There has been a bit of controversy over the fact that there are two lineups of the English Dogs active right now, the Punk lineup that plays the early songs and the Metal lineup that plays To the Ends of the Earth and beyond material. This interview is with the Metal version of the band.
This interview with Gizz and Pinch took place in Cleveland, Ohio during a successful run across the U.S.A. with Havok, my band Toxic Holocaust and the Casualties supporting them. It started out as a normal interview and then kind of morphed into a conversation.
I wanted to start the interview off by saying that this tour has been a dream come true for me, never thinking I’d get the chance to see the English Dogs live, let alone play with you. How are you enjoying the tour so far?
Gizz: Well, Joel it’s a real pleasure to be on this tour with some really like minded people. The enthusiasm of each band member of every band has been really inspirational. It’s wonderful to be playing with these very talented guys from different genres.
That’s kind of what I like about this tour, it combines a lot of different influences together but it all seems to work. The fans coming to the shows seem to be digging all of the bands, even if they came for just one particular band they end up staying for the whole show.
Gizz: This whole tour is kind of like a circle. Havok is the most straight up Metal band of the whole tour, then you’re (Toxic Holocaust) kind of coming a bit from that angle of…um…you remind of Hellhammer a bit and Celtic Frost a bit, plus Venom and Motorhead. That’s kind of where the English Dogs come in because we kind of have that Motorhead / Metallica / GBH thing and at the end the Casualties get the GBH bit.
This is the Punk Metal tour! I can’t even remember if there ever was a true Punk Metal tour back in the day, we kind of weren’t even aware that it was happening, we were just doing it.
The scene you guys kind of helped create in the UK has been hugely influential to me with bands like Onslaught, Sacrilege etc doing the whole Metal Punk thing.
Gizz: I really enjoyed Sacrilege, the first 12”. I used to listen that a lot. There was a band from the states called Excel that I used to like a lot too. That’s how this whole scene kind of started, just through underground tape trading. But I think in the case of Sacrilege, as you probably know they went step too far with the Metal thing. That’s kinda when they seemed to have disappeared.
Yeah that’s funny you say that, we did a tour with Napalm Death and I asked those guys if they know what happened to Sacrilege’s singer Tam and they had no info about her. It’s weird in this day and age to not be able to find any info on someone.
Gizz: Yeah it’s like she just fell off the face of the Earth.
Since this tour is going well, do you have any plans to do more touring or doing a new record?
Gizz: We are talking about all of those things. When the tour was first talked about it was gonna be just this one thing, but then we realized how much we liked it. So now we are talking about doing some fresh writing. I’ve been working on some riffs, I’ve been pulling out some old tapes and we’ve been talking about how we want the style of the writing to be. We definitely want to tour the states again.
There has been a lot of bands that I’ve seen that have reformed and its been pretty lackluster for the most part. But this is kinda what I imagined seeing you guys in the 80′s would have been like.
Gizz: It helps because of things like Youtube, I saw some old footage of us like the one with us at the Olympic Auditorium and I was throwing myself all around with this big blonde mop and I thought “fucking hell…this is what I’ve got to do again”. My initial thoughts were that this might be my one only time to get this lucky break, this tour is a gift to me.
When the thought of reforming came up were you already in contact with Adie and Pinch or did you have to search them out?
Gizz: It was thanks to Facebook really. Facebook has brought everything together. Because Pinch is in the Damned it was kinda hard getting a hold of him because he’s been busy. I had to wait till the Damned toured England and I saw him at the gig and we made a date to meet up. Then Facebook came along and I found Adie. We all talked about the logistics of doing it and then we decided to go for it.
(Pinch walks in “What Kind of shit is this guy giving you?!)
Ok, You guys knew I was going to ask, Is there any bad blood between the two different versions of the English Dogs?
Pinch: There’s bad blood that has been created by their side. Its really unfortunate. I was never aksed to do the lineup that Wakey is doing. It was just presumed that I was too busy because I was with the Damned. Wakey did it with pretty much the original lineup but because Wakey is Wakey, he’s one of the worlds great eccentrics in good and bad ways. His bad ways are really horrible and he can be a nasty person. At heart he is a hilarious fucking genius natural lunatic. He was my best man at my wedding. He’s a really great guy, but when he gets a bee in his bonnet about something he’s a really nasty bastard. It’s just unfortunate because it’s like they feel that we are stepping on their toes of something they’ve created when the reality of it is they play ten shows a year and I don’t feel that quality of the band that he’s got now is worthy of the English Dogs name whereas I know that quality of this line up is fucking worthy of the name.
Gizz: Pinch started the fucking band.
Pinch: Yeah, I asked Wakey to join. It was my fucking thing. And if you look at the discography we always were kind of two bands. There was the Wakey era then when we recruited Gizz and Adie we became something else but because we still had John Murray it still was the English Dogs. I think to the Ends of the Earth really captured what we were after with out it going to far in one direction or another. I think if we do stuff in the future I think that’s the direction that we are going to be aiming in. Keep it available to both Punks and Metal fans.
Yeah, I know when we do tours with Toxic we get a pretty even amount of Punks and Metal heads at the shows even though most people just consider us a Thrash Metal band.
Pinch: See I don’t see it that way, I see a lot of Discharge influence with you guys and a lot of hardcore punk, I don’t really see a huge amount of the Metal in your stuff.
What were some bands or records that you guys first got into that made you want to start a band?
Pinch: Well it was kind of the opposite effect for me. There was this initial blast of punk in 1977 and the by 1979 and 1980 it seemed like it had already run it’s course. We were doing these bus trips packing like 50 punks in and going to see bands like Stiff Little Fingers and the Stranglers and I felt like it needs to be more than this. It seemed like it had already turned into a cabaret side show where the pioneers had laid the path and no one had really followed the path. Everyone started wanting to be faster, louder and dirtier and you weren’t getting it. You were getting like finely crafted pop songs with a punk tinge and the music was just so bad so that’s what inspired me to do something. Then of course bands like Discharge and GBH came along. That was my first ever gig, seeing those two bands together. It changed my life.
Gizz: I really like Bad Brains “Green Tape”. Like Pinch was saying, a lot of the Punk stuff was very controlled but when that came along that was like letting go. It was like there was no barriers.
Pinch: I mean GBH is basically like a stripped down Motorhead. They took Motorhead’s no frills approach and stripped it down even further.
Why are there so many different versions of the cover artwork for Forward into Battle? I have a German one, and Italian one and the U.S. one and they all have different artwork.
Pinch: The original cover art came about kinda like our songs came about. I was doing tons of acid, we were all doing loads of drugs all the time. I was into fantasy art and shit like that. I was reading this book from the library of fantasy artist and there was this Boris Vallejo picture in the that just really stood out to me. “That would make a great record cover”, so I just sliced the pages out. It was a two page piece, sliced it out and stuck em together with tape and sent it to the record company. On the album you can actually see the join in the middle of the two pieces. I think all the different versions are because of the slimy bastard who put that record out licensed it around the world with out letting us know, without giving us any money for it, just did it and I think they felt they had to do a different cover design either because its a Boris Vallejo design and they thought they would get sued or they though they could get out of paying us like its a different album. No, its our fucking album! It might be a different cover but that’s still our songs on that record.
Well, that’s pretty much all I have, is there anything you’d like to add or like to plug?
Gizz: Go to our Facebook page and stay in touch. It’s easy nowadays.
Pinch: If you are a fan of us and have one of our records tell people about us and play it for them or rip em a CD. I’m all about giving the music away. I’m pretty sure if we do a new record we will just give it away for free as a download.
