Have you ever listened to MERCYFUL FATE or a KING DIAMOND album and thought the amazing story telling in those songs would translate to a kick ass graphic novel? Well you are not alone! Graphic artist Mark Rudolph had this same idea and from there it grew until it became a full-fledged project. Entitled Satan Is Alive: A Tribute To Mercyful Fateis a result of a fascination with the band an a love affair with metal music. Not only is this a really cool idea, with the KING himself playing shows again and mounting a comeback, this will be essential for fans to own. To fully bring it to life, Mark has started a Kickstarter campaign so he can properly produce the book in a form worthy of the awesome content. He has not only recruited some of the top artists in the field but also a who’s who in the metal world to bring his vision to life. With just under a week left to the campaign, Metal Army America decided to touch base with Mark, whose art you have no doubt seen in fine publications like Decibel in the USA, Metal Hammer UK, Marvel Comics and other places about the project.
MAA: What inspired you to create the SATAN IS ALIVE project?
MR: I had just adapted an H.P. Lovecraft story into a comic and really liked the process, so I was listening to Mercyful Fate drawing one day and thought “these lyrics would make a rad comic.” A few emails later, I drummed up a lot of interest and it just kind of exploded. I’m mostly known for my metal-related illustrations and I’ve always wanted to do a “metal” comic, so this kind of satiated everything in one book.
MAA: How did you begin assembling the talented writers and artists?
MR: I met Tom Neely last year at a show in Minneapolis and briefly discussed the idea with him and from there it snowballed. I started emailing people and before long I had amassed a pretty impressive list. Even artists I’ve never met before seemed to be really into the idea and no one said no. This whole project is a visual tribute album to Fate and it’s clear in the art, that there is a lot of love in Satan is Alive.
MAA: Why raise money at all to produce physical copies and why choose Kickstarter as a platform?
MR: Physical books still mean a lot to me. As much as I like technology, I like the immersive experience you can only get from a printed book. I am offering PDF copies as well, but the goal is to have nice offset book. I’m using Kickstarter since I’ve had good luck with it in the past. I think it’s a great way to get niche projects funded without forking over all the money yourself. Like my last campaign, I had nearly the whole book completed before I even started the fund raising. I think that’s an important step to let potential backers know you are serious and not just throwing out ideas and hoping some will stick. I think that’s a lousy way to use the service. As of this interview the project is already several hundred dollars over our goal with 7 days to go.
MAA: What are some of the reward tiers you are offering for backers?
MR: Original art, hardcovers, co-publisher, retail bundles, prints and commissioned art. I try and keep it related to the book and not just “extra junk”. The book is the most important part, so I feel the incentives should enhance the book if anything.
MAA: I believe metal fans will be most familiar with your illustrations in Decibel Magazine. (your cover with DANZIG riding a wolf in 2010 is still my favorite issue). Where else can people see examples of your work?
MR: Haha! Thanks. My site cvomics.com has a ton of examples of my work (also portfolio and store), but I also do monthly illustrations for Metal Hammer UK and I’ll have an 8-page story in Henry & Glenn Forever and Ever #2. I’ve also done a bunch of merch design for bands like COALESCE, HELLMOUTH, BEAST IN THE FIELD and many others.
MAA: Any final message to the fans contemplating a donation to SATAN IS ALIVE
MR: With all the recent interest in metal history (Look at Bazillion Points, Choosing Death, etc) I wanted to add to that rich wealth with something totally different. If I really devoted the time, I’m sure I could write a book about a band or a genre, but being more of a visual guy, I thought doing a visual love letter to one of my favorite bands would be more apt. I can’t really think of another metal-related anthology book that’s filled with such a diverse group of artists either. I really need to thank everyone involved that’s made this book possible. If I did it by myself, it would have been about 30 pages and not nearly as rich. With the whole group it feels much more metal!
Mark Rudolph has many works in print, including this book!
You can learn more about the project and donate on the Kickstarter page.
Long running Goth metal masters MOONSPELL have an ambitious new release which is the double album Alpha Noir/Omega White out on Napalm Records. Drummer Miguel (Mike) Gaspar caught Metal Army up to speed on why it took so long to make the new record, how the band approaches recording, their love of Peter Steele (RIP) and TYPE O NEGATIVE, other influences- metal or not and the state of the metal scene in the bands’ native home of Portugal.
