-minute title track that, once again, makes a bold statement with regards to collective talent that Soilwork bleeds into their music. For Andersson it was a chance for the band to continue exercising this creativity rather than waiting for the world to get back to something resembling normal before releasing a follow-up to their previous spotlight-worthy album, Verkligheten.

“We released Verkligheten early last year, and this line-up of the band has a really good time together, so we’re very creative and enthusiastic about what we’re doing,” Andersson explains. “I thought it would be a waste to wait two or three years before we record something new, so I wrote a few songs starting with ‘Feverish’. I made a few more and everyone seemed to like them. Since I joined the band in 2012, I’ve always had this idea of writing one long epic, progressive song. Just because I loved prog rock growing up, and I also think that Soilwork is a bit underestimated as a band. People think of us as writing catchy Swedish melodic death metal but we’re more than just that. With this line-up we’re pretty much able to play any kind of music and it would be really nice to just be able to show people that we’re much more than they think.”

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BraveWords Interview: DIAMOND HEAD – ‘Nother Wave Of British Heavy Metal

By Carl Begai

Diamond Head may not be a household name, but their influence on the metal world is undeniable. They don’t share the spotlight with the likes of Iron Maiden, Def Leppard or Motörhead, but they are a recognized part of the New Wave Of British Heavy Metal circle that took the distortion-loving world by storm in the ’70s and into the ’80s. A prime example is Metallica who spent the early part of their career cranking out and covering no less than five Diamond Head songs – “It’s Electric”, “Helpless”, “Am I Evil?”, “The Prince” and “Sucking My Love” – taken from the band’s debut Lightning To The Nations, an album that turns 40 this year. Listening to Metallica’s first three records in particular, the Diamond Head references are easy to find if you’ve been paying attention.

Commercial success eluded Diamond Head because they were seemingly only able to keep things together for a few albums at a time over the course of four decades. Still, they’ve managed to put out eight albums and keep their name alive. To celebrate the 40th Anniversary of Lightning To The Nations, founding guitarist Brian Tatler and his bandmates decided album #9 should be a re-recording, figuring the updated version would appeal to the younger generation(s) of metal fans as well as the old guard. Particularly since there has been a renewed interest in Diamond Head in recent years.

“I think that’s partly due to our new singer, Ras (Rasmus Bom Andersen), who joined in 2014,” Tatler says of the band garnering new found and long overdue attention. “We released the self-titled Diamond Head album in 2016 and then The Coffin Train last year. Now we’ve got management (Siren), a label (Silver Lining) and an agent, so everything seems to be going really well. We realized it was creeping up to 40 years for Lightning To The Nations, and we could have just done some live shows – we did that in 2010 for the 30th Anniversary – but Karl (Wilcox / drums) suggested we re-record the whole first album with this line-up and this sort of modern sound and technology. I thought it sounded like a good idea.”

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BraveWords Interview: AMERICAN TEARS – The Keys To Rebellion

By Carl Begai

If the name Mark Mangold sounds familiar, it’s no small wonder given that the pop singer / songwriter / producer has a career dating back to the early ’70s. He has written songs with / for Michael Bolton, Cher, Paul Rodgers, Jennifer Rush and Laura Branigan to name a few, as well as making waves of his own with the band Touch in the early ’80s. Most recently, he co-wrote the song “Lost In Time” for Swedish melodic metallers Cyhra’s second album, No Halos In Hell. Prior to all of this, however, Mangold released three albums between 1974 and 1977 with the keyboard-dominated outfit American Tears, and the end of 2020 sees him returning to his old stomping grounds. The new album, Free Angel Express, is a massive 14-track romp of ’70s prog rock for folks that grew up in the era of warm and organic headspace-moving music, when challenging the listener was normal rather than being a contrived move for shock value. It’s a far cry from the realms of writing formulaic big money pop hits, and Free Angel Express makes it clear that Mangold is most certainly in this business for music.

“I really missed playing synthesizer solos, the freedom of American Tears,” Mangold says of resurrecting American Tears, although he is the sole remaining founding member. “I don’t know if you can call it prog, but whatever it is, it’s not normal music, it’s not formula. You don’t have a safety net. It’s very free, so this is almost like I’m rebelling against the pop music and all the generic stuff that’s out there. With all due respect to Whitesnake, Foreigner and all those great bands, how many songs ripped off from those guys do we need to hear? And the record companies, that’s all they want, and I’ve done some of those records. I’m trying to do something original with American Tears, and it was always a case of doing whatever the fuck we wanted to do and being creative.”

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BraveWords Interview: INSIDIOUS DISEASE – Death Is The Antidote

By Carl Begai

“We started in 2004, so we’re not the most productive band on the planet. At least to other people it looks like we don’t do shit (laughs).”

