ABYSSOUS. Poisonous sound and a menacing atmosphere

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Abyssous – Mesa (2018)

Review by Estelle for Metalegion Magazine on the 6th of December 2018

TRACKLIST

  1. Aisernal
  2. Mesa
  3. Perlurkural
  4. Impelled
  5. Fissurge
  6. Ocaeon
  7. Diphour
  8. Aerosoils
  9. Vesspense
  10. Congealed Lores

RELEASE DETAILS

Genre: Death Metal
Label: Iron Bonehead Productions
Country: Germany
Date: November 1st, 2018

LINEUP

Deathtrader – Bass, Vocals
Assassor – Drums
Jonty Lava – Guitars


The German death metallers of Chemnitz are back with a mini-album six years after releasing their original debut “…Smouldering”. “Mesa” is a piece full of heaviness, obscureness, dark tension and gloom. Besides paying homage to bands like Morbid Angel and Asphyx, Abyssous’ twisted way of playing reminds one of artists of Finnish old school death/doom metal.

Poisonous, louring, swirling riffs; brutal, in-your-face drumming; solid, horroristic screams and growls and a menacing atmosphere: everything one would need when listening to old school death/doom. The raw production and rotten sound contribute to identifying Abyssous with former masters of the genre, not to speak of the eye-catching black and white artwork hinting at the depths the band is going to take one into.

Whilst the first half of the recording features faster, more cruel and aggressive pure death metal tracks, Abyssous take a slower, more menacing and atmospheric doom approach starting from the song ‘Aerosoils’. The track is one of the highlights of the record with its louring main riff and misty setting; giving the twisted melodies a chance to expand themselves gradually and so make this piece more catchy than the preceding faster tunes.

Even though the individual tracks are decently well-worked-out and harmonized, the amount of intros/interludes (five altogether) seems to ruin the cohesion. The atmosphere built up with a song gets lost in the following interlude which must have been meant to set the mood for the next one, but which instead feels unnatural – thus the listening experience gets interrupted permanently. If one is able to disregard 3-4 of the short interludes and concentrates on the musical experience carried by the actual songs instead, one finds him/herself in the depths of an ancient world full of cruelty, horror and doom. Just close those eyes and let the journey begin…

Songwriting: 8.5
Originality: 7
Production: 8.5
Catchiness: 7.5
Artwork: 8
Overall: 8/10


Order “Mesa” here.

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Metalegion Magazine #4

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Support our work by ordering the 4th edition HERE! :)

The fourth issue of Metalegion Magazine, the project I am at the moment mainly contributing to is out and ready to be purchased for the price of 6€ (printed version) or 0.99€ (digital version)! My contributions to this edition include interviews with Away of Voivod, Steve “Zetro” Souza of Exodus and Steve Ramsey of Satan, as well as a number of reviews written under the name of Estelle. Even though the material mentioned will be available to read here at Darkness Unseen; you shouldn’t miss out on other featured interviews like those with my personal favorite death metal artist Dan Seagrave, or bands like Terrorizer, Behemoth or Hate Eternal!

96 English-written, full colour pages with a sampler CD and posters. If you’re interested, visit metalegion.com – we are thankful for any support and are happy to come back with a further edition soon! 

Estelle

“This might be our catchiest, heaviest, most brutal work” – Paul Mazurkiewitz (Cannibal Corpse)

Interview with drummer Paul Mazurkiewitz from Cannibal Corpse

Interview for Metalegion Magazine by Estelle on the 19th of October 2017

Hi Paul, thanks a lot for being down for the interview! Could you tell me a bit about your 3 most favorite albums?

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Slayer – Reign in Blood (1986)

That’s a tough one, a one-day answer. There are a lot of influential albums of course. But if we’re gonna stick with the heavier stuff, the bands that really got me wanting to play this kind of music, I’d say my Nr. 1 would be Slayer – Reign in Blood. Probably most people say that (laughs). But it was such a big influence for us, unbelievable. Especially that album in particular. Hearing Dave Lombardo’s drumming, that’s what made me wanna play like that. We were already fans of Slayer with their previous works, but hearing Reign in Blood just took it to a whole another level and it made me wanna try to emulate that. So that is probably the most important album in my career. Nr. 2 would probably be Metallica – Ride the Lightning. That was such a very influential album as well. It came a little earlier that Reign in Blood but when we were getting into music and Metallica was a new band and we were hearing this as teenagers for the first time, it took us to another dimension. “Whoah, what is this?!” So of course we were fans of Kill ‘Em All but then again, Ride the Lightning took it to another level. I remember hearing the song Creeping Death for the first time, it was playing on the radio and we didn’t know what this was, we got to know they were Metallica, the new album comes out, “wow we gotta see them”. Just very influential. And Nr 3 would be Sacrifice – Forward to Termination. It was such a great thrash album every time I hear it to this day, it gets me going.

Red Before Black is your 14th full-length album. What was your main goal you wanted to achieve? What do you think distinguishes this record from the other 13?

The main goal is always just releasing the music, really. We were just excited to create new stuff and get it out to the people. It’s the way we’ve done things and the way out mentality goes: We’re just writing the next batch of songs. There’s no big skin behind it other than we wanna do good and a little better than the last time. That’s what we’re always striving for and trying to do. So that was our goal, to write the next better song. To keep going forward in our songwriting, in our musicianship and all that. And I feel we have.

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Cannibal Corpse – Red Before Black (2017)

I know I worked extra hard on this record, more than on any other so far and I work hard on all! For some reason this time around my mentality was “no rest whatsoever, go go go, double time, triple time” – I just wanted to do better than I ever have personally. The other guys are writing most of the riffs and the songs and when we’ve got three great songwriters spreading it all around… I mean we’ve got some diverse stuff and those guys write some amazing material. But I think on this record, to me it’s just a combination of what we’ve been doing our whole career. I listen to the songs and the whole definitely has more of an old school vibe to it, a little more of a thrashier vibe than our previous releases. So I look at it as a full circle. I tend to look at it as the best of all Cannibal. From the beginning to the 13th album, put it together, work hard, write some great songs and then you’ve got Red Before Black. I think it just stands out because the songs are so tight and precise, great brutal riffs. So I think this might be our best work – our catchiest, heaviest, most brutal work with a great guitar sound.

You even stated in the promo material that this album has got the rawest sound you’ve ever had. And I agree, it does totally sound old school!
Could you tell me about your most beloved song on the album? I’d love to hear your vision of the song, of the lyrics, some instrumental passages or a story in connection with its creation.

I guess the one that stands out to me in particular is Destroyed Without a Trace. That was the song that I had the most hand in. If you know much about the band you might have noticed the last few releases I ended up having myself more of a song that I wrote; if you see the credit it’s usually me and Rob or me by myself. So Destroyed was the one that I came up with. And the way I wrote that song was very interesting: I collaborated with Rob but this is the first time I ever wrote a song (or any of us for that matter) just by playing the drums. I had everything in my head, I wrote the arrangement, the riffs basically in my head, and I was able to play the whole song with nobody (laughs). Cause I wrote it by myself just on the drums. I worked on it for a couple of weeks by myself and then I just said “hey Rob, I wrote a song, I just need you to fill in the blanks here”. We went piece by piece and I showed them how I meant it and in couple of days we had the song done. Very interesting. But I’m so glad the way it turned out: Starting from the skeleton, just me playing a drum beat, to building the guitars and solos and putting the lyrics over the top. It turned out really good, I’m really proud of this song. But I love all these songs, all of them were fun to play and I just worked hard on all of them. Shedding My Human Skin is another one of my favorites, it’s such a great groove. The first one, Only One Will Die is another one that was so much fun to play.

It’s no surprise that the imagery of this album consists again of brutality, aggressivity, death, blood, gore, torture etc. Do you have any limit or border when it comes to lyrical themes or imagery?

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Cannibal Corpse (2017)

I don’t know, we just do what we do I guess. We really don’t touch on religion of course I mean we dabbled very little on one or two songs a few years back but that’s so minor. We don’t talk politics either. To me it’s all open if it needs to happen though. Personally, I am a father, I don’t wanna talk about murdering children, but at the same time it’s all fiction and it’s Cannibal Corpse. If I look at a song like Remaimed from the new album that Pat wrote and then I sat down and wrote the lyrics (I actually wrote the lyrics for six of the songs), I end up writing a pretty brutal story here. That’s talking about things exactly that I’m not very thrilled about personally. But like I said, it’s fictional gore, fictional horror, it’s not made to be serious so I think it’s okay. But yeah, it’s tough. In-your-face, completely brunt brutal lyrics, there’s nothing to mask and nothing to hide – we still have those but I think we like to be a little bit more of a horrific and read-between-the-lines kind of thing. But I would think pretty much nothing is out of context. It’s Cannibal Corpse, we just write what we write. I’ll just move onto the next question.

Some bands really take in into consideration what kind of a message they convey not only through their music but also through their press statements. Do you guys have a “press-plan”, do you negotiate between yourselves before the release of a new album or in a doubtful situation about what you will tell us about it?

That’s done through the record label and a third party, a guy that does an interview and then he pieces together what you read in the PR release for a new album. Of course we have the say what’s gonna go out to the public, if we’re unhappy with something we say it of course. And yeah, maybe some things we’re not gonna touch on. Some things don’t need to be mentioned I guess. We get the basics out what we feel the people need to know and if they don’t need to know, we won’t tell them.

After your first Demo “Cannibal Corpse” you have always been at Metal Blade. Did you ever receive requests from other labels and if yes, what makes you stay at Metal Blade?