Venerable kings of UK metal, PARADISE LOST have been doing some press regarding their upcoming 13th album, Tragic Idol (Century Media) due out on April 24th. The early buzz on the forthcoming opus is impressive and the single “Honesty In Death” is killer. Here is a link to the official video. We should be getting our grubby hands and lusty ears on some more music for a review soon. In the mean time here is a partial transcript from a recent press event. Vocalist Nick Holmes discussed his feelings about the new album, the legacy of the band and whether the term “goth” still applies to them. What follows is an excerpt from that Q & A.
Q: There have been numerous references by the press linking Tragic Idol to the dark, doom oriented Draconian Times/Icon era of PARADISE LOST. In fact, people have been calling it a back to-the-roots album. How do you feel about that considering it has been over a decade since the experimental Host and One Second albums, and you’ve been releasing Gothic/doom-flavoured metal albums since then?
Nick Holmes: “We haven’t said even once that we’re trying to consciously go back to a sound we’ve had in the past. As far as I’m concerned our sound is constantly moving forward. At least people are comparing us to our own music rather than another band. We’ve never stopped so we’ve never really had any retrospect. I think maybe there’s an influence on Tragic Idol from the same kind of stuff on our early albums that we perhaps put away in a drawer for a few years, like the doom elements. We haven’t used those in quite a while, guitar-wise anyway. There’s definitely more of that, so maybe that’s what people are reacting to.”
The band has a full slate of headline and festival dates lined up already.
Q: The initial buzz surrounding Tragic Idol suggests that PARADISE LOST fans have been waiting a very long time for an album of this caliber from you. It’s almost as if they’re throwing up their hands and saying “Finally! It’s about time!”
Nick Holmes: “We couldn’t have done this right after Draconian Times. The whole One Second and Host era was kind of about learning the craft of songwriting, and it was just a case of bringing that into metal. Every album you make, you learn from and carry on. If we’d split up, reformed, and made an album, maybe we would have looked at our back catalogue and tried to repeat what we’d done before, but we really don’t work that way.”
Q: Tragic Idol is PARADISE LOST’s 13th album; was it easy or hard to write and assemble the material? With so much history, the natural assumption is that it would get harder and harder to reinvent yourselves and keep things interesting the longer you carry on.
Nick Holmes: “With every album we do, I just don’t think there’s another one in us. You can come up with ideas, but coming up with good ideas is difficult. The number of ideas we had for this album was insane – we had so many – and the majority of them were crap, but eventually you find one that works. From my experience, I think I came up with one song idea that I ended up sticking with all the way through, but you really have to live with things for a couple of days to figure out if they’re any good or not. I usually do a three day test; if I write a song I won’t listen to it for three days, then I’ll play it back as if I’m listening to a new band or a new song for the first time. I’ll know instantly if it’s good or not. That’s pretty much how we work, really.”
Nick Holmes: “I wrote all the lyrics for Tragic Idol after I’d written all the melody lines. Usually I’ll patch them together as I go along, then go back and fix what needs fixing, so it was a lot harder working like that. I tended to analyze things more than I normally would have. As far as lyrical subjects, I wrote about the same stuff I’ve been writing about for 20 years. I just write them from a different age perspective, because when I was 21 I looked at things much differently than I do now at 41. It’s not drastically different, but a little bit here and there.”
Editor's Note: I need better taste in music mags. Or I need to move to the UK, stat!
Q: PARADISE LOST is credited for coining the term “Gothic metal” and people still refer to you as a Gothic metal band, but you sound nothing like what passes for the genre in the 21st century. What’s your opinion of more or less being forced by the press to wear that label at this stage of your career?
Nick Holmes: “We had that Gothic metal banner so long ago that the new generation of fans of what they think is Gothic rock or Gothic metal is a completely different thing. It’s very much like VENOM coining the term black metal versus what’s considered black metal nowadays; the new generation has no concept of that. I got over the whole tag thing about 18 years ago, actually (laughs). If we go to America or somewhere we’re not well known, the Gothic label gets mentioned more than anywhere else. I don’t have a strong opinion about it either way. From my point of view you either like the music or you don’t. If someone did ask me to describe PARADISE LOST I’d call us Gothic metal, though,because we came up with the term anyway (laughs).”
Being an independent one man black metal band is hard these days. Full of distorted guitars, fast tempos, blast beats and unconventional song structure, Fyrnask have delivered one of the purest forms of black metal I’ve seen in a while on the latest album Bluostar. Lyrically speaking, this is one of the deepest albums I’ve heard in a while. And it also covers different languages as well. Read on to satisfy your insatiable hunger for true black metal.
MA: I heard your demo Fjǫrvar ok benjar back when it was first released in 2010. What were the lyrical ideas for that demo? What were the stories behind each track?
Fyrnd: Fjǫrvar ok benjar had no concept in a sense of a story. The songs are dealing more with pain and despair in an individual, personal sense, than the songs of Bluostar. A point that was strange for some people were the amount of languages appearing on the demo. But this has also to do with, that the songs developed at different points of time. It was more like a compilation of works, done between 2008 and 2010. Songs like “A Thousand Winters To Come” deal for example, also with the neglecting of volition, and the origins of affliction, of course in a personal interpretation. “Forderver den første vanndråpen” (“Spoil the first drop of water”), is an approach to how to lose yourself, your life, your connectedness to this world, by losing yourself in the wilderness and to “give in” in a way. This is maybe something like typical “nature romanticism” one could say.All in all, topics like volition, the human will and so on, were also playing a role back then.
MA: By doing all of the instruments yourself, do you feel that this would hold you back from ever playing live?
Fyrnd: No, not really. Something more important to me is to do music with individuals that are thinking in the same aesthetic vein as I do and to not play live for just playing live. It’s important not to harm the atmospheres and ideas behind the project with doing something like a common “rock show”. So this should be worked out very carefully.
MA: What does Fyrnask mean?
Fyrnd: Fyrnask is old norse and means “to age”. It consists of two roots: Fyrnd or Fyrn- what means “age” and -sk, what derives from sik (modern Norwegian “seg”, modern German “sich”, modern English “oneself”). Fyrn can also be found in modern German as “firn”, which mostly describes corny snow that develops if snow dews and freezes again, but in its older meaning it describes something that is old.
MA: What made you want to add in the overall mystical and ambient aura into Bluostar instead of going a more straight-forward musical route like most black metal bands?
Fyrnd: To me it was important to capture the atmospheres of the concept and it craved in a way to do not just fast, hateful black metal. It was more that I felt some of the ideas and moods needed different kinds of musical backgrounds.
MA: What is the overall conceptual story behind Bluostar? Are the tracks lyrically related in some way or does each tell a separate story?
Fyrnd: The album deals with two abstract entities, two poles, one can say. On the one hand, there are attributes like will, power, the concept of the avenger in some respects, while on the other hand, a physical aspect, the hunted, the letting go of desires stands as an idea. Therefore Bluostar is also split in the middle, marked by change of languages.
There is a fairly obvious level that describes the process of sacrifice from the point of view of the sacrificed and the one who sacrifices, but there is still a deeper, less accessible reception level. It seemed important to me in the process to deal also with the tradition of thinking, and to pick up typical antonyms, such as life and death, light and darkness, hunter and hunted, etc. and also to dissolve them. It comes down to the symbiosis of very apparent opposites so that finally the process of sacrifice, not only as an apparent ritual sacrifice of a human being is described and considered, but also a sacrifice in a metaphysical and personal way. Here the term “self-abandonment” would probably fit well.
