Monster Magnet Dave Wyndorf talks to Ross Baker
Following 2012’s nostalgia trip that was the “Spine Of God” 25th anniversary tour, Dave Wyndorf appeared to be on a high. Yet new opus “Last Patrol” sees him in a contemplative, downright melancholy state, a far cry from the gonzo anthems of “Dinosaur Vacuum” and “Space Lord”. Itching to find out what had taken the good ship Monster Magnet on such a course, we caught up with Dave to discuss, government conspiracies, George Orwell, psycadelia and possibly the darkest Monster Magnet album ever written. “Last Patrol” feels very dark and apocalyptic in tone. Why is that? “I wanted to look inwards on this album. Writers are always told to “write about what you know” so I wanted to make something which reflected my mood at the time. I looked back at our last record (2011’s “Mastermind”) and I asked myself what I liked and didn’t like about it. It was too long and I wanted to make something with more vibe and of a darker tone. As much as I love writing big rock songs, I wanted to focus on making a record that took you on a journey. “Last Patrol” is a midnight album an album for a lunar eclipse. It’s a risk as it’s not the most immediate album I have done but it was one I was willing to take!”
Reflective is not a term many fans would readily associate with Dave Wyndorf and company, yet “Last Patrol” sees Wyndorf in a more sombre mood with lyrics like “There’s no targets to aim for, no mountains to climb” on “” and disturbing closer “Stay Tuned” where he rasps about “The boys upstairs with the best and worst intentions” to whom is Dave referring? “Corporations, politicians, the man! People have more information than ever before available to them and they are choosing to ignore it! Instead of trying to develop real relationships with each other, they are wasting their time with Facebook! It’s not about having a thousand friends on social media; it’s about developing real relationships with people. People are so self-obsessed, always wanting attention. People say to be they don’t have time to read the newspapers and see what’s going on in the world but they spend all day on Facebook! Facebook is one big flirt; it’s flirting without getting fucked!”
Science fiction has long been a metaphor for Dave Wyndorf to vent his personal demons. While many fans will notice, the zany psycadelic party tunes the double “M” are famous for, they often miss the dark undercurrent of social commentary which comes from Wyndorf’s punk rock roots. “I don’t want to just write escapist fantasy. I have written about space and women and things like that but only an idiot could bury their head in the sand and not see what is going on in the world today. The situation in Syria is fucked! People say the president is doing a bad job but at the same time they have faith that this “culture of America” will see us through. They choose not to question authority. They’d rather ignore it sometimes. I think we are dangerously close to the rise of fascism in the world today. Fascists believe people want to be controlled and have their decisions made for them. We have to wake up before it is too late!”
Wise words indeed from a man whose parents lived through events like the great depression, Dave expresses the need for caution when it comes to the smokescreen of news, social media and celebrity gossip “We live in a world of constant distractions. While you are at home downloading porn, guys are working out new ways to take your freedoms away! These people don’t have your best interests at heart. It helps to be aware. When you read a story in the paper read between the lines and read your George Orwell.”
Despite all this talk of questioning authority and staying connected with humanity, Dave insists that “Last Patrol” was actually a fun record to make. “I had been looking to make a record like this for a long time. When we were touring “Mastermind” in Europe, I watched how our audiences reacted very positively to both the big rock songs and some of the more psycadelic moments. I wanted to make an album which reflected where I am in my life right now. I’m 56 now; I don’t want to jump up and down all the time. I have to be able to present these songs live too. I went with my heart and we left our producer (Matt Hyde) out of this one. Phil Caivano and I wanted to do something more D.I.Y. It was mainly Phil, me and our drummer Bob this time around. Phil came up with all these weird octaves. He really understands what I want when it comes to a certain sound. If I say, “I want to get that early Alice Cooper sound where the guitars sound like a kid playing through the radio” he know what I am talking about. The last album was very thick and used many Gibson guitars but on this record, we simplified things. There are a lot of single string riffs and acoustic parts on the record. I think “Paradise” has about one chord on it. There are some loud parts but we wrote some very intimate songs too.”
Clearly, Dave has been working on these ideas for a long time considering just after “Mastermind” was released he was talking about using pianos and strings in the future. “I still plan to do that but maybe on a solo album. I want to keep working with new songs and keep it fresh for me. I need to be the cook in the kitchen tasting all the new dishes! This album is 99% about me personally. I have always tried to write about what I know, using metaphors to make it more exciting. Instead of saying, “I’m horny”, I’d sing about gallons of lava spilling from a volcano! That was always the way I kept to my punk rock roots and explored my psycadelic influences at the same time!” At this point Wyndorf lets out his familiar infectious laughter. It is comforting to know this sly old fox still maintains his sardonic wits about him. “I don’t want to seem all depressed and paranoid as I’m not but I had some things to say on this record. Whether the next record sounds like this, I don’t know. It will be all about the vibe at that moment. I feel privileged to be of an age where I grew up without technology. It makes me appreciate more what we have now. I still don’t understand it when bands want to make something so sanitised and cleaned up. It’s not rock n’ roll. I love some pop music. That song “Stay” by Rhianna is great. Some of that is great for light relief but too much metal is the same. I did this interview with a guy from some metal publication who was all “Have you heard the new Avenged Sevenfold? Do you know how many records those guys are selling?” and I’m like, I don’t fucking care! Probably because I’m not 14 and don’t have tits but whatever!” Dave cackled mischievously. I love how sensitive some of those guys are when you say you don’t listen to every metal band out there right now.”
Metal purists be damned! Dave Wyndorf has been blazing his own trail for over a quarter of a century. One creative pursuit Monster Magnet took on was working on an alternative version of their classic “Superjudge” which they released on vinyl under their own Studio 13 imprint. Could we expect any more of these releases to come to light? “Well we are working on a sister record to this album right now! It’s a reimagining of “Last Patrol” which will come out next summer. It’s going to be out on Napalm but it’s the same kind of thing as that vinyl release. There will be a lot of 60s style organ on the record. It’s going to be a trip.”
Able to indulge his appetite for cosmic rock in any way he pleases, Dave will shortly be embarking on Monster Magnet’s biggest U.S. tour for over a decade. Considering his comfort in the studio, what makes the veteran frontman still heed the call of the road? “It’s about human interaction. When I am singing and I see people singing our songs I still get a kick out of it. I still enjoy the romance of touring. Who wouldn’t want to wake up at 6am and see the Alps out of the of the tour bus window?” So despite exploring the darker recesses of his mind on “Last Patrol” Dave Wyndorf remains ever youthful in spirit, with U.K. shows booked for January this is one mothership whose journey is far from over.
Monster Magnet’s “Last Patrol” is out 15th of October on Napalm Records
ROSS BAKER
One event I am looking forward to next y
One event I am looking forward to next year is Hellfest 2014! Here’s my report for Ghost Cult on HF 2013!
In Solitude “Sister”
In Solitude
“Sister”
Genre: Heavy/ Doom Metal
Label: Metal Blade Records
Satanic heavy metallers In Solitude gained much praise for their sophomore effort “The World, The Flesh, The Devil”, a blend of Merciful Fate riffs, twin guitar majesty and early Danzig drama. “Sister” takes all those aspects into darker territory with further atmospherics and gothic influences making for a rich and compelling release.
“He Comes” is a fantastic acoustic number, as foreboding as it is restrained, with Pelle Åhman’s wounded howl evoking dark spirits and desolate lands and “Pallid Hands” combines melodic fretwork with a power that would make Beelzebub proud.Indeed this release is littered with subtle touches, which enrich the songs within it. The eerie glockenspiel outro on “A Buried Sun” and subtle vocal effects and acoustics bring to mind Bauhaus or the Sisters Of Mercy covering early Maiden only they have been kidnapped and locked in a Swedish barn in the middle of nowhere with only whisky for company.
There is no denying the accessibility of songs like “Lavender” with the twin guitars of Niklas Lindström and Henrik Palm almost hypnotic at times. The change the band has undergone between their last record and this is quite remarkable. The gothic paranoia is omnipresent yet so are some infectious melodies that should see In Solitude outgrow their “cult” status in a hurry.
Witchery and wickedness with a more seductive voice than most “Sister” is a dish worth savouring.
POWERPOINTS: 8
ROSS BAKER
rossbakerjournalist.com: Nile Live: Nile
rossbakerjournalist.com: Nile Live: Nile, Svårt Crown And Ex Deo Live
Originally posted on… http://wp.me/p3GQH9-ah
Kvelertak – Meir Album Review
Kvelertak – Meir
Originally posted on Ghost Cult Magazine’s website on 26/03/2013
Norse trailblazers Kvelertak split open the metal scene with their incendiary self titled debut not to mention a fierce reputation on the live front. A mash up of furious punk rock, searing black metal and rock n’ roll swagger the first record was indeed something very special. Having returned to Converge guitarist Kurt Ballou and God City studios for this sophomore effort Meir contains all the characteristic of what made Kvelertak such a shot in the arm.
Frantic tremolo picking and lush melodies of ‘Spring Fra Livet’ kicks the party off and the rousing ‘Bruane Brenn’ is classic Kvelertak not to mention the best reason to stage dive you may get this year. Erlend Hjelvik’s vocals are still as corrosively intense but the rapturous sing-along’s are also in great abundance.While the band remains blessed with fantastic rock n’ roll hooks regrettably yet there are a couple of tracks which could have been given greater attention.‘Åpenbaring’ has a gorgeous build up riff but finishes to quickly after the vocals have kicked in and the solo in ‘Månelyst’ could happy be extended by a few bars such is the magnetism of its gigantic hooks.
‘Nekrokosmos’ moves away from the garage punk aspects with an almost stoner rock middle section and ‘Undertro’ mixes frostbitten aggression with an almost Thin Lizzy vibe to the guitars.Great musicianship and the seamless melding of musical genres are aspects one expects of Kvelertak by now and while there are some great songs present here just a couple of tracks don’t maintain the lofty standards set by the first album. To follow-up such a groundbreaking debut has clearly been tricky but aside from a couple of half-baked ideas the album is a classy and well rendered affair.