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Cannibal Corpse (1989)

Metal Blade was the only label that showed interest in us. When we were formed and made our demo tape, we had a guy helping us out back in the early days in Buffalo, New York. He wasn’t our manager or anything but he was running a record store and knew some people. And who did he know? He knew people at Metal Blade because the president at Metal Blade is from Buffalo as well! So he had a connection, we had our guy that knew a guy at Metal Blade through the whole city. I think we sent our tape to ten labels or something, mainly smaller independent ones plus Relapse and maybe Roadrunner. But I know this for a fact, the response we got back was from Metal Blade wanting to sign us. So what do you do? As a young band that’s hungry and ready to make music, you get an offer and you take it. You take it because this could be the only opportunity to get your foot in the door. Luckily Brian Slagel at Metal Blade liked the demo and we got through some red tape there that was all we needed. As time went on: “Hm, we’re a small death metal band. We’re starting to do well. Metal Blade behind us, okay.” They’ve given us complete creative control, they were not interfering with anything we do musically and that’s what we needed. So if it isn’t broke, why fix it? That’s what we’ve been dealing with out whole career. It turned out to be more of a friendship than a business relation I guess. So I think it worked out well.

You are in the band since the very beginnings. Can you please tell me about your personal favorite and most unfavorable moments in the band throughout your whole career?

Almost everything has been a positive for us, beyond-our-wildest-dreams kind of a thing, so just the fact that we are still here after 30 years being arguably the biggest death metal band in the world, that’s enough right there. That’s amazing. We never even thought of any of that. So everything that has happened from day one to now is just remarkable, unbelievable and incredible (laughs).

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Paul Mazurkiewicz

Not many negatives, luckily. There were only some personal negatives and I guess the biggest one for me is being on tour about 20 years ago and getting stabbed with a key after the show in my abdomen. That wasn’t very fun. That’s probably one of the craziest things that have ever happened to me. It was back in ‘94 I guess, we just started a tour with 3 other bands, we were second show in, we just finished the show in Holland. It was a little town, 2 in the morning, everything’s completely dead, everyone left. And all of a sudden there’s a fight outside our bus. It happens to be a couple of guys from our band and our crew fighting some people. We’re like “what the hell is going on here?”. It ended up being five or six drunk guys looking for trouble basically. And they started with the wrong people, it was 25 of us. I’m not a fighter, I didn’t need to be involved in this, I was a bystander watching what’s going on. There was a bunch of yelling, a couple of crew guys involved… The next thing I remember, those guys are coming at me and all of a sudden I see blood and my side hurts. “I just got stabbed, I’m gonna die”. Five seconds go by and I realize it hurts and bleeds but I’m gonna live. Ambulance comes, gotta go to the hospital. This was the second show of the tour and we had like 30 more to go. But luckily everything turned out well, the tour went on and I was able to play. But yeah, that was probably the worst thing that happened to me. Not fun.

Which other band in the genre do you look up to? Is there also a band you have any stress or tension with?

Well I love Slayer, I mean that’s my influence, so how can I not look up to Slayer at all times? But any other bands, bands that came out around us, we know them and they’re friends. You can have that friendship and camaraderie and all that bands like Suffocation, Obituary or Morbid Angel; bands that have been around for 30 years that gives us some positive thoughts. I don’t even listen to any new bands at all though. It’s cool there are bands that were influenced by us I’m glad, I feel happy but I just don’t listen to a lot of that. So the bands that I still look up to are my “hero bands” that I grew up with. If we’re gonna play at a festival or share a stage with a band like Iron Maiden, man it’s Iron Maiden! I don’t look at them as peers, they’re above me. That’s the way I think. But yeah, it’s really cool that we’ve still got bands going after 30 years, keeping the old school alive, keeping the death metal going.

You are touring very actively promoting Red Before Black, from November in the USA and from February in Europe. What are the most satisfying moments while on tour?

Playing the show. It’s always cool going to places and different cities and everything but we’re there to perform and play for the people. That’s the most important thing. Once you’re up on stage and you’re seeing the fans and their reactions: that’s why you’re there. A lot of them are going to be new fans. Seeing the excitement on the face of new fans that never saw you before, that’s always gonna make you feel good. Just making people happy. If we can make anybody happy in a positive way, how can that not make you feel like you’ve accomplished something in life? So that’s what it’s all about.

What about your further future plans?

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Paul Mazurkiewicz

We will be touring pretty much all of 2018. If you look at how our cycles have gone, we tour for almost two years after an album. I can see that happening, that’s out immediate future. And that’s all you can really do at this point. I mean, I think we take it day by day now. We’re 30 years in, we’re not a new band looking ahead to the future, the future’s here. Now it’s like “how long have we got?”. Who knows? We’re all feeling healthy and we’re still all mentally on the same page so why can’t we just keep going and doing it for another 20 or 30 years who knows, right? We’ll see. But right, at this point in our career we gotta just take it day by day now. We’ll do these tours and more than likely the plan will be doing the tour, starting the record and doing it again. Just like we’ve been doing our whole career.

Paul, thank you very much for the interview and for your time. I wish you all the best reactions to Red Before Black!

Thank you and have a good night! I’m sure we’ll talk again soon.

MEMORIAM. So old school death metal still can be played properly?

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Memoriam – The Silent Vigil (2018)

Review by Estelle for Metalegion Magazine on the 31st of May 2018

TRACKLIST

  1. Soulless Parasite
  2. Nothing Remains
  3. From the Flames
  4. The Silent Vigil
  5. Bleed the Same
  6. As Bridges Burn
  7. The New Dark Ages
  8. No Known Grave
  9. Weaponised Fear
  10. Dronestrike V3
  11. Prisoners of War

RELEASE DETAILS

Genre: Death Metal
Label: Nuclear Blast
Country: United Kingdom
Date: March 23rd, 2018

LINEUP

Frank Healy – Bass
Andrew Whale – Drums
Scott Fairfax – Guitars
Karl Willetts – Vocals


Memoriam’s second full-length “The Silent Vigil” goes onto the next stage of the mourning process because of which the two ex-Bolt Thrower and two ex-Benediction members got together to form the band in the first place. The new album is noticeably a lot less affected by sadness compared to their first record “For the Fallen”, instead they’ve become a lot more more aggressive, bitter and raw – Memoriam seem to be moving from the past and trying to develop and form their new identity.

The songwriting on “The Silent Vigil” is true to the quality we are used to and can expect from ex-members Bolt Thrower and Benediction: The (mostly guitar-driven) songs contain nothing else but strong, catchy riffs in the style of good old 80s’-early 90s’ death metal, with some interesting twists here and there. Even though one can clearly identify hearing a different band than the well-known previous ones of the members, occasionally it indeed is hard to get away from the “I’ve heard this before”-thoughts. The production and the artwork (I’ll just say one name: Dan Seagrave) of the record are nothing but the implementation and representation of an old school approach on high standard. Just a note, I don’t blame anyone sitting, looking at the cover and searching for details for hours!

Lyrically, the texts are reflective of the world that we live in containing subjects of war, politics, loss and illnesses – themes that seem to be important for lyric-writer and vocalist Karl. In case a single weakness has to be mentioned, Karl’s voice naturally doesn’t “shine” in all of its glory anymore and his significant growls don’t come out the way they did maybe even just a few years ago.

However, this does not take much from the overall experience of a (lyrically and instrumentally) well-written and -composed old school death metal album; a refreshing and promising music experience suggesting that old school death metal still can be created and played properly. “The Silent Vigil” is composed by veterans of the genre who know what they are doing and why they are doing it, and who want to a) get the most out of making music for themselves and b) get the most to the people that is possible from it. I would say, respectable!

Songwriting: 8
Originality: 7
Production: 8
Catchiness: 7
Artwork: 9
Lyrics: 8
Overall: 8/10


Order The Silent Vigil here.

“A lot of the lyrics on this new album are all very reflective of the world that we live in” – Karl Willetts (ex-Bolt Thrower, Memoriam)

Interview with vocalist Karl Willetts from Memoriam

Interview for Metalegion Magazine by Estelle on the 19th of February 2018

Hi Karl! First of all thanks a lot for being down to talk to me even at this late hour! My first question would be, what would you say is the most satisfying thing you’ve ever achieved along your career?

That’s a really good question, interesting. I haven’t been asked that one. It’s been lots, along the way through my 30 years of working within this industry. There’s been a lot of things that I consider to be high points. Those are quite genuinely often the firsts. The first time you’re doing anything is when you really achieve something, a milestone in the career. That’s what I always remember the most. So for me, even before I was in the band Bolt Thrower, I heard their music in the radio: That was a really big deal, my best mates’ band playing on the radio. But for me personally, I think recording the first album, that was a phenomenal experience.

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Bloodbrother Tour (1990) [Photo from Tshirtslayer]

Also doing my first show, I remember doing my very first European tour which was back in the 80s-early 90s with Autopsy and Pestilence. The first time beyond our little island in the UK. That was a massive game- and life-changing experience, to realize there was such a big potential and big market for what we were doing. Such a lot of people enjoyed what we were doing beyond our small environment. So these were some of the early highlights of my career.

And gig-wise, when we finally got to Australia with Bolt Thrower. That was in about 1993-94, I was standing on the beach in Perth watching the waves crashing in and I thought “Well, this is quite strange. We actually got to the other side of the world playing this extreme kind of strange music and we’re even getting paid for doing this, this is amazing”. So yeah, those were the biggest highlights that come to mind. But at this point of my career doing Memoriam, everything is a big highlight. It’s an amazing experience. I’m very lucky to be able to do this at this stage of our lives. It feels like a privilege, to be able to do what we’re doing. And that’s really down to the support we get from the people, the fans, the followers, however you wanna call them. So we do appreciate they give us the opportunity to do this. And every day is a highlight at this point – it sounds cheesy but that’s the way it is.

ALL TIME HIGHLIGHTS…

Could you select up to 3 albums (it can be less or more, it’s up to you) from any genre that you consider your all-time favorites and tell me why you consider them personal highlights?

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Antisect – In Darkness, There Is No Choice (1983)

In the late 80s, that’s when I started getting into extreme music. And what was happening in the UK back in those days was the kind of old anarcho crust grind scene. That’s really where my sphere of influence developed. It was a starting point for me in my career and my interest in extreme music. So I have to point to an album from a band called Antisect and their album called In Darkness There Is No Choice. That was a massive influence to me. It really set me on my road to my political point of view. This was also the time in which the whole tape-trading was going on, the precursor to the internet in many respects, global sharing of information on cassette tapes.