MAA: Please tell us about the writing and recording of Alpha Noir/Omega White?
MG: Many thanks for the interview let’s do it brother ! This album was very different from all albums in the past due to the time, four years apart from the Night Eternal. We never took so long to put out an album. The success of the previous album also kept us on the road quite a bit. So we did not want to rush things and just let things flow naturally. In the begging process we had no idea we would release a double album. In reality this was more of a concept that would enrich our composing skills dividing them in half. We would write heavy songs on some days an others would go more into the Gothic style more melodic elements. Benny Ritcher came from Germany three times during the four years to help us out with all arrangements. Never had worked with him and found a new understanding. He really felt like a member of the band with a lot of enthusiasm to work until late hours just to get the songs right. It was strange to work with someone younger than us never happened before. He was like a little brother full of talent and skills that impressed us and contributed a lot to this magnum album.
MAA: What is the concept behind each part of Alpha Noir/Omega White?
MG: Alpha is more like a battle until the end in an arena full of blood, passion and determination. In the arena there is no time to play around our you’ll be killed. You fight for your honor and family paying respect to all those that have fallen before you. This was inspirational for a heavy dark album we wanted no compromises, just the best metal that we could accomplish. With Omega it’s a different story it is the time for the warrior to recover his mind and body. To bathe cleaning the wounds and the soul. To eat and drink celebrating the victories. A time to think and remember one’s family and loved ones, to salute all good things and pleasures so that one day we shall fight again.
MAA: Was the wealth of material the reason of the four year break between albums?
MG: Many reasons took us to have this decision. For one the Night Eternal tours were crazy we travelled all over the word making new fans everywhere and also welcoming back the old. We just had to do all the shows it is for us the main reason bands should exist! You have to do the best shows possible, it is the ultimate experience like no other. There was also the question of which label we would end up on but that became something that we did not want to worry about and just did the albums freely until the end before signing to anyone. We were confident and just wanted to release our best work to date. The acoustic project we did in Portugal called SOMBRA also took a bit of our time. We were 13 people on stage with Cellos, female vocalists and percussionists. It ended up even giving us a push for the Omega White album. One other reason that come to mind is just the fact that we make twenty years of MOONSPELL this year and it would be our ninth full length album. There was no reason to rush things the music could not be compromised so we said the hell with it just take our time.
MAA: It’s been said that the Omega White album was in part inspired by TYPE O NEGATIVE. What about them is particularly inspiring for the band?
MG: Everything we were huge fans from the begging of our career. They were the few bands that incorporated different styles in their music. Going from Hardcore, to Gothic sounds. The deep vocals would make your knees tremble and the lyrics were so intense and dark. They were everything from the street attitude with violence to romantic and sensual atmospheres to emotions that would comfort you on those terrible days that you, yourself wanted to slash your wrists. The identification with this band was brutal in the early years and to our luck did one of their biggest tours in Europe in `96. We became good friends and especially Pete was always on our side, helping us out in everything we needed. He left a deep mark in us. The tribute to him and TYPE O will always feel weak compared to the reality of what a divine band they where and the many that followed them. They will never be forgotten in hearts and in our music. Salute Pete, he was a true gentleman, we miss him a lot and having a song dedicated to him and the past just helps us cope with this tragedy. Hope he´s smiling somewhere and we will jam one day!
MAA: The band worked once again with Tue Madson producing and mixing. What does he bring to the process that appeals to the band more than another producer or producing yourselves?
MG: The pure calmness of his persona is so important to band that is from south Europe and can get a bit edgy and confusing at time. We have no real tradition of metal in Portugal so we had to learn for our selves and many times the hard way. Tue understands us very well and always gives 200% to make sure we are comfortable and satisfied with the results. He has no big ego and really just wants to get the bands idea and sound to the fans. He himself is a huge Heavy Metal fan and played guitar in his own projects. Also, a little bit older making him more like a big brother. Family is the key word when we feel that kind of environment I think we do our best stuff at least at this time in life. We have enough chaos and excitement all year round on the road. Can´t wait to see what we do next together. He just is a wizard with the sound and mixes all our elements without it getting confusing, he can make everything just sound spot on!