It is a shame to see a couple of small disappointments here and there but when the bar is set so high that can be expected. While Meir may not have the impact its predecessor has had it still contains some fantastic music which may make more sense in the live concert environment. Meir is still a fantastically well written album but this is a tricky transitional record from an undeniably fantastic group.
7/10
Ross Baker
Ghost – Infestissumam Album Review
Ghost – Infestissumam
Originally posted on Ghost Cult Magazine’s website on 20/04/2013
Since their Opus Eponymous debut dropped three years ago the nameless ghouls have enticed the greats of rock into their diabolical trap with a combination of a lavish stage show and the catchiest tunes Old Nick has given us in years. Yet by 2013 surely we’ve all gone back to our King Diamond and Blue Öyster Cult albums and cooled off. Not likely!
Beginning in triumphant fashion with their dark choir underpinned by lush classic rock riffing Papa Emeritus II and company have risen to deliver a sermon bolder and more dramatic than the first. ‘Per Aspera Ad Inferi’ stomps along with an almost military drumbeat leading to a triumphant expansive chorus. ‘Infestissumam’ see’s the Swedes expanding their horizons and further incorporate church organ, choral vocals and occasionally eastern melodies while remaining resolutely satanic.
Eschewing the more pop orientated song structures of the debut was a bold approach, certainly while this may be their major label debut the band have pushed themselves into bold new territory delivering an album full of quirks and killer melodies. The psychotic waltz of ‘Secular Haze’ is not the only stylistic departure with ‘Ghuleh/Zombie Queen’ beginning with stark piano and Papa’s chilling “From the darkness/ comes a succubus” refrain before the sinister organ builds the song to a powerful crescendo. The presence of big name producer Nick Raskulinecz has only encouraged the band to unfurl their greater potential, gleefully incorporating classic rock hooks with their blasphemous agenda in even more theatrical and bombastic fashion than before.
Having won fans such as Phil Anselmo and Dave Grohl (The later appearing behind the drumkit drumming on their cover of ABBA’s “I’m A Marionette”) it’s clear that Satan’s minions have the tunes to match their exquisite presentation. The finale of ‘Monstrance Clock’ with its infectious “Come together” refrain will haunt you insidiously for hours after its last airing.
Infestissumam may be Latin for “Most hostile” but this is a graceful and grandiose affair which further pushes their esoteric agenda together with sweeping and timeless melodies. A deliciously tuneful black-hearted affair this sophomore effort shall see Ghost welcome many new parishioners to join their faithful congregation.
9/10
Ross Baker
TesseracT – Altered State Album Review
TesseracT – Altered State
Originally posted on Ghost Cult Magazine’s website on 26/05/2013
Since debut album One was released to much critical acclaim prog metal pioneers TesseracT have been dogged with the departure of not one but two lead vocalists. While such adversity would have broken manly lesser acts, the Milton Keynes act picked themselves up and following the departure of American singer Elliot Coleman came across young Brighton based frontman Ashe O’Hara.
The move has proved a shrewd one as O’Hara’s voice has a wealth of emotion and power that belies his cherub like appearance. Following up such a resound praised record especially after such crippling circumstances TesseracT have refocused with a new album that retains the technically and emotional depth which made the debut so essential.
Boldly hinged around the concept of ‘”The Law Of Conservation” which states energy is transferred between the four states of matter, mind, reality and energy the stabbing polyrthymic structures remain but with a greater emphasis upon melodic hooks. Altered State disowns any screaming vocals which were present on the debut which the band felt they need “in order to fit into the scene”. It’s a bold move but one that paid off well.
Ashe’s delicate haunting notes more than match the unmistakable impression Dan Tompkins left on One with numbers like ‘Of Matter – Retrospect’ showing an emotional range rarely felt within the myopic scope of the average metal band. Familiar complex rhythms and patterns are present but the emphasis has shifted towards a more mature and reflective direction.
O’Hara’s performance is simply stunning. First single ‘Nocturne’ is brimming with passion and sincerity. His angelic tones reaching for the heavens while the swirling mass of guitars churn malevolently beneath him.
Considering the impact One had upon British metal TesseracT could be forgiven for resting upon their laurels yet Altered State expands their vision adding bold new elements. The elegant jazz saxophone on ‘Calabi-Yau’ is curveball and ‘Exile’ breaks new ground with some delicate acoustic chords further enhancing the reflective mood of the song.
A couple of tracks standout from the pack but Altered State” is best experienced as a whole piece. Distilling and focusing all their frustrations into creating a record which transcends the boundaries of the subgenre they found themselves a part of TesseracT have become the benchmark for progressive acts the world over.
8/10
Ross Baker
An Interview with Shining (NOR)
Painting The Sky Black –
An Interview With Jørgen Munkeby of Shining (NOR)
Originally posted on Ghost Cult Magazine’s website on 01/07/2013
“I grew up with Pantera, Sepultura, Death andEntombed. I started playing at nine years old and practiced playing my saxophone with metal albums!” Shining saxophonist, guitarist, vocalist and composer, Jørgen Munkeby, is clearly as proud of his metal roots as well as his jazz heritage. Ghost Cult caught up with the blackjazz industro freak to discuss the latest album and all things related. The new album One One One attempts to condense all the musical genres Shining employs while condensing them into a more direct song based format; a series of “hits” if you like. How did you set about achieving this? When I said I wanted to create a set of hits we are not taking about hits in the way Nicki Minaj has them! We just wanted more concrete song structures and a greater focus on the vocals. Our previous music has been composed in a more classical fashion without much repetition. What was different about recording One One One than the previous opus Black Jazz? Black Jazz was a conceptual album with long songs and a title taken from Venom’s Black Metal andOrnette Coleman’s record Free Jazz. This was the way we set out to define our own style of music; I am really proud of those songs but you certainly wouldn’t have them on your IPod playlist. When starting One One One we wanted to take the more straight forward songs from Black Jazz – ‘The Madness and The Damage Done’ and ‘Fisheye’ so we used them as a starting point for writing shorter more straight forward songs. I wanted to focus on making each individual song standout more while retaining the energy of the band and having an album that would flow well as a whole. I know our music can be hard to absorb but I would rather the listener pressed pause, took a break and came back to it than writing more simplistic music which does not excite me! Improvisation is a big part of jazz music. You talk about using more standard structures on One One One and the Live Black Jazz record sees a lot of improvisation. Will you confine improvisation exclusively to the live arena? We have actually made alternative endings for at least five songs from One One One for live use. We will continue to improve and will adapt the new songs to the live setting. As far as live albums go I’m not sure when we will do another one, because they are expensive to make, and a lot of live albums are just used as bonus CDs or cheap shit produced by bands fulfilling a contract with their label as a gap between studio albums. I have no interest in that I want to make great stuff. We have no interest in just playing a four minute song, talking, and then playing another; we will tie them together. It is important to retain the energy level. You wrote an article recently, regarding the evolution of music, where you said that “Today’s extreme music is tomorrow’s background music”. How important is it for you that Shining is considered to be a cutting edge act that continues to push the boundaries of musical genres? It’s not important in itself, what is important is that I feel happy and confident with the music we are making. It felt right to be extreme and aggressive on Black Jazz’ and this time it felt right to produce songs which were fun to play. I just focus on the music I am writing not how it will be perceived. You have combined jazz, prog, metal and industrial music in your work. Are there any boundaries that Shining will not cross? There really are no rules. The only consideration is how can we make our music better? There are no genre barriers. We had an opera singer on one of our earlier albums and we are constantly open to change. What we have done lately is we have leaned towards that of a metal band. We haven’t used melatrons or strings and timpani drums but you never know what we will do in the future. I could have chosen to change the band name when we started writing Black Jazz as the music was very different but I chose to keep it, as Shining has evolved all on its own while retaining an experimental spirit. In 2013 the world appears to be catching up to the diverse music scene Norway has, other than black metal, why do you think it has taken so long for this to happen ? Norway is a really small country of five million people, so it’s not weird that we have not exported that much music. People only had the pop band A-Ha other than the black metal scene. The black metal scene got a lot of attention so it took a lot of people time to look for anything else. It wasn’t until acts like Satyricon and Mayhem changed their sound that people in the metal scene began to open their eyes to other types of music in Norway. Indeed it was that innovation which drew you to working with Black Metal musicians such as Enslaved and Ihsahn. What made you want to work with these artists in particular? After studying contemporary jazz music for years and playing the music of John Coltrane and artists like that, I wanted to produce music that belonged to my generation and country. The jazz music I was playing belonged to black American jazz musicians and I wanted to produce something that belonged to my generation. I returned to my old metal albums which reignited my love for rock and metal and I found new stuff like Meshuggah and The Dillinger Escape Plan. That led toIhsahn and Enslaved getting in touch. They saw something in Shining that interested them and it really helped us with getting on the track that led us to Black Jazz. It opened my eyes to how the Saxophone could be used in heavy music. Working with Ihsahn really helped me because I was working with him around the same time I was recording Black Jazz. Listening to metal again and being inspired by it felt like coming home! What do you look for in a musical collaborator and who would you like to work with in the future? We don’t have any collaborations planned at the moment but there are a lot of musicians I admire and would like to work with. Off the top of my head, Trent Reznor, Marilyn Manson, The Dillinger Escape Plan, Meshuggah, Skrillex! Skrillex has defined dubstep. We have a remix compilation where fans are rearranging the track ‘I Won’t Forget’ and there have been a lot of dubstep style entries. What’s great about dubstep is it sounds really aggressive which is what I like about it. You can hear that he comes from a rock background when he makes music too! You worked with Sean Bevan (Nine Inch Nails/ Marilyn Manson producer) again on ‘One One One’ why is working with Sean so special? Sean has been working with us for three albums and I wanted to involve him even more this time. As a co producer he helped with the direction of the songs and stripping away parts that weren’t that interesting. He came up with ideas for arrangements with me. I am most happy with ‘I Won’t Forget’ which is a song he was most involved in. We understand each other and you need that when you make art together. What do you make of other extreme metal acts like Yakuza and Ephel Duath who have tried to combine jazz with metal? I haven’t really checked out Ephel Duath but I will do. My feeling is that these bands like Yakuza andSigh are different from us, because they don’t come from a jazz background, which gives us a unique feel and way of approaching music; where I see bands like those guys and Meshuggah coming from the other direction. There are a lot more metal bands that seem to be ready to experiment with jazz but I think it would be very cool to have more jazz musicians trying to do what we do. You haven’t booked many festivals for this year. What are your touring plans? The record is out just before summer, so we are doing Festivals in Norway with European festivals next year. We will be touring the U.K. and Europe October/November time and we will be touring the U.S. after that. There is a lot of interest in the U.S. considering how little we have toured there; we have only done ten American shows. We want to get over there this fall and spring next year as well. That’s the plan. We can play jazz festivals or metal festivals. In Norway we do a lot of different stuff so it is important to mix it up. The new generation of music listeners don’t care about genre. They want to listen to Lady Gaga then The Dillinger Escape Plan. That’s the future of music. I spent the whole of last year in the studio and I am now in the mood for playing live. I hope people take the time to check us out.