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Sacrilege

Also, back then I used to go to gigs regularly at a local pub. One of the bands back then that were really influential to me is Sacrilege, with Lynda “Tam” Simpson as the main vocalist and Damian Thompson as guitarist. Those two were an absolute massive influence to me musically. I was at a Sacrilege gig in around ‘87 and it was one of those lightbulb-moments when I was watching them: “I want to do this. I would love to be a band up there on a stage, doing what Tam’s doing.” I think that was one of the main catalysts for me wanting to be in a band. So I definitely have to name Behind the Realms of Madness from Sacrilege. One of my all time favorite albums.

 

And of course Slayer! When I heard the first offerings that they put out on Show No Mercy and Haunting the Chapel, those were the albums that were really influential. Specifically Haunting the Chapel had a massive effect on me. So those were the 3 protagonists. I think I’d probably have to include the Black Sabbath – Black Sabbath album, it has to be in the top 4-5 as well. They are the legends from my hometown and I am very proud of their musical heritage here in Birmingham.

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Memoriam – The Silent Vigil (2018)

Now let’s talk about your new album coming out at the end of March, “The Silent Vigil”. It’s a pretty awesome one! This record is a lot less affected by sadness compared to “For the Fallen”, instead you’ve become more aggressive and raw. What did you have in mind?

Very perceptive of you. Definitely, I think as you noticed the first album that we released was a document of the time. As all albums are kind of recording the emotions that are going through your life at that point. And the first album was written as a tribute to our lives’ tragic loss of Martin (Kearns, drummer of Bolt Thrower from 1994-97 and 1999-2015 ed.). He’s the catalyst of why the band got together in the first place. The first album is almost a tribute to him directly. And that’s what all the actual songs contained. All the elements that are in there, they are written from a place of mourning, grief and sorrow. Sadness. That was the aspect of For the Fallen. And this new album reflects the way we feel again, it’s almost like a journey, a grieving process, effective by time. Time’s the thing that makes it easier ironically. And things change.

Could you try to describe the album’s identity?

This album I think goes onto the next stage of the mourning process. It’s a part where you’ve lost all the initial shock and the sadness and the sorrow, and you’ve got to get a bit more angry about the situation. So I think there’s a lot more bitterness and anger in this album, it’s a lot rawer as you say. Maybe even more emotional in some respects. There’s a different kind of raw emotion to this one, it’s a lot angrier.

The new album is moving into a new era lyrically as well, with themes that are a lot more reflective about the world that we live in. Lyrics about the real world, things that I think are important to talk about. War has been the center theme, that’s what I’ve written about. There might be a sub-context to the lyrical content involved but the main interest has always been about war. On the first album I did a couple of songs that were moving away from that area but with this new album, The Silent Vigil the lyrics are very different. They are beyond the formulas I’ve been writing in the past. There are songs on there that are based on real theories, real things that are happening in the world around us right now. By that I mean, there are songs on there that have a large amount of social-political comments about the world. They are very concerned about the global rise of the right wing and the fascist ideology which seems to be gaining a massive voice across the planet that we live in. And that really scares me.

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Karl Willetts [Photo: Vivien Varga]

I think voice needs to be raised against it, we can’t just turn away and ignore what’s happening all over the world. As an artist, as a vocalist and as a lyrical writer I think it’s my position to stand up and say something about that. It’s important to me. And I enjoy that challenge of writing lyrics that are not specifically in my comfort zone. It’s quite good to be able to break free of these chains and have that kind of creative freedom, to be able to write about things I think are important. So along with the songs that have large elements of social-political content which are about equality, freedom, racism and all those issues, there are also songs on there which are about transition, about moving forward, about trying to create a new future. These things are very reflective of what the band is trying to achieve as well. That’s how I feel about what’s happening in my life. That’s what we’re doing with Memoriam, we’re moving from the past and trying to develop a new identity, our own band, our own thing.

Could you select a special song from The Silent Vigil and share your vision on it?

There’s a song on there that is about my personal experiences with my mother. Nothing Remains, that’s about the issues of dementia, a mental illness, which is a massive growing issue in the world within our aging population. That happened with my mother about a year ago and it’s been a devastating experience, not just for her but for me and my whole family. A massive impact. So I’d say a lot of the lyrics on this new album are all very reflective of the world that we live in: They are all based on real issues that are important to me.

That’s totally understandable.

But that’s just the lyrics, of course musically there is also a big difference to the first album: There’s lots of tones and textures and new ideas on this new album. I think the first album is great and as I said a document of the time but we were very much aware of the expectations on us to a certain extent; people were quite interested to hear what we are gonna do. There was a certain level of expectation on us so we wanted to say “Hold on. We’re not gonna be doing a Bolt Thrower Nr. 2 or a Benediction Nr. 2; we wanna do our own thing, we wanna create our own identity”. But at the same time, we were still kind of in the shadows and the chains of the past on the first album.

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Memoriam (Karl Willetts, Frank Healy, Andrew Whale, Scott Fairfax)


So The Silent Vigil is moving forward – I think we’ve managed to come out of these shadows and create something that is more Memoriam-ish.
We are more comfortable with our own identity as a band right now and that’s expressed in different tones and structures of the songs. There’s lots of different varieties on there. The overall production is a lot warmer as well, we’ve used the studio this time with real amps in it. We feel the last album is great but certain elements are too overcompressed and maybe too digitalized in many respects, we’ve used quite a few samples on there. But we move free from those with the new album. The album has got a lot more warmth and depth to it. I think the reals amps enhance the rawness, the warmth and the depth of the music. That’s really been a big difference for us and we are very happy about the way it has come together. That was a long answer, wasn’t it? (laughs)

It was, but you answered some other questions of mine as well so I guess it’s a win-win situation!
Okay so I just love the album cover, it’s a typical mesmerising Dan Seagrave artwork with lots of details, beautiful colors and an old school death vibe. As far as I know with Bolt Thrower you’ve never worked with Seagrave, how did the idea come this time?

danseagrave

Some of Dan Seagrave’s works

That’s right, we’ve never worked with Seagrave with Bolt Thrower. There’s a little story about why we were using Dan Seagrave and it’s basically because we are trying to recreate that old school vibe with Memoriam. Call it a midlife crisis if you want but we are trying to recreate the feelings of energy, creativity and joy in how we felt when we were in a band for the first time. That’s the bottom line of what we’re trying to do with Memoriam. And I think we’ve achieved that by the book at this point. However, the reason we used Dan was because when we first got together as a band, we all sat down before we went into the rehearsal room and we thought “Right, let’s see what we all wanna get out of this band. What would be the greatest thing we could actually get from doing Memoriam?” I said I wanted to play at certain places in the world where I haven’t played before. I think (Andrew) Whale(, drummer – ed.) mentioned a few festivals he wanted to do; Frank (Healy, bassist – ed.) he wanted to record at certain studios… And Scott (Fairfax, guitarist – ed.) came along with the fact that before he dies, he wants to record an album which features a Dan Seagrave cover. So we managed to tick that box quite successfully, twice now. But yeah, we approached him and gave him a very brief idea of what to do and that’s how he came up with the first album cover which is absolutely amazing. And you may have noticed on the second album cover, following the theme of the actual contextual idea of the album – grief –, the album cover reflects that as well. On the first album cover the coffin is being paraded across the battleground – funeral procession. The album cover of The Silent Vigil shows the coffin in the center of focus, lying in state with all the minions and supporters, followers standing there and watching, paying homage to the fallen leader (whatever you wanna call him, whatever’s in there). So yeah, we’ve got an idea what we’re doing with this. So I’d say the album cover’s theme just reflects the process of grief.

Do you already have any plans in mind for the future?

We are all ready at the point where we are starting to work on Memoriam’s next album. We work in an incredibly fast pace. We have a trilogy in mind for Memoriam: We’ve already engaged Dan’s services and we’ll team up for the next album cover, too. We’ve got other ideas beyond these three albums as well but our intention is to move forward and get another album out at some point in 2019. To complete the trilogy.

That sound really good Karl! Looking forward to it.  

Yes, exciting times for us here in Memoriam! We’ve got a lot of gigs as well, doing a lot in between. We’re just enjoying every moment for what it is ‘cause we’ve realized that life is short and you don’t know what’s around the corner. So you have to take everything you can, roll with it and enjoy life. That’s what you have, just enjoy life to the maximum and have as much as you can, while you can. And we’re doing that.

karl1

Karl Willetts

Nice words, I’m happy for all of you guys! Some other subject now, as far as I know you have a Cultural Studies degree from the Birmingham University. It’s clear from all your lyrics and previous interviews that you have an interest in discussing about ideologies, ethnicities, globalization, and in general, politically engaged cultural issues.

Cultural Studies was the only school of thought in the 70s and it closed down ironically a year after I finished my degree course. I think they just realized it was kind of developing a lot of critical cultural thinkers and critical theorists. Which wasn’t doing the system any good, really. But yeah, I had a great time at Birmingham University. I did that because I left school with no real qualifications. When Bolt Thrower first started and was getting quite popular, I did a lot of A levels and my qualifications. And then when I left the band, I really wanted to go to university and experience that life. So doing that course was fantastic, it almost kind of contextualized the ideas and lyrics I’ve been writing previously. And made sense of them for me. It was a good grounding for me to get all these different ideas of social theory as well. There was lots of postmodern theory, classical social theory. I’ve also spent a year doing a bit of Russian culture, African studies and things like that. Issues of gender and race. So I think that’s really how it formulated my mindset and developed my ideas and maybe gave me the confidence to write the way that I do.

Did you ever think about working in a different field connected to your studies?