MAA: Who are some of the heavier bands inspiring you these days?
MG: For me personally I’m just a huge fan of the 80s. As a kid VAN HALEN and MOTLEY CRUE were bands I loved but as a teenager I got into bands like MORBID ANGEL, BATHORY, KING DIAMOND, SLAYER, METALLICA, DARKTHRONE, EMPEROR, ROOT, CANDLEMASS, but also Gothic stuff like SISTERS OF MERCY, FIELDS OF THE NEPHILIM and of course, TYPE O NEGATIVE. So really from Hard Rock to Death and black metal to avant-garde, the name before Goth. I just absorbed so many dark styles of music it just showed with our era in the 1990s were bands like us mixed the styles. TIAMAT, SAMAEL, MOONSPELL, AMORPHIS, PARADISE LOST, LACUNA COIL, THE GATHERING we were all fans and at the same time influencing each other. The use of keyboards and female vocals or just poetic song writing was all a bit new for us and that what excited us the most. It was new and part of our generation. DEAD CAN DANCE was also a band that had so much world music involved it just touched us in a special way, incorporating something so distant in a new form of metal. So I still listen to all this these days, it´s our core inspiration and I think always will be! I have a hard time listening to new stuff, I think this is normal. I will always give a listen to new material from friends or even fans, but it never really sticks like the bands you heard when you were young!
MAA: At twenty years-old, is their a moment in time that stands out to you as the biggest highlight for the band so far?
MG: I would have to say the release of Irreligious in 96. It was our first taste of mainstream success . That album opened many doors in our career and to think that only three years before we released our first demo called Anno Satanae! It was all to quick to even understand and still takes us a bit to recall the reason for so much attention from a band that played very underground black metal from the south of europe. The odds of us being on tour with major bands our album in the German charts, winning new comer of the year in Finland the massive record sails, promotion fans going crazy at shows for us was just unbelievable! It really feels like your living a dream. It all took a lot of work, sweat, pain tears and blood to get there but when we were on the Dynamo main stage back in 97 , before there were Wacken’s, Hellfest etc. playing for 80.000 people, we new that we came a long way and it was all worth it! We even did shows with KISS during there reunion tour with the make up in the 90′s. Their production was insane and we got along really well, they gave us all the conditions to do a good show! But KISS fans are tough so are SLAYER’s’ to that matter, but for some reason we always win them over!
MG: Many thanks, hope to see you soon on the road! Keep it Metal!
(Thanks to Mike Gaspar, MOONSPELL and Napalm Records)
That’s right, hessians, go growl it on the mountain – King Diamond is BACK! As you know, King’s lovely wife Livia informed us, almost exactly a year ago, that King was rushed to the hospital for triple bypass heart surgery. For those of us King-worshippers, this was very depressing news. Since then, Mr. and Mrs. Bendix(King’s real last name, if ya didn’t know) have given fans updates whenever possible, and all signs point to a complete recovery for the legendary performer.
Today, King fans are given a real gem - not only is he doing well, but Mercyful Fate reunited to PERFORM with Metallica at the second of four shows celebrating Metallica’s 30th anniversary. That’s not all – there’s FOOTAGE! Holy demon babies, Grandma!!!
Check out the video, be amazed, cry and hug your cat, then listen to Mercyful Fate’s entire discography for the rest of the day. WELCOME HOME, KING!
Metal Army caught up with FLESHGOD APOCALYPSE drummer/guitarist/vocalist Fancesco Paoli (also HOUR OF PENANCE) a while a back at the Summer Slaughter tour and just saw them again recently on tour with DECAPITATED. Francesco talked about writing and recording the bands hit album Agony, gear and touring the USA. He is really funny and we laughed the entire time.
Agony was released this past August on Nuclear blast.
MAA: Congratulations on Agony. Please tell us about the writing and recording process?
FP: This is our favorite album. We put a lot of love into this, to write these newest songs. It wasn’t easy since this is the first time we wrote the entire time with an orchestra. The whole process was different. The first time songs didn’t begin with guitar riffs, but from drums and orchestra. Even if we have some riffs here and there we are pushing the guitars inside the arrangements and orchestra like cellos and violins to get more integrated harmonies. We recorded at 16th Cellar Studio with Stefano Morabito ( also guitarist for EYECONOCLAST). He is the same guy who recorded Oracles and Mafia. He’s a great guy. He helped us a lot to make this symphonic death metal album very powerful and crushing. We are very happy with this. It’s very different from the past work. It seems people enjoy it, but it seems like people are very happy with it. It was very risky to put all of theses keys into it, but we are keeping the blasts (blast-beats) up so that is good! There is no compromise at all.