Ross Baker
Related articles
- Norway’s SHINING Release ‘I Won’t Forget’ Video (bravewords.com)
- Shining Launch “One One One” Album Stream (thebitemag.co.uk)
Shining (NOR) – One One One Album Review
Shining (NOR) – One One One
Originally posted on Ghost Cult Magazine’s website on 28/05/2013
Masterminding the melding of Jazz and metal has been attempted by many noisemakers but these proponents have often hailed from the metal world. Shining mainman Jørgen Munkeby has travelled a different path hailing from a trad jazz background Munkeby introduced “Black Jazz” to an unsuspecting world three years ago nailing progressive metal to free jazz and harsh electronics it was an uncompromising and experimental record which sat up and slapped the metal scene square in the face.
Fast forward to present day One One One sees Shining condensing and distilling their freeform frenzy into more traditional song structures.For some this would seem like Shining has lost its edge yet what One One One succeeds in doing is compressing these rogue elements and spewing them out in controlled bursts of kinetic energy.
Spanning thirty five minutes this high energy thrill ride is a seemly mesh of all Shining’s musical styles with all the indulgences stripped away leaving only the juicy succulent flesh for the listener to feast upon.The driving percussion and industrial guitars of ‘I Won’t Forget’ kick off this adrenaline ride recalling the manic rush of NIN circa Broken and ‘My Dying Drive’ pulls no punches with its stellar grooves.
What makes this album so inviting is how every instrument is allowed to stand out without being smothered by the rest. The frantic saxophone on ‘How Your Story Ends’ ads to the song without becoming its main focus and the electronic elements are never employed at the expense of the guitars.The album title itself alludes to Munkeby’s desire to create a series of “track one’s” or “hits” and while the songs have shorter running times than the sprawling Black Jazz this is still the bold work of an extreme act hell-bent continually challenging themselves and their listeners.
The corrosive saxophone grind of ‘The Hurting Game’ alone should serve as a vehement denial of the notion that Shining have become a straight metal act. Jørgen’s vocals while mostly screamed still allow for lyrics to be clearly deciphered and while the cold industrial sections complement the harsh guitars there is an organic feel to the songs.
In One One One Munkeby has succeeded in balancing the fine line between indulging his renegade tendencies while simultaneously delivering his most direct and simplistic album yet. While a fine collection of music never before have Shining’s individual songs shone so brightly even when removed from the context of the album. A vital and exhilarating brand of controlled chaos bravely realised and delivered with the meticulous brilliance of a master craftsman.
8/10
Ross Baker
Megadeth – Super Collider Album Review
Megadeth – Super Collider
Originally posted on Ghost Cult Magazine’s website on 02/06/2013
“Burn baby burn cos it feels so good/burn baby burn like I knew it would” no these are not lyrics from a seventies disco hit but the chorus of the third track on the new Megadeth release “imaginatively” entitled ‘Burn!’ It’s a worrying entry which will again have both fans and detractors casting aspersions regarding the sanity of one Mr Mustaine.
Such god awful lyrics may be expected from a tired old has been of the glam metal era but when they are delivered by the voice of thrash metal’s most politically astute, polarizing and thought provoking artists then something has gone horribly wrong.
Cringeworthy and questionable lyrics aside, there is a lack of technicality with many a generic mid paced riff underpinning songs like Off The Edge’. Perhaps the lack of technicality can be attributed to drummer Shawn Drover whose kit work, while solid, still feels like that of a hard rock player rather than an out and out heavy metal percussionist.
‘The Blackest Crow’ pulls another curveball with the addition of banjo yet, while it’s a brave experiment, it sounds like a Volbeat cast off at best. Touted as a crackpot and conspiracy obsessed nutter, Mustaine has carved a career from controversy and while recent albums have been strong since the return of bassist Dave Ellefson to the line up, Super Collider sounds like the wheels may be coming off. ‘Dance In The Rain’ rails against “the dead end 9-5” and the “big brother” surveillance society we find ourselves in yet his intentions are questionable. Considering his own controversial views on issues like gay marriage, one wonders how much Mr. Mustaine would fight to protect certain people’s civil liberties.
The later track even features a back up vocal from Disturbed mouthpiece David Draiman whose contributions are thankfully difficult to detect. Attempting to shy away from the controversy and focus on making great music Mustaine has written the most watered down and disappointing album since Risk He is apparently content to fit comfortably into mediocrity which is especially disappointing considering how strong the last couple of Megadeth albums were.
Undeniably one of the greatest guitarists in metal with a C.V. of hits acts of today would sell their first born children for, the distinct lack of hooks and memorable riffs seriously wounds Super Collider. The odd break of fret wizardry cannot save what is unquestionably one of this year’s most disappointing albums.
2/10
Ross Baker
My Dying Bride Interview
Metal’s Poetic Edge – An Interview With My Dying Bride
Originally published on Ghost Cult Magazine’s Website 08/05/2013
My Dying Bride is generally seen as one of the godfathers of the UK doom/death metal movement in the early nineties.They’re still going strong despite several line-up changes over the years. Recently the band released an EP, containing leftover songs from the A Map of All Our Failures sessions. Ghost Cult caught up with singer and frontman Aaron Stainthorpe to discuss the new MDB release, Aaron’s dabblings with poetry and the recent adjustments within the band.
The Manuscript E.P. contains the song with a Swedish title ‘Var Gud Over Er’. What inspired this song and why the Swedish title?
It means “Our God over Yours” and concerns the vicious attempt by religious fanatics to convert a fictitious town I placed in Scandinavia, to their own beliefs, which as you would expect, goes horribly wrong. It features some very aggressive vocals as befits a bloody battle over which holy path to follow. And the Swedish title lends itself well to the subject matter and also offers a little mystery to non-Swedish speaking folk. Traditionally, My Dying Bride have used many foreign language titles and this adds to that colourful collection.
One thing your lyrics succeed in doing is combining aggression with vulnerability. Take ‘The Barghest O’Whitby’ for example. The vicious beast is feared by many but he himself is actually lonely and isolated. What inspires the creation of these great characters?
Telling tales is what song writers do and it’s always worth looking at a subject from an unusual angle as it adds something new to the story. There are many beasts in folklore of which all are spoken about from the village’s/humans’ point of view but I decided to create my own script taken from the viewpoint of the dark menace and the emotion it endures which is never normally known.
Have you ever considered becoming an author? Maybe you could produce a companion novel to an album in the future?
I’m not sure I could write a book but I do enjoy writing short stories and am actually working on putting all my literature into one volume, including all the lyrics for My Dying Bride along with notes and information on song meanings. It’s a project for the future though and won’t come out for a few years yet.
How do you decide wither a lyric requires a spoken section, clean singing or growling?
It all depends on what the character is enduring. Death metal vocals, because of their aggressive nature, naturally give a heightened sense of anger/revenge & hatred and can be very effective when paired with brutal riffing and pounding drums. And of course, the flip side would be the whispering, which conveys sadness and loneliness but also menace too so can be used to draw the listener down what looks like a safe passage only to cut them off with a burst of unexpected horror.
In the last two years you’ve released Evinta, The Barghest O’Whitby, A Map Of All Our Failures and now The Manuscript. What has prompted you to be so prolific as of late?
I can’t pinpoint any single reason only to say that we simply have a wealth of idea’s gushing from a cornucopia right now and are even thinking about the next LP which we may even record later in 2013. I feel that when you have the juices of creation babbling up inside you, it’s only natural to let them come forth. Perhaps there is something in the water in Yorkshire that is moving us to compose so frequently.
You have former Akercocke and current Voices drummer David Gray working with you for live shows and your old drummer Shaun Taylor-Steels playing with you in the studio. Do you see this arrangement still being manageable with David’s commitments to Voices?
David is no longer with us which is a pity as he was not only an accomplished musician but a wonderful bloke. The relationship we had with both drummers worked well for a couple of years but we now have Dan Mullins back with us so that has added stability to the unit once more and we hope to record with the little fucker on the next LP.
You and Andrew run the business side of the band. How important has it been for you to manage yourselves and retain that control?
It’s very important to us, after all, who know the band best? Sometimes the business side of things can take the shine off the creative side but we’ve leant to deal with that over the years. More bands should manage themselves – it’s fun!
What’s next following your festival dates this year?
We are poking around with new ideas for new songs and we may even be able to squeeze the recording of the next full length album in this year, but if not, we’ll take our time and it can come together when it’s ready, but we’re busy and that’s just how I like it.
