ABYSSOUS. Poisonous sound and a menacing atmosphere


Abyssous – Mesa (2018)

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


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


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


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.


DESTRUCTION. Re-recorded 80’s thrash paired with a more sterile production


Destruction – Thrash Anthems II (2017)

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


  1. Confused Mind
  2. Black Mass
  3. Frontbeast
  4. Dissatisfied Existence
  5. United by Hatred
  6. The Ritual
  7. Black Death
  8. The Antichrist
  9. Confound Games
  10. Ripping You Off Blind
  11. Satan’s Vengeance
  12. Holiday in Cambodia (Dead Kennedys cover)

Genre: Thrash Metal
Label: PledgeMusic
Country: Germany
Date: July 18th, 2017

Schmier – Bass, Vocals
Mike – Guitars
Vaaver – Drums

1000x1000.jpgCollections of re-recorded 80’s thrash songs paired with a more modern and perhaps more sterile production are with no doubt an arguable phenomenon. Even Destruction’s original “Thrash Anthems” collection from 2007 doesn‘t belong to the most beloved pieces of theirs among fans of old school-sounding thrash metal. And so it is a relevant question how a „Thrash Anthems II” collection works with re-recorded old tunes that didn’t make the cut the first time.

The 2017 collection was supposed to be a self-release as the album was of no interest for Nuclear Blast, however, after it was done, it also got released in an alternative version via the record label. The Germans gave the second batch of their worthier older tunes a more modern yet tougher, punchier, more muscular mix of guitars and drums, blending them into a thrashing combination. The production is more polished, sure, yet Schmier sounds almost as violent and nasty as he did back then and one can’t complain neither about Mike’s and Vaaver’s level of excitement nor way of playing either.

Considering the song selection; even though there was still place for some relatively beloved songs on “Thrash Anthems II” such as ‘Black Mass’, ‘The Antichrist’ or ‘Confused Mind’, one can easily have the feeling that the album contains re-workings which even most fans weren’t curious about. The album artwork isn’t the most on-point work of the band either, especially if we keep in mind that a collection of re-recorded 80s’ thrash songs is supposed to represent an old school approach in its appearance.

On the whole, “Thrash Anthems II” is not as entertaining as the original 2007 collection and it is clear that the songs do not serve to replace the earlier ones in either case – Nevertheless, they might be a good alternative for younger fans or listeners preferring a more sterile sound instead of an old school one.

Song selection: 5.5
Production: 7
Catchiness: 6
Artwork: 5
Overall: 6/10

Order Thrash Anthems II here.

“We do what we like and that’s why we decided to do Thrash Anthems II even without Nuclear Blast” – Schmier (Destruction)

Interview with vocalist Marcel (Schmier) Schirmer from Destruction

Interview for Metalegion Magazine by Estelle on the 2nd of October 2017

Hi Schmier, thanks a lot for agreeing to the interview and for your time in advance! How are you?



I’m a little bit stressed because we are having the video clip launched today with Pänzer and everything is a bit last minute, so hopefully no mistakes are going to happen while I’m doing the interview.

That sounds stressful for sure.

It wasn’t planned that the Destruction and the Pänzer releases come so close together but I have no choice because the Pänzer release got pushed back, it was going to come out in September originally. For the Destruction release, we didn’t even know that Nuclear Blast would release the album because first they didn’t know if they wanted it, then they declined and now that the album is finally done they want to release it. I was surprised that they wanted to do it already in November, I expected it to be the beginning of next year or so. But on the other hand I am happy that I’ve made two albums that I really like and can promote them now. So I shouldn’t complain, it’s just that it’s a lot of work right now. In between the live shows… I also broke my arm lately which didn’t help for the good time schedule. But it’s getting better, I got surgery right away and now I will just have to get some therapy and it will hopefully get back to normal soon.

I wish you all the best on that, get better soon! Right to Thrash Anthems II: According to the Pledge Music page, the new Destruction album was supposed to be a self-release, but it will be released in an alternative version via Nuclear Blast. How did Nuclear Blast get involved in the release in the end?


Destruction – Thrash Anthems II (2017)

First of all, for them a best of-album didn’t sound good enough. They said they didn’t want to do this, that they were not interested. So we decided to do it ourselves and I guess they were surprised that we decided for Pledge Music, that we were confident to do it by ourselves and finance basically the whole album on Pledge Music. We were like “we’re gonna see what happens”. We did the production too and when the album finally was done and Nuclear Blast asked me to listen to it, they were like “oh my God, it’s great, we would like to do it” and I was like “come on guys, first no then yes”, but on the other side I’m happy that they do it because Pledge was already there to finance the album. Because of all the money for the production and everything, Pledge gave the fans a special edition and very limited edition also. They did 50 vinyls only, only 130 t-shirts and only about 600 CDs. It’s the smallest Destruction first edition that ever came out of any album. But of course it’s nice to bring out the album afterwards, it consists of a classic thrash setlist, and that’s one of the reasons why we did the Thrash Anthems II. Because of course a lot of fans were asking for a second part but also for us it’s nice to have a thrash setlist with classic songs through which young fans can get into the old songs again. That was the plan.