The ironic thing about Cultural Studies was that there was such a lot of deconstruction involved in what we did. I came away from the course thinking that academia generally is just a lot of self-justifying bullshit (laughs). Writing things about stuff and not really engaging with real life. That’s what I generally got from my degree course. So I never really wanted to pursue my academic career any further than what I did: I think the three years at university were more than enough for me. And I’ve taken away those ideas and applied them in a much wider context and I feel like that’s a better way forward.

For the end: What do you think is your most spoken sentence?

(Laughs) It has got to be a wrong word really, or like “War Master” or “World Eater” (laughs). I think my personal favorite line is the two lines in Powder Burns “Psychological technique / Invincible no pain”. Psychological technique, I really like that line for some reason. That’s one of my favorite lines I’ve ever written.

Tam Sacrilege

Lynda “Tam” Simpson of Sacrilege

I’m also particularly proud of the song Last Words on For the Fallen from Memoriam, which we did with Tam from Sacrilege. She came with the idea and that was a kind of crowning highlight moment. A highlight moment of my career that I forgot to mention! It was great to get her involved because she was the reason I wanted to do this in the first place. There are some lines in that song that are quite touching as well.

Thank you very much for your extensive answers and your time Karl. I wish you all the best on your way forward with Memoriam and have a good night!

It’s been really a pleasure! Thanks for you time and your support. Good night Estelle!

Metalegion Magazine #3

metalegion3.jpg

Support us by buying the 3rd edition HERE! :)

And it’s here again: The third issue of Metalegion Magazine, another project I am contributing to is out and ready to be purchased for the price of 6€ (printed version) or 0.99€ (digital version)! This time the magazine features my interviews with Karl Willetts of Memoriam and ex-Bolt Thrower, Paul Mazurkiewicz of Cannibal Corpse and Marcel  “Schmier” Schirmer of Destruction; along with a few reviews written under the name of Estelle.

92 English-written, full colour pages with a sampler CD and posters. If you’re interested, visit metalegion.com – we are thankful for any support and are happy to come back with a fourth edition soon! 

Estelle

 

Metalegion Magazine #2

metalegion#2

Purchase the issue HERE

The second issue of Metalegion Magazine, another exciting project I am contributing to is now out and ready to be purchased for the fair price of 6€ (printed version) or 0.99€ (digital version)! Besides lots of other highlights, the issue features my in-depth interviews with top acts of the metal scene like Running Wild or Sodom, a few reviews as well as an extensive festival report of the French Fall of Summer Festival 2017; written under the name of Estelle.

92 English-written, full colour pages + a 79 minutes Sampler CD covering metal bands from different genres ranging from Heavy to Brutal Death Metal: If this sounds good to you, don’t hesitate and support us by purchasing the magazine HERE!

We’re really thankful and will get to work soon with the third edition. Couldn’t be more excited! :))

Living in the pupil of 1000 eyes

Finally have time again so I decided to design some things for my new room. Making a wallpainting came in mind, then how much I love the eye motive on album covers, then how difficult it would be to try painting Morbus Chron`s artwork Sleepers in the Rift, so at the end I went with Symbolic which is among my fave Death albums and was a pioneer for me in many ways. Worked a lot on it but finally it turned out striking, happy :)

“Asphyx will always be Asphyx – what you see is what you get” – Martin van Drunen (Asphyx, Hail of Bullets, ex-Pestilence)

Interview with Martin van Drunen (Asphyx, Hail of Bullets, Grand Supreme Blood Court, ex-Pestilence)

Interview by Estelle at Brutal Assault on the 6th of August 2015

vandrunen1Hi Martin, thank you very much for giving the chance and doing the interview for Darkness Unseen! First I’d like to ask, in which band and in which period do you think you were on the highlight of your career?

Asphyx, right now in this very moment. I just came off stage and we agree with the guys that this was one of our best shows in like half a year. Everybody’s like “fuckin’ hell!”. Even if it was really hot, so we had to kind of dose our energy but it was a fuckin’ good show. We just walked off stage and we all came along to each other like “wow that was good, compliments guys!”. So it’s easy to say, it is right now.

Would you give any advice to your younger self if you could go back to where you started?

Wow. I think I would say “let go a bit of your pride”.

I read in one of your earlier interviews that you tried playing the guitar at first, and then Patrick (Mameli) from Pestilence forced you to start learning bass because Pestilence needed a bass player. When did you realize that vocals were rather your thing?

It’s really weird: I actually met Patrick in a hardrock-metal cover band from some guys that I knew. They were practicing and I was a kid so I just said “okay you guys practice then I come along and drink a few beers”. But their singer, lots of times he was not showing up being drunk or something, and then Patrick joined them and played stuff like Slayer with them. And they asked “who knows the lines?” and I was like “I know the fuckin’ lyrics!” – “okay, try then!”. So that was my first effort, just for fun.

Martin Van Drunen – Photo: Nando Harmsen

Martin Van Drunen – Photo: Nando Harmsen

And a few years later when I met Patrick again, I asked “what are you guys doing now?” and he goes “I have another band, we’re looking for a singer”. Then he asked “and what are you doing now?” I go like “I’m a singer looking for a band” – well I was not, I just had a big mouth. But that’s how it happened with Pestilence, I never thought to be a singer, I just wanted to be in a band. (laughs)

Asphyx is one of the death metal bands that really sticks to the roots of old and ‘true’ style of death metal. Was there always an agreement on this matter between the members of Asphyx? Was there anyone who would have liked trying new ways?

No, this is something which we know THIS is Asphyx. As soon as we start experimenting with new shit, it’s not Asphyx anymore. This is probably safer than to say “let’s do something else” but I don’t feel the need for it, I just don’t like it. I like what we do with Asphyx now, this is the style that I prefer, this is the style that’s inside of me. And this is the same with the guys. So Asphyx will always be Asphyx – what you see is what you get. We never disappoint any people by changing our style, we would kill ourselves.

Even though you were not in the band most of these times, do you know why Asphyx split up so many times so far?

Asphyx (1991-92)

Asphyx (1991-92)

I don’t know it exactly, but actually if you don’t know Bob (Bagchus; founder drummer of Asphyx – ed.), he’s not the easiest guy to handle. I think it also had a lot to do with the relation of Bob and Eric (Daniels; guitarist of Asphyx from 1989-95 and 1997-2000): even nowadays as they do Soulburn together, they are really close friends, they’re like brothers. You just can’t get in between. Even if I really do like them as friends and as collegues in metal, even for me it’s really hard to get in between them. And I think that was the problem, that they were together and somebody else inside – and all of a sudden there was something happening and they just said “okay fuck off, you just don’t fit in”. I think that’s the main thing why so many lineup changes and ‘split-ups’ happened.
And don’t forget the Asphyx – Asphyx album (from 1994) that Eric did basically alone – that was a lineup that had nothing to do with anything else, he just found a few guys. It was like a new band.

Kind of a different subject: You were the vocalist of Bolt Thrower and did two tours with them from 1994 to ’97. Why did you have to replace Karl Willetts (the original singer of Bolt Thrower) live?

They asked me and you know if a band like Bolt Thrower asks you, you don’t say no! (laughs) We were good friends, I knew them because we toured with them with Asphyx, we were on the road for 5 or 6 weeks. They lost call, they didn’t want to do it anymore and they were like “who can do this?”. Then they found out there was something going on with Asphyx and they called me, so I was just like “fuckin’ A, I’m on it!”.

How is your relation with them nowadays?

Nowadays it’s still really good, there’s a lot of respect. We still meet each other, making the good old jokes, so it’s really fine and I’m happy with them. Karl is back and they do fantastic – Bolt Thrower deserves that. It’s a fucking good band, it’s a machine, one of the bests around the world.

You also play in Hail of Bullets and came to give an excellent show last year at Brutal Assault. Which one of your bands do you consider the more important one for you at the moment?

There is a No.1. in between them, I mean if I focus on one band, the focus is the same. I just really enjoy both, to be on stage, to have fun with the guys.

Pestilence (1989)

Pestilence (1989)

Only one question about Pestilence because I know you hate answering these:
Since you said in so many interviews that Pestilence was your life, Pestilence was the band that meant the world for you, don’t you ever feel like you made the wrong decision when leaving? Or that the albums the guys released after you left would have been “better” if you were still in the band? (As we know you don’t like Testimony or Spheres at all)

That’s why I said in the beginning when you asked me if I would have changed things that maybe I should have lost a bit of my pride; because I was a proud little bastard back in those days. If you give everything that you have and you put it into a band and someone tells you that your performance is a crap… When you know that you are just growing all the time… I knew my voice was getting better, at the US shows that we gave we left nothing of Carcass and Death, we blew them away every night on stage completely; they had no chance and they knew it. So we were really, really good. I think if Pestilence continued that way, if I wouldn’t have left the band it would have been probably one of the biggest bands around on Earth. So yeah, in a way you regret that.

But from what I hear, from what Patrick is now as a person, he hasn’t changed. He didn’t grow up. He’s my age now but he’s still acting like a little kid. Very frustrated, feels very attacked, agitated, not happy at all. So even if I would have said okay, it would never work again. I can’t just work with a fellow like that. I do regret it because I know we worked hard and we deserved it, but one day the bomb would blow up, again. It’s not like with Asphyx where we are friends and have a good time, having a few drinks, listening to the same music – I don’t want to sit in Patrick’s house and listen to fuckin’ technical jazz. That’s just not me.

What do you miss the most from the old days when it comes to music?

It’s a French word: camaraderie (a feeling of good friendship among people in a group – ed.). I like being camarades and collegues, this is what I miss a lot. I mean we still are good friends with the bands we were, for example Autopsy or Bolt Thrower to name a few, but when we were touring at the time, we were just helping each other out, it was good fun. And now I see a lot of bands envying each other.
But it’s also because at the moment the scene is so big, there are so many bands, we lose the overview. Back then there were just a few bands that were really good, now it went too big. I miss that kind of intimity.

Asphyx (1991-92)

Asphyx (1991-92)

For the end: Is there any question that no one asked you before and you would still like someone to ask it from you?