Certainly due to the linguistic constitution of the album, it is not necessarily easy to reach this core of the album, but I like to think that people who want to seriously understand Bluostar will find some of the ideas on the album, in a lyrical or musical way.
MA: Who are some of your biggest musical inspirations, both black metal and non-black metal?
Fyrnd: This is a hard question to answer as there is a vast amount of music I listen to. When it comes to black metal, the old stuff from Darkthrone is important, also classical stuff like Mayhem, Burzum, Hellhammer, Bethlehem of course, but this should be no surprise. But there’s also newer stuff that I like, as for example Lunar Aurora, Leviathan, Vhernen, Locrian, Valborg, Murmuüre, Fauna, Yoga or Echtra and so on. My non-black metal influences are also quite strong. Neurosis is very important to me and there were also releases from Esben and the witch, Master musicians of Bukkake, Halo Manash, The Goner, Barn Owl and many many others, which influenced me in one way or another, I think.
MA: Out of all the possible things to add into orders, the first 100 people to buy your album get a hand-crafted, deer- bone necklace. What is the significance of adding this in? Does it have to do with the ritualistic part of your music?
Fyrnd: It has to do with a very personal part of me, and of course also a connection to the concept. But the whole meaning would be far too personal to be described in an interview. But what can be said is that a “sacrifice” and a “bone” have connection to each other. Not to be misunderstood: this animal wasn’t sacrificed, but it reflects nevertheless some important aspects of Fyrnask. I mean, the deer theme is something that occurs also in the logo and on the artwork of the T shirt. It’s not chosen randomly.
MA: What other talents or hobbies do you have other than making music?
Fyrnd: I am studying, which takes a lot of time. I am into historic books, languages and so on. I am living quite withdrawn, and I try to read a lot– I like, for example, mountaineering.
MA: What was the recording process of Bluostar like? What was a typical day in the studio?
Fyrnd: I record in a very small place, where there are not many people and where I can focus on the music.
I do the recordings with a good friend of mine that I’ve known for many years now. In the end, it is the balance between all these technical issues you face when recording music, and a natural way to record it. I think between these two poles all the recording sessions took place. For me it’s like an escape from this world to go there and to focus totally on music.
MA: What sort of historical things do you tie into your music? What would you recommend people to study to gain a better understanding of your lyrics (other than knowing German of course)?
Fyrnd: There are a lot of things you can read about the topics connected with Bluostar. When it comes to Germanic offer-culture you can surely read Tacitus’ “Germania”. He was Roman, so of course it’s not historic reality he describes, but an interpreted view on German tribes as a whole, even though there were not as tied together, as described by him. When it comes to topics like dialectics you should of course read Hegel’s “Phenomenology of spirit”, as he describes there a modern interpretation of the term “dialectics”. When it comes to sacrifices in a greater perspective I would also suggest books like “Homo necans: the anthropology of ancient Greek sacrificial ritual and myth” from Walter Burkart. The explanations here have their starting point in ancient Greek culture, but they are discussing the whole topic in a greater view. There’s, as stated, really a lot to read about the topics that are important for the album.
MA: Do you have any other projects (musical and non-musical) that you would like your fans to know about?
Fyrnd: I do have other projects, yes, but they are not connected to Fyrnask. It’s mostly dark music that I produce, as this seems to be a way of expression that is natural to me.
MA: What does Fyrnask have in store for the future?
Fyrnd: We are working diligently on a new album and it is a very engrossing and rewarding process so far.Of course thanks to everyone who supports music and supports art.
Words can do many things for a band – lyrics tell stories or convey a message, frontmen can piss off other frontmen and start rivalries with them, fans and haters alike can create posts on their uber-kvlt blogs, and of course the press can praise or slander. For Los-Angeles instrumental trippy-prog-metallers POLARIZATION, however, words are unnecessary. With members hailing from India and Sweden, the band brings a variety of influences together to create music you can headbang, or have an intellectual debate to. That being said, I will let guitarist Prashant Mathias inform those of piqued curiousity about the trio…
MA: You guys are an instrumental band, with a number of influences. Was the no-vox choice a pre-determined one? Or did you just find too many of your vocalists passed out backstage before shows?
PRASHANT: Hahaha… don’t even get me started on vocalists!!! No, vocals are awesome… we decided to keep it instrumental right from the start. The whole point of the band was to make the music feel like a good trip the whole time, and keep it as interesting as possible so that there’s no need for vocals to communicate the emotion.
MA: Where do you draw your inspiration?
PRASHANT: A lot of sources.. but mostly by watching killer jazz musicians totally go for it on their instruments in the moment. LA is a great place for that, especially with places like The Baked Potato and Catalina Jazz Club!
MA: Bands often use lyrics(along with imagery and other forms of propaganda, of course) to send some sort of message with their music. Do you feel more, or less limited in communicating the band s message, since you don t utilize lyrics?
PRASHANT: It’s slightly limiting, but then again, we focus more on the musicianship aspect of it and don’t really feel the need for lyrics in our songs. We want the listeners to interpret the songs in their own way.
MA: You came all the way from India to attend Musician’s Institue in Hollywood. Is the music scene here wildly different than your home?
PRASHANT: The scene is completely different over there. I’d think of it as a new market for Rock music because more people are getting into it now more than ever. A lot more international bands are starting to play over there. The local scenes are great as well, and bands are starting to take their music to the next level thanks to the internet.
MA: Do you hope to play in your hometown someday? Do you think the music would be understood and enjoyed there?
PRASHANT: I would love to play in my home town some day. I think they will totally dig it!!
MA: Do you feel that going to music school influenced the stylistic direction of Polarization? Would you be making the same music if you were studying something non-music related?
PRASHANT : Absolutely!! MI was the best thing I ever did for my musical growth. I learned a lot of things which would have taken me many years to figure out on my own. A lot of concepts and ideas I use in Polarization come from there. I would not be writing the same tunes if I didn’t go to music school. Not to say that it’s impossible!! But it definitely helped a lot.
MA: What’s next for Polarization?
PRASHANT: We recently got on to King Artist Management, and it’s been really great working with them. We have gotten some label interest, and should be signed sometime early next year. We will also be out on the road again right about then, so make sure you come and check us out! Cheers!!!
Heavy. Beautiful. Crushing. Cathartic. These four words can easily be used to sum up the majestic musical tidal wave that is Orange County’s doom-metal outfit DESTROY JUDAS. The band released their first album “Wake” independently, online – allowing people to name their own price(even if it’s $0), and have created a buzz within the local underground scene with their impressively loud, emotional live performance. This is a band that truly lets the music speak for itself, when it comes to image and promotion. During their sets, the venue’s lights dim and the 5 members(which includes 3 guitarists)are, for the most part, in darkness save for the light cast by a screen onstage. As Destroy Judas plays through their set of massive, mournful(and yet somehow uplifting) arias, imagery of the sea and nameless humans in personal torment allows the listener to sink within themselves. This band is more than just good songs – they are an experience, and not for those unwilling to face their inner self-deceiver.
My interview is with Dan Kaufman(formerly of Eyes of Fire) – singer, guitarist, and main composer for DESTROY JUDAS.
MA: The debut album “Wake” seems to have a few running themes within it – the obvious one being the sea. Did you intend to incorporate this theme into the material before it was written? What is the significance of the sea in “Wake”?
DAN: The theme came from the music. When the first song “Wake” was starting to take shape, the opening notes reminded me of the sea. Almost like a soundtrack to the swell, rise and fall of the ocean waters. The lyrics are loosely related to each other. It’s kind of like reading the last writings of someone who has given up. Grown sick of the world and has decided to end their life by walking into the ocean.