Which is how Dimmu Borgir guitarist Silenoz – born Sven Atle Kopperud – sums up life in his side project, Insidious Disease. To date, the band has only two albums under their collective belt: their Shadowcast debut from 2010, and the just-released After Death. The in-your-face line-up featuring Silenoz, vocalist Marc Grewe (ex-Morgoth), guitarist Cyrus (Susperia), bassist Shane Embury (Napalm Death) and drummer Tony Laureano (ex-Nile) has finally put an end to their extended silence in a big way, and if not for the all-too-familiar pandemic’s chokehold on daily life the band would be delivering their goods to the fans first hand on the touring trail. This will happen eventually, Silenoz assures us; it’s just a matter of time until that becomes a reality. The same thing that plagued the making of the new album: time.

“Some of the ideas are from as far back as 2011 or 2012,” Silenoz says of After Death. “For instance, on the ‘Divine Fire’ demo I used the heartbeat of my unborn son at the time as the intro, and we kept that. And, Marc’s unborn son’s heartbeat is at the end of the song. That goes back to 2012 and it’s probably the oldest song on the new album. There was a good stretch of time between the material that we had, which was about 16 songs, but we trimmed it down to these 10.”

Given that Insidious Disease was locked away for a decade, fans may be left with impression that Silenoz, Grewe and Co. were content with getting back to work if and when they had nothing better to do. Not so, says Silenoz.

“The thing is, the debut album just kind of got buried because we were eager to start touring and promoting it, and things just hit an anti-climax because I got busy with Dimmu. There was never a reason as to why we shouldn’t tour, but it just didn’t take off. I think we could have worked harder on that end, but we always wanted to have Insidious Disease and not my solo project. We want to do everything to promote this new album.”

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BraveWords Interview: DEVIN TOWNSEND – “Let Me Tell You Why”

By Carl Begai

With the global pandemic’s continued stranglehold on everyday life, the goal here – unlike the tabloids that masquerade as metal websites – is to push conversation far away from everything virus-related in the interest of (blackened) soul-healing music. There are some instances, however, where it’s necessary to address COVID-19 and its effect on an artist’s career. Or in Devin Townsend’s case his current activities. Forced to scrap his Empath tour plans for 2020, Canada’s own Strapping Young Lad has released Order Of Magnitude – Empath Live Volume 1 to commemorate his December 2019 show in London, England, but this is only a dusting of what he’s been up to. Since March, Townsend launched a semi-ongoing podcast, streamed a series of off-the-cuff songs Quarantine Project songs to keep folks entertained, launched an effort to raise money for his out-of-work crew through merchandise sales, has performed a series of Quarantine Concerts to raise money for hospitals in Canada, the US and the UK, and put together a “virtual band” livestream show to make up for this year’s appearance at the Bloodstock Open Air getting blown out. No, boredom is certainly not an issue for Townsend in these trying times.

Devin: “I think I’m okay. It’s obviously very stressful in a lot of ways. Whether or not one subscribes to it, it’s the underlying anxiety that comes from this toxic and divisive period in time. It’s impossible to ignore. I think that undercurrent has made the fact that I’m finally at home and I’m finally in my studio a bittersweet thing because there’s not a lot of inspiration. It’s like, what are you going to write about? Are you going to compound the existing anxiety by writing about how you’re anxious? That doesn’t make any sense. It’s forced me to be outside my comfort zone, and that has propelled me down a lot of different avenues that I never anticipated being a part of. It’s been very fruitful, to be honest, and I should feel much worse than I do. All signs point to constant darkness and anxiety, but I’m trying to be as pro-active with that as possible so I don’t let that happen.”

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BraveWords Interview: AMARANTHE – …Like A Doomsday Machine

By Carl Begai

Swedish not-so-pop metal sextet Amaranthe have released their sixth album, Manifest, and it’s safe to say this is the record the fans wanted and the band needed to make. Their previous album from 2018, Helix, kept the Amaranthe name alive and in the public eye through extensive touring, but it definitely wasn’t delivered with the enthusiasm that, at its core, makes Manifest the band’s strongest record since their second outing, The Nexus. Even before the album was recorded, Amaranthe kicked off the year with two non-album singles – a cover of Sabaton’s “82nd All The Way, and “Do Or Die” – and haven’t stopped to take a breath since. In between recording sessions, social media updates and appearances, and an international press junket – as much as could be accomplished during a global pandemic – the band managed to shoot four big budget videos and unleashed them between June and October to highlight the release of Manifest. And the singles chosen weren’t exactly predictable, particularly in case of over-the-top track “Archangel”. To say Amaranthe have recaptured the fire that made them stand out amongst the rabble at the beginning of their career almost 10 years ago is an understatement.