The old classic thrash songs are paired with a more modern, more polished production on Thrash Anthems II. How do you expect the reactions to be?

I think the production is pretty rough, it’s a little bit hard and we have a lot of young fans that like the new songs of Destruction. We’ve been doing this one bonus track in 1999, one bonus track on the Destruction album which is an old song. And we re-recorded the old song. And it’s gotten great reactions. On our last album, Under Attack from 2016 we put Thrash Attack, the remake again and the reactions went like “oh my god Thrash Attack, best track of the album”. I think young fans will dig this, older fans will dig this and to of those fans who don’t like it, you don’t have to buy it. It’s not a must if you don’t like re-recorded songs. First of all we do music for ourselves. We started Destruction because WE wanted to play this kind of music. The music wasn’t famous when we played it and this kind of music will never be as famous as you think it would be. We do what we like and that’s why we decided to do thrash anthems even without Nuclear Blast on the first place. I like this album a lot, I think it was a good decision that we did it. If you like older albums, you listen to older albums but if you’re open for a more brutal sound, listen to the new one.

Destruction wrote on the band’s Facebook Page that “the band itself never ever has put more work in an album as in this one”. What was the hardest part of working on the record and what differs it from the previous ones?

When you go into the studio, it of course all costs money and when you do a Pledge campaign, it only pays at the end after the album came out. But until then you don’t get any money. We had to keep this whole thing alive: We had to pay the studio, the production, all the vinyl and the CDs that are being manufactured, and of course we did all those videos.

We did those video clips that showed the band and the production, which is a lot of work. You have to film it, cut it, edit it, upload it and stuff… I’m not a computer engineer so we had to hire somebody. It was all in all the effort that we put into it that made it so hard.

Sounds like a lot of work indeed!

One other thing, we had to go back to the roots and relearn some songs. Some songs didn’t even have the lyrics anymore because they were so old. 90% of the Destruction lyrics from the old albums on lyrics pages from uploaded by fans were all wrong. Tommy [Sandmann – ed.], our first drummer found some original lyrics again so we could recreate the songs. On the first albums the vocals were really noisy so that you cannot hear every word, some are impossible to understand. It was a long fight to get the lyrics but we got them together and I was very happy in the end. Until we had the final sound, the remixing took a couple of weeks because we wanted to have a very impressive guitar tone on the album. So it was a couple of months of work in between the tours, after the American tour we came together and finalized the Thrash Anthems II. It was a lot more work than we thought it would be in the beginning. We thought it would be easier but at the end we were doing all the record label work and the pre-financing.

Now at the end of the Pledge campaign we have to ship the CDs worldwide, we cannot just do it ourselves because that’s not so easy. We ship some CDs from England and some of those still didn’t arrive in South America. Those CDs were shipped two months ago. So it’s kind of complicated to make everybody happy in this campaign and of course when your audience doesn’t get what they ordered they get impatient and they blame the band. In the end it’s not our fault, it’s the fault of the fucking postal services in South America.

destruc016pr.jpgDid you learn something from working on an album all alone?

It was a big lesson in world trade and manufacturing. We usually do only the production and the artwork and give the rest to the label, and yes now we had to learn a lot about all the stuff in between. So thank you very much but we’ll never do it again, not if we have Nuclear Blast. We are at the best record label of the world so I’m glad to have them. I can recommend this kind of thing to young bands though. If you have no money but some fans who can finance your album, this is the first step not to make a big loss. Most bands are pre-financing their albums and then have a couple of thousands of euros minus on their bank account. That will maybe never recover. So it’s not so easy. But I’m happy we had a lot of fans help us to finance the album and not coming like “blah blah blah”, even though sometimes they were like “oh no, I thought it was only a Pledge campaign and would never come out at Nuclear Blast” but we never said that. Blast declined the album and then at the end they wanted to have it – I would be stupid if I wouldn’t give it to them. It’s a great album.

Which old song was the most enjoyable for you to play again for the record?

A lot of them we didn’t play live back in the day so I can only think of The Antichrist. It’s the only song of all those songs that we played frequently. We also played Black Death in the last years, it was also a big challenge because it’s a seven minutes long song. It was a challenge to redo the song.  A lot of the old songs we had to relearn to get the feeling back: From those songs I like Black Mass a lot and Confused Mind also.

Can we expect you to play these live in the future?

We really want to do that. I think we maybe wanna see the result how the fans like them to find some of the new favorite tracks of this album and then we can put them into the setlist. We don’t want to kick out others songs, though, we don’t want people going like “oh my God you didn’t play Total Desaster”. About this record, it will create some remembrance of the old stuff and a new face of the old songs. I want to play Confused Mind, Black Death and Black Mass live. I like United by Hatred a lot too, it’s a song we didn’t play since ‘87.
First it would be cool to see how the reactions are to the album. So far we only have the reactions from the Pledgers, which is a couple of hundreds of people. The whole process of recording and we could choose the songs also. We learned some new tricks of producing. It’s a never-ending learning process and it was interesting also for me to redo the vocals.