MA: The members of Destroy Judas have a history of respective bands, past and present – including Phobia, Eyes of Fire, Asunder, Noctuary… How did you all come together for Destroy Judas?
DAN: It’s really just separate souls coming together at the right time to make it happen. I knew I wasn’t done playing after the demise of Eyes of Fire and it just so happened everyone else was game to start doing something new. Something different, for some of them. The next thing you know there’s an actual band with some songs.
MA: I’ve seen Destroy Judas play quite a few times now(amazing experience every time!). You guys utilize a projector and screen to project images that compliment the music. What inspired you to do this? Why did you choose the imagery you chose?
DAN: I’m glad you enjoy what we do. It means a lot to us that people enjoy the experience of our shows. The images, we feel, enhance the live experience. It helps generate a mood or mindset, if you will, for what we are playing and helps distract the audience from just fixating their attention on us as band members, and more on themselves – making it a more personal experience. It all came from the love of Pink Floyd. Their shows were so intense and mindblowing. All the multimedia they would have at their shows only made it more so. We want to do something that’s worth coming to see. Something other than five ugly guys on stage making the mad face and screaming at the audience. The imagery comes from songs. The lyrics. The feeling.
MA: Destroy Judas is one of the loudest(probably THE loudest) bands in Los Angeles. Is the volume a matter of personal preference, or something you feel is necessary to drive the overall “point” of the music home?
DAN: What we lack in talent we make up in volume. So we’re really really really really fucking loud. I have always played loud. Growing up listening to bands like MC5, Motorhead and Amebix – you can just tell that those bands were loud as fuck live. Plus, when I personally go to see bands live (particularly metal bands), I like them loud. I want to feel the music as well as hear it. Plus most venues we play don’t have the most amazing sound systems, so we just make it easy on the sound guy to just worry about vocals and the samples.
MA: On a similar note, why three guitarists?
DAN: It just happened. No reason in particular. Makes it a bit more difficult, though, to write songs. Don’t want a bunch of clashing guitar parts going on, and you don’t want to always have all three of us playing the same thing.
Photo by Scarlett
MA: “Wake” is available online, and people can name their own price – even if that means free. Why did you decide to do this? Do you plan on releasing free material again in the future?
DAN: I’m a big supporter of artists being in control of their art. With today’s technology bands can do it easier than ever before. Plus I know what it’s like to really like a band and not to be able to afford to buy their music. We do this so people can enjoy our music. Not just people with money. It’s a very DIY ethic we have towards what we do. Do we plan on doing it again? Sure, if the situation calls for it.
MA: Are there any touring plans in the works?
DAN: We kick tour ideas around from time to time. I really can’t see us doing a full blown US or world tour, just because our lives and the economy prevent us from doing that. A west coast or southwest tour could happen though, for sure. We all just have to make sure we’re available to do it.
MA: Is new material being written? If so, what can we expect(stylistically, thematically, and otherwise)?
DAN: We’re about 95% done with writing the second release. Just getting the vocals down and polishing up some music stuff, then we’ll hit the studio to get it all recorded. The new stuff is pretty epic. Very orchestrated stuff, with lots of good use of the triple axe attack (how’s that for a Leather Wolf reference?). Thematically, it will be dealing with what happens after death. Where you go or not go. And spirituality.
We’ve started to lay the ground work for another release as well. We’re just keeping ourselves busy.
MA: So what exactly is the meaning behind the band name?
DAN: Destroy the deciever. Destroy your deciever. What ever you make of it. I’m sure everyone can make it personal to them.
MA: What’s next for Destroy Judas?
DAN: That’s yet to be seen. Improve the live show. Work on more visuals and write more songs. We’re all here for the ride and we have no idea where it’s going. But it’s been a good one so far.
DESTROY JUDAS is playing with funeral doom masters MOURNFUL CONGREGATION, this Monday(December 5th), at the Five Stars Bar in Los Angeles. More info can be foundhere.
In this day and age,the golden age of the internet, everybody is a musician. Just buy an mbox, a macbook pro, and if you’re REALLY motivated – an instrument(no skill required)! This mentality permeates every aspect of the arts nowadays, but it’s most devastating toll is taken on music. The mass expectation of quality, in both the emotional authenticity and general musical ability, is overwhelmingly…low.
What does my rant have to do with Vallenfyre, the brainchild of Paradise Lost guitarist and composer, Greggor Mackintosh? It has everything to do with it. The band’s debut album, “A Fragile King”, blew me away from the first listen. I’m a sucker for that old school death metal sound(especially the Swedish style, which is undoubtedly present in Vallenfyre’s tunes), as well as a diehard doom fan. These elements, combined with top-notch songwriting, caught my attention – but what really hooked me was the emotion lacing it’s way through every riff, chorus, and solo. I could feel the grief, anger, mourning…seeping out more and more with each track.
The album is, without a doubt, good because of the tone(which will surely capture the hearts of Entombed fans and beyond), the songs, and the musicianship(the band is comprised of an all-star death/doom lineup: Adrian Erlandsson, Hamish Glencross, and Scoot. Of course, we can’t forget Mully – who, although he isn’t from a previous band – is Greg’s drinking buddy, and clearly a good choice to round off Vallenfyre’s roster). The best part about “A Fragile King”, however, is the authenticity of the emotional rollercoaster that comes not only with the death of a loved one, but the frustrations of life, and a society in turmoil.
Now that you’ve read my mini-manifesto(I’d say “no homo”, but Greg IS a good-looking fellow…), check out what the mastermind behind the band has to say about the album, the future for Vallenfyre and Paradise Lost, and…buses blowing up.
MA: Most people know by now, if they’re familiar with Vallenfyre, that A Fragile King was inspired by the passing of your father in 2009. Did you have plans for a side project of this old school death/doom sound before that?
GREG: Not really. I still listened a lot to my old demos and vinyl, and I did think from time to time that modern death metal wasn’t really doing it for me. Don’t get me wrong, there are a lot of good extreme metal bands around, but they are all on the more hardcore side of things.
What happened to my Dad was definitely the catalyst for me to actually do something and not just pontificate.
It started as a catharsis and turned into a tribute– but now it has become just plain fun to do.
MA: Did you expect to form a band, and release an album of the material you’d written? Or were the songs simply a form of therapy for you at the time they were written?
GREG: Initially it was a form of therapy, I guess. In the very early stages, it was just lyrics and thoughts. It took a few months to start asking friends to join me. What started as therapy was becoming more like wallowing, and I needed to be around friends, so it became a band. Then a mate of mine at Century Media asked to hear a demo and here we are. There was no plan and there still is no plan. Looking forward is too depressing.
MA: The material was written 2 years ago. Why did you wait so long to release it? Did you feel the music was too personal to share with others?
GREG: It was in part because I wasn’t sure I wanted another band, but also because I was in no rush to do anything. I didn’t know who would do the vocals either, which I ultimately ended up doing myself. When things are that unplanned and uncoordinated, I guess it does take time.
MA: Do you have a favorite track from A Fragile King?
GREG: Maybe “Seeds” because lyrically it means the most to me, but really it depends on my mood because there are angry songs and sad songs.
MA: You guys made a music video for the song “Cathedrals of Dread”. Why did you choose that song to use, and what is the concept behind the video?
GREG: Century Media chose it to be the video track. I couldn’t really give a fuck about videos too much. I just wanted it to be grim, which I think it is.
The lyrics for the song are about people following religion blindly like sheep, and the people behind-the-scenes using religion as a tool for control.