Ross Baker
Interview with Sahg
Delusions Of Grandeur – An Interview With Sahg
Originally published on Ghost Cult Magazine’s Website 14/07/2013
“We have toured the U.K. three times this year. We are very pleased with the response we have received here.” Olav, guitarist/vocalist of Norway’s Doom Metal supergroup Sahg, is clearly a fan of venturing across to conquer Britain. Ghost Cult caught up with three of the band members backstage before tearing down Manchester’ NQ Live.
Your new album is due for release in October. What can you tell me about recording it? Does it have a title yet?
Olav: It has a title we are keeping under wraps at the moment. It is not a number. We recorded it in a huge barn in Bergen out in the country. We wanted to capture the live sound of this band and I think we did that. There is a bigger vocal presence with Tony having joined the band too. The recording session only took three days we were well prepared beforehand. We took time writing this record because we have taken a slightly different direction.
I hear the concept from the record is delusions of grandeur. What inspired this?
Olav: The concept is about all of man’s delusions. We are primitive beings with impulses and urges that operate the same way as other animals. We have technology and try to set ourselves up in positions of power but we have the same basic instincts that help us survive. The album is about the way individual’s seek power to better themselves from your boss at work to the way dictators feel they are bigger than god and manipulate the beliefs of their followers to attain wealth and power. We created a story about a normal man’s quest for power who then becomes the ultimate ruler of the universe in his own mind. It is a very relevant concept when you look at what is going on in countries like Egypt and Syria right now.
A lot of your songs seem to derive inspiration from the spiritual and supernatural as well as the primitive impulses of man. What excites you about these topics?
Olav: That part of the human mind. The dark side that shows in us all is a fascinating thing. We are not religious guys but it is important to be fulfilled spiritually. I do believe in mystical forces exist rather than any god.
‘Firechild’ has a bigger sound with more vocal harmonies. Is it a good example of what we can expect from the new record?
Olav: That’s Tony’s input. He sings in other bands too so we wanted to use that. When he joined the band it allowed us to expand our sound and make use of all the harmonies and layers that you will here on the new album. Mixing our two voices has allowed us to experiment. It has made me up my game vocally also. We all sing on certain songs and we wanted to have a more grandiose feel to the music in keeping with the subject matter of the record.
You have gained a lot of high chart positions in Norway. Did that surprise you?
Thomas: I think Norway is different in that we are such a small country so there is less separation between music scenes. More people get exposure to rock and metal music where as it is a more underground thing here. I think it’s great that other countries are waking up to the fact that there is more to Norway than just the Black Metal scene. We love that scene but we wanted to express ourselves in a different way.
Tony: I am glad to be associated with Kvelertak and Audrey Horne as they are very good bands. It seems that kids in Norway are adopting hard music more. A band that plays hard music can be on the chart which is amazing!
Thomas: Those are our delusions of grandeur again!
Thomas (Lönnheim) was in an electro pop band before Sahg. What new element does his playing bring to the band?
Olav: Thomas has played a lot of music but his playing is rooted in the traditional heavy metal style and he was playing with Tony in so we knew each other.
Thomas: I joined Sahg two days after I quit the electro band! I went to my local pub and saw these guys and they asked me to join!
Olav: It was really fortunate actually as we have been looking for a full-time drummer for years. We had Audrey Horne’s drummer Kjetil Greve filling in for us but we wanted someone who could commit more to Sahg. It was a very strange coincidence but he’s a perfect fit for this band. We had auditioned four drummers and then the right one walks into the pub
With acts like Audrey Horne, Kvelertak and you guys coming to prominence it appears the Norwegian music scene been looking for something else other than black metal. Why do you feel this is?
Olav: Norway is a small country so not many people internationally look to us for great music save the Black Metal scene. In Norway a lot of rock music gets played on the radio but here you don’t have that so bands have to tour to get noticed. In Norway it’s not usual for a band like Kvelertak to open for someone like the Foo Fighters. I think it’s great because it allows bands to build themselves up before being introduced to foreign markets. More people are realising that Norway makes many kinds of great music. After the Black Metal boom of the 90s musicians have moved on and want to express themselves with other forms of music. Even people like Ihsahn who were so influential in the genre. Music fans have been looking for something else and we are ready to give it to them!”
You toured recently with Long Distance Calling and Solstafir recently and now your comrades in Audrey Horne all very different bands. How important is it to tour with such different sounding artists?
Olav: It’s great. I think that for each of us having more than one project only enhances our creativity. We all work with different styles so it is not hard switching from writing for one act to the other. We will play with any band from any metal/rock subgenre but not outside of that as I don’t think the audience would get it. We love playing live and want to keep it interesting for ourselves and playing with diverse line ups such as the one you mentioned does that for us.
Thomas: If their audience crosses over with ours then it is doable. It’s like a mini festival. Nothing is more boring than seeing three bands that sound alike on one bill. It’s good to have a challenge for us playing to different types of music fans.
Bergen, Norway appears to be a diverse melting pot for musicians. What makes Bergen so special?
Olav: Bergen is a very close-knit scene with many musicians helping each other out. There are very few pubs which play music so we all went to the same pubs and all the musicians met each other. I think there is a more community spirit in Bergen and Trondheim than in Oslo. We share rehearsal space and when we look for musicians for a project we look within that network. When Audrey Horne was looking for a lead guitarist Ice Dale was the first person they called.
Thomas: Bands in Bergen are very keen to support each other. We don’t see ourselves as completion the way bands from Oslo do. Musicians communicate more and they support each other. If someone needs a musician to tour we look for someone local because everyone knows each other. Kvelertak and Purified In Blood come from that hardcore punk scene and they support each other too!
Olav: Norway has always had a lot of things going on it’s just that Black Metal got so big. Now the Norwegian Metal scene is getting prominence other bands are putting other bands from Norway on the map. The Black Metal scene is still very strong but a lot of those bands are trying different things and experimenting also! A lot of the original Black Metal bands are still together because they experimented and changed.
Olav: Any other projects we have all contributed to have made us better musicians and helped us make Sahg stronger.
Ross Baker
TesseracT Interview
Altered States – An Interview With TesseracT
Originally published on Ghost Cult Magazine’s website 17/06/2013
TesseracT bass player Amos isn’t the typical guy in a metal band. Articulate and quick-witted but giving carefully considered answers he is the unofficial spokesman of one of British metal’s most exciting bands. His answers are delivered eloquently without the “um’s” and “ah’s” of so many musicians and while completely calm Williams’s dedication to his craft is unwavering. Involved with everything the band does creatively and business wise handling visa applications and press commitments the bass player is candid and speaks with the self-assurance that comes when your band has written one of the most important releases in the last ten years for British metal. Giving us his thoughts on the band’s new album Altered State, new singer the gifted young Brighton based Ashe O’Hara and new beginnings for a greatly inventive and passionate group.
You have had several lineup changes regarding vocalists. Did you ever doubt you would find the right person?
Not really. We were going through lots of troubles with management and things didn’t work out withElliot (Coleman, previous vocalist) so we had a year or two worth of problems. It seemed like the sky wasn’t going to get any brighter at one point but we had already been through this when Dan Tompkins replaced Abi Obasanya who was a great vocalist himself. Abi was very soulful like Seal! We knew there would be someone out there for us as we have worked with great singers before and managed to find someone else. The people in TesseracT are very flexible. We are keen to work to our strengths but we want to experiment. The route that Altered State has taken us was unexpected but it worked. Although we were downtrodden we knew we would find the right person artistically and personality wise too.
When was it you realised that Ashe O’Hara was the right man to be your new vocalist?
Ashe is just being himself. We have struck gold with him. For me personally when I checked out the E.P. he had written with his band Voices From The Fuselage. I knew I wanted to work with this guy as a producer or musician within twenty seconds of hearing his voice! It took us a long time for us to confirm that we were working with him because we had experienced so many issues with vocalists. Not because we were concerned about his ability but because we wanted to make sure he was the right person as well. When he returned the demo for “Nocturne” we giggled with glee as we knew this was going to work perfectly.
What was it like writing Altered State when you didn’t have a definite vocalist at the time? Did it put pressure on you during the writing process?
The music in TesseracT is written separately from the vocals. We leave space for them but it needs to be interesting for us with or without vocals. When we added the vocals this time we didn’t need to add many new parts instrumentally after we had done the vocals as we spent a lot of time on making powerful music first before Ashe added his parts. He likes to add parts that make the song sound good. He has a talent for helping the instruments shine as well as a great singing voice.
What made you choose to drop the screaming vocals?
It was personal preference. As long as TesseracT has been going we have talked about not needing the screaming vocals. It almost sounded monotonous even for some of our favourite bands like Meshuggah. We were more interested in the music rather than the vocals. Not to take anything away from Jens (Kidman, Meshuggah vocalist) he adds a layer to their music which is very powerful but personally we prefer clean vocals. We love melody and love classic rock and music before the time of screamed vocals. When we were a new band we felt the pressure to include screaming vocals to be accepted. Now we are somewhat established we felt it was time to move away from that. I did a lot of the heavy vocals when Dan was in the band and when we did shows and I would perform them it didn’t feel right. We toured with bands like Protest The Hero andDevin Townsend and when they do it sounds awesome but it didn’t feel right for us. That being said if we did write a new song and it felt right we may use screams.
The video for ‘Singularity’ has garnered a lot of attention on YouTube for its content. What inspired it?
Honestly I don’t entirely know! We decided to work with some friends of ours who were in the bandFightstar. They have been film making for ten years and helped produce and direct their own videos. We had a limited budget but they gave us a great video. We wanted a video that would get people talking and it is a success from that point of view. It seems to generate one or two emotions in people. They either get very angry or it makes them feel things they don’t understand. It is not connected to the lyrics it is more an experiment in itself. I admit it is not what was expected of us but we gave the film makers’ free reign and I knew we would get the best results from them doing so. In order to get the best from people you have to give them the freedom to create. Arguably how people react and feel about the art says more about the person viewing it than the film itself.
Altered State is about the transformation of matter and change. What makes this subject so important for you?
