Monday, May 20th, 2013 at 2:48 pm by Spaceman
Very early on in their career, Kvelertak were considered the new metal/rock curiosity to discover. Then they quickly evolved from curiosity to sensation. All it took was a first album, released through Indie Recordings and graced by a wonderful artwork signed by John Baizley, for the Norwegian band to convince the audience and create big expectations.
In fact, thatâs not surprising given that their recipe associates originality, creativity and efficiency. With their highly varied influences, Kvelertak have created their very own style. Thatâs probably what the audience is looking for, even unconsciously, in a world thatâs evolved towards formatted, rehashed music, even in metal. Kvelertak are a breath of fresh air, mixing energetic punk rock, federating classic rock, lively hardcore, aggressive black metal and psychedelic stoner.
When we interviewed him a few weeks ago, Vidar Landa, one of the bandâs three guitarists, told us: Â« Weâre six members and everybody has their own musical backgrounds. We all put these influences into our music and into the band. Â» As a result, thereâs always something in their songs that will make one go: âOh, thatâs surprising!â The fact that the three guitarists compose probably explains the acute sense of melody and harmonies the band shows. At least thatâs what Landa suggests: Â« Weâve always been doing that and the songs are always made with that in mind, based around three guitars. So itâs not really hard to handle for us. Itâs part of our foundations. Thatâs also whatâs fun about this band: the fact we can play around with a bunch of guitars and do lots of harmonies. Â»
Are we currently witnessing the birth of a future leading light? Of one of those bands that will drive tomorrowâs metal scene? It might be a bit early to tell (even if we really want to believe), and the music world may have become too complex, compared to the 70s, 80s and 90s, to speculate on tomorrowâs talents. But one must admit that, in spite of their youth, their weird name and their Norwegian lyrics, Kvelertak elicit almost unanimous support.
Friday, May 17th, 2013 at 2:01 pm by Spaceman
On paper, it would be hard to find a more tempting project than Device, steered by Disturbedâs frontman, one of the most respected and recognizable vocalists in his generation. It could be its promise of efficient, catchy industrial metal â the frontman himself mentions juicy inspiration sources like Nine Inch Nails, Ministry, KMFDM, Front 242, or Rammstein. It could also be the deluge of prestigious guests: Lzzy Hale, Serj Tankian, Geezer Butler, Tom Morello, M. Shadows and Glenn Hughes. It could many other things. The albumsâ packaging kindles so much curiosity and desire that it could do with no advertisement at all.
But in actual facts, this album was made possible almost out of chance, because of the bond shared by David Draiman and former Filter member Geno Lenardo. The two men wanted nothing more than to âwrite something goodâ, without any âplaying planâ or âstrategyâ. By insisting on this, Draiman gives us the key to comprehend this album simply, and therefore as well as possible. For how many works of art have been ruined by excessively high expectations?
At any rate, Draiman is proud to introduce his new project, the first without his mates from Disturbed in sixteen years. And this might well be the key to the revival of Disturbed. Itâs impossible not to think of the latter while listening to Device â after all, could Draiman sing anything and not make the listener think of Disturbed? But starting a new project from scratch has probably helped him get away from certainties gained with his main band, and maybe even revive some spontaneity. At least thatâs what transpires when he talks about this first album.
David Draiman tells us all about it after the jump.
Wednesday, May 15th, 2013 at 4:32 pm by Metal'O Phil
Peter TĂ€gtgren is a man to be reckoned with in the metal world â because of his work with Hypocrisy, an influential melodic death band, because of the success of his electro-industrial project, Pain, but above all because heâs everywhere! Peter TĂ€gtgren is always doing something, whether it is releasing an album, touring with one of the two above-mentioned bands, or working as a producer. This year alone, heâll release an album with Hypocrisy, start working on Painâs new record, have his name associated with Amorphisâ new record, which he produced, and with Children Of Bodomâs latest effort as a vocal producer, and so on.
After all, it may well be the key to success: always having oneâs name in the metal news. Itâs probably not his main goal, though, but just a consequence of his hyperactivity. He himself admits that he canât stop thinking about business, even on holiday, because âthe industry never sleeps or take a vacationâ. In order to succeed, one needs to always catch the right train.
One of the risks with hyperactivity is to lose sight of the essence of things. But today, with End Of Disclosure, itâs precisely the essence of Hypocrisy that Peter TĂ€gtgren means to go back to â the formula that characterized him in the 90′s and allowed his band to leave a durable mark on the international metal landscape.