The video is a very literal interpretation of this where people are herded like cattle and there is a sinister overlord.
MA: One of my favorite songs from the album, “My Black Siberia”, has a hint of Paradise Lost in it, in one of the lead riffs. Other songs on A Fragile King have some similar Paradise Lost-y licks. Was this intentional, as a nod to your existing fans, or simply part of your natural style?
GREG: I never had any conscious thoughts about PL-ish licks or indeed what anyone else would think about it– like you say, it’s just my style I suppose. Couldn’t change it if I wanted to.
MA: Vallenfyre consists of an all-star lineup, with Hamish Glencross (My Dying Bride), Scoot (Doom), and Adrian Erlandsson (Paradise Lost, At the Gates). Why did you decide to bring these guys onboard, and did you plan for the band to be a “supergroup”?
GREG: Fuck no. They are just my mates. Scoot and Hamish are from my hometown, and we’ve been friends for 20 years. Adrian is the drummer in PL and is also one of the funniest guys I know. Mully is my mate from the pub who I listen to metal with over numerous beers.
MA:The artwork for Vallenfyre is excellent. It really seems to say a lot about the album. What does the artwork for A Fragile King mean to you?
GREG: Apart from it capturing that real 80s death/crust/doom vibe, I think Orion Landau (the artist) really understood the concept, and it is equal parts sadness, anger, and decay.
MA:Have there been any records that came out in 2011 that you can’t stop listening to?
GREG: Sarabante’s Remnants is a good record.
MA: In all your years of touring, have you had any “Spinal Tap” moments?
GREG: It would be easier to list non-Spinal Tap moments. Where do I start…
The time one of our old drummers got off a ship when it was refueling on a tiny island, thinking it was Stockholm– and we left him there…Or the time our tour bus blew up in the middle of nowhere in Germany, and we only got out with our underwear. Instruments, passports– everything burnt. The local (non-English speaking) firemen were kind enough to give us mismatched clothing from previous fires, but at least the fire station had a draught beer pump which softened the blow.
MA: What’s next for Vallenfyre? Maybe a double-duty tour for you with Paradise Lost?
GREG: No. I don’t think the music is similar enough. I am in the studio right now recording the new PL album, so next year Adrian and myself will be out gigging with Vallenfyre and PL.
I would love to get to the States with Vallenfyre, so get your readers to hassle their local promoters.
In this day and age,the golden age of the internet, everybody is a musician. Just buy an mbox, a macbook pro, and if you’re REALLY motivated – an instrument(no skill required)! This mentality permeates every aspect of the arts nowadays, but it’s most devastating toll is taken on music. The mass expectation of quality, in both the emotional authenticity and general musical ability, is overwhelmingly…low.
What does my rant have to do with Vallenfyre, the brainchild of Paradise Lost guitarist and composer, Greggor Mackintosh? It has everything to do with it. The band’s debut album, “A Fragile King”, blew me away from the first listen. I’m a sucker for that old school death metal sound(especially the Swedish style, which is undoubtedly present in Vallenfyre’s tunes), as well as a diehard doom fan. These elements, combined with top-notch songwriting, caught my attention – but what really hooked me was the emotion lacing it’s way through every riff, chorus, and solo. I could feel the grief, anger, mourning…seeping out more and more with each track.
The album is, without a doubt, good because of the tone(which will surely capture the hearts of Entombed fans and beyond), the songs, and the musicianship(the band is comprised of an all-star death/doom lineup: Adrian Erlandsson, Hamish Glencross, and Scoot. Of course, we can’t forget Mully – who, although he isn’t from a previous band – is Greg’s drinking buddy, and clearly a good choice to round off Vallenfyre’s roster). The best part about “A Fragile King”, however, is the authenticity of the emotional rollercoaster that comes not only with the death of a loved one, but the frustrations of life and a society in turmoil.
Now that you’ve read my mini-manifesto(I’d say “no homo”, but Greg IS a good-looking fellow, so…), check out what the mastermind behind the band has to say about the album, the future for Vallenfyre and Paradise Lost, and…buses blowing up.
Most people know by now, if they’re familiar with Vallenfyre, that A Fragile King was inspired by the passing of your father in 2009. Did you have plans for a side project of this old school death/doom sound before that?
Not really. I still listened a lot to my old demos and vinyl, and I did think from time to time that modern death metal wasn’t really doing it for me. Don’t get me wrong, there are a lot of good extreme metal bands around, but they are all on the more hardcore side of things.
What happened to my Dad was definitely the catalyst for me to actually do something and not just pontificate.
It started as a catharsis and turned into a tribute– but now it has become just plain fun to do.
Did you expect to form a band, and release an album of the material you’d written? Or were the songs simply a form of therapy for you at the time they were written?
Initially it was a form of therapy, I guess. In the very early stages, it was just lyrics and thoughts. It took a few months to start asking friends to join me. What started as therapy was becoming more like wallowing, and I needed to be around friends, so it became a band.
Then a mate of mine at Century Media asked to hear a demo and here we are. There was no plan and there still is no plan. Looking forward is too depressing.
The material was written 2 years ago. Why did you wait so long to release it? Did you feel the music was too personal to share with others?
It was in part because I wasn’t sure I wanted another band, but also because I was in no rush to do anything. I didn’t know who would do the vocals either, which I ultimately ended up doing myself. When things are that unplanned and uncoordinated, I guess it does take time.
Do you have a favorite track from A Fragile King?
Maybe “Seeds” because lyrically it means the most to me, but really it depends on my mood because there are angry songs and sad songs.
You guys made a music video for the song “Cathedrals of Dread”. Why did you choose that song to use, and what is the concept behind the video?
Century Media chose it to be the video track. I couldn’t really give a fuck about videos too much. I just wanted it to be grim, which I think it is.
The lyrics for the song are about people following religion blindly like sheep, and the people behind-the-scenes using religion as a tool for control.
The video is a very literal interpretation of this where people are herded like cattle and there is a sinister overlord.
One of my favorite songs from the album, “My Black Siberia”, has a hint of Paradise Lost in it, in one of the lead riffs. Other songs on A Fragile King have some similar Paradise Lost-y licks. Was this intentional, as a nod to your existing fans, or simply part of your natural style?
I never had any conscious thoughts about PL-ish licks or indeed what anyone else would think about it– like you say, it’s just my style I suppose. Couldn’t change it if I wanted to.
Vallenfyre consists of an all-star lineup, with Hamish Glencross (My Dying Bride), Scoot (Doom), and Adrian Erlandsson (Paradise Lost, At the Gates). Why did you decide to bring these guys onboard, and did you plan for the band to be a “supergroup”?
Fuck no. They are just my mates. Scoot and Hamish are from my hometown, and we’ve been friends for 20 years. Adrian is the drummer in PL and is also one of the funniest guys I know. Mully is my mate from the pub who I listen to metal with over numerous beers.
The artwork for Vallenfyre is excellent. It really seems to say a lot about the album. What does the artwork for A Fragile King mean to you?
Apart from it capturing that real 80s death/crust/doom vibe, I think Orion Landau (the artist) really understood the concept, and it is equal parts sadness, anger, and decay.
Have there been any records that came out in 2011 that you can’t stop listening to?
Sarabante’s Remnants is a good record.
In all your years of touring, have you had any “Spinal Tap” moments?
It would be easier to list non-Spinal Tap moments. Where do I start.
The time one of our old drummers got off a ship when it was refueling on a tiny island, thinking it was Stockholm– and we left him there…Or the time our tour bus blew up in the middle of nowhere in Germany, and we only got out with our underwear. Instruments, passports– everything burnt. The local (non-English speaking) firemen were kind enough to give us mismatched clothing from previous fires, but at least the fire station had a draught beer pump which softened the blow.