In addition to drums for FgA Francesco also sings and plays guitar in HOUR OF PENANCE.
MAA: How important is the mixing and mastering process with a record this dense sounding?
FP: It was very hard. We would like to have much more time. Everybody thinks maybe their new album must be the best so you want more time to fix this or that, always. You are feeling never satisfied. Stefano had good ideas and he was very focused on the album. So we wanted to push the orchestra at the maximum, but he didn’t want to lose the oppressing blasting and oppressing guitar presence for the whole album. We love it!
The visual aspect of the band is meant to compliment the music.
MAA: Where does the theatrical influence come from in your live show?
FP: We are fans of bands like RAMMSTEIN. We want to give people the chance to get into the songs and into the show. The whole show is not just us playing the songs. We have fun as a band and with the show. We like to dress up like romantic zombies (laughs). We use this as one more step toward putting people inside the show. It started from the music. We tried to give out a lot and we tried to develop every aspect of the show, like wearing tuxedos and other stuff. It is very useful to put the people inside of the show. They are very satisfied at what they see and hear. I think I look like a waiter! (laughs)
MAA: I think its more like a classical piano player with the tails!
FP: (laughs) We have nice and huge ideas for our next few tours. A lot of big stuff is on the way for us.
MAA: Francesco Ferrini (Keyboards, orchestrations) is now a full time member of the band. How much more involved was he in the writing on Agony than Oracles?
FP: We always worked with him. He recorded Oracles, The Mafia EP and this time Agony. He was inside the writing process from the beginning. We were writing all together with the structures of the drums and the riffing. At first it was a challenge to mix everything and fix problems with the songs. But even after a few days, he was fitting very well. He was integrated into the band. Plus he is also a very old friend of ours. We’ve known him a long time and we just needed a chance to put him in. This time was the right time. At the same time people are really excited that he joined the band. We are very excited at what is happening and we are working hard with him. He has contributed a lot to what is happening with us nowadays.
The band has been tearing up the USA for their first extensive touring since the summer.
MAA: Any changes to your drum gear since you finished the album?
FP: I have new cymbals and a snare for the tour. I use Tama for the album and Roland for the triggers. I use UFIP cymbals, an Italian brand. Really heavy, the Bionic series. I am also an endorser for a company that makes one-piece snares also called Fonega. They are Italian too. We use Evans drum heads and we used acoustic sounds for the first time and we enjoyed it. The stuff is very fast so we need the triggers to cut through with the attack of every stroke. It helps with the mix a lot too, to make everything clearer. But at the same time we used more acoustic sounds in the drums. We want the extreme low frequencies to crush your fucking faces. (laughs) And ours too! (laughs) When I hear the snare in my face I like it! It was almost like dying. (laughs)
MAA: How do like touring America?
FP: Europe has the big festivals, but Americans are crazy! (laughs). We like to tour here. We will be back in the fall with DECAPITATED, DECREPEIT BIRTH, RINGS OF SATURN and THE HAARP MACHINE. The Summer Slaughter is a great chance to show our music to the people in all of these great cities. Even though we go on early all the shows are crowded and the fans are great. So far this is best tour we have ever done. We are really happy here. We love the United States and we love Americans! Thanks for the support!
(Special thanks to Francesco Paoli, FLESHGOD APOCALYPSE and Nuclear Blast)
Personal opinions tend to vary greatly when it comes to deciding upon a creative apex for the work of Chuck Schuldiner and Death. While the legacy, lasting effects and impact of Schuldiner’s work for the death metal genre-effectively blurring the borders of what extreme metal musicians can achieve when incorporating a progressive mindset into the framework-remain unchallenged, all of us possess our own preferences when it comes to the man’s body of music.