More on that after the jump…
Wednesday, May 15th, 2013 at 2:28 pm by Amphisbaena
Black Light Burns is Wes Borlandâs breath of fresh air, away from all the equivocation, conflicts and torments caused by Limp Bizkitâs heavy exposure. Itâs an opportunity to be an artist in his own right, and to practice the many arts he masters, from singing to artwork, costume and stage-setting-making, and from keyboards to, obviously, guitar.
Borlandâs playing is experimental and unconventional; it has allowed Limp Bizkit to enjoy killer riffs, aerial ambiences and psychedelic textures. Black Light Burns is a different deal entirely: The Moment You Realize Youâre Going To Fall, released at the end of last year, is an industrial record that sees Wes Borland experimenting in a Nine Inch Nails-ish universe served with a punk dressing.
Wes Borland was in Paris on the occasion of the bandâs European tour for this album. It was a good opportunity to talk to him about the record, rather different from Black Light Burnsâ first effort, about his artistic vision as a whole, but also about Limp Bizkitâs eagerly anticipated new album and his relations with three of the main people behind this release no one believed in anymore: producer Ross Robinson, long-time-no-see DJ Lethal, and of course he who generally causes scandal, Fred Durst.
Read the interview.
Friday, May 10th, 2013 at 6:40 pm by Metal'O Phil
In the interview published right before this one, guitarist Adam Dutkiewicz mentioned how everything seemed new to Jesse Leach after his return in the bosom of Killswitch Engage. We just had to talk to the vocalist to know how he feels about said return.
And he is indeed a very enthusiastic man, now only regarding this new experience, but also his new life as a musician. His happiness is even more heart-warming considering the difficulties the man has been through, and the doubts he had regarding his ability to step into the vocalistâs shoes again. As a result, he talks about these subjects very openly and touchingly. Now the difficulties are over, but they helped him gain a certain wisdom that he wants to share â about singing, life as a musician, and the freedom music should bring. No wonder he mentions Devin Townsend as an example to follow.
Whether youâre a fan of the band, a music enthusiast or simply curious, we strongly recommend you read this interview.
Read the interview.
Friday, May 10th, 2013 at 5:32 pm by Metal'O Phil
During the decade Jesse Leach was away, Killswitch Engage has lived and grown. The bandâs popularity, their ambition and, therefore, their demands have increased. Even if Jesse Leach was the bandâs original vocalist and although they were always in good terms, he was not the obvious candidate after the departure of Howard Jones â especially since Jesse left the band due to vocal limitations in the first place.
Auditions were indeed conducted, and Jesse had to prove his worth.
When we interviewed him a few weeks ago, guitarist Adam Dutkiewicz pointed out Jesseâs amazed, childish joy when he discovered the experiences and comfort that come with being in a well-established band.
Read the interivew…
Tuesday, May 7th, 2013 at 2:22 pm by Metal'O Phil
The great return of good old 80′s-sounding thrash is firmly on the tracks. Every year brings its share of youthful bands with patched jackets and a deep desire to go on the road and give their all on stage. The traditional thrash that these bands use as a reference (sometimes with a punk/hardcore influence) is authentic, unadorned music, with a marked taste for partying. No wonder this is working with young people now, the way it worked 30 years ago: to hell with all the problems, to hell with being proper and well-behaved â thrash is here to have fun and to thumb oneâs nose at all the worries.
This is exactly the state of mind the Finns of Lost Society (a new band on the thrash revival scene) seem to exude. We talked to the bandâs leader, vocalist/guitarist Samy Elbanna, and the outcome was a feeling of unshakable enthusiasm, maybe even healthy naivetĂ©. For when something drives you to follow your guts and charge forward, it can only be called healthy.
Samy answers our questions right here..
Monday, May 6th, 2013 at 4:57 pm by Metal'O Phil
KMFDM, one of the founding fathers of industrial metal, is among those bands that are in part driven by indignation and anger. We could therefore surmise that the bandâs leader, Sascha Konietzko, is a bitter man. Wrong: heâs just a man who asks himself questions regarding whatâs happening in our society and wants to share his feelings to increase public awareness and to make people think. And yet, he confesses himself that KMFDM is also mainly a lot of fun.
Hereâs the ambivalence â the bandâs freedom of speech, which he refers to by calling his new album âKunstâ, meaning âartâ. Art can take on many various forms. The proof of that is the variety of the albumâs content, following the example of the bandâs entire discography. KMFDMâs music is above all meant to be stimulating, either physically or intellectually: KMFDM want to make the listener react, bang their head to infectious industrial rhythms and think about what happening around them.
Whatâs obvious is that Konietzko is first and foremost a curious man who wants to understand the world. At the end of the following interview, he reversed the roles and interrogated us on French politics. Donât consider this dialogue as an intent at politicization (we tried to be as neutral as possible), but it was interesting to see how the man reacted to our answers.
Read the interview…