What about your future plans? Do you maybe already have material done for the next album?


Pänzer – Fatal Command (2017)

Actually not, we did Thrash Anthems II and it was hard work – if you do something like that, you don’t really want to focus on something else. I was also writing on the Pänzer album right before Thrash Anthems II and I didn’t wanna make everything too much. Also, for Destruction we saw in the last few years that it’s better for us if we don’t do too much albums in a row. We did that since ‘99, we did albums every 2 years it’s easy to have no more fun at writing songs like that. The new album is going to be recorded maybe at the end of 2018 and released maybe 2019. That’s what I would say is possible. But maybe next week I start writing new songs and then the album is done earlier, but you have to be in the right mood for that.

What would you tell about the new album of your other band Pänzer to those who don’t know the band yet?

It’s a tribute to the original heavy metal style, to the NWOBHM. If you like the good old 80s’ sound, you might like Pänzer because it has all the classic elements like up-tempo in the way of Judas Priest and Angel Witch and so on. My vocals are a little bit more melodic and catchy. It’s classic heavy metal with a pinch of thrash in there. We really enjoy doing this, it’s something besides my main band. I’m glad I found some guys I can make music with besides Destruction. Something like this refreshes your musical inspiration.

What are your three favorite albums of all time? Can you tell us a few words about them and about why you like them so much?


Judas Priest – Unleashed in the East (1979)

Number one has to be Unleashed in the East from Judas Priest. When I was a kid, I saw the cover and listened to the album for the first time and it was the definition of heavy metal for me from this point. It was heavier than anything else – the looks, the sound… It changed my life completely in many ways. Another really important album is Kill ‘Em All from Metallica. It was the first real speed metal album that came out in 1983. The stuff they did back in the day was exactly what we started half a year later with Destruction. When we wrote the first songs for Destruction we already knew that Metallica would be very special. So their first album Kill ‘Em All was groundbreaking for me, something new, ‘cause it kind of mixed punk rock and heavy metal together. And to name a punk rock band as well, I would name Fresh Fruit for Rotting Vegetables From the Dead Kennedys. Dead Kennedys were a part of my life because they wrote really critical lyrics. They were criticising the government and the society and as a young person, it was really important for me back then. Most of my friends didn’t care about the political situation etc but I did, and Dead Kennedys was my favorite punk band for America. I listened to a lot of English punk too but Dead Kennedys was very special to me.

I can see you even covered a Dead Kennedys song, Holiday in Cambodia on Thrash Anthems II! If you could go back to any point in your career and you could say, now I’ll change something, what would it be?


Destruction – Release from Agony era (Steamhammer/SPV promo)

I don’t think it’s good to change the past. I am where I am now because stuff happened. When Destruction kicked me out in ‘89, I was on the worst point of my life. I had to relearn a lot of stuff, “rethink” my friends. I learned that fame comes fast and goes fast also. But I also learned a lot of things about my own confidence and I put a lot of effort in my future music-wise. I think without those breaks, problems and fights I had in the past I wouldn’t be the same person. I wouldn’t change stuff I think: life goes the way it goes and my inspiration is what I do today, I do it right for a better tomorrow. It’s ridiculous to think about things you regret because I am so glad I can still do music and Destruction has brought me around the world several times. I wouldn’t want to change a single thing I think. I’m a lucky guy.

What’s the funniest question you’ve ever heard?

There was rumours that I did porn movies back in the day when I was out of Destruction. I said “no I didn’t know I would have been a porn star, but interesting that you ask” (laughs).
Otherwise, I’ve already talked about basically every aspect of my life in interviews. I would say 15 years ago not everything was talked about, especially when Destruction split up there were a lot of questions, for example “Why did you leave the band?”. I just answered “I didn’t leave the band, I got kicked out”. I just wonder how come interviewers don’t know this because this is a big part of the history of Destruction. Sometimes people still ask me this.

Is it stressful sometimes that you have to talk about yourself so much?

No, it’s a part of the job. I like to talk to people. But at the end of the day when everybody asks the same questions, it develops into a weird circle of repeating yourself. Sometimes you just think about how many times you’ve said this specific thing today. But sometimes people have cooler questions or are curious about details. I just hate starting questions like “Okay, can you tell us how Destruction started?”. Dude, it was 35 years ago, go on Wikipedia and read it yourself. If you put your heart into your job, into doing interviews, you prepare yourself, right? Some people are just doing the job and asking irrelevant stuff, that’s what I can’t understand. But I’m a musician and not a journalist, and I think everyone should do what he/she can do best.

You are right. Okay, thanks a lot for your time Schmier! I wish you all the best with the launching video today and with both of your bands!

It was a pleasure. I wish you all the best too!