Prior to the release of Manifest, BraveWords spoke with guitarist Olof Mörck, vocalist Elize Ryd, and former Arch Enemy singer Angela Gossow, who is now Amaranthe’s manager.

BraveWords: You had a rocky start to the making of Manifest, as in COVID-19 almost stopped the production in its tracks.

Olof: “We were supposed to leave for the studio in Denmark (Hansen Studios in Ribe) on a Sunday, and we were setting up on the Friday before to write some music when our drummer Morten (Løwe Sørensen) told us we had to get across the border before 12:00 PM the next day. So we had to take the train at 6:00 AM to get across the border on time, and we were taking a lot of stuff with us for staying two-and-a-half months not knowing if they would even let us in. That was more adventure than we wanted (laughs).”

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BraveWords Interview: AYREON – Human Equations And Horror Stories

By Carl Begai

In 2004, Dutch multi-instrumentalist, songwriter and über-nerd Arjen Lucassen released his ongoing Ayreon project’s critically acclaimed sixth album, The Human Equation. It was yet another concept album featuring a line-up of guest vocalists and musicians, but unlike its predecessors The Human Equation was not a sci-fi based metal opera. The record became a fan favourite, so much so that it was brought to the stage as a full production in 2015 under the name The Theater Equation. Lucassen returned to his science fiction stomping grounds for the three albums that followed – 01011001 (2008), The Theory Of Everything (2013) and The Source (2017) – but 2020 sees him exploring new territory once again on new album, Transitus. Boasting a cast that features performers including Tommy Karevik (Kamelot), Cammie Gilbert (Oceans Of Slumber), Simone Simons (Epica), Dee Snider (Twisted Sister), Amanda Somerville, Marty Friedman, Joe Satriani and The Hellscore Choir, the record is far more down to earth – close to it, at any rate – and was originally imagined by Lucassen as a movie soundtrack. Three years in the making, Transitus is the Ayreon album that almost wasn’t.

BraveWords spoke with Lucassen, Keravik and The Hellscore Choir’s founder / conductor Noa Gruman (Scardust vocalist) about the making of what is being regarded by many fans as Ayreon’s strongest album since The Human Equation.

BraveWords: You’re going to hear a lot of comparisons between Transitus and The Human Equation, largely due to the fact Transitus is the warmest album you’ve done since then. It’s a lot more open than some of your previous albums, far less dense on the musical side of things.

Lucassen: “It’s cool that you say ‘warmest’ because that’s exactly what I wanted to do. The previous Ayreon album, The Source, is not a warm album. It’s a pretty cold subject, it’s a prog metal album, it’s very guitar oriented, and this time I only wanted to use real instruments. I’m so glad you said that…”

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BraveWords Interview: KATAKLYSM – A Perfect Storm Of Defiance

By Carl Begai

BraveWords: “So, on ‘Icarus Falling’… a piano? Seriously?”

Maurizio Iacono: “(Laughs) Why not? Yeah, some purists will lose their shit… until the song actually starts.”

Settling in with Kataklysm’s intense and good-natured frontman, Maurizio Iacono, conversation begins with a look at the second-to-last song on the band’s new record, Unconquered. The track is question begins and ends with, as mentioned, a piano, which is far from normal for the Canadian death metal legends. At this stage of the game Iacono knows, of course, that here will always be a small group of scorned fans screaming “Sellout!” for even the slightest deviation from the norm, but he’s prepared for any fallout. Not that he’s expecting any, as Kataklysm plans ahead for every occasion.

“That’s why we released ‘The Killshot’ as the first single, because it’s a heavy hitter,” Iacono says. “We did that to tell the fans to calm down, everything is okay when they start hearing some experimental stuff on the album… like a piano (laughs). It’s been a constructive and crazy ride doing this record.”

Unconquered is the sonic bludgeoning present day Kataklysm fans hope for, delivered crisp and clean blow after blow for a memorable nine-song romp. In contrast, Kataklysm’s previous record, Meditations (2018), seemed to come and go without much interest or fanfare. This is not an isolated opinion, and Iacono is on board with those fans that gave it a few spins but not much attention.

“When you start promoting a record you’re always selling it by saying you had a good time making it and so on,” Iacono explains, “but the truth is there was a lot of turmoil in Kataklysm when we were making Meditations. It was the first record where we had four heads involved, and when you have four heads involved you get pulled in different directions. I find that record has really strong moments, but there are moments where it just doesn’t flow right. I’m not knocking the record – it did well for us and we didn’t go in any weird or bad direction – but I find it’s a bit choppy when you listen to it. We worked with Jay Ruston, who is more of a rock producer, so the record is extremely clean. It’s very light in my opinion, so I think it was lacking in power. Coming into Unconquered we changed a few things around.”

