By Carl Begai
When Unisonic surfaced in 2012 it was something of a milestone in that former Helloween bandmates Michael Kiske (vocals) and Kai Hansen (guitars) were officially working together again. They crossed paths several times following Kiske’s departure from Helloween in 1993 – Hansen having jumped ship four years earlier – beginning with Kiske’s guest appearance on Gamma Ray’s Land Of The Free album in 1995, but it wasn’t until Avantasia’s European tour in 2010 where they shared the stage for a few songs each night that the prospect of collaborating on bigger and better things became serious. Kiske already had Unisonic on the go with former Gotthard guitarist Mandy Meyer, Pink Cream 69 bassist/producer Dennis Ward and drummer Kosta Zafiriou, and the decision was made to bring Hansen on board. Interest in the band spiked once the news went public, but the self-titled debut received a mixed bag of reactions. It wasn’t the Helloween Mark II people had expected beyond the ‘Unisonic’ single that kicked things off, yet the band was able to tour extensively and successfully on the strength of the album. Light Of Dawn is Unisonic’s second shot in the arm, and the band remains unapologetic for doing things their own way rather than according to other people’s designs.
“We came from our Place Vendome roots – me, Kosta and Michael – doing AOR stuff, and we knew we wanted to make melodic guitar-oriented music,” says Ward of Unisonic’s focus from the get-go. “I don’t want to insult anybody, and I sure don’t want to be rude, but we said from the beginning in a million different interviews that we’re not going to try and do anything remotely similar to Helloween. That was well stated so many times in advance, but we brought the record out and people were complaining that it wasn’t as heavy as they thought it would be. It was like, ‘Fucking hell, don’t you read? Don’t you care about what we said?’ I don’t want to be insulting, and with all due respect, we don’t give a shit about those complaints because we did what we wanted to do.”
“You have to look at the roots of the people in this band other than Michael, who has his metal roots way in the past. Kai came very late to the band, and the rest of us make hard rock music, not metal. It’s like Paul McCartney making a record that sounds like The Beatles; is he supposed to apologize for that? I don’t think so (laughs). No matter what we do we’re going to disappoint somebody, so we just stay true to ourselves. Slowly but surely we’re finding our way. On this album we tried some new stuff, we ventured farther into the dangerous metal realm (laughs). We left the dragons out but we tried to give the fans a little more of what they want to hear.” Continue reading BraveWords Interview: UNISONIC – Straight Out Of HELLOWEEN
By Carl Begai
Overkill frontman Bobby “Blitz” Ellsworth is a favourite around the BraveWords office, and with good reason. He brings himself and his lust for life to the table whether he’s talking metal or songwriting or the chocolate shop he runs on the side.There are no textbook answers and no bullshit with his delivery. Thus, settling in to discuss Overkill’s new album White Devil Armory is a raucous conversation with an old friend punctuated by his trademark cackle, anecdotes left and right, Blitz’s appreciation for his lot in life as obvious as the skull on the new album cover. It also raises the question whether he’s ever going to slow down, having released albums consistently since 1985 with no more than a three year gap between them.
“I don’t know if that’s possible,” Blitz laughs. “Somebody asked me the other day what I’d be doing if I wasn’t doing this, and I told him I’d be dead in six months. It’s still a cool feeling to just press play. As time goes on it’s not that easy to make records because of the repetition factor; you don’t want to repeat yourself. You want the music to have that energy, you don’t want to feign it, but where it all starts coming together is when you realize that making music and being in a band is just what you do. When you drop all the pre-processing and just go for it, things work. Who am I to question that and try to fix what’s not broken? It’s obviously not broken at all.”
Blitz is, of course, being paid lip service from all corners leading up to the release of the new album, but the positive feedback shouldn’t come as a surprise to anyone who has been on board the Overkill thrashwagon for the duration. As Overkill albums go White Devil Armory is a welcome high speed shred-and-spit rollercoaster ride.