It’s one of those questions where probably later on when you’re driving to the hotel you’re like “oh yeah, you could’ve asked me that”! Maybe something like what do I think of people writing lyrics nowadays – would I write that, am I interested in that…

Are you?

Mostly no. I think most lyrics nowadays are just completely shit. Rubbish, it’s sad. They don’t rhyme, it’s all done before, it’s not original, it’s really sad to hear. And that’s why a lot of things I don’t listen to, because I open the CD and I hear the singer and I’m like “what the fuck?”. I mean it was not bad in the past with French bands, if you don’t speak English that well, okay we forgive you. But come on, if you’re a Swedish band from nowadays you should speak your English and be able to write the lyrics. I think magazines and stuff don’t pay attention to the lyrics at all. I’d say if the lyrics are shit then the album is shit as well. Point.
I think lyrics should be given a lot more credits – but that’s because I’m a lyric writer. I put a lot of effort into it, I’m really working hard trying to be original, rhyming, having a good pace with the vocals; so it’s a lot of work but I enjoy it. Sometimes it just doesn’t pay off, no one notices.

Seems like it really does grind your gears! Okay Martin, thank you so much for being this straight and outspoken, I wish you a lot more gigs like this one at Brutal Assault both with Asphyx and Hail of Bullets!

Thank you for the support and the surprising questions – take care!

A little piece of the interview made with Donald Tardy

Here’s an audible answer of my Obituary interview made with Donald in January 2015 [read the full interview here].
The reason why I wanted you guys to hear how he speaks is that I guess he is one of the best interviewees any journalist could get: I didn’t have to stop for a minute thinking about any section of the interview or word he mentioned as he speaks in such an understandable and composed way. Listening to the recording and just writing continuously, it’s like the dream of an interviewer, I was done within 2 hours. So enjoy!

My top 10 of 2014 albums

Making lists has never been my cup of tea but let’s try. (Including EPs)

1. Morbus Chron – Sweven
At first the Swedish Morbus Chron’s second album didn’t convince me but I can’t describe how much the record grew on me a few months after the first listening – I got to the point where I consider it to be no doubt one of the most unique death metal stuff existing out there. Completely dissimilar to their first one yet just as excellent in a different way.
Morbus Chron – Towards a Dark Sky
.

bölz-s2. Bölzer – Soma
The black/death Bölzer set the standards high with their first EP ‘Aura’ [read my review of the record here] and even though ‘Soma’ needed more listenings to reach up to its level, the two-piece Swiss band did not disappoint. Very much looking forward to the album!
Bölzer – Labyrinthian Graves
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midnn3. Midnight – No Mercy for Mayhem
Similarly to Bölzer, if Midnight’s Athenar wants to reach up to the level of his early works and first album Satanic Royalty, he probably has to put plenty of effort in it. ‘No Mercy for Mayhem’ is a little bit slower as a whole than any of his earlier works but is still really intense and among the very best of 2014.
Midnight – Woman of Flame
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vampp4. Vampire – Vampire
The evergreen Swedish death metal scene shows once again what the Swedes are capable of. One of nowadays’ best old school-styled death metal album for sure!
Vampire – The Fen
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rangg5. Ranger – Shock Skull
Finnish old school speed metallers with crushing live performances. If you don’t understand the hype around them, listen to Shock Skull and afterwards you most likely will.
Ranger – Shock Skull
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acc6. Accept – Blind Rage
Nice to see the German heavy metal veterans being still as strong and enthusiastic as ever. It really is a delight listening to Blind Rage!
Accept – Final Journey
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.
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nocwi7. Nocturnal Witch – Summoning Hell
Bestial German black/thrashers rising with their first album. I’d say it is worth buying.
Nocturnal Witch – Black Star
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riot-unl8. Riot – Unleash the Fire
Awesome to hear the old guys still in such a good condition. Aand… Johnny the seal is back in one of his funniest forms ever.
Riot – Metal Warrior
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port-cross9. Portrait – Crossroads
With their third album in 2014, the Swedish heavy group well-known among quite a few Mercyful Fate-follower bands in the country came up with a record fulfilling every expectation and beating out many other competitors.
Portrait – In Time
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noct-storm10. Nocturnal – Storming Evil
Even though I personally liked both of Nocturnal’s earlier albums better, ‘Storming Evil’ was still a great album worth mentioning amongst the top ones from 2014. One of my favorite female vocalists, all hail Hell Tyrannizer!
Nocturnal – Rising Demons

“We kept it very true to what we used to do back in the day” – Donald Tardy (Obituary, Tardy Brothers)

Interview with Donald Tardy (Obituary, Tardy Brothers) on Obituary’s new album ‘Inked in Blood’

Interview for Metalegion Magazine by Estelle on the 21st of January 2015 

obi1Hello Donald, thank you so much for doing the interview for the magazine!
Could you select 3 albums that you either consider your all-time favourites or that had an impact on you for some reason?

Sure. Holy Diver would be the first one because it’s the best album in the world. It is the best drumming record I have ever experienced, it is still my favorite drum album. Another one would be Led Zeppelin II because of John Bonham – as I was a child John Bonham really showed me how rock ‘n’ roll music or heavy metal doesn’t need to be the most technical as long as the drummer plays very solid – and John Bonham was just one of the best drummers in the world.
And then, I guess Psycroptic’s latest album (The Inherited Repression, 2012 – ed.). I think they are an incredible band that is so technical and the drummer does things that I could only dream of doing because he’s so fast. (laughs)

If you could start your whole career in Obituary again, would you do anything differently?

No. (emphatically)

Obituary – Inked in Blood (2014)

Your new album, Inked in Blood was released in October 2014. What was the main goal you wanted to achieve with releasing it?

The main thing we wanted to do is make sure that it sounded like Obituary and that the songs were written in the Obituary style – and that’s an obvious answer, but that was the main goal, to make sure that it was a true Obituary album. And then along with that came making sure that when we recorded the album we stayed true to what recording albums used to be and kept it very old school. We did not use too much modern technology with the recording, we only used microphones and instruments so we did not do any sound replacing or triggering of bass drums or anything, we kept it very very true to what we used to do back in the day – so those were the two main goals.

You recorded the album in your own studio called RedNeck. How was the recording or writing session different from any of your previous albums’?

The main thing was that it was relaxing and it was enjoyable. In my career I’ve always experienced that sometimes the studio can be a bit intimidating and a bit nerve-racking for band members. And because we practiced at the studio, we would live at the studio, we were always there – it made things very easy-going and it made it actually fun. It’s not often you can use the word ‘fun’ while recording songs because sometimes it really is nerve-racking, but the own studio made it very enjoyable for the band members.

Some people still seem to be quite suspicious in connection with your Kickstarter campaign and the fact that you were planning to put the album out completely yourselves and when it came to distributing it, you made a partnership with Relapse. What would you say to these people?

Well, if people are confused they can simply see how much money was raised and the amount of awards that Obituary had, because everybody that contributed got what they wanted which was the t-shirts, the hats and the albums and everything we gave. So it is very obvious how much money was spent on all the material, to buy all the hats and the t-shirts; along with the amount of money that we needed to actually record, mix, produce, master the record – we got the album cover paid for at the same time, so that was just a portion of the amount of money that is needed to actually release an album on your own. Hundreds of thousands of dollars go into marketing campaigns and to literally print the vinyl and print the CDs and distribute them around the world. It’s hundreds and hundreds of thousands of dollars; with the amount of money we raised we were able to record the entire album AND pay for the material needed for the Kickstarter campaign. But if anyone does research they can look at how expensive it is to truly do an album on your own. To get a distribution deal with the company and the thing that you are going to put it in every record store in the world takes much much more money than what Obituary raised. We tried to do it, we looked into it but it simply was too expensive to actually pull it off. That’s why we partnered with a record label – we simply used the record label to distribute and to print the actual physical CDs and that’s what Relapse did for us.

Donald Tardy – Photo: ricky-adrien.com

Donald Tardy – Photo: ricky-adrien.com

Could you choose one or two songs from Inked in Blood and explain what they mean to you, how they were made or what they are about?

I’m super proud of every song so I could talk about any of the songs on the album but a couple little stories are: The first song on Inked in Blood was one of the last ones we wrote for the album and when I recorded it drum-wise, I’m proud to say I did it in one try. One take, we call it. You know usually you can get almost through a song and you mess up, you have to back up a little bit and the engineer can fix the end of the song with you – and on the first song on the album I did it in my first try. (raises his hands, looks around proudly then laughs) I’m very proud of that.

Also, Inked in Blood is the title track, it’s one of those songs where when we first wrote it, I didn’t know if the song was complete, I didn’t know how good of a song it was until it was recorded and now that we’re playing it live it’s one of my favorite songs on the album. So it went from my least favorite to almost my favorite song. 

‘Visions in My Head’ was the first track to be released from the new album in August. Do you think it was the catchiest one?

Yeah, it was. It was an obvious choice. At the minute we wrote it, it only took me and Trevor maybe five or ten minutes and we knew that the song was going to be the first one released. There was a strange feeling we had, we knew it was very catchy and very simple. When we recorded it, all the record label people, all my friends, everyone that came in contact with ‘Visions’ – we knew that was the one that stuck out. And so we knew to grab the world’s attention we wanted to grab a catchy song that isn’t the heaviest song on the album, but it definitely grabs your attention and it has all the pieces to a good song. It has a middle part, it has a great solo and it has a terrific ending.

Obituary (Slowly We Rot era)

Obituary (Slowly We Rot era)

I’ve read in some of your recent interviews that you guys were listening to Obituary’s old albums in order to get the same kind of sound and vibe for Inked in Blood as for the earlier ones. Is it because you didn’t really want to risk much and didn’t want to distance yourselves from something that seems to work?