This album is about change. The changes the band has been put through in the last couple of years and changes on a global scale. We have been through tumultuous change. Our last two releases have been about answering the reaction the public have given us. The EP Perspectivewas us expressing how we felt that this was music and it doesn’t matter how much it moves you. Altered State was us reassuring people saying “yes our band has changed but we are still TesseracT” and we wanted people to realise what we represent. It is also about the fact that energy never just disappears it changes and we wanted to see how that happens on a microscopic level over an eternal timescale. ‘Of Matter’ and ‘Of Reality’ come from seeing how matter changes. What bands like us write tend to focus on is science and physics and looking to the future. Songs like ‘Singularity’ focus on how these things affect the solar system. This is why the album finished on a track called ‘Embers’ because the fact is that the universe will one day fade away to a cold, dark place. Our art just reflects our reality.
‘Calabi-Yau’ has saxophone on it. How did that come about? Is it an instrument you will experiment with further?
One of the very first demos we did back in 2003 had saxophone. This was back before TesseracT was a public band and it is something that fans have been asking for this for the last ten years. Because we were pushing the boat out in terms of experimentation it felt right to do it on this album. We got in touch with Christopher Barretto who used to be in Periphery who is a fantastic saxophonist. We don’t like to limit ourselves when it comes to instrumentation. When we did ‘Perspective’ we introduced a lot of elements like piano and acoustic guitars. We started that back on One with the track ‘Eden’. That’s something we can do again and I want to introduce orchestration to our work in future also. Not in the way Metallica did the way they just put their songs to orchestra but to really mix the instruments together. Different instruments help you explore your own creativity. If we need to write a song on a different instrument we will. I can’t really hear a French horn or trumpet on our music but if we can make it work we would do it.
Ashe is still a member of Voice From The Fuselage. Do you see the music he makes elsewhere as baring an influence on his work with you guys? Does it have an impact on your schedule rehearsing and touring?
Ashe is very keen on doing Voices From The Fuselage and we won’t stand in his way. The band members are all at university at the moment so it is not their main focus. We will have to wait and see if there are problems but we will always try to accommodate what he is doing because this is where he comes from. We would never ask him to leave his band. That would be an impossible choice because it is very much his baby. I can’t see it causing so much problems because the day-to-day running of the band isn’t taken care of us all so he will have time to do his thing.
Altered State certainly see’s you pulling away from the typical dynamics of your Djent contemporaries. Will TesseracT’s music continue to become more reflective and less aggressive with time?
I can certainly see us developing in a more extreme direction in every fashion because we have always done that. The heavier parts will get heavier instrumentally and the melodic parts will get softer. We are not traditionally heavy for a Metal band. Our riffs naturally carry a lot of weight which is something we get from Meshuggah. That is certainly something we should thank them for. They manage to create humongous riffs without the need to traditional metal tricks. We are learning more about production and we hope we can hone those skills.
What are your Future plans following this touring cycle?
We have confirmed a U.K. tour with a very compatible band which both sets of fans will love. We will also be visiting Russia and the U.S. Our biggest market is the U.S. but we want to be bigger in the U.K. We are very grateful for the response we have had so far and can’t wait to see all our fans on tour.
Ross Baker
Audrey Horne Live
Audrey Horne, The Mercy House & Sahg Live
@ NQ Live Manchester, UK
Originally published on Ghost Cult Magazine’s website 14/07/2013
Following the acclaim Audrey Horne have received following the release of current albumYoungblood it’s a shame that more punters haven’t chosen to venture down to NQ Live for this promising triple bill.
Sahgdon’t let the sight of a half empty venue phase them. The room is sounding huge tonight suiting the bands classic rock tinged doom to a tee. Embellishing opener ‘The Executioner Undead’ with a snippet of the Thin Lizzyclassic ‘The Emerald’ doesn’t hurt either. ‘Firechild’ suggests good things to come from the band’s as yet untitled fourth album with the combined vocals of Olavand bassist Tony providing some spine tingling harmonies which suggest their finest hour could soon be upon us.
Londoners The Mercy House are a recent addition due to Ancient VVisdom needing to pull out a couple of weeks prior to the tour. The quintet’s downtuned guitars recall Loud Love era Soundgarden yet as the set wears on, the lack of varying tempos and the screeching vocals become quite the irritant. A sub standard version of Rage Against The Machine’s ‘Freedom’ does little to help their cause. Singer Drew has a mean vocal range yet when the over the top histrionics are discarded the songs have very little to say for themselves.
Enter sharp dressed headliners Audrey Hornewho possess both stage presence and musicianship in abundance! Every band member is a hive of activity oozing star power from every pore. Numbers from current platter Youngblood are doled out with the crowd cheering and pumping their fists straight from the kick off. The twin guitars of Thomas Tofthagen andEnslaved six stringer Ice Dale are phenomenal and Toschie is impossible to ignore, getting into the front row’s faces and throwing shapes while delivering huge vocal harmonies atop the mountainous fretwork which give songs like ‘It Ends Here’ their kick. ‘Cards For The Devil’ is another with a scything Judas Priest phrasing leading to a dynamic chorus. The crowd lap up everything the band throws at them with Toschie diving into the audience who fling their arms around him in joyous camaraderie. A constant blur of kinetic energy with an abundance of hooks and personality this may be a small club but it has the feel of a stadium tonight. While their name may refer to a character from mysterious David Lynch film and series Twin Peaks, their music is no high art expressionism just pure modern heavy rock played with a bucket load of heart and soul.
Audrey Horne, The Mercy House & Sahg
NQ Live Manchester
May 1st 2013
Ross Baker
Photos: Fabiola Santini
Hellfest 2013 Report
Originally posted on Ghost Cult Magazine’s website 08/07/2013
Turning in another formidable line up which featured some very safe bets, attendance wise, on the main stages but a fantastic representation of extreme music with a clutch of acclaimed Doom, Stoner, Death and Black Metal acts on the Temple, Altar and Valley stages France’s premier metal event Hellfestshowed once again the blue print many U.K. festivals would do well to follow. When it comes to carefully staggering stage times with two adjacent main stages and the two tents containing three other stages, the only excuse for missing any of the action is purely because of the exhaustion of rushing between catching so many scintillating sounds. The headline acts may have been fairly average yet at least the appearance of Danish rockers Volbeat in a coveted headliner role was a bold move even though the band is clearly unready to occupy such a position.
Day One
The inaugural day saw brooding homeland act The Great Old Ones deliver a tight early performance of cold post Black Metal before England’s Black Spiders deliver a shoot from the hip set of the slick hard rock we have come to expect from them. ‘Stay Down’ and ‘Kiss Tried To Kill Me’ ooze confidence, suggesting their rise up the bill may be imminent. The audience may have responded to Pete Spiby’s call to shout “Fuck You Black Spiders” but they won several new friends today.
Sludge duo Eagle Twin deliver a vital sermon over on the valley incorporating mournful monologues within crushing doom overtures. Massive obelisks of distortion tempered with Gentry Densley channeling the spirit of Leonard Cohen with his rasping overtone vocals lending atmosphere to his glacial arrangements.
Sleazing up main stage two, Sweden’s Hardcore Superstar‘s call and response glam metal has more than one buxom beauty dancing. Frontman Jocke Berg may look a dead ringer for Wednesday 13 but his voice is all his own. While not a complete success there is no arguing with numbers like “Last Call For Alcohol” and “Fuck The Law” with even the sun coming to join the pa
Bison BC are a revelation on the valley. Considering that Mastodon and Baroness have apparently left their heavier roots behind them, this mighty beast harnesses their early work with a hardcore bluster which makes for an exhilarating experience. They tore through an ultra high energy set of Neanderthal riffery, harking back to the days before Mastodon decided to distance themselves from sheer brute power. Last year’s Lovelessness showed an act brimming with confidence and the audience remains transfixed by the onslaught the Canadians bring with bassist Masa Anzai ferociously destroying his instrument at the climax of their scorching performance even handing broken pieces of his bass to the audience along with the guitar case for good measure: a true celebration of metal’s life affirming power.
By contrast Evoken‘s funeral doom is ghastly and grim yet lacks staying power. Alternating between slow mournful melodies and fractured death metal, they have moments of high drama but many build ups end in little pay off.
Math metal act Between The Buried And Me posses much technical dexterity yet their disjointed arrangements, poorly executed vocals and lacklustre stage presence fail to impress.
Thankfully the quality entertainment resumes with the appearance of virtuosos Alex Skolnick and Gene “the machine” Hoglan who propel thrash legendsTestament through a searing white hot set of technical ecstasy. ‘Native Blood’ is fantastic with Chuck Billy feeding off the monstrous instrumentalists which flank him in addition to the rapturous response from the faithful. ‘Practice What You Preach’ has the moshpit going bananas and recent material shows that the veteran act remains as vital as ever.
Returning to the valley Black Breath delivers a lesson in sonic violence. Their vicious thrust puts the speakers to the test but some of their mid paced material lacks the impact of the breakneck intensity which made them so vital when they burst into the scene a few years ago.
The late arrival of Ireland’s Primordial sees their set cut to a mere three songs and while their Celtic bombast is impressive, Kreator’s performance over on Stage Two is a tough act to follow with the German act pulling off a typically crushing set of extreme aggression.
The eerie darkness of the valley is the idyllic setting for post metal godfathers Neurosis. Drifting between delicate Neil Young Americana and towering obelisks of distortion, Neurosis have truly transcended all the boundaries which sought to confine their majestic powers. The Oakland quintet’s desolate, earth ravaging soundscapes like ‘Distil’ are powered by shaman like vocal mantras and dense percussion. Still, even without the visuals of Josh Graham their music is as emotive and raw as it gets with messers Von Till and Kelly as compelling a songwriting team as can be. Colossal finale ‘Locust Star’ is ominous yet triumphant from a seminal act which richly deserves their revered status.
Day Two
Audrey Horne take the stage like they own it with the party vibe in full swing despite the wet weather.Toschie is a whirlwind of activity and guitarists and Ice Dale exude star power and classic rock cool. Songs like ‘There Goes A Lady’ and ‘Pretty Little Sunshine’ suggest that Europe is catching on to one of Norway’s finest rock exports.