What’s next for Vallenfyre? Maybe a double-duty tour for you with Paradise Lost?
No. I don’t think the music is similar enough. I am in the studio right now recording the new PL album, so next year Adrian and myself will be out gigging with Vallenfyre and PL.
I would love to get to the States with Vallenfyre, so get your readers to hassle their local promoters.
KATATONIA is a band that has a little something for everyone. With ten albums under their belt, the Swedes have evolved from bleak, depressing doom, to cathartic, melodic shades of grey made musical form. The respect given them is well deserved, but the band remains humble and undeterred by the expectations of the masses. In 2009, Katatonia released Night is the New Day, which was well-received by fans and critics alike. Metal Army caught up with Jonas Renkse, frontman and OG member of the group.
MA: KATATONIA has had a successful career spanning about 20 years. In that time, the band’s style has evolved quite a bit. Were the changes intended, or did they just happen with time?
JONAS: We never really talked about “changing our sound” so it’s been a pretty natural progression through the years. Of course we always wanted to expand and broaden what we have been doing but we always stayed true to our original vision: dark and atmospheric music.
MA: Where did you draw most of your inspiration from on the latest record, “Night is the New Day”?
JONAS: Mostly from ourselves, our personal struggle. I didn’t listen to a lot of other music during the writing and recording of NITND. I wanted the album to be a very personal vision.
MA: You are currently on tour as direct support for Opeth. In the past, Mikael Akerfeldt has lent his vocals to Katatonia records. Will there be more collaborations with Mikael in the future?
JONAS: You never know. We have the band Bloodbath, where we are doing death metal together. But right now Mikael is very busy as they have just released a new album, plus he’s doing a side project with Steven Wilson too. But I’d love to do something with him in the future.
MA: How has it been touring with your best friend(Mikael)?
JONAS: It’s always great to get to hang on a daily basis. We both have families and so many other concerns back home so we don’t get to hang out as much anymore… I think therefore it’s been great to do this tour and just drink wine and talk shit like in the old days.
MA: Many people wonder and dream about a “super tour”, featuring Katatonia, Opeth, Hypocrisy, and Bloodbath. Will this dream tour ever come to fruition in the US?
JONAS: Haha, no. I can’t see that happening. It’s a cool thing to think about though.
MA: Do you bring any sort of trinket or item on tour with you on the road so you don’t feel homesick? A teddy bear? Severed head?
JONAS: Actually I don’t but it’s a good idea. A severed head from a teddy bear. Next time!
MA: What’s next for Katatonia?
JONAS: Writing music for the next album, it’s already overdue. But it has to be good so we can’t rush it. Plus we have some shows left to do before the year is over, Scandinavia, Spain and Holland. Should be fun!
MA: Have you guys had any “Spinal Tap” moments?
JONAS: I think so, but I guess we’re so used to them that we don’t regard them as Spinal Tap-moments anymore, haha. There was one on this tour… we started playing a gig but after the show we learned that there was no music from the PA until after half the first song. And as we are using in-ear monitors, we had a full blown sound in our heads and had no idea there was only acoustic drums out in the audience. So we were headbanging, I was singing… Embarrassing at first but kinda fun when you think back on it.
Grutle talks tour, car company street cred, Mexican food, and sharing a dressing room with hookers(no, we’re not kidding).
MA: The Sleeping Gods EP was just released in May. What made you decide to put it out for free? Do you think you’ll continue to release free material to your fans?
Grutle: Pretty easy, Scion Magazine paid for the studio and promotion, so we did not have any other expenses other than writing and performing it. (That cost a lot of money, too, but that´s a different story.. hehe). Besides, pretty soon we’ll own the rights for the songs ourselves, so we found out that we could afford to give our loyal fans a special treat!
MA: Scion sponsored The Sleeping Gods, and has been getting more involved in the metal world in the last year or so. Will Enslaved be doing more with Scion? Maybe play the next Scion Rockfest?
Grutle: There are no such plans for the future.
MA: When can we expect the next full Enslaved album?
Grutle: We are currently working on new material now, so by the end of 2012, you´ll have a brand new album to digest.
MA: The Sleeping Gods features Norwegian lyrics, which have been a bit absent in your work until now. What brought about this return?
Grutle: It features SOME Norwegian lyrics to be precise. Some of the songs were originally written back in 1992 and 1993, and they had Norwegian (and old Norse) lyrics then, and we kind of wanted to “keep that vibe.” We used some riffs and words from back then, and then wrote some new material as well. Those songs (“Heimvegen,” “Alu Misyrki,” and “Nordlys”) were sort of very unfinished back then, and we never recorded them in their original form. We played them live a couple of times though, but I do not think any recordings were done.
MA: Is the Viking mythology still as inspirational for you today as it was a decade or two before? (Where do you draw most of your inspiration from?)
Grutle: Absolutely! Only perhaps in a more subtle way than it was twenty years ago. Our own interpretations of the myths and the runes are a little more advanced and sophisticated nowadays, but it is no problem for a “skilled” person to find the exact references. I met this guy from Tasmania (!) once, that totally uncovered my lyrics and found my exact initial meaning!! Fascinating and quite spooky… hehe.
MA: Many bands have made the performance of an entire album a key feature of a tour, whether an old classic or a new album. Do you see that as a possibility in Enslaved’s future?
Grutle: Maybe when we´re out of money and inspiration… hehe. I doubt it, but please don´t laugh at me if we do that sometime!
MA: Not too long ago you guys played in India for the first time. Are there any other locations you’re hoping to make a reality in the near future?
Grutle: I have to correct you, we just played there for the second time! First time was in 2007. It would at least be awesome to play in Japan, and of course also be able to play in all the continents of the world. We´re still missing South America, Africa, and Oceania. As a Norwegian, I would also love to play Iceland and the Faroe Islands.
MA: The show in LA was sold out. Has the concert attendance in the states developed steadily, or does it seem far more erratic?
Grutle: L.A. was great, and yes, the attendance has definitely developed. We have released, in my humble opinion, a couple of good albums recently as well as playing support for bigger acts like Opeth and Dimmu Borgir. Those support tours were a healthy thing for us to do, so to speak.
MA: Is there any particular food or drink you usually try to get in the states that isn’t as easily available back home?
Grutle: Well, I like to be able to eat some decent seafood like lobster and oysters without having to live on the edge of starvation the rest of the year, and in the U.S. such are a lot more affordable (and less threatened by extinction..) than back home. I also like to eat decent Mexican food.
MA: Enslaved has been together for nearly two decades. Have you guys had any “Spinal Tap” moments?
Grutle: We started in 1991, so we celebrate 20 years of existence this year! As you can imagine, “Spinal Tap” is somehow very close to the truth, and therefore not as funny as one like to imagine….Every band IS Spinal Tap, my friend. The least glamorous episode is probably a gig in Torreon, México in 1995. We shared the backstage area with some hookers in a basement at a whore house, and I remember BOTH my vocals and the bass were running through a ghetto blaster. Ivar´s guitar amp was a 20 watt Peavey, and Trym´s drums were 50/50 drums and drums from a toy-kit… How about that!!!
Well, there it is. And I know this is old, but I don’t care because it’s still the best thing ever.
BIG BROTHER may not be the most metal show in the world, but it’s been one of my favorites since I was a kid. I’ve always been intrigued by the game show that pits players against one-another while keeping them secluded in a house together all summer and keeping the cameras rolling 24/7. That’s right, if you dig BIG BROTHER, you can watch on TV or online at any time during the day and you’ll see the cast living their lives while playing this crazy, intense game show and hoping to win it’s $500,000 grand prize.