Yours truly offers up two very diverse selections when it comes to personal favorites: Death’s charmingly raw and unerringly brutal 1987 debut Scream Bloody Gore and this, musically mindblowing ’93 LP, the massive Individual Thought Patterns. Featuring the legendary Gene Hoglan behind the kit, fat string wizard Steve DiGiorgio on the bass and King Diamond’s main axeman Andy LaRoque, Individual Thought Patterns sit snugly in the middle between its compatriot tech-metal juggernauts Symbolic and Human, offering up mature songwriting sensibility alongside Schuldiner’s almost effortless knack for rhythmically punishing metal.
To be honest, the decision process between Individual Thought Patterns, Symbolic and Human basically comes down to the question of which flavor ice cream one enjoys: in other words, there isn’t really a wrong answer. Individual Thought Patterns features a memorable set of songs, however-”Jealousy,” “Trapped In a Corner” and “Overactive Imagination” serving as certifiable highlights, alongside album closing classic “The Philosopher,” a song yours truly humbly covered in my own band back in the day-which eclipses the comparatively more sterile nature of Symbolic, while also coming across as a bit warmer when compared to the clinical precision of Human.
Epically reissued by Relapse, the grooves of “Mentally Blind,” “Destiny” and “Nothing Is Not” can now be enjoyed by a whole new generation of tech-death wizards, here graced by a double disc presentation which also includes a bevy of live tracks and a studio outtake of “The Exorcist,” for good measure. Does all of this add up to ‘essential?’ You bet your ass it does.We still miss you, Chuck.
Louisiana’s own Excommunicated have their own, atmospheric take on death metal locked down, reverberating loudly beyond the boundaries self-set by most of their genre contemporaries.
One of the reasons why Skeleton Key succeeds is because of this open-mindedness to other genres, specifically traditional metal, a la classic Mercyful Fate and King Diamond. Of course, given the fact that Diamond/ex-Death axe legend Andy LaRoque guests on this record, this shouldn’t come as much of a surprise, yet Excommunicated manage to make each note count on this collection, with Skeleton Key coming across as well-written and conceptualized debut.
Meanwhile, the growling guest vocals of Acheron’s Vincent Crowley add to the band’s old school death metal cred, making sure that no one forgets exactly where Excommunicated are coming from here: brutal, old school death metal. The effect overall isn’t too far off from an atmospheric Bolt Thrower at times, perhaps blending a bit with the chaos of old school Morbid Angel, particularly on a song like “Minutes of the Corpse Trials.” The driving double bass of ex-Arsis, Malevolent Creation and Borkangar session man David Kinkade also hammers home the band’s down home songwriting, sounding organic and un-clicky enough to cement Excommunicated as a rising band to watch amongst the underground hordes.
One of the up and coming bands in the world is Italy’s brutal/symphonic band FLESHGOD APOCALYPSE. They have been wowing audiences near and far with their great music and stage show and now they are about to drop their next masterwork Agony. Agony is the culmination of the everything the band has been working toward; a seamless integration of death metal and symphonic music the likes of which have not been seen before. They more than succeed here and should be fun to watch on their upcoming jaunt on The Summer Slaughter Tour.
After the overture of “Temptation” the album kicks off in earnest with “The Hypocrisy”; waves of riffs, cascading string arrangements and brutal blast beats rain down upon the listener. Machine gun riffs welcome in the verse followed by Tomasso Riccardi’s grotesque bellows. Bassist Paolo Rossi channels KING DIAMOND with his upper register melodies, soaring high over the remainder of the track. Other band members’ voices compliment him from male operatic vocalizing to a serious metal shout, but Riccardi and Rossi do most of the heavy lifting. The track is unrelenting in its pounding beats and pace and aims to prove this band is living up to its considerable hype. The triggered drum sound of Francesco Paoli, long a trademark of their sound is great and cuts through the chaos. No less severe, “The Imposition” comes next and is ridiculously epic in scope. With the speed of death metal and grind core, but all the virtuosity of the finest musicianship, the track is astounding. More strings and brass instruments provide an undercurrent for the song, expertly provided by pianist/orchestrator Francesco Ferinni who is now a full time member of the group. Third track “The Deceit” unfolds the concept of the album even more and musically is akin to the better work of DIMMU BORGIR, BLIND GUARDIAN or the new album by MAYAN. While other bands of the sub genre bury the guitars in their mix, FLESHGOD APOCALYPSE have the axes out front where they can do the most damage. “The Violation” is an insane piece of music and by my own count is up at about 270-280 bpm. Swirling guitars shred and solo and are met note for note by Ferrini who also takes a piano/keyboard solo. Inhumanly fast, yet still tuneful, this song is the essence of what the band is trying to do. “The Egoism” has killer riffs and more diamond cutter tough double bass. The savagery of main riff is complimented by haunting strings and tympani flourishes. If its possible guitarist Cristiano Trionfera is one of the most underrated axemen in the world. His solos are amazing and his style is brutal enough for any style of metal, but nuanced enough to pull off some of other motifs expressed in the songwriting. There is also a female operatic vocal part here that is outstanding as well. Other tracks like “The Betrayal”, “The Forsaking” and “The Oppression” hammers the point home that this band is all about taking names and kicking asses. “The Forsaking” features a piano part that almost appropriates BEETHOVEN’s “Moonlight Sonata” in the verses. What it all boils down to is if you stripped away the orchestral touches a) this band would still be a force to be reckoned with and b) the songs on Agony would still be very good. That is the ultimate testament to the album. The closing title track is a touching and depressive piano piece played by Ferinni. The somber notes ticking away the seconds and marking off time until the entire grand piece comes to a close.