The much touted Uncle Acid And The Deadbeatsturn out to be a massive anticlimax. While groovy and engaging on record they choose to begin with a couple of slow numbers, showing little ability to connect with the audience with Yotam Rubinger seeming more interested in picking up a joint from a lady in the photo pit than playing their opening number. After this lacklustre beginning, business picks up when ‘Cut You Down’ is introduced but however it’s a poor showing from the much touted act. Let’s hope they perform better when they open for Black Sabbath in July.
Witchcraft show us how it’s done having been rumoured to be off the bill due to illness it is great to see the Swedes deliver a ripping set of doom flavoured classic rock with frontman Magnus Pelander in fine form looking relieved to be unencumbered by an instrument leaving the soaring fretwork to the able team of Simon Solomon and Tom Jondelius.’Deconstruction’ and the marvellous ‘It’s Not Because Of You’ show an act at the peak of their powers and indeed the whole scene they occupy.
The sad news of Neil Fallon’s father passing away meant Down would pull double duty replacingClutch. Today’s main stage performance sees Phil Anselmo showing his respect to the Maryland act delivering righteous versions of ‘Stone The Crow’ and ‘Losing All’ before the all star Crowbar, Eyehategod, Pantera cover set that Sunday was treated to.
Hellenic titans and veterans of Hellfest Rotting Christ pull out a stellar set of melodic black metal before Finns Amorphis put cuts from new opus Circle to the test which they pass with flying colours such is the power of tracks like “Nightbird’s Song”.
Day Three
Gojira’s power is unfathomable. It is a wonder how the quiet Duplantier brothers formed the best sibling act since a young Sepultura first rose to prominence. ‘Toxic Garbage Island’ and ‘From The Sky’ are fantastic with the lads clearly happy to be on home soil.
Symphony X vocalist Russell Allen is a supreme talent however their high drama power symphonics would be of little consequence without his sterling efforts.
Over at the Altar, Portuguese Gothic MetallersMoonspell deliver a rich tapestry of numbers delicately woven from their sterling back catalogue with Fernando Riberiro leading the band through towering anthems like ‘Night Eternal’. The folksy ‘Ataegina’ is a surprising addition which, while quite different from the band’s heavier material, has fans square dancing in gleeful merriment. When was the last time you saw a Gothic band that could do this?
By contrast Danzig’s set in the Valley, having traded places with Ghost, is somewhat frustrating. Solo anthems Like the raunchy ‘She Rides’ and the appearance of muscle-bound monster man Doyle to treat us to a set of Misfits classics make for great entertainment but Glenn clearly struggles to sing many of the high notes tarnishing a potentially great performance.
Ghost: Swapping to take Danzig’s headline set on Stage Two was genius. Satanic magic to the masses. Thrilling melodic hard rock meets soaring orchestration. How fitting their first headline set would be Hellfest! ‘Elizabeth’ the hymn to Countess Bathory and more recent incantations such as Beelzebub waltz ‘Secular Haze’ are fantastical worthy alternatives to the pomp and screech ofCradle Of Filth on the Temple Stage. In pitch dark under a full moon having begun well after the witching hour, it’s a fittingly memorable way to conclude the epic 2013 edition of Hellfest. ‘Stand By Him’ explains it all. It’s the night of the witch tonight! Able to improvise, providing a fantastic spectacle and catchy songs to boot. Believe the hype. Satan commands you! Shockingly the pa shuts down during ‘Genesis’ temporarily banishing the Ghouls from the spotlight. Thankfully they emerge triumphantly for ‘Year Zero’. The towering ‘Gulleh/Zombie Queen’ and ‘Monstrance Clock’ conclude a set in which nothing could derail an act which looks set to enjoy all the success acts like Slipknot have attained. A magnificent conclusion to an event the dark lord would smile upon.
Hellfest 2013
June 21-34
Clisson, France
Words: Ross Baker
Photos: Mark Davies
Pelican Live
Pelican & JK Flesh Live @ Brudenell Social Club Leeds, UK
Like an old scout hut turned into a trendy bar Brudenell Social Club is a quaint and unlikely location for two uncompromising acts of metal’s pioneering Avant Garde. The July sunshine is beating down oppressively outside but even Sahara temperatures could not compare you for the intense titanic sound clash of dubstep industrial metal that is Justin Broadrick‘s latest incarnation JK FLESH. Hood up and bathed in blue light the solitary figure of the Brummie legend still cuts a mean imposing figure at fourty three years old.
Light years ahead of the indulgent ambience of his Final project, the music is deliciously furious with all the narrowly intense machine beats and desolate hallmarks of Godflesh there for all to see. This would have made for an incredible experience had the vocals not been buried too far with the mix even for Broadrick’s work. Yet Justin’s frost coated glacial riffs and warped beats are a punishing oral experience many will savior.
Many musicians who indulge in post rock/ metal can be somewhat navel gazing and lacking in flair Chicago’s Pelican shatter that mold with ripping through the groove fuelled set full of great musicianship played with some serious aggression.
Ready to road test material from forthcoming opus Forever Becoming the two new tracks aired tonight hints at a more direct and powerful approach than 2009’s Ephemeral explored. This darker approach will be welcomed by many older fans although the same followers may be disappointed to find no material from seminal debut Australasia creeping into tonight’s set.
‘Deny The Absolute’ plays off a fantastic driving riff and haunting ‘Parasite Colony’ benefit from a vastly improved sound in addition to hurling themselves around the small stage in jubilant fashion. Unlike many acts of their ilk Pelican avoid the drab indie preening and overt reliance on repetitive build ups with wonderfully multi textured compositions which range of ambient transcendence to a full on assault of scything riffs and pounding drums.
Unafraid to rock out hard new cut ‘Immutable Dusk’ shimmers majestically building to a crescendo then collapsing into a bass driven ambient passage before erupting into an elephantine blast of towering distortion. Trevor de Brauw and new guitarist Dallas Thomastrade elegant arpeggios before tearing into searing ostinatos the ferocity of which could erode mountains.
The mighty encore of ‘Dead Between The Walls’ see’s them exit with little fanfare save a thank you to the audience and the promise of a swift return. Let’s hope they make good on that.
Pelican & JK Flesh
Brudenell Social Club Leeds, UK
July 16th, 2013
Ross Baker
Photography: Stuart Rees
Interview With Wardruna
Return To Yggdrasil – An Interview With Wardruna
Originally posted on Ghost Cult Magazine’s website 19/08/2013
A student of the Runes and a self confessed “history nerd”, Einar “Kvitrafn” Selvik has brought the ancient Norse sounds of Wardrunato life in modern times. Ghost Cult scribe Ross Baker caught up with him to discuss strange instruments, history and where Selvik’s maverick vision will take him next.
Wardruna uses so many unusual instruments to make music from deer-hide frame drums, bone flute, goat and cow horns and Hardanger fiddle to name a few. How did you gather such instruments?
Many of these instruments were made for me by specialists but some I collected from places. It was very difficult to find as not many people make or know how to play them either so I had to teach myself. I am a self taught drummer and guitarist but things like the bone flute were very different. It was important for me to have all these instruments so the music has the correct feel. It took me seven years to write and record the first album and a lot of that was because each composition relates to a rune and each Rune demands something different.Instruments, sounds and seasons and even specific dates all represent the symbolic power of the Runes we are trying to express the meaning of. When we recorded for the rune that relates to water, we needed to be outside by a river. It is a very time consuming process recording this band because the conditions have to be just right.
You described Gap Var Ginnunga as “sowing a seed” and Yggdrasil is the tree the Norse Gods meet at. Ragnarok will be the last album of this “Rune trilogy”. Will that be the end of Wardruna’s involvement with the Runes?
Wardruna will always be connected to the Runes in some way. A lot of people misinterpret Ragnarok as what the Christians called Armageddon but it is not that at all. Ragnarok is the great transformation, the end of something and the beginning of something new. The album will signal a change in our sound and how we evolve. How that will sound I cannot say yet.
How do you wish Wardruna to speak to people who may not be familiar with Norse history and culture?
To make a tree stand it must have strong roots or it will fall. Wardruna is not a re-enactment or us pretending to be Vikings, it is about celebrating our roots and culture. This project takes inspiration from our native culture but it is about creating something current and new. It is also important for me to dispel a few myths about the Runes and Norse culture that have been misinterpreted and made almost cartoonish by the media.The image of the Runes has been tarnished by some right wing racist idiots who have no business using them and only did so for their own gain. I want to give the Runes a voice and let them speak for themselves! A lot of these songs have universal themes about man communicating with nature and the universe. I think people from all cultures can be inspired by that.
The Wardruna song ‘Fehu’ was used in the cable T.V. series Vikings. As someone with a strong interest in history how do you feel about the way the series portrays the Vikings and the culture you come from?
I am please with the way ‘Fehu’ was used but it is difficult for me to watch that series.I understand this series was produced primarily for the purpose of entertainment, even though it was on the History Channel but it is almost painful to watch because there are many inaccuracies.The way the Norse worshipped and traded for example were not depicted correctly but I understand this programme was not meant for a history nerd such as me. I do like some of the ways it portrayed the Vikings as they were; farmers and spiritual people with families. They were not just a bunch of barbarians! We come from a rich culture.
Wardruna’s music is steeped in Norse culture. How do you see it translate with people of different nationalities? Do different audiences react in differing ways to your music?
Actually it is remarkably similar. Our live performances evoke very strong emotions in people wherever we perform. I think it is important to have a venue that creates the right atmosphere and allows us to express ourselves.I have seen people crying at our concerts because the music is sometimes very melancholy. Wardruna’s music is very personal and it is sometimes hard for me to share it with people.I know we sing in the Norse language which most Europeans or other nationalities don’t understand but I feel the music has a life of its own and speaks with its own voice. People are clearly hearing his voice as it inspires such a reaction. The response has been overwhelming and it is very emotional for me to perform. This is not just music for the ears but for the spirit, body and mind. We want to create a connection, a non physical dialogue with our audience and I believe we are succeeding in doing that!