I’ve watched the show every single season since it’s premiere in the US and this year was a little different. This time, CBS cast ADAM POCH to be a part of the show. Like me, Adam is a huge fan of the BIG BROTHER series. Like all of us, he’s a huge metal head! Working for Sony, Adam took a break from his career in metal, going to shows or even listening to music and spending time with friends and family to compete on the major TV series this year. He came in third place but left a metal impact on the mainstream that the show’s fans are still talking about. Lucky for us, we caught up with ADAM POCH recently and he was more than happy to provide us with an interview.
What was the process like when you were auditioning for the show? A lot of people in today’s culture would kill to be on reality TV, how did you make it there?
I tried out for Season 10 – and bombed the open interview. I talked about everything but myself. So when I went back for season 12 – I basically said – “My 3 passions in life are Heavy Metal, Bacon, and Beverly Hills 90210” – and then just went on about who I am, and why I am unique. They liked my passion and called me back for a 2nd interview. I ended up making it to finals last year – but not chosen. So this year – I tried again, and along with everything they liked about me last year, I also lost over 100 lbs, and had a girlfriend. My confidence level was so high – and they could see that. My suggestion to anyone trying out for a reality show is BE YOURSELF & BE CONFIDENT. They can see through people being fake.
Did the producers know right away that you were a metal head? Did it help you or hurt you?
Yeah, and a few of them like metal also. I think they like that I am not just a metal head – but have a well rounded personality. When you look at me, you would never think I love Appletini’s and other “girly” stuff. I saw their eyes light up the first time I called myself “The Heavy Metal Teddy Bear”
I know a lot of metal fans aren’t fans of Big Brother, but I was a huge fan of it growing up and still watch it now. Who is the most metal houseguest (other than you) of all time? What about this season?
Of all time – no doubt Evel Dick. When he was on Season 8 – that is when I realized, hey they can have a rock and roll guy on the show – and that’s when I said I will try out instead of just watching. This season, everyone was into R&B or Boy Bands – so it was definitely not very metal in the house!
Evel Dick runs some nightclubs in LA and seems to be a hard rock kind of guy, did you guys bond over any music before he left the house?
Oh yeah, Dick and I bonded over metal. We actually know a few of the same people / bands. It sucked he had to leave early cause he was the only one I could talk metal with, But it was good for him to leave early game wise – cause he is one of the best players to ever play in my opinion.
Out of all of the returning houseguests, who was your favorite from seasons past? What about after you played the game with them?
Evel Dick is by far my favorite all time player. Not just for his personality, but for how he played. I did not always agree with his tactics, but could not argue with his results. I was also a big Rachel fan her season. After playing, I really liked the way Jeff played, and that’s why I liked working with him. I felt of everyone in the house he was the most direct and straight forward. He is from Chicago, but had that New York attitude I grew up around. I liked that over the people who were a little flakey.
What was the response of the houseguests to you being so metal and over-the-top in the house? Did they know much about metal or did you have to teach them?
When I first walked in the house and let out my metal roar – I know I scared some people. Jordan told me at first she thought I was going to be just like Evel Dick and bring that aggressive attitude to the house. But after she got to know me, she fell in love with the Teddy Bear side. It was great when I would have people flash the horns and give a metal roar. Some did it better than others. I even think they did a piece on the show where people imitated me. No one knew much about metal – so I tried to teach them, but they were not good students! Porsche actually was the only one that kinda knew some metal because she used to work at a venue in Ft. Lauderdale.
Obviously, Big Brother attracts a lot of mainstream fans who won’t know metal too much. What kind of response have you gotten from the fans of the show?
The fans have been amazing! A lot of them will try and do my scream, and take pictures with me giving the metal horns. Some of them I have to teach how to do it hahaha! I do have some haters based on what I have read online – but you are going to have that no matter what. I have thick skin and can take it. But all of the fans I have met have been very cool. As a huge fan of the show myself, I know how cool it is for them to meet me and I try and talk to all of them. Without the fans there is no show.
What did you think was the most metal moment of the house?
Not too many things would be considered “metal” in the house – but one that is close was when Rachel was running around in the backyard and wiped out and almost rolled into the hot tub. It was kinda like seeing someone fall in a mosh pit!
What was your personal favorite moment in the house and why?
Well, if you saw the episode when Tori Spelling came into the house – you would know by my reaction, that was the best. Not just best moment of the show – but one of the best moments of my life. I am still a huge fan of Beverly Hills 90210 and Donna Martin was my favorite character. I have been in love with Tori Spelling for about 20 years. I know that does not sound very metal of me – but it is true. SO when she walked into the Big Brother House – I lost it! She is now following me on Twitter, and even sent me an email. That blows me away, not that I got to meet her, but she knows who I am!
Was it harder to be away from your family and friends or harder to be away from music? It seems like a really long time to be without either of them, how did you cope with it?
Wow – that’s a close call. I really missed my girlfriend – if you watched Showtime or the Live Feeds you would hear me give her a shoutout everyday at 10:10 pm (10/10 is our anniversary). But besides her – I definitely missed music the most. I mean, I listen to music all day at work, in the 3 months I was away, I probably missed 15 – 20 concerts. They do give us a few minutes of music in the morning to wake us up – but other than a few songs here and there – most of it was mainstream pop. It was good to hear music – but I would much rather have been woken up to Slayer than Michael Jackson! I did think of songs and jam out to them in my head. But still not the same!
What albums are you most excited to check out now that you’re back? What albums are you currently enjoying?
I just picked up the new Mastodon and Primus albums. I need to get the new Anthrax. But the one I am most curious and excited for is the new Machine Head. I don’t even know if it is out yet. ‘The Blackening’ was such a terrific record, I want to see what they come back with.
Have you been to any shows since returning from the house?
I was supposed to go see Kyuss & The Sword – but had more promo stuff for the show to do. So my first show back into society was Foo Fighters. Yeah, they may not be a “metal” band – but Dave Grohl is sooooo metal. Don’t believe me, check out Probot! It was so good to see live music.
Think fast! Top 5 albums and top 5 bands of all time?
Albums: Mr. Bungle (self titled), Powerslave (Iron Maiden), Paul’s Boutique (Beastie Boys), Sgt. Peppers (Beatles), Unplugged (Alice in Chains)
Bands: IRON MAIDEN, Slayer, Mr. Bungle/Faith No More/Anything Mike Patton does, Primus/Anything Les Claypool does, Clutch
What’s next for you? Are you going back to Sony or do you have plans to do another show (Amazing Race, etc)?
Back to work for now. Even if I won the half million – that is not enough to retire – so I am now back at Sony making CD’s & Vinyl – don’t download! I am lucky my boss is also a huge fan of Big Brother and let me take 3 months off to pursue my dream. I owe her big time! If any other opportunities come up – I will listen, but not expecting anything.
Adam with press warlord Jon Freeman and Porsche, who came in 2nd on Big Brother. I'm sure it's easier to cope with the stresses of the house when Porsche's around! Stunning!
Edmonton, Alberta’s All Else Fails is one that band that truly takes the varied influences of its members, pours ‘em into a blender, and ends up with a musical protein shake that tastes at once unique and familiar. Metalcore is the style in most general terms, but by the time the band adds atmospheric flavors with keyboards and various effects (strings, choral vocals, etc.), and injects an impeccable sense of melody – bolstered by well patterned, versatile clean singing parts – into the mix, the result is one that can only be described as All Else Fails. New album The Oracle: What Was, Is, and Could have Been is the most definitive example of that deft mix to date. It is an offering that is as catchy and aggressive as it is fun and aurally stimulating. Barrett Klesko
(vocals, guitar, programming) gives us the guided tour.