Actually we didn’t listen to the old albums to try and get the sound, we were in the process of writing the new album for many years. We took three or four years writing the new songs and at the same time we were invited to play a classic setlist. So when we were recording, we took a break from recording the new songs and we had to listen to the old songs to re-learn them because we had an offer to come and play at a festival, but they wanted songs only off of the first three. So I had to go back and listen to the old ones to re-learn the songs, not the production but I had to go and really re-learn because they were twenty years old. (laughs) So I think what happened was, we went and played at the festival and played all the old songs and when we came home we kept writing new material – and I think whether we knew it or not, re-learning the old songs gave us some really cool ideas that brought back that old Obituary sound. And we didn’t deliberately do that but there was definitely some influence from the old stuff by having to re-learn some of the old ones while writing new songs.

Do you bother reading critics on the new album or Obituary in general? 

I don’t mind reading, I know you’ll never make everybody happy. I think Obituary fans love the new album and that’s all I care about. If you read everything you’re going to find people that cry and complain and bitch about things – and they’re allowed to, it’s freedom of speech.

Obituary (2014)

If we can talk about a next album, do you plan to record and distribute it in the same way as Inked in Blood?

I think the partnership that we have right now with Relapse makes a lot of sense because the band is able now with their fan support to record albums completely on our own – and nobody does that. In the history of rock ‘n’ roll bands write records and they tell the record label “we’re finished writing the album, we need to borrow money to go into the studio and record”, and the record label says “okay, here’s X amount of money, we will pay ourselves back when the album comes out before the band sees any money”. This time with Obituary we actually did it on our own with the support of our fans so it is a really good chemistry and solution that we found here because the band pays for the album, the record label pays for the printing of the CDs and the distribution around the world and the marketing campaign. So we both put the same amount of effort and time into the recording and then we’re a partnership so we split the profit – so it’s working out very well for Obituary right now. We’re very happy.

What was your greatest fear in connection with Obituary throughout all the years?

God, there was never fear. You’re always going to get fans that will listen to your music and compare you, whether they think it’s great or they are okay with it or they think it should be something different or that’s just not what they want. But I never let that bring fear into me because I have a very good ability of playing drums, I know what I do well and I know that I’m doing the right thing for Obituary’s style of music. So I don’t bring fear into it, because again I think there are many, many, many metalheads that love Obituary and love my drumming; and that’s enough for me, I don’t need to win everyone’s heart. (laughs)

obi5In which aspect do you think that Obituary will change the most in five or ten years’ time? 

Or bodies, because we’re getting old so the only thing that’s going to change is maybe the tempo of songs in the future because I can no longer play fast. But seriously, Obituary is so solid right now and I’m very proud to say that with the addition of Kenny Andrews and Terry Butler in the band we are a very tight band right now. We’re very close friends, there’s a hundred percent respect with and for each other and we are having so much fun. That’s what is amazing about it, I know there are bands that are successful and can do it for a living but not all the band members get along – but they make it work because it’s a business and they can go and make money. Obituary right now is very lucky because we’re making a living doing it but we love each other, we are having so much damn fun on stage every night. It’s a wonderful feeling. So that’s the main thing that I’m very proud to see in the future. I know for a fact, this is a very tight band right now and we’re best of friends. 

You’re like a family, literally.

We are, yeah. (laughs) I’ve known Trevor since I was eleven years old so he’s like a brother to me as well. We’re just very excited about the future and it’s very exciting for Obituary fans too because more music is being created and the future is looking really bright now for all of us. 

That’s great to hear. Okay Donald, thank you so much for the interview, I’m also really excited about the show tonight!

It will be a treat tonight! We also learned songs tonight, a couple for this tour especially that we had to go back and re-learn. We also brought some now in from the “Don’t Care” album because we want to play other stuff. It sounds really good. So yeah, I’m very excited about it too.

“I don’t think you can go out and say ‘I want to be different’, because if you try to set that goal, you are never going to get anything done” – John Tardy (Obituary, Tardy Brothers)

Interview with John Tardy (Obituary, Tardy Brothers)

Interview for Metalegion Magazine by Estelle on Brutal Assault XIX, on the 7th of August 2014

Hello John, first of all thank you very much for doing this interview for Metalegion Magazine! What do you think is the main reason of Obituary’s success?

I guess we just like what we are doing. It’s pretty much it. It’s important just to have fun in what you are doing – if it becomes a job, it becomes work and it sucks, then don’t do it. Just go out, have a good time and do what you do.

Could you tell me about some of the highlights of your career in metal that you are the most proud of or mostly like to think back of?

Out of all the albums that we’ve done I can remember where I was when I got the first copy of Slowly We Rot, and was very proud of it. We also got to see a lot of the world, we’ve been to lots of different countries, got to meet a lot of cool people – to me it’s the best part of it, to get to see all the different cultures around the world.

How did it affect your relationship with your brother, Donald throughout the years that you had to work together in Obituary? Did you have any massive misunderstanding in connection with music?

Not really, we get along pretty good actually. We have a studio at my house and he’s pretty much there seven days a week – not that we never argue, but nothing serious, we get along really great. I think the good thing that works so well is that we just talk things out. We talk it out, we argue it out, and then we make a decision.

Obituary is one of the most fan-based and active metal bands out there – you run your own websites as well as the facebook page – you actually interact with the fans. In terms of your upcoming album, Inked in Blood, why did the band decide that you would “make the music for the fans instead of a label”? Did you have any bad experiences so far that made you do this?

We’ve been a band for thirty years, we’ve been at multiple labels, and even years back we’ve just been always wanting to do it ourselves. We finally said “you know what, let’s go ahead and TRY to do this ourselves”. Not that we expect to put CDs in the back of our car and drive around the world to sell them on our own, I mean, you just still need help from somebody because there are distribution companies, there are multiple countries and lots of problems.
We met the Relapse people, and the guys at Relapse are super cool. We got to get the album ourselves, it’s our album, we just got to kind of use their engine to get it out to the fans, and it really worked out good for us. There are all those Roadrunner records of ours, but we don’t own those things, we couldn’t even do anything with them even if we wanted to. So the cool thing about this is that it’s our music, it’s our album, we get to do what we want to do, and we get Relapse to help us to get it out to the people.

What is your opinion about the fact that some people say you “begged” for money to do this album?

Actually, it’s just about as much money as we got to now go ahead and send everybody everything that they ordered – so that rumour was a little bit weird. We have a lot of work to do, there’s just so much stuff now that we owe fans. The amount of money that we’ll see after the fact, it’s not going to be very much.
It was very cool though, to see this fan support and all the people who did what they did, and as soon as we get home we’re going to start going through that and sending all the merchandise out to the fans.

Obituary – Cause of Death (1990)

As far as I know, the artwork of your classic album from 1990, Cause of Death was supposed to be the cover of Sepultura’s record Beneath the Remains from 1989. Why did Roadrunner let Obituary use the Michael Whelan cover first?

It was not our decision. There were actually two albums coming out at the same time, they had two pieces of artwork, and Roadrunner was the one that made that decision, it really didn’t have anything to do with us.

So you didn’t communicate with Sepultura at all on this matter?

No.

Was there any tension between the two bands as a consequence of Obituary using the artwork? As far as I know, you also worked as a guest on Sepultura’s Beneath the Remains (you helped with the vocals in song ‘Stronger Than Hate’).

I don’t know, it’s kind of odd, they once asked me that question so long ago, so I kind of heard that Sepultura wanted to use that artwork – at the time I had no idea, I didn’t even see the other artwork, I just knew that we got stuck with what we got.

Obituary (Cause of Death era)

Obituary (Cause of Death era)

No tension, I mean it was way before. The album was actually recorded in Brazil, Max (Cavalera, Sepultura – ed.) sang, he did the lyrics and he mixed the album at Morrisound (recording studio – ed.) in Tampa. That was the first time I met them. Max didn’t speak good English at the time, he stayed at our house, we hung out, the whole time he was doing that while I sang them some lyrics of the album. That was awesome, we were taken motocross races and monster trucks and all kinds of crazy shit. That was pretty funny.

You mentioned in some of your earlier interviews that you were influenced by Savatage and Nasty Savage, because even though they were not as heavy as Obituary, they were different from the traditional metal styles at the time they made their music. Did you always have the desire to just be different and unmistakable, or do you just do your thing and don’t think about it?

I don’t think you can go out and say “I want to be different”, or “I wanna be fast”, or “I wanna be this, I wanna be that” because I think if you try to set that goal, you are never going to get anything done. We met Nasty Savage and Savatage, they were young, we were even younger, we were still back in high school. Riding our bikes on the street and hearing them jam in their garage, and we kept running back and forth hoping that they would come outside. It’s cool because like you said Nasty Savage and Savatage – nobody sounds like those two bands. Nobody. Most of music that I like, that’s what I like to see, I like a band like the AC/DC, or Lynyrd Skynyrd – they are who they are, there’s nobody else like them. But you can’t practice that, you can’t work at that, it’s just what happens.

John Tardy (Germany, 1991)

For the end: If you could change one thing on any of your previous works with Obituary, what would it be?

Obviously our early albums, we were still in high school when we recorded Slowly We Rot – so if you go back and listen to the productions throughout the years, there are always things you wish you could re-change or re-do. On our earlier albums, we just wrote the songs and then recorded them. With the new album Inked in Blood we really took our time, like three years of writing the songs and then jamming the songs, and giving yourself the chance to hear them, make changes, let your mind really fill the song out – so we really had the luxury with this album, we’ve really taken our time, and let the natural progression of our writing.
There are always things you can change, but at the same time you listen back and there are different points in your life, different times in your life… after all I wouldn’t change anything, even though I’m not happy with any of our albums played. (laughs) I don’t think I would ever be, nor would anybody in the band, there is always going to be stuff that you don’t like, that you wish you could do again or do better.

Okay John, thank you very much for your time, and enjoy the Slayer show!

Thanks for the support, take care!

