Eklipse

By Carl Begai

German a capella metal band Van Canto didn’t do themselves any favours kicking off the release of their fifth album, Dawn Of The Brave, with an oddball-titled single called ‘Badaboom’. Not because it’s a bad song – hell, fans of present day Manowar should be jealous – but because the band’s detractors are always seeking new ammunition for target practice. Van Canto are a thick-skinned sextet, however, and no strangers to people taking potshots at their brand of music. Eight years into their career, it’s fair to say the bitching and moaning from the outside fuels them as much as the accolades from their loyal fans.

“It’s been like that since the beginning of the band,” says vocalist Stefan Schmidt. “The only thing that’s changed is that the people who don’t like us have to admit that we’ve had some kind of success (laughs). The bad thing about it is that people who really don’t like us have gotten more personal in their reviews because they can’t understand how a band like Van Canto can exist for more than a couple years. I don’t think we have to justify ourselves anymore, but sometimes I have the feeling that even though we have a unique approach we often have to excuse ourselves for being unique. When I write songs I notice that I tend to sometimes do things that can cause controversy with certain people. Sometimes I think ‘No, you can’t do that because people will hate you for it…’ and then there’s another voice in my head saying ‘And that’s exactly why you should do it.'”

Which is probably why Van Canto haven’t turned out to be a flash in the pan; commitment coupled with being a healthy kind of stubborn.

“I recently did an interview with a big German magazine and the guy asked me what I say to people now that the joke is over. I asked him why is it that if an artist has a unique sound he or she or they can only make one album. There are so many metal bands that release 10 or 15 albums and they all sound the same, and they sound like other metal bands, but nobody asks them if the joke is over. I don’t know why they do that with Van Canto.”

Maybe that’s the difference between the open-minded professionals out there versus the kiddie journos who get offended by something they can’t wrap their brains around.

“If you put it that way I can live with it (laughs). We’re aware of the fact that a lot of the attraction Van Canto has is because of this gimmick, as some people call it, that we have. We talk to the people that come to our shows and we notice that when we go to the same town a second or third time there are always more and more people. Our music is different, and many people tell us they like us better live than on CD. It’s always great when a musician gets that kind of feedback.” Continue reading BW&BK Interview: VAN CANTO – Brave, Bold… And Balls

By Carl Begai

This interview took place towards the end of Kamelot’s 2013 European tour in support of their latest album, Silverthorn. By all accounts – band, fans, YouTube footage – it was a successful run that saw the band play to packed houses every night. The show on this particular night, in Munich, went off without a hitch as far as anyone on the floor could tell, with Kamelot attacking the stage like the seasoned veterans they are, playing to the audience rather than merely for them, accompanied by one of the most impressive lightshows ever seen in a rock club (seriously… and without pyro). It was a far cry from the band’s first European tour – their first road trip ever, in fact – back in 1998 with Elegy, which showcased a band that was understandably green performing to half empty rooms. A potentially demoralizing experience on one hand, but the taste was enough to make Kamelot want to push forward. Success at a level where the band became a day job was along time coming, but it’s a testament to what can be accomplished when you focus on and devote your time and energy to something you really want.

“You don’t have any pictures from that ’98 tour, do you?” laughs guitarist Thomas Youngblood.

Actually, I do. I’ll wait to be tapped for the Kamelot biography to publish them.

“When you get started you want to be like Iron Maiden, but then you start realizing how difficult that is,” says Youngblood with regards to the band’s success. “But the way things are nowadays in the industry, there aren’t a lot of bands that can get to that level. I think we’re fortunate we’ve been able to grow and maintain this band over the past 15 years. That’s pretty amazing. I think it’s a testament to working hard and making some smart decisions, and having killer fans.”

Kamelot’s biggest test came with the surprise departure of vocalist Roy Khan in September 2010, mere days before the Poetry For The Poisoned tour was due to begin. The band downplayed the seriousness of the situation at the time – they could realistically have lost their collective shirt financially due to pre-tour expenses and unfulfilled contracts – and managed to save face by finding the best possible replacement for Khan in Swedish singer Tommy Karevik.

“We didn’t think anything bad about that in terms of coming out of it intact,” Youngblood insists. “I’ve seen a lot of bands do that successfully, and I think a lot of people forget how many acts have actually had to do that. We’ve grown into different territories since then. We played Australia for the first time with Silverthorn, we’ve done different parts of Asia like Korea and Taiwan, and the US is a much bigger market for us now.” Continue reading KAMELOT – Water To Wine, Silver To Gold