“A guy I spoke to recently called Overkill the Motörhead of thrash, and that’s one hell of a compliment,” he says. “That pushes through it all. I think the general feeling is that White Devil Armory is Overkill at a high level and a fresh level. We obviously know who we are, and there’s a revitalized feeling on the metal scene itself, so I think the record reflects that. I think the new record has more diversity compared to (previous album) The Electric Age (2012), which is what a lot of people have said to me. We have certain Overkill tools and D.D. (Verni/bass) uses them at will, but I think he uses them more on the new record. It shows that the band isn’t one or two dimensional, but well beyond that.” Continue reading BraveWords Interview: OVERKILL – “Avoiding Manual Labour Since 1986”
By Carl Begai
Several years ago a theory was developed suggesting that non-Canadian metal and rock bands wanting to break big only had to add a Canuck to the mix somewhere down the line. There’s absolutely no scientific proof to give my theory any merit, of course, but acts like Bon Jovi, Skid Row, Metallica, Mötley Crüe and Dream Theater all enjoyed huge success as a result of Canadian influence (producer Bruce Fairbairn, vocalist Sebastian Bach, producer Bob Rock, and singer James Labrie respectively). This supposed trend has continued with Alissa White-Gluz, former vocalist for The Agonist, replacing Angela Gossow in Arch Enemy after 14 years in the trenches. An unexpected development to say the least, but perhaps even more unexpected is the impact the band’s new album, War Eternal, is having on their fanbase. Sure, there’s the expected disgruntled faction that worship the ground Gossow walks on – and rightly so – and others that find War Eternal too melodic, too clean and too easy on the ears. For the most part, however, both Alissa and War Eternal continue to garner postive feedback and huge support from an increasingly louder majority.
BraveWords: Could you sense that Angela was going to call it quits, or did her announcement come out of the blue?
Michael: “We ended the Khaos Legions world tour in December 2012 with a South American leg, and the last show was in Mexico City. A few weeks after that we had a band meeting and decoded we were going to take 2013 almost completely off from band activity, definitely from shows. That opened the schedule up in a way we’ve never experienced in the last 12 years, because as you know it’s been pretty relentless doing the album-tour-album-tour cycle. It was pretty much a case of ending a tour on the Friday and going into pre-production on a new album on a Monday. That happened twice in 10 years, and it was very intense. People change, and Angela got to a point in her life where she wanted to make some changes. Not everybody is in this for life because it’s a very demanding lifestyle. It can be very tough on you if you’re not 100% into it.”
BraveWords: Angela is still part of the machine, but in the background as the band’s manager. It’s a post she’s actually held for several years…
Michael: “Angela took over the business management for Arch Enemy in 2008. She did a fantastic job with that and really turned things around for the band on many levels. She was getting a lot of satisfaction out of that, so I think that was getting stringer than the satisfaction she got out of performing. And she never liked travelling, so in the end I think it caught up with her. We could see the writing on the wall. We’re not completely insensitive assholes and we could see that she wasn’t 100% into it anymore. And when she finally told us last year that she was quitting, Angela urged us to carry on.” Continue reading BraveWords Interview: ARCH ENEMY – This Means War!
By Carl Begai
The cover art on its own should be enough to let people know Space Police – Defenders Of The Crown is an Edguy album. If that doesn’t convince you, a tracklist containing songs entitled ‘Love Tyger’ and ‘Do Me Like A Caveman’ warns folks that vocalist Tobias Sammet is at play once again. We are, after all, talking about the man that wrote the classic ‘Lavatory Love Machine’ and got away with it. All in the name of good clean fun in a dirty world, of course, and Sammet and his bandmates take their fun very seriously.
“That’s what you hear when you’re in a hotel on tour,” Sammet says of ‘Do Me Like A Caveman’, making sure people understand it doesn’t refer to the band members’ personal escapades. “You’re lying there alone in your bed after a show trying to get some sleep because you have an early lobby call, and all of a sudden you hear those weird primal noises from the room next to yours. It sounds something like ‘Do me like a caveman!’ (laughs). I think if I’d used the actual quote for the song we wouldn’t have been able to sell the album to minors.”
As for the Space Police artwork, it’s reminiscent of the animated cheesiness of Edguy’s Rocket Ride album cover from 2006 but isn’t linked or inspired by it according to Sammet.
“What I didn’t like too much about Rocket Ride, although it is good to break down barriers, the cover art was goofy. I don’t think the Space Police cover art is necessarily goofy; it’s got a rock n’ roll attitude and it’s not your typical Dungeons & Dragons power metal artwork. It may have a subtle hint of tongue-in-cheekness, but it’s also very straightforward just like the album is. It’s very flashy and in your face.” Continue reading BraveWords Interview: EDGUY – Caveman Rebellion