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BraveWords Interview: PARADISE LOST – Britain’s Got Talons

By Carl Begai

Back in 1997, UK doom / Goth pioneers Paradise Lost threw their fanbase the most brutal of curves with their One Second album. Two years earlier they had released Draconian Times, which went over a storm and was considered the best and most logical way to continue the band’s reign, which had been established and cemented with their Gothic (1991), Shades Of God (1992), and Icon (1993) records. One Second’s electronic enhanced direction threw some people for a loop while others embraced it, and it was a message – however unintentional at the time – that Paradise Lost will do what they want to their sound, critics and (some) fans be damned. The Goth elements remained at the core as they moved forward with some bold experiments, but it wasn’t until Tragic Idol (2012) and The Plague Within (2015) that the band truly seemed to be returning to the full-on doom and gloom that put them on the map. The unleashing of Medusa two years later signalled the band had come full circle, or so it seemed. Obsidian – their 16th album to date – sees Paradise Lost pulling new tricks out of their collective sleeve, twisting their “trademark” early doom / Goth sound into new forms, effectively ripping apart any expectations people may have had going into the record after feasting on Medusa.

“I’ve become very pragmatic over the years about people trying to nail down our classic period,” guitarist Gregor Mackintosh says of fans referencing Paradise Lost’s early albums as their best work. “I think it has more to do with the time period in which an album comes out. For example, I don’t think Draconian Times would have been as popular if it came out two years later or two years prior. It’s pure circumstance sometimes. You can have strong material and be completely passed over. I take everything with a pinch of salt, really.”

According to Mackintosh, Paradise Lost has indeed put albums out that they thought were strong, yet the media and fans were unimpressed for the most part.

“Lots and lots of times, yeah,” Mackintosh laughs. “We’ve completely missed the mark or the scene has missed us, whichever way you want to look at it. We’ve been kings of shooting ourselves in the foot in certain parts of our career, but that’s from somebody else’s perspective. From our perspective we did exactly what we wanted to do and we wouldn’t change it, but from a commercial point of view… absolutely; we’ve gone off on a tangent and everybody hated it (laughs).”

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BraveWords Interview: AYREON – Everything’s Electric

By Carl Begai

Twenty-two years ago, a struggling Dutch musician by the name of Arjen Anthony Lucassen released what would be his breakthrough album. Buoyed by the attention he received for his first two records – The Final Experiment (1995) and Actual Fantasy (1996) – Lucassen adopted a “go big or go home” strategy and concocted a progressive metal opera featuring the talents of musicians he admired dubbed Into The Electric Castle. It was the beginning of what has become an internationally successful and lucrative career, allowing Lucassen to pursue his musical fantasies and ideas as they formulate in his hyperactive brain. With each album that followed Into The Electric Castle – six more at press time, not including his numerous side projects – the calls for Ayreon to perform live grew louder, and in 2016 fans were treated to a stage performance of The Human Equation album from 2004, The Theater Equation. Lucassen’s participation in the production was minimal compared to Ayreon Universe in 2017, the first ever official live Ayreon shows featuring Floor Jansen (Nightwish), Jonas Renske (Katatonia), Anneke van Giersbergen, Hansi Kürsch (Blind Guardian), Damian Wilson (ex-Threshold) and Tommy Karevik (Kamelot) to name a few. Two years later, Lucassen decided to gather his cast of original characters and returned to where it all began with four shows celebrating the 20th Anniversary of Into The Electric Castle. The end result is another jewel in Lucassen’s crown, Electric Castle Live And Other Tales.

BraveWords: Over the years you’ve maintained that Ayreon is not something you could see being performed live because of the scope of the production required and all the moving parts. Between Ayreon Universe and Electric Castle Live – and Star One for that matter – I call bullshit (laughs).

Arjen: “I know (laughs). And the reactions to Electric Castle Live have been unanimously positive. It sounds arrogant, but this time I was pretty sure of it. When we were editing the video and I saw all the material, and I was mixing it, I thought ‘Oh my God, we did it.’ We had plenty of camera angles to choose from, every shot was cool, the sound was good…. I think this was the first Ayreon release ever where I believed in it 100%. You’ve known me for years, and I’m always insecure when it comes to releasing a new album: ‘Are they going to like it? I wish I had done this…’ This time there we no ‘if only’s’. For the previous live stuff there were so many of those, but this time everything aligned perfectly. If there has been any negative response it has been towards the encores, which might be a bit too much for some people. And some people don’t like the narration, but that’s just a personal thing so I don’t give a shit about that because John de Lancie was great.”

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