“My aim is to stay healthy and to keep my whole environment positive” – Bernemann (ex-Sodom)

Interview with Bernd Kost (“Bernemann”) from ex-Sodom

Interview by Estelle for Metalegion Magazine on the 7th of September 2016


Bernemann – then and now

Hi Bernemann, thanks a lot for taking time for our interview with Metalegion Magazine! At first I would like to ask, looking back at your career in Sodom since 1996, do you think you could have done anything differently or in a better way?

It’s a difficult question. I guess after so many years you will find a couple of things that you maybe could have done better but finally everything has happened as it has and with that I am very happy today. I am satisfied with where we are right now with the band and I guess I don’t want to think about what I could have done better (laughs)I am happy with my life and I guess next time I would also do everything in the same way.

That is for sure great to hear.
If you could describe it in 5 words what you would like to express with the general image of Sodom especially regarding themes in connection with war and aggressivity, what would you say?

Tom is doing the lyrics and so he is mostly writing them about war. It’s a very heavy subject for me: I was born in this generation but my parents and grandparents lived and survived during the war and in my family besides them many people died who served as soldiers. When I was a child, I grew up with stories about the war. My parents and grandparents told me about everything that happened during the war time as they were children. I was always very impressed – this doesn’t mean that I like war though. If you read Tom’s lyrics, very quick you will understand that we hate war. I guess that Tom wants to remind people with his lyrics like in Ausgebombt: “don’t forget about how violent and cruel war actually is”. Just never forget it. And so in this meaning, I can live with it as we are not a band that glorifies war or violence.

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?


Queen – A Day at the Races (1976)

Today I am just listening to heavy metal but in the past I did listen to other genres, I grew up for example with glam rock in the 70s. I was always very impressed by music, I bought my first vinyl when I was 9 years old: a very different music genre, I guess it was from the glam band The Sweet in the 70s. Later I loved Queen, they were very important for me being a musician, and the record that especially impressed me was “A Day at the Races”. But since many years I’m only listening to hard rock and heavy metal music. Of course Slayer – “Reign in Blood” was a milestone for me and an also really important favorite of mine is the record “Parallels” from Fates Warning.

You are in the band since ‘Til Death Do Us Unite came out. This particular album wasn’t the most popular one among old school fans of Sodom – do you think this also formed the picture in the fans’ heads about you yourself?

I was actually very happy with this CD. Of course when we recorded ‘Til Death Do Us Unite, the album was not sold so successfully like Agent Orange or many others before in the 80s. But before, after the years Sodom was calming down a little bit with Masquerade in Blood or Get What You Deserve. I guess with this Sodom was on a very difficult path and for me personally there were too many other influences this time. They also lost some fans, especially when they released Masquerade in Blood. And I know when Bobby [Konrad “Bobby” Schottkowski, drummer of Sodom 1996-2010 – ed.] and me came into Sodom and recorded ‘Til Death Do Us Unite, slowly we had to build up the fan-base again. And I remember very well that many people told me that after the release of the album that they became interested in us again. So I was actually happy with ‘Til Death Do Us Unite, even if I know it didn’t sell that well. I guess it was a sign for the fans that Sodom is a band again and now slowly we will come back.

Do you also feel that after this more difficult period that you described you did manage to get back on track?

Absolutely. Today as we are going to shows and walking to the rehearsal room, I feel now Sodom is again a unit, and a very strong one. Especially now with Makka [drummer since 2010 – ed.] – I know him for a very long time, he’s not only a drummer but also a friend. So we do have a good relationship to each other, we work very hard and I guess that’s what makes Sodom to have a very strong line-up even today.


Sodom – Decision Day (2016)

Your new album, Decision Day came out at the 26th of August 2016 at Steamhammer records. Could you select a special song from the new record and share your vision on it, or maybe explain the lyrics, refer to some instrumental parts or tell me about the creation of the track?

I guess one of the last songs that I recorded was Belligerence. This song is my fave from the CD even though we all have lots of favorites from the album (laughs). We have a big problem figuring out the songs we wanted to play from the album because we just love all of them. This is not always the case, but this time especially. So we are really happy with all the material. For me Belligerence was an excellent song to record, because there are some nice acoustic mixed with some very fast parts, just a furious song. I remember I had the idea for the opening riff; one day I was back here in my small home-studio and was just jamming and as the idea for the riff came I immediately got goosebumps. In the first moment I thought I maybe remember this from another band because I like it so much, and I was like “wow Berni this is just a cool riff”. That riff is my highlight from the CD.

Was it like that with the songwriting process of Decision Day as well that Tom wrote most of the lyrics or did you guys collaborate too?

Usually, most of the time the song starts with the guitar. I have an idea for the guitars and then I meet with Makka, our drummer in the rehearsal room and we are working on the basics. We collect all the ideas and make the structure of the songs, we jam a little bit and then if we have the idea for the song more or less ready, then we come to Tom and play together in the rehearsal room and Tom thinks over the lyrics. Tom is always doing the lyrics alone and he always comes up with them after the song is done, so we always start with the music.

sodom.jpegI always had the feeling Tom was the one who always lead the the band and decided about a group of things. Have you ever thought of maybe wanting to have more attention  regarding the fact that Tom is getting the largest part of it?