“We let it become whatever it becomes” – Robert Andersson (Morbus Chron)

Interview with vocalist Robert Andersson and bassist Dag Landin from Morbus Chron

Interview by Estelle on the 18th of October 2014 on Live Evil festival in London

Photo: Joakim Andersson

The Swedish death metallers Morbus Chron – whose name comes from a kind of illness also known as Crohn’s disease – have proven to be one outstanding, unique band of their genre. Their debut, the mainly Autopsy-inspired, old school sounding Sleepers in the Rift [read my review of the album here] got them into and determined their place in the scene; followed by the exceptional, more mature Sweven (title is an old English word for ‘dream’ or ‘vision’) that took them to a next level.
As frontman Robert Andersson stated, the reason of the drastical change was the fact that they stopped caring about sticking to a certain formula or writing a specific kind of riff, ignored other bands and let their own voices speak the loudest.

I had the chance to ask a few questions from vocalist Robert Andersson (Robba) and bassist Dag Landin while leisurely sitting on the street at some doorway after Antichrist’s show on Live Evil festival in London.

Hello guys, first of all thank you very much for doing the interview with me! Firstly I would like to ask, do you think there is a point where you can find the style that fits and defines Morbus Chron and that you can stay with, or will you always have the desire to change or vary all the time?

Robert: For the next album, I don’t think it will be the same sort of transformation as between Sleepers and Sweven, I don’t think the change will be as drastic. But still, we’re doing this because we want to stay inspired, we want to change. If we just kept doing the same thing it wouldn’t be inspiring and the music would sound awful. But we have sort of reached the point where we feel really comfortable with the sound of Sweven and where we are right now.

Dag: Each of our releases are different, but all of the changes have come very spontaenously yet organically. There have never been decisions to say we’re going to change our style, it’s just the stuff that we come up with. It’s kind of hard to tell where we are going. We don’t really like to decide on a path to go on, so far it has just happened.

Do you think you can have constant or permanent fans even with the changing style?

Robba – Photo: Erik Stenbacka

Robert: We talked about that when we played here (Live Evil, London) in 2011, and compared to this time the crowd is reacting in a totally different way. In 2011 we just played songs from Sleepers and people were going crazy – we sound different now, and the people’s reactions are really different as well. I think we might have angered some fans that liked us before but I don’t think that’s the case with most people, I think they kind of appreciate this side of us too. 

Dag: Yeah, we’ve probably lost some fans but also gained a bunch of new ones.

Are you trying to meet the expectations of anyone (let it be a particular audience or a label) or do you plan to continue doing everything in your own way?

We certainly do everything on our own way.

Do you think it was essential to record and release Sleepers in the Rift in 2011 to reach the stage where you are now with the completely different Sweven?

Robert: Yeah, we all have to start from somewhere. Sleepers was the album that we wanted to write back then, and two years later we were going to write Sweven. We would have never written Sweven if we didn’t write Sleepers in the Rift, but they don’t connect.

That’s right, with Sweven you went from one extreme to another not just in case of the music, but also the appearance and the lyrics. Sweven has 3 instrumental songs already and I remember you (Robba) saying that you’re starting to find yourself not needing to express anything in words anymore. Would you consider making a completely instrumental Morbus Chron album?

Robert: I hope one day I’ll reach some point where I can express everything in the music, but I don’t see it coming, I don’t see the vocals disappearing completely any time soon. The screams are still a big part of the band, especially live. I wouldn’t mind writing instrumental music, I’d do that – but in case of Morbus Chron there will always be some vocals.

(To Dag:) How big role do you guys usually have in the band besides Robert? With how many ideas do you contribute to the making of an album?

Dag – Photo: Erik Stenbacka

Dag – Photo: Erik Stenbacka

Dag: In our case Robert is pretty much the mastermind of the band, he wrote both of our full-lenghts all by himself except for one song on each album that Adam wrote. And he writes very extensively, he comes up with drum patterns and stuff. He has got a very clear idea of what he wants but that idea always changes a little bit when we start rehearsing. For example Adam is a drummer, the drum patterns that Robba is thinking of don’t always add up, so we always change a bit. There’s some input from us, like the arrangement of songs or the bass lines. So usually Robba writes the blueprints and we add our own dimensions to it, just by the way we like it.

Robert: If you could compare the early recorded demos of the songs to the final versions, it goes from sounding like something that I did to sounding like Morbus Chron.

Dag: The riffs and arrangement changed a bit along the way, the rehearsal project is pretty long lasting so there’s always time for changes within the songs. It’s based on more ideas, every guy has his part in it.

Both of your albums has a really definite sound and atmosphere since you knew exactly what you wanted to achieve with the band in both cases. Can you imagine the making of an album where you don’t have a certain idea about how the final product should sound like or take form?

Robert: Actually that’s what we did on both albums I think. After a while when we had a couple of songs we started to see what it becomes but we didn’t set off that we have to go this way, this is how it’s going to sound etc., it’s the opposite. We let it become whatever it becomes, we didn’t have a clue about it.

Okay guys, thank you very much again for the awesome show and for doing this short interview, it really was a special experience! Wish you all the best.

Robert: Thank you for the support!

BOLT THROWER, MORGOTH, INCANTATION. One word: epicness

[I apologize in advance for not all parts of this report being completely objective as it was such a personal treat for me that I’ll most likely never forget. Can be considered as some kind of an experience-report. :)]

Concert review: Overtures of War tour 2014 – Bolt Thrower/Morgoth/Incantation – 25th of September 2014, Wien

Review by Estelle on the 28th of September 2014

At the end of September 2014, Bolt Thrower has started the Overtures of War tour along with Morgoth and three different support bands: Soulburn from the 21th to 23rd, Incantation from the 24th to 28th, and Vallenfyre from the 29th of September to 5th of October. On the show on the 25th that I myself went to we had Incantation as a support.

Incantation

Incantation started punctually at 8 pm. Even though there were a few times less people seeing them than Morgoth’s show one hour later, even though the drum sound was somewhat weird and not all the people were getting their energy at the beginning, they perfectly managed to move and prepare everyone for 2-3 hours of pounding cruelty.
Incantation’s setlist was really fresh, consisting of songs from many different albums – they have played four tracks off their last record from 2014, Dirges of Elysium, two off Diabolical Conquest, one (‘Profanation’) off their classic first one Onward to Golgotha and there was a variety of albums being brought up in case of the others songs as well.

Incantation’s setlist

  1. Debauchery
  2. Shadows of the Ancient Empire
  3. Vanquish in Vengeance
  4. Oath of Armageddon
  5. Portal Consecration
  6. Profanation
  7. Impalement of Divinity
  8. The Ibex Moon
  9. Carrion Prophecy
  10. Impending Diabolical Conquest


Later as quite many people gathered at the Arena already, the louring intro of ‘Cursed’ started to play, followed by Morgoth powerfully getting on stage with the devastating ‘Body Count’. The crowd was starting to go crazy and the band, playing upon it, didn’t let us take a break until the very end of the last song.

Morgoth

They continued with three huge classics off Cursed (Exit to Temptation, Suffer Life, Sold Baptism), and then came the title track off their recent 7″ LP, ‘God is Evil’, dedicated to myself and the other Hungarians there. (After my interview with Marc [read it here] he asked who I went there with, and I told him we were like 30 Hungarian people there – so during the show before ‘God is Evil’ he randomly said “this song is for Estelle and the whole Hungarian long-way traveller group” – I was blown away!)
‘God is Evil’ is rather a mid-tempo track, so that it was a right decision to put it after such a blast of 4 mortal tracks off the first album. The song sounded great live and created the basic atmosphere for the next two songs from ‘Odium’ as well, ‘Under the Surface’ and the strong opener ‘Resistance’.

After the recall of ‘Odium’ we could hear the other massive track from the recent single, ‘Die as Deceiver’, then here came ‘Burnt Identity’, the opener of the second outstanding EP. After that, expectedly we got to one of the highlights again with ‘Isolated’ – my neck hurt since the third song yet I was headbanging to this tremendous classic like never before, along with all the other people in ecstatic state in the pit and first 10 rows. Then, still no room for settling down, we got the title track off Morgoth’s first demo from 1988, ‘Pits of Utumno’ straight to our face as the last song.

I have heard and read a few critics about Morgoth’s somewhat bad sound on some shows or festivals in the past, but here in the Arena the band sounded flawlessly. Marc’s voice is unexpectedly still nearly as strong as back in the day and its tone is more similar to the old tone than in case of a lot of other vocalists; and on top of all this, the band played this oldschool setlist with so much energy that I felt like a bulldozer went through my body as we reached the end of the almost one hour performance.

Morgoth’s setlist

  1. Cursed (Intro)/Body Count
  2. Exit to Temptation
  3. Suffer Life
  4. Sold Baptism
  5. God is Evil
  6. Under the Surface
  7. Resistance
  8. Die as Deceiver
  9. Burnt Identity
  10. Isolated
  11. Pits of Utumno 


Epic. Just epic. And it wasn’t nearly over!

Bolt Thrower got on stage with the popular War/Remembrence combo from the beginning of …For Victory. Their combination of songs was a bit of everything: they played off every album except In Battle There Is No Law and Honour-Valour-Pride, mostly concentrated on Those Once Loyal, …For Victory and Mercenary, a little bit to my disappointment. After the two openers they continued with the intense Mercenary, and then we got to the top straight away concerning my taste with the two beautiful classics ‘World Eater’ and ‘Cenotaph’, that I personally would always expect to be the last song as for me it reaches up to something like ‘Isolated’ in case of Morgoth (– and I believe I’m not the only one who might agree that that mighty song could be Bolt Thrower’s strongest track).