The two other vocalists Wardruna utilises are your ex Gorgoroth bandmate Gaahl and folk singer Lindy Fay Hella. Do they bring anything to the creative process besides their voices?
Well Kristian (Gaahl) has worked with this kind of music on his own for a long time so he has several ideas he can bring to us. I am the main songwriter however our creative process is very organic. It can come from improvisation, a drumbeat, a lyric anywhere! Lindy brings a truly ethereal quality we needed for Wardruna. Her vocals offset ours perfectly and conjure up many different emotions. Our environment is very important for our rituals. Each composition is dictated by the Rune and the seasons and elements it represents. I may write a few parts then bring them to the group or I will gather them and suggest we work on something. It is whatever serves the Rune the best!
Coming from the Black Metal scene do you feel there is any link to Wardruna such as a shared attitude or set of ideas?
Definitely. Many people forget that Black Metal is not about a sound but the idea of doing whatever you want. I got out of playing Black Metal because it became quite monotonous. Suddenly it was all about who can blast harder and who can shred the most on guitar. It has lost all feeling. Wardruna allows me to connect with my roots but also move forward. Our creative process is very intense and inspiring!
What is your vision for Wardruna going forward? Do intend to expand the line up with other musicians?
I want to make it both bigger and smaller. I have lots of plans for Wardruna. Some compositions may be very stripped down and acoustic with minimal arrangements but I also want to add musicians for some things too. I have considered using a choir and more percussionists and I am always thinking about ways we can expand our horizons.
Ross Baker
Nile Live
Nile, Svårt Crown And Ex Deo Live At Manchester Sound Control, Manchester, UK
Originally posted on Ghost Cult Magazine’s website 12/09/2013.
Dallas Toler-Wade has been the established frontman for a couple of albums now and while the stability as brought us Annihilation Of The Wicked new opus ‘The Gates Of Sethu’ falls just short of the Egyptologists high standards. Karl Sanders steady hand has seen the band through the departure of Chief Spires and Jon Vesano yet before their hymns to Ra may begin, we have Frenchmen Svårt Crown and Canadians come Roman centurions Ex Deo to lead the charge.
Svårt Crown’s atmospheric death metal rumblings rely more upon mid-paced grooves rather than harsh blast fury. The flex their Gallic muscle admirably yet the crown seem keen to save their energy for the headliners. Battle flags litter the stage as a fanfare of horns sound from the P.A. announcing Ex Deo to the stage. Bedecked in battle armour they certainly look the part but the first few numbers they play lack the kind of call and response chorus these legionnaires should be delivering. ’Teutoburg (Ambush of Varus)’ is far better, straight in for the kill with a vicious breakdown and mighty chorus, perhaps this was not there night but Rome was not built in a day after all.
Nile takes to the stage needing no such trappings. The cobra backdrop is the only prop Sanders and company require, preferring to let their vicious groundbreaking death metal speak for itself. Yet while numbers from the current album are powerful, the Carolina crew have never matched the glory days of In Their Darkened Shrines.
The setlist is heavy on the new album and as such, the songs are given a polite response compared to the fevered reaction, which greets established classics.The Blessed Dead’ is the yardstick by which symphonic death metal should be measured and ‘Sarcophagus’ see’s a furious pit ignite with George Kollias titanic percussion so thunderous it could wake the pharaohs.
‘Lashed To The Slave Stick’ is ferocious with Toler-Wade and Sanders trading chilling guttural roars and expected finale ‘Black Seeds Of Vengeance’ is giving an expectedly rapturous reception. Not the most impressive showing from Nile but still once, which should have many death metal bands quaking in their boots. Praise be to the Gods of the underworld for they have sent forth an act who remain at the helm of Death Metal’s upper echelon.
Words: Ross Baker
Pictures: Craig Hutton
Interview with Korn
Born Again – An Interview With Korn
Originally published on Ghost Cult Magazine’s Website 16/09/2013
It has been a year of mixed blessings for Korn. The absence of guitarist Brian “Head” Welchled to the band refining their songwriting approach with the high point being controversial Dub Step injected Path Of Totality. Now Welch has returned to the fold, Ghost Cult’s Ross Baker caught up with bassist Reginald “Fieldy” Arvizu to discuss Head’s return, religion and new album The Paradigm Shift.
The Paradigm Shift still retains some elements of the Dub Step sound of Path Of Totality why did you move back towards a more organic sound?
Well there are still some electronic aspects on the record but a lot of it was due to having a second guitarist to write with again. We had some ideas for material before we did the shows with Head but once he got back in the studio we knew the magic was there. He and Munky are each other’s right hand man. I think Munky missed Head the most when he was gone as it was harder for him. He had to learn to play all of Head’s parts as well as writing everything himself! He did a great job but having Brian back totally takes things to another level.
I have heard Path Of Totality and the Dub Step direction was influenced by Jonathan’s solo work? What made you approach Skrillex and Deadmau5?
Yeah, Jon listens to a lot of that stuff. I think it’s cool too. It made me think of new ways of developing as a bass player. Most bassists play with the drums but I like to play against them which I think makes Korn unique. We decided we wanted to use more electronics and look at new ways of being heavier. I think this band has always about smashing down boundaries since day one. When we first came out nobody was doing what we were. Some mixed Hip Hop and Metal but not in the freaky way we did. We got Skirellex in because his shit is off the chain. We love that guy! Deadmau5 too! That’s one thing we have always done with this band, chosen great artists to work with no matter what genre they fall into.
I have heard that you are currently very into funk now? Where has that come from?
Yeah Jon loves stuff like Sly And The Family Stone. We all go through phases of listening to different stuff. I’m not gonna bust out any Bootsy Collins basslines but I dig it. I think it’s important to listen to lots of other stuff. It keeps us fresh.
What was it like having Brian “Head” Welch back writing with you guys on this album?
It just happened naturally. Brian was doing his solo thing but he kept in contact and dropped by when we did some shows in California. We got talking and thought it would be cool for him to come play a couple of songs with us. We weren’t thinking of having him rejoin at that time but the response from the fans has been awesome! He has really improved as a musician! He can do all this crazy finger picking and stuff I’m not used to playing so it was definitely a challenge. I think he made us all up our game on this record!
Is the title itself a reference to the change of direction you have taken in a musical sense or does it have a spiritual meaning?
It’s a bit of both I guess. All of our beliefs in this band are different. What is important is how we all fit together better. We have better friendships now than when we started the band and we are certainly better musicians. I think we are more open and honest this time around. We all have families and kids and don’t need any of that crazy drug shit going on. We don’t need to be drunk out of our minds after we play a show. Head is a much calmer person now than he has ever been. I think he got maybe too far into the religious stuff but if it helped him then that’s cool. Some of us believe in things others don’t but we all get along and can deal with our shit now!
I have heard you are looking to bring back the “Family Values” tour is that right? Who can we expect on that bill?
Yeah we have a couple of names ready for that. We have Asking Alexandria and Hollywood Undead who will be doing some shows with us in Denver when it kicks off. Promoters always used to be bugging us to tour with all these different artists but we are happy where we are at. We know there are a lot of festivals and touring packages for fans to spend their money on but I think there is room for this. Metallica have their Orion Festival thing and there have been the Ozzfests but I think we bring a package that can compete with anything else out there!
What do you expect the fans’ reaction to be, given that the new album is clearly modern Korn and no throwback to the debut?
We aren’t interested in repeating ourselves and we aren’t the same guys who made those records. I love those songs and we will still play them but we want to stay true to ourselves. Some fans may not get it but for every one who doesn’t there will be three who will. I think there are about five songs on this album which could be singles and we have worked real hard on these songs. We also had to change the way we played the old songs when Head left but now we will play each song exactly how it sounds on the record. That’s what fans can expect from Korn live now. I think that’s what they want!”
‘Never Never’ is the most pop moment of your career. Have you experienced a bit of a backlash from fans expecting something heavier?
We expect some people to hate that song but we needed to do it. You can’t please everyone Everyone gets pissed off sometimes.
What is your relationship like right now with former drummer David Silvera? He has been vocal in the press about you guys and apparently expressed interest at rejoining.
I’m not really down with what people talk about on the Internet. I haven’t spoken to David in a long time but it’s not up to me anyway. We have Ray (Lucier) who is a badass on drums and we are happy with him. It would be cool to do something with David one day if the time and conditions were right but that’s not my call.
How if at all have your and Head’s religious beliefs changed things for the band? As well as your own lives?
We are a lot more focussed on family life now. We love the band but there has to be a balance. I think we are better at expressing how we feel to each other rather than fighting about the petty bullshit we used to take so seriously.
What is next for you guys following the release of The Paradigm Shift?
We just want to tour our asses off. We will be doing some big shows in Europe in the spring. We want this record to be the biggest thing we have ever done. ‘Love And Meth’ is the first single we put out but there will be more. I would also like to collaborate with other artists and singers. I thinkJames Hetfield would be a great choice! We just want to keep working with great artists and producing music that people spin out on. I think we made a lot of people change the way they thought about things.
Ross Baker
Death Angel Interview
In Dreams Of Terror – An Interview with Death Angel
Originally published on Ghost Cult Magazine’s Website 09/10/2013
The last three years have seen many changes in the Death Angel camp. 2010’s Relentless Retribution opus was the Californians first album with either of the Pepa cousins or drummerAndy Galeon, yet the ensuing two year saw them band touring tirelessly with compares likeTestament and Anthrax in support of it. It was the band’s largest touring cycle for some time with fans lapping up their energetic performances. Even when discussing the turbulent line up changes which nearly crippled the Californian veterans in the past guitarist and founding member Rob Cavestany remains an upbeat character whose mile a minute replies make him a thrilling storyteller. After such a gruelling schedule, no one expected Death Angel to make such a rapid return to action but they are back with another assault on the senses in The Dream Calls For Blood (Nuclear Blast). Ghost Cult’s U.K. Editor Ross Baker quizzed Rob regarding their rapid return to action, line-up changes and the future of the thrash metal genre.