Thank God I don’t get most of it! (laughs) The point is, Makka and me have regular jobs, I personally work in a factory. If I had more attention I wouldn’t have the time to pay attention myself to all the things surrounding me. Now that we are talking for example, I came back half an hour ago from my work and now I am giving an interview. If I could do all the interviews and all the promotion stuff that Tom is doing, I wouldn’t have the time for myself. Tom just lives from the music and so he does have enough time, and he’s the face of the band since many years – I don’t have a problem with that. I love to be the ‘man behind’ who is responsible for the guitars and I see myself also as a songwriter. Even if I never wrote any of the lyrics this is enough and absolutely okay for me, we never had a problem about this in the band.

That is great to hear if there is a balance in the band with regard to this question.
A bit of a different subject now: You collaborated with famous German schlager singer/actor Roberto Blanco in 2011, making a commercial intended to raise awareness of Alzheimer’s disease. As far as i know he also joined you on stage at various gigs (including Wacken 2011) for a metal rendition of his song ‘Ein bisschen Spaß muss sein’. How did the idea of making the commercial come and what is your opinion on it, looking back to it?

First of all we were really surprised when the management of the singer Roberto Blanco asked us if we want to work together. I know him since I was a child, he is very popular in Germany so I was really surprised when we got this offer to make this video clip together with him. We liked the idea very much, we didn’t get anything for making the video so this had nothing to do with the money, it was funny to do the job and it was for good reason.

At this time my mom also got Alzheimer’s disease so I know what it means if old people have this sickness. This was also one of the reasons why I liked this idea, and especially together with Blanco doing this funny clip, we enjoyed it very much.

Do you have any more fresh ideas in connection with Sodom that have never been done or applied before but you still keep them in mind?

In general no, I was very happy with the way we were working in the last years. We had a bit more time for writing the songs, that was very important. Maybe we should pay a bit more attention to the arrangement of the songs. Now we are able with the modern recording equipment, so we can prepare many many ideas at home and then simply meet in the rehearsal room to play together. But sometimes in the past I had so many ideas that I wasn’t able to record right away so they got lost. In the last years everybody has got a PC and is able to record right away if an idea comes – this makes life a bit easier.


Bernemann in 2009 – Photo: Baconmusic

I hope that we can still find the time in the future for the songwriting. I guess you cannot actually plan for the future but the most important thing for me is to have good ideas, to stay inspired, to have a good mood everywhere what’s surrounding you, to have a good life with your family and no problems with your job. My life is much more than only making music, and if everything around me turns out good then I am also able to write good songs. This is of course wavering, in the last years I had many problems with losing my job for example. But as long as you yourself are in a good mood – and that’s the secret – and are happy with your life, you can keep on going further and writing songs that fans like. This is my aim, to stay healthy and to keep my whole environment positive and then everything will happen by itself.

For the end: Did you think about what would have been becoming of you if you wouldn’t have started out with playing music?

One day after a live show of Sodom in Bulgaria someone among my friends asked me this question and I told them that I think I would be a really good tourmaker. And everybody was laughing “Oh Bernemann, sure, tourmaker” but I am actually already a tourmaker, for sure not a full-time musician. I would do that gladly.

Thank you very much for your time Bernemann, I wish you all the best with Sodom’s new album Decision Day but especially with the tours you will be making! Have a great time in Italy as well!

Estelle, thank you very much, I appreciate it.

Chaos Descends Festival 2017 – Fan footage

I still owed you a fan footage from Chaos Descends so here you go people! You can turn on the English subtitles if you like.

You can probably expect something similar from me from the French Fall of Summer Festival I’m attending next weekend – Can’t wait! :)

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Festival report of Chaos Descends Festival 2017

Festival report of Chaos Descends Festival 2017 –  Ferienland Crispendorf, Germany; 21-22nd of July 2017

Report by Estelle on the 2nd of September 2017

Dreamlike location, prominent lineup, pleasant mood, killer afterparties, Cuba Libre and a children’s railway. What more could you possibly want?


FRIDAY, 21.07.2017

The first band I decided to see on the festival were the death metal band Vorum playing on Friday from the Åland Islands (belonging to Finland). Their crushing 30-minute full-length Poisoned Void from 2013 already got my attention a few years ago from which I got the chance to see songs live for the first time. Just as expected, Vorum played hard and with defeating energy, creating a base cheer for me that never went away ‘til the moment I arrived home after the festival.

cd1-attic1 (1)

Attic | Photo: Estelle

After Vorum came the German King Diamond-worshipping Attic with their live ritual. To my surprise their well-composed, high-standard live performances authentically give back the feeling and also the quality of their albums. Attic continuously receives critique about their base idea being unoriginal and simply a replica of both the King Diamond style and sound however, in my personal opinion, as they model King’s approach on such a high standard, one can simply be pleased to hear more of a style that not every band would be able to recreate.
Order Attic’s new album ‘Sanctimonious’ here.