When All Else Fails first arrived on the world stage, did you feel as though you
were offering something different to heavy music? The creativity involved and
the willingness to move beyond genre conventions was undeniable. Nowadays, that kind creativity is expected from the band.
Yes, we certainly felt that way, though not necessarily in the way you mean. It was never our intention to create a new genre or to be the most groundbreaking band of all time, but instead we have always just wanted to play music we love. It’s been important to us to never pigeonhole ourselves into a specific sound or end up moving in a predictable pattern.
One of the most impressive aspects of this band’s music is how seamlessly you integrate the softer sides, including the singing, with the more aggressive aspects. Unlike many bands in – for lack of a better term – the metal-core genre, it never sounds formulaic or forced.
Very much like the first point, we never feel like we should approach songs a certain way, we just let them flow and work with what we feel is the natural progression of the music. I think that feeling like we can take any approach is both more interesting to the listener and more artistically gratifying for us.
You’ve stated that The Oracle: What Was, Is, and Could have Been is “our darkest, heaviest, deepest and ultimately, most beautiful album thus far.” Tell us more about the heavy, the deep, and the beautiful – with which I fully concur.
Well the last disc had more of a punk flavor that we have not carried over, so in that regard I think this is a heavier, and certainly darker album. As for deep and beautiful, I use those terms in reference to creating atmosphere in the music, which I think this album has a lot of. It’s that intangible feeling you get when music carries you to a place internally that is more than just “this is cool.” It also speaks to someof the diversity that the disc contains, specifically the acoustic and instrumental tunes.
By the same token, the songs seem meticulously arranged and there is a progressive presence in the music, but when all is said and done it is still the central basis of the song that one remembers. That’s easier said than done since many a band has released albums on which a push for creativity detracted from the basics of a memorable song. What’s the key to making it work?
Ha! I wish I knew, but I don’t believe that there is a foolproof formula to songwriting. Sometimes a simple structured song can have the same impact that an incredible complicated one can, but that is certainly not always the case. We try to approach every song as a whole, and not just chain riffs together. The idea of flow is something that, especially in more progressive music, often gets overlooked.
Along those same lines, with all the nuances, coloration, and diversity of instrumentation involved (whether choral parts, strings, piano, or otherwise),
one might think that a great deal of time is spent making sure that every part has its place. If that’s not the case, then you certainly have a knack for making everything fit in a way that results in a seamless flow from beginning to end. Again, that’s a rare skill.
I usually have a basic idea going into any song whether it will end up with strings or piano or whatever, but often the best things are accidents in the studio, unexpected combinations that turn out to do something I would not have expected. The keyboards and programming are certainly the most complicated parts to write first because I have no formal training in composition, and second because as the singer and guitarist, I’m not usually using my keyboard while we are writing songs.
How does what one hears on the studio recording translate to a live setting?
Really well! We use a sequencer live since we do not have a keyboard player, so while we are certainly playing our main instruments and singing without backing tracks, the orchestra / electronic parts are sampled directly from the albums. It’s a simple setup that works well for now, though one day I would love to be able to have another member to perform those parts live, and way down the road symphony shows certainly won’t be out of the question!
Give us some insight into the lyrical themes, including that interesting title, The Oracle, What Was, Is, and Could have Been. You’ve made no secret of the
social consciousness involved.
I don’t really like to spell out the meaning of my lyrics; instead I like to leave the discovery to the listener, as perspective is certainly a personal thing. That said, we were certainly less obvious in the lyrics on this disc than we were on the last one.
Speaking of which, from where is that socio-politically-charged spoken sample in “The Oracle” taken?
It is an excerpt from Ronald Reagan’s “A Time for Choosing” speech. I chose this one for the disc partly because it still very much reflects the attitude of our culture, but also because it can be seen as a counterpoint to many of the arguments that we make in our music against the “war as an answer” approach to conflict. It’s funny that few people who ask about it ever wonder why I chose something that would conflict with many of the ideas we throw around, but the answer is easy. We as a band are not looking to provide opinions with our lyrics, but instead are trying to provoke our listeners to learn more about the world around them, and come to their own conclusions.
For as many memorably written cuts as you’ve included on the album, a left fielder
like “Robots KOLTG” ends up standing out as not only just as memorable, but so
damn much fun.
That one has a bit of a funny story actually. We were approached last year by an online gaming company to provide a song for a game soundtrack, “The house at the end of the world” specifically, however even though the song was finished and ready for release, they kept asking us to make these really ridiculous changes to the lyrics to fit the game. Eventually we got fed up with it and transposed their last email word for word and put the first few riffs that came to mind under it and sent it back. Never heard from the again, though in the end, we all really love the song. It’s cool to just do something fun every now and then, and the strong reaction we have gotten from it, in fact it was just used in our latest Studio Space tour blog, we decided to move it from a secret track to a listed song on the disc.
And what is it that makes robots kind of like the government anyway?
Ha! If only I knew, we didn’t come up with that! I would love to say cold devotion to logic, but that is clearly never the case…
What led to the inclusion of Alice in Chains’ “Sludge Factory?” Interestingly enough, it just feels like it belongs on the album, somehow fitting right in.
A random whim! See, not everything we do is planned way in advance! Honestly, I just woke up one day and thought, “you know what would be cool, cover and Alice and Chains song,” it just turned out so well we included it on the disc.
Often an acoustic version of an existing song feels like little more than bonus material or an extra. What impresses in this regard is how the acoustic version of “This World in Flames” is just as captivating as the “proper” version, yet comes with a completely different vibe.
This goes back to the atmosphere thing I was talking about early, it’s something I have been toying with for a while, and to me it has a certain melancholy to it that the “proper” version doesn’t have. Another song that really was just an experiment in the studio that turned out so well we felt it needed to be a part of the disc.
Because of the diversity of your sound have reviews of The Oracle… been polarizing to any extent?
Absolutely, but not in the way we expected, in fact, what seems to be polarizing reviewers is that many seem to be uncertain of whether we are doing something brand new, or falling squarely into the over-saturated metal-core crowd. That said, I couldn’t be happier with the critical response that has been pouring in, the negatives amount to roughly three percent of the numbers, and the outlets that are generally really tough on metal bands have been overwhelmingly positive towards us!
What musical influences are present amongst the members that results in the music of All Else Fails and how does it all come together during the writing and
recording process?
We have a vast array of different and often conflicting musical tastes in our band. While I grew up on Metal, Grunge and Industrial, our guitarist loves Jazz and our drummer listens to very little outside of brutal death metal. It can really make the writing progress difficult as we disagree on almost everything, but in the end, the mix of influences is what makes our music unique.
Are you satisfied with what Suicidal Bride has done been able to do with the band?
Ha! That’s a funny question since I own the label, so yes in the way that SBR puts everything they possibly can into our project, but no in the way that we are ready for the next step up in the industry and are actively pursuing a larger label.
Where does All Else Fails go from here? One would assume the road and ultimately the studio, but perhaps there is a bit more to it than that.
More touring is certainly the next step. Our Western Canada tour was earlier this summer, and from here we are planning to first hit Asia, then Europe, and lastly the states. We have toured Canada four times now, so it’s time to branch out into new markets. Once that is all said and done I’m sure we will have enough material for the new disc, so we can start the whole process again!