Death Angel have been touring heavily since you released Relentless Retribution Tell me about what inspired you on the new album The Dream Calls For Blood and why you returned to the studio so quickly?
We were so inspired by the energy of the audiences on tour. The response we received particularly when playing The Ultra-Violence material was astounding. It really lit a fire under our asses and made us hungry to get to work on this next record. We wanted to take this live energy into the studio that we got from the live shows. We came off writing the previous album to touring straight for almost three years and then went straight to the studio to record this one. We were writing songs while on tour and we felt the material was so strong we wanted to work on them right away and capture that energy on this record. I think we achieved that. We have been playing as a tight unit for three years straight. We have such a good relationship as a band now. The work almost killed us but it was worth it. We got tired of partying all the time. We kept a crazy tour schedule of playing 16 nights in a row with one day off. It gets pretty brutal so you can’t party all the time. You have to keep your sanity but we wanted to get some of the writing done on the road so that when we got home we could spend some more time with our friends and families.
This is your second album with this line up. How has the line up change altered the way the band works together? When did you decide to continue the band?
It really has. The original line up of this band was amazing as we grew up together and learned to play after we went to see Kiss perform live. We started this band when we were 12 years old and of course, as you get older you will see many changes. The business aspects of the music industry fucked things up for us. It stole our innocence really. I am grateful that we started the band as kids who were playing for fun because we remember how great it is to play music. We started when we were living with our parents and now we are parents ourselves who are still running around playing heavy metal! It can be a struggle unless you are as big as Metallica to keep going. Many fans will not know how difficult it is to keep going. They assume you can live off your album sales but we have all had to struggle and work a day job in between tours. Money problems and things took their toll on us and we would have fights and argue about the stupidest things. It got ugly sometimes. We got to a point when Andy and Dennis had left the band so we were without our original drummer and bassist. At the time, we talked about giving up because we were so disheartened with everything. Andy leaving was especially hard. He is like my little brother but when he gets upset, he brings the whole room down with him. We do not want to be one of those bands who people wish had retired years ago and carried on playing past their time. Damien and Will saved this band. If it hadn’t have worked with them there would be no Death Angel. They made us realise that we had a lot more music in us and we decided to carry on.
How have the line up changes effected Death Angel on the whole? Has this been a necessary evil or something you wish could have been avoided?
We hated to see the other guys go but we could not have carried on otherwise. Damien and Will coming into Death Angel breathed new life into us. There was no arguing over one snare kit or riff like before. They are both hardworking guys who want to tour and record. The writing process is so much easier now. It is more intense, ferocious and technical these guys are lethal weapons! The original line up of this band are cousins so the line up changes were crushing and it was really hard for me to get over. Emotions were high and it left scars. Our personal relationships are still awkward. It is difficult when we get together for our kids birthdays and things like that. Unfortunately, our kids are not getting to grow up together the way we did.
Mark Osegueda produces some amazing high vocals on tracks like “Detonate”. Does he do a lot to maintain his voice?
I thank the gods of metal for giving him that resilient voice. He does a lot to take care of his voice and exercises’ like crazy! He and Damien do a lot to keep in shape. On the other had he loves his fucking gin! He drinks like a fucking fish! He is naturally a very hyperactive and likeable person. I was talking to a female friend of mine recently and she was wearing some high heels that were impossible to walk in. I told her “take the damn things off, why do you even wear them?” her reply was “Vanity prevails honey!” I guess Mark is like that. He tries to take care of his voice but he still wants to have a great time. I do have to tell him to shut up occasional (Laughs) He will be holding court with Testament and Anthrax telling stories at the top of his lungs singing ‘Riding On The Wind’ by Judas Priest stood on a table drunk as hell but he can still get it done onstage!
How important is it to maintain the aggression in Death Angel? Is it hard to expand on your sound while also staying faithful to the genre itself?
It is hard to do. We do consider very carefully, what we put on the record. I often write parts of songs and piece them together. I always choose stuff that is the most catchy and ferocious. It has to have hooks. It has to be natural. We like to bring out the raw emotion into our music. It is more important than playing fast or anything like that. We try to write for ourselves but obviously, I want to make something that sounds like Death Angel. I write a load of stuff that does not make it onto our records because it does not fit with our style. It is important to express yourself and do something different but it has to sound like Death Angel.
The last album saw you touring relentlessly. Will you continue do to so on this album cycle?
We didn’t expect the last tour to take three years but we got the offer to tour with Anthrax and Testament so we stayed on the road. If we keep getting offers, we will take them, as we love playing live. I do want to get to the next album sooner however. I feel like I want to start writing more songs already but we cannot because we still need to learn these songs to play live!
I understand you are a fan of acts like Suicidal Angels and Havok. What is it about these Thrash bands that you find so exciting?
I love touring with these younger bands. They are so hungry and it is very inspiring. We get a kick out of trying to keep up with these guys. We are very proud of our live show and we love to show these guys we can burn them up even when we are ten times their age! We watch the other bands we tour with and acts at festivals. We don’t need fancy lights and that bullshit we take our energy to the stage.
What are you most proud of achieving with Death Angel?
Other than the new album, it has to be just that we have survived. The fact that we survived these line up changes, climbed out of our own ashes and are now in a stronger place than we have ever been.
Ross Baker
Paradise Lost – Tragic Illusion 25 (The Rarities)
Originally posted on Ghost Cult Magazine’s website 21/10/2013
Commemorating a quarter century with a collection of outtakes and b-sides often delivers mixed results but West Yorkshire’s gloomiest act have never been afraid to take chances. Encompassing outtakes from the last couple of studio releases plus a couple of cover versions and two re-workings of old favourites, ultimately, Tragic Illusion 25 (Century Media) by Paradise Lost will appeal mostly to collectors and existing fans but when you acknowledge this as five guys having fun in the studio in between albums, it becomes a far more enjoyable affair than many stopgap efforts. Albums of this nature have a tendency to lack a cohesive flow but while this is true, there are a couple of gems to be had here.
Tragic Idol era opener ‘Loneliness Remains’ is typical of their recent output. Sabbathian dirge meets funereal bleakness and the orchestral reworking of ‘Faith Divides Us (Death Unites Us)’ is certainly a highlight but the re-workings of the older numbers do not differ enough from their original form to merit more than a cursory glance.
‘Gothic 2013′ feels a bit pointless as the only real difference is the slightly cleaner vocal and while it has been apparent for some time that Nick Holmes prefers to use his more melodic range, it makes you wonder why Greg Macintosh’s gruff backing vocals are not put to further use. Considering the strength of his death vocals in side project Vallenfyre, it makes you wonder why Paradise Lost have not utilised his considerable skills when performing older compositions live.
Holmes himself manages to snarl impressively through ‘Our Saviour’ which could perhaps be a sign the band may break out some of the Lost Paradise material live, something which fans have long hoped for. The mishmash of styles the band have employed throughout their career have polarised opinion yet PL’s influence on a generation of acts can never be denied.
Of the covers Spear Of Destiny number ‘Never Take Me Alive’ is interesting but Everything But The Girl’s ‘Missing’ harks back to the ill advised Depeche Mode light flavour of their Host era. Likewise, the ill-fitting instrumental Godless will be avoided by even the most devoted of fans. Perhaps a live album with these extras as a bonus disk would have been a more fitting manner to celebrate 25 years of the band’s dark art.
6/10
Ross Baker
Ihsahn – Das Seelenbrechen
Originally posted on Ghost Cult Magazine’s website link here
As a man of many talents, Vegard “Ihsahn” Tveitan has long drawn inspiration from many genres of music which has ensured the works of both seminal Black Metallers Emperor, Folk project Hardingrock, the classically inclined Peccatum and his sprawling progressive solo work have all remained at the forefront of innovation.
Fourth release Das Seelenbrechen (Candlelight), translating to “The Soul Breaking” in English, sees Ihsahn pushing further into the realms of Avant Garde experimentalism. Aided by the fine gents in Leprous, Tveitan has crafted an increasingly bold complex concoction of intricate time changes, free jazz passages and snarling extreme metal. ‘Hiber’ begins with jagged riffs over which Vegard snarls “The seeds of evil flowers grow…” before chiming keys are entwined with hypnotic synths that wouldn’t be out of place on a Goblin record. It is grand and highly involving material which will merit many repeat listens in order to fully comprehend.
‘Regen’ sees a tender, clean vocal rendered gracefully while shuffling drums and tinkling keys build up tension before that terrifying roar commands “Let the heavens cry!” amongst a whirlpool of power chords and cacophonous symphonics. The eerie, clean vocals of the man himself have gone from strength to strength and while the unmistakable screams are still harrowing in their intensity, they play second fiddle to the heart rendering, solemn falsettos which form the likes of ‘Pulse’.
Such a performance may draw comparisons with the work of former collaborator Mikael Åkerfeldt, yet they retain a feel all their own. Certainly the aforementioned track will not amuse hardcore black metal fans with its synthetic beats which recall acts like Massive Attack but it serves as more than just a breakwater between walls of discordance. Far more challenging are the hellish freejazz workouts of ‘Tacit 2′ a wall of feedback with Tobias Andersen adding a dense layer of tribal percussion underneath torn throated screams.
Stereotypical extreme metal this isn’t and while the discordant rhythms may take a bit of getting used to, the appearance of long time collaborator Jørgen Munkeby lending some ferocious alto saxophone to the demented freak show adds a sublime yet schizophrenic groove. Certainly a few of the seventies prog references do feel somewhat obvious but when you consider the level of musicianship and the speed with which this rich tapestry of styles has been lovingly woven together, it is truly outstanding. A resolute and forward thinking release which boldly presses the agenda of its author. Das Seelenbrechen is a grotesquely wonderful creation.
9/10
Ross Baker
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