Venenum | Photo: Estelle

After Attic came some long-awaited rigid German-style cruelty with Venenum, creating a frore atmosphere. Just as the last time I saw them, the German death metallers concentrated on their new album ‘Trance of Death’ filled with all this ugliness; these atmospheric solos, melodic riffs, unexpectable breaks and tempo changes, driving the audience into madness. To my sadness, they have not played anything from their world-class EP ‘Venenum’, even though their song Bewitched Craft could be the best death metal song written in the 21th century until now in my personal opinion.
Don’t think the new album is not worth investing in, though: Buy it here.

Later came the Polish death metallers Mgła, who I have never seen before and from whom I was expecting a lot, partly based on the everlasting hype surrounding them. Unfortunately and rather surprisingly I could not get myself engaged with the band and was not moved by their music nor by their sound.


Chaos Rising during Cirith Ungol at Chaos Descends | Photo: Estelle

Luckily and this time not to my surprise, right after them we got to the highlight of the festival in form of the USA heavy/doom band Cirith Ungol
. Cirith Ungol’s show was far more collected and composed than at Keep It True this year, the band members were in sync the whole time and one could just see the excitement and joy on their faces on stage. I lost my mind over how Tim Baker’s voice and energy level does not seem to lower since the 70s and my face was all upon the grin about all the band’s classic songs coming after each other, all getting delivered in album quality live.


Cirith Ungol’s setlist | Photo: Estelle

Their setlist was diverse and contained indeed every classic that one could expect from them, including the 3 encores Master of the Pit, King of the Dead and Cirith Ungol. Unbeatable.

Afterwards, before getting lost among all the people and cuba libres in the afterparty-tent, we had the chance to hear some raw black metal tunes from the Canadian Sortilegia, pounding us completely into the ground.




SATURDAY, 22.07.2017

The first band I got to see on Saturday were the alternative A Dead Forest Index from New Zealand on the Nature stage. Alternative has never been my thing, the whole thing seemed simply too artsy to me, making me unable to identify myself with the music or the feeling the members wanted to transmit through it. However, it still was a pleasant feeling to chill at the side of an abandoned toilet-blue pool in the sun, in the woods, listen to the two classical guitars and experience something I have not experienced before.

They were followed by the Norwegian black/sludge band with hardcore punk elements, Okkultokrati, who played on the main stage. To be honest I expected some more from them and found them rather mediocre live, leading me to the uncomfortable situation of choosing booze over a band.

Right after them I looked into Night Demon – even though I’ve never been a huge fan of them, I got to understand why others are. It shows just as well from the way they present themselves as from their stage properties that they know how to sell the band. Vocalist “Jarvis Leatherby” [Jeff Hershey, new bassist of Cirith Ungol since 2016] is one of the few people by whom I feel like they were directly born for the stage: he’s absolutely energetic, has fun at what he’s doing and has something in his attitude that attracts the audience. The huge death figure walking up and down on stage was thought to be contributing to attracting attention.


Dread Sovereign | Photo: Estelle

I walked into the crowd of Dread Sovereign with no expectations previously only hearing their first album some time ago, and was pleasantly surprised by how fast they got me engaged. Just by looking at the crowd one could have thought Dread Sovereign belong to the first wave of doom bands from the early-mid 80s – it shows how authentically they play their music as a doom band formed in 2013 if they are able to get the attention of the older generation who could have been among the crowd on an early Saint Vitus or Candlemass gig.

I was then ready for the savagery of Deathhammer. I got exactly what I wanted: pounding energy, brutality, speed and drunkenness; just as usual from frontman Sergeant Salsten [watch my video interview with him on the festival coming out in a few days]. Besides the strong, varied riff-flow and the incredible amount of devastating power it was entertaining to see how Salsten just does not seem to give a damn: After introducing the following song he started to doubt/question himself and was not afraid of also expressing these doubts toward the crowd by the gentle question “What the fuck?”.


Deathhammer | Photo: Estelle

As the next act I got to see the USA death/black/thrash band
Absu. They provided us with a combination of catchy thrash riffs, rotten blackened vocals and Proscriptor’s insane, bestial drumming, not leaving us any time to recover from the previous Deathhammer’s fierce effect on us.

I did indeed try to understand something from the music of the upcoming German ambient black ( D O L C H ) until I left with the thoughts of “Okay one doesn’t have to understand everything”.

Despite my expectations, experiences and the previous band, I was really much able to get myself engaged with Sunn O))) this time. I have already seen them at Brutal Assault in 2015 where I left with no traces of the band’s impact on me, however, I was curious how a small(er) festival and two years’ time can change the experience of seeing them live.
Even though the drone/noise/black metal/doom metal/dark ambient band’s insane frequencies reach as far as you can see, one gets so much more in contact with them right before the stage as one is also able to observe their movements and the lighting; and where the frequencies are so strong you feel them throughout your whole body and get an ear-pain after 30 minutes.
It contributed to getting involved that I could not leave the dark, gloomy, haunting lyrics out of consideration as Hungarian vocalist Attila Csihar [see also: Tormentor & Mayhem] sang, muttered and moaned in all possible tones and pitches in our mother tongue, Hungarian for the most part.