BT1

Bolt Thrower

If the atmosphere was crazy on Morgoth, it became even more unbelievable during Bolt Thrower. Everyone was out of their minds; the pit was full; there were at least two people (once including me) stagediving during every song they played from about the third-fourth track on… people cheered and hugged Karl on stage; once some guy came to me, grabbed my shoulders and shook me shouting “waaaaaaah”. The band’s sound was excellent, they truly managed to retain the sound and feeling we can get while listening to the albums; and their energy was also overwhelming: they were absolutely cheerful and easy-going on stage, vocalist Karl Willetts definitely seemed to be enjoying the show and the enthusiastic audience as he was smiling from the beginning to the end of the gig. I had the feeling that they could have played the setlist once again as a whole and the crowd would have been able to stand and watch them ’til the first rays of the Sun appear in the morning.
merch1The gig reached its other highlight I could mention probably with ‘No Guts, No Glory’, but since the vibe in the place was almost touchable and the overall mood was really on its top for the whole time, maybe there is no need for emphasizing certain songs from the setlist – it was a mindblowing experience as a whole.

Bolt Thrower came back with an encore two times: once with ‘At First Light’ and ‘When Cannons Fade’ from Those Once Loyal, and secondly with ‘Silent Demise’ off …For Victory, giving a nice frame to the show by starting and ending it with songs from the same album.

Personally, I was expecting Bolt Thrower to favour the first three classic albums by playing a bit more (or in case of ‘In Battle …’, at least playing) songs from them, however, after this amount of devastating power and brutality I think there is still not a single person who would feel any kind of emptiness or regret after coming to see these three death metal lords.


BT2Bolt Thrower’s setlist

1. War/Remembrance
2. Mercenary

3. World Eater/Cenotaph
4. Anti-Tank (Dead Armour)
5. Warmaster
6. Forever Fallen
7. This Time It’s War
8. The IVth Crusade
9. No Guts, No Glory
10. …For Victory
11. The Killchain/Powder Burns
12. + encore: At First Light
13. When Cannons Fade
14. + encore 2: Silent Demise

 

 


Regarding the quality of the sound, tightness, professionalism, enthusiasm and reaction of the audience in case of all the 3 bands, I can certainly say that this show was something one cannot see and hear often, and that one can deservedly regret in case he or she missed. 

[And just a little bragging as I can’t stand not to share: dedicated Morgoth song by Marc + headbanging on stage in front of 700 people during Bolt Thrower 1 meter away from Karl – not a bad way to celebrate my 18th birthday, I guess!]

bt22

“We basically just do the stuff that we want to do” – Marc Grewe (Morgoth, Insidious Disease)

Interview with Marc Grewe (Morgoth, Insidious Disease)

Interview by Estelle on the 25th of September 2014

Hi Marc, first of all thank you very much for doing this interview! Firstly I would like to ask, in which period do you think Morgoth was on the highlight of its career, creativity or composing capability?

It’s hard to say, of course in the very early stage when we were really young and all that new metal influenced us very much, when the first death metal bands showed up and also bands like Bathory that inspired us to form our own band back in 1987. We had a lot of creativity even the early days, then it took us to the ‘Cursed’ album, and after that creativity was getting into different directions too, because to us it got boring to “cover ourselves” so we tried something different. Industrial bands influenced us and that lead us to ‘Odium’, and after that to ‘Feel Sorry for the Fanatic’ which was even more drastic – a lot of people don’t like that album, but on a creativity base I would say it’s still a creative album. After that we kind of lost the belief in it and we had a pause for a long time; but now the creativity is back, we are writing and we have written new stuff and the new album is almost ready, we’re going to record it in November.

Which industrial bands do you think of when you say they influenced you?

Godflesh for example, also a band like Atari Teenage Riot, or some early Ministry stuff.

You talked about people not liking ‘Feel Sorry for the Fanatic’ – personally, do you care about fans’ opinions on the album? Do you or would you ever regret releasing it?

No no, we don’t regret anything. It’s just that at that certain point of time it was exactly what we were able to do and what we wanted to do. At that time fans were disappointed becuase it wasn’t something they expected from us, it was different – but we don’t regret anything. Of course we listen to the fans, but on the other hand we are not a band that would say “people expect something from us so we’ll do it”, we basically just do the stuff that we want to do.

Morgoth – Cursed / Odium era

Back in those days there wasn’t really a death metal scene in Germany, we can say you were one of the pioneers of the genre in your country. How did the crowd firstly react to this brutal style of music and appearance back in the day?

When we showed up, there was no internet and there was a lot of tape trading going on. The reaction was actually really good. It was a small scene, there wasn’t too many people who were into that certain extreme style of music, the shows we booked were all ‘do it yourself’ kind of shows. Most of the shows were great, even if they were way smaller than nowadays. Nowadays we play in venues like this (Arena, Wien) which can give place to 800-2000 people, and back in the day it was only maybe 150 or 200 people coming to the shows. But they were also very into that stuff, and then those fans developed the scene by getting the message that there is an extreme style of music. Especially Germany was really thrash influenced – Kreator, Sodom, Destruction; these kinds of bands – so it was something new to the thrash scene as well. Some people wanted to get even more into the extreme style and they liked what came out of Morgoth in the early days.

This is your first proper tour for 17 years. What are the things which are new for you after being ‘Isolated’ (haha) from this kind of lifestlye for a long time?

There is nothing new on the tour, it’s like the same as our last tour. Of course it’s great to be on the road with Bolt Thrower – I’ve been on the road with Bolt Thrower before with my other band called Power of Expression, it’s more of a hardcore band, we’ve been touring with Bolt Thrower back then. When I got the call from the guys if we wanted to join them on the tour, it was a great honour and of course I knew that this tour would be great for us. It’s a perfect timing for us as well because we just have new songs written, we have a 7″ out (‘God is Evil’), it’s like a collector’s item, and in February-March the album (‘Ungod’) will be out. We’re going to play two new songs tonight as well.

morg4And can we expect the same style on ‘Ungod’ as on the single ‘God is Evil’?

Pretty much, yes. I mean, I hope the songs that we are going to record will be even more brutal, but let’s see.

In what aspect is it different to release or work on an album in our days than how it was when you were working on the last one, ‘Feel Sorry …’?

We recorded the ‘Feel Sorry …’ album in a huge studio and now we went back to a smaller one because the budget isn’t there anymore for bands to record, and also the recording equipment is way more affordable than back in the nineties. A mixing board for example, that was hundreds or thousands of Euros sometimes, and nowadays you can get a good mixing board for half of the price.
The studio we found now is a studio where we come from, where we grew up. We are from the countryside and before that we always recorded in a studio in the city, and this time we chose going back to the roots and going back to our own hometown and record there. I think it’s even sounding better than in the nineties. The sound is more massive, and we have two new members in the band which is also a reason why it does sound differently.

I read that you only had 2 days to record ‘God is Evil’ this year. How did you manage to work so quickly together?

We practiced a lot before and knew what we wanted to sound like. We actually recorded three songs but only two made it on the record. We had one day for recording and one day for mixing which is a very short period of time. I hope it’s going to be like that for the album as well.
We started to record the album last year, the first recordings were already done in the studio where we are now, we booked the studio to check it out if they were able to record our songs. We wrote the first tracks last year, in the summer of 2013. We actually went to that studio just to rehearse there, we recorded stuff but it never meant to be on an album, we just recorded those for us. Anyway, we’re glad we’re here, the studio is good and we have the basis for upcoming tracks. Then the guitar players wrote riffs and they attached it to riffs from before, so it all went kind of naturally.

What advice would you give to your younger self who just started to write the ‘Pits of Utumno’ demo or the first EP ‘Resurrection Absurd’?

(thinks) It’s hard to say, but well when we were really young and recorded that early stuff, we didn’t have a clue about anything about studios. The old one was a really shitty studio, nowadays you probably wouldn’t go into a studio like that anymore – but you know, as I already mentioned we are from the countryside, there was no internet, we didn’t have any connections, there was only us five in our world that were interested in metal, we didn’t know anybody else because there was no scene existing then, especially where we lived. So we just looked into the Rock Hard magazine and there was some advertisement for little studios sometimes, and we picked one which wasn’t too far away. It was a basement of a guy and he didn’t have a clue about how to record this brutal sound, he never heard that before and I’m sure he didn’t like it (laughs). But hey, he had to record it.
So, I guess nowadays I would just go to a better studio and spend a bit more money on good equipment.

morg5Is there any question that you would like me to ask from you?

… That’s a question that actually a lot of people ask, but there is also a long story to it: why we took so long to come back.

We are close friends too, we know each other since we were 9-10 years old, and when the band got to an end in 1998, it was a bad split for us. There was a shitty tour we did, something was always wrong, it was long and totally shit, so it was a bad ending for the band. And nobody said we were ending the band, it was never spoken out as a sentence, but everybody was just so sure that it was like “that’s it, no more”. But back then, after that, after 3-4-5-6 years, we all in the band had the feeling like we would probably like to do some gigs more, maybe another album… But we knew that two other members of the former band wouldn’t be into it – and we accepted that too. Harry the guitar player and myself, we are two of the founding members, and the other guy Sebastian came into the band in 1990, so we are the three of the old core of Morgoth. We said “us three wanna do it”, then it was a democratic decision, 3 against 2, and they said “okay, we don’t care, you can do it” and that was also clear – but we are still friends with them anyway.

This wasn’t really a question right now, but well if you want me to say a question that would somehow embarrass me, that would totally not be something I would answer. (laughs) 

Okay Marc, thank you very much for your time and for being awesome! Looking forward to the show and also the new album.

Thanks for the support Estelle, enjoy the show!

“Pure fucking metal-hitchhiking over 400km”

So, there was a Nunslaughter-Demonical-Warfect gig on the 17th of July in Graz, me and my friend were planning to go there for a month, we just couldn’t find anyone with a car isn’t full going there. We were searching for weeks but then we said “okay fuck it” and decided to go by hitchhiking, so we actually got there from Budapest within 7 hours for free. Everyone was stoked by us going there so randomly, since we got there really early we could get to know the band members of Nunslaughter and Demonical, they said we were their guests and they gave us tons of stuff as gifts. The show was brutal, actually one of the bests I’ve seen, soo I’d say, for about 10 Euros in total the trip was really fucking worth it! :D