Would you please pass the jelly? And the brutal, symphonic inspired death metal too, thanks!
In a bit of sad news, we recently learned that KING DIAMOND underwent triple bypass open-heart surgery last month! While it seems as if one of metal’s remaining elder statesmen is doing very well with recovery, everyone here at Metal Army America would like to wish the KING a healthy and quick recovery! Throw on ‘Abigail’ and pay your respects!
THERION is back with a new album chock full of symphonic rock and metal called Sitra Ahra. Three years after their last album, the excellent Gothic Kabbalah, they continue to be at the forefront of “opera metal”. I still remember when this band was known as Blitzkrieg (not the NWOBHM band) and was considered Swedish Death metal, but in the early 1990′s they switched names and changed styles favoring grandiose themes steeped in European romantic classicism. THERION not only spawned their own sub-genre of metal, but now has the difficulty of competing again all the bands they have influenced, including the modern death and black metal bands now using these elements ad infinitum.
The album opens with the title track which starts like a piece of chamber music with floating male and female voices and orchestral backing. The song then drops into a marching rock anthem topped off with and entire vocal choir in the chorus. Like most of the bands familiar territory, the song has a very dramatic musical sense to it like gladiators entering into the area complete with military drums. Now that ringleader Christofer Johnson has stepped down from lead vocals to focus on leading the band and playing the guitar; all of the vocals here have a true ensemble feel like never before. The second track “Kings of Edom” is epic, clocking in at almost nine minutes and going through many stylistic changes. Great vocal contributions from frequent collaborators Snowy Shaw (KING DIAMOND/MERCIFUL FATE/DREAM EVIL) and Lori Lewis here as well. I prefer this song to the opener with a more uptempo, thrash meets chamber music meets goth opera approach. The song also has one of the best thematic melodic runs on the album late in the song that will be a great fist banging anthem at shows next year. The best track on the album is next in “Unguentum Sabbti”. It is a straight out metal rocker with cutting guitars and double bass drums giving way to beautiful string arrangements. Another extended piece is “Land of Cannan” which starts off with a cool and spooky bass line and eerie vocals almost like a DANZIG outtake. There is some great, technical guitar stuff here as well. Unfortunately things devolve quickly when Zamfir (kidding!) and his pan flute (not kidding) show up a third of the way in and muddle things up badly. I half expected Ewoks to show up at my front door which just about says it all. Back on track with the next song “Hellequin” is more in the style of the band I prefer most, sweeping in orchestral scope, but still pretty heavy. The is even some cool Hammond B3 organ going on and some terrific bass vocals front new lead singer Thomas Vikstrom (CANDLEMASS). The track “2012” is another gem, replete with all of the dread and doom a song about the apocalypse should have. There are a few more top shelf cuts like “Cu Chalain” and the fast KING DIAMOND-esque “Din”, but also a few choppy clunkers as well. The band didn’t break any new ground here like they did in the past which is a bummer. Still, it’s a solid listen with some great musical moments and some of the best talent assembled anywhere.