Sunn O))) | Photo: Estelle

After around 1,5 hours as everyone gradually came to the feeling that this gloomy, oppressive atmosphere never ever goes away again, Attila winded Sunn O)))’s performance, all the emotions and concerns one developed during the show, as well as the experiences of the previous festival-days up with an indescribable, bloodcurdling screech.

Sunn O))) is definitely not a band preparing one’s mood for the last night’s afterparty. In spite of all my expectations, in my case the band carried out the effect they are making music for: I felt myself far too emptied, weakened and disturbed for some time to get myself together and carry myself over to the afterparty tent.
Even though I still can hardly imagine myself listening to Sunn O))) at home, I indeed gained respect toward and got curious about them and I can only recommend giving them a chance as soon as you have the opportunity to hear and observe what complete darkness and eeriness sounds and looks like.

And now, to sum up…

Strongest standout bands: Cirith Ungol, Sunn O))), Venenum, Attic, Deathhammer


Ferienland Crispendorf | Photo: Estelle

Main impressions:
+ dreamlike and kind of easy-to-find location; smooth organisation & communication; prominent lineup; pleasant mood; great people; decent sound; decent food; killer afterparties; CUBA LIBRE; children’s railway going around the festival area
– for the first time ever: nothing mentionable

Recommendations: Go! Go! Go!

Find more information at: http://www.chaosdescends.com/
Photos were used by ‘Estelle’.

BULLDOZING BASTARD. An enjoyable schema sticking to the old way of songwriting, involving a few banalities


Bulldozing Bastard – Under the Ram (2015)

Review by Estelle for Metalegion Magazine on the 13th of Januar 2017


  1. Queen Of The Night
  2. Tornado
  3. Mayhem Without Mercy
  4. Full Speed Ahead
  5. Brassknuckle Deathstrike
  6. Under The Ram
  7. Alleys Of The Underground
  8. Let The Bastard Roar
  9. Black Metal Slut
  10. Once The Dust Has Settled

Genre: Black/Speed Metal
Label: High Roller Records
Country: Germany
Date: March 13th, 2015

Irön Kommander – Vocals, Bass
Genözider – Vocals, Guitars, Drums

under-the-ramIf I wanted to follow the same route Bulldozing Bastard decided to take (why not get right to the point and flood people with all my thoughts immediately at the beginning), I would say: As Under the Ram begins you know straight away what to await; however, as the album rolls along you notice that these assumptions also have not been changing nor evolving in any way.

On the one hand it does mean you get what you expect and that can always be considered a positive aspect, yet on the other hand you do not receive neither any variation nor anything new that has not been done numbers and numbers of times before in the last 49 years since the genre heavy metal with the founding of Black Sabbath came into existence.

As the two German black/speeders start with their newest 2015 record, the pounding aggressivity kicks immediately in the face of the listener and does not let us out from this grip of flowing, streaming violence until the last song of the record. They are masculine, speedy and energetic while delivering the filthy, straight songs where elements of rock ‘n’ roll mixed with a little punk, NWOBHM, speed and black metal also turn up.

I do have to state that the music itself is enjoyable, whilst they are so primly trying to be old school and evil while playing their absolutely primitive but catchy songs with dirty blackened vocals in the vein of old Venom, Bathory, the Italian black/speed/thrash masters Bulldozer (judging by the name ‘Bulldozing Bastard’ apparently the largest influence on them), Motörhead and some Tank that it nearly comes over comically and in a stereotypical manner.

Their song titles, labels of the band members and lyrics are similarly somewhat cliched aiming to (simplified) come near to the old way of representing obscurity; a good example would be the 3rd track ‘Mayhem Without Mercy’:  “And as I pass through the seven gates / The fullmoon’s shining bright // For tonight, I’ve witnessed glory / Sorcery and might”.
And to continue being picky by coming up with a final negative angle, the flooding rage also results hearing almost no transition and so not getting the chance to make a difference between the songs as one already got deeper into the album and got used to Bulldozing Bastard’s (fresh and intense) sound.

However, at the very end with the last, slower and longer song ‘Once The Dust Has Settled’ with more melodic guitar lines and some Iron Maiden feel to it we do get a bit from the lacking variety, what’s more the song also seems to be more thought-out and better-worked-out as the other slashing tracks of the album – a bit of a deduction after the continuous ripping for the previous 25 minutes.

On the whole Bulldozing Bastard’s Under the Ram from 2015 is a rather enjoyable disc with some likable catchy riffs saturated with melodic fast guitar sounds built in here and there, with hearable decent bass lines as well as a dynamic, fresh sound and energy of two spirited German maniacs.
If one does not expect any groundbreaking idea but a schema that follows the old way of songwriting involving a few banalities yet enhanced with an actual youthful sound, I do recommend having a go at the record.


Here you can show your friends you listen to cool music
Here you can adapt your look to your habit of listening to cool music

“I never felt myself forced just to write about the pirate stuff as it could be too limitating musically” – Rolf Kasparek (Running Wild)

Interview with Rolf Kasparek from Running Wild

Interview for Metalegion Magazine by Estelle on the 26th of August 2016

Hi Rolf, first of all thanks a lot for taking the time and doing the interview with me for Metalegion Magazine, much appreciated!


Death or Glory (1989)

Which album of Running Wild do you think was the most crucial or significant one in your personal career and/or in the fans’ opinion?

I would say Death or Glory – we had a lot better conditions concerning distribution, that was the next step for us as we sold pretty much more than we ever sold before. It was a very big step forward for Running Wild. And Blazon Stoned was the next step, it was the best sold album of my career. It was a truly important album that made the status of Running Wild.

Rolf, you are the only so to say “old” member in the current lineup of Running Wild. To what degree does this affect the songwriting process for the newer albums?

This time we had pretty much more time to write and to collect the ideas than I had for the albums before. It happened not intentionally, I just broke my shoulder so I was “knocked out” from the world for one year and that is why I could really make up my mind about the cover and the lyrics; I really could collect everything that was coming up to me.


Rolf Kasparek (1989)

When I was doing the record and writing the songs back then when my shoulder was again moveable and I could finally play guitar, it turned out to be a great situation because I could pick out 11 songs from all these ideas (I had about 30-35 basic song ideas) which are still all different from each other. Every song should gain something to the album that the others couldn’t, in order to have a wide range of style. I had the time to work on the small bits of pieces and the arrangement of the songs.

Rapid Foray is more complex in a way than the earlier albums by reason of the basic ideas. Also, I haven’t used studio before we started out with the record. It was a pretty much relaxed working situation even if it was hard work to achieve all that we finally did with the album. But it was a great situation for me to have the time to work out the bits of pieces, the details of the songs.

You mentioned that you broke your shoulder in the beginning of 2014. As far as I know you also needed surgery in Germany from one of the best doctors to repair it – During that period, have it ever crossed your mind that your career as a guitarist could be in danger?

No, because it was totally cured as I reached to the point back then to play guitar in the proper way again. In the first place it was the best doctor that I could get. It was just a coincidence that I landed there in this hospital but he was the best doctor to work on a shoulder in whole Germany (laughs). And I just told him that I’m a guitar player, I’m a musician and I need to use my shoulder. And he did a really great job then, the operation went well.

It took me about half a year just to get to working on Rapid Foray again because of having to have a second operation half a year later. I could already play guitar but not in a proper way, I couldn’t work for hours: 3-4 hours a day was not possible, in the beginning it was like half an hour here and there… I simply worked on the ideas and was picking out songs for the record.


Rapid Foray (2016)


This section of our magazine would basically mean a song by song explanation or just an explanation of one song, focusing more on the lyrical and instrumental side of the song(s).
Could you share your vision of a song, explain the lyrics, refer to some instrumental passages or tell how the song was created…? It’s up to you.

I was interested in doing the last song on the record, the Last of the Mohicans. It was a really important one mainly because of the idea of doing a song about the novel from James Fenimore Cooper. I already had the idea in 2000 while writing the Victory album but it was not coming down, it was not the quality I wanted to have and that’s why I put it down again and again. And when I started out with the Shadowmaker from 2012 I had the idea to the song again, but on the other hand I had another song called Dracula which finally made it onto the album. On Resilient from 2013 it happened in the same way, I had the idea to write the Last of the Mohicans but there, as the last song, Bloody Island made it onto the album.

While writing Rapid Foray I finally did have the time to do the song, I figured out very early a lot of ideas for it concerning my working situation because of my shoulder.

And the story it tells – I know the story since I was a kid, had to see it in Germany, we had this kind of tradition in the 60s and early 70s. Before Christmas we had these 4-piece movies about a certain adventure topic that was sold by German TV to French TV, so different TV stations got this together. There was one film called the Hawkeye Movie and another one was the Last of the Mohicans, which is one of the stories of this book.


James Fenimore Cooper – The Last of the Mohicans (1826)

I was really impressed by the story because it was a battle on the one hand, and on the other hand it’s a very adventurous case. I must have been around 9-10 years old when I saw it for the first time and I was simply impressed. There were a lot of movies coming up with the story but telling it from a different kind of view, a different kind of perspective.

I wanted to do this song and I figured out that the story is too complex to tell it in just in 5 verses or so. I just had to figure out what was the main point to me from the story and this is the loss of Chingachgook [one of the three frontiersmen, among the main figures of the film – ed.]. He not only lost his son but he lost his culture, he lost his present, he lost his future, he lost everything. His pride… Everything that was important to him that made up his life so far; he had to start at a new point from then on.

And that was the point I had my focus on while writing the lyrics and telling the story. I also had to tell it musically and that’s why it turned to be such a long song because it’s such a complex story.

Now it’s understandable why it is the largest song on the album with a running time of around 11 minutes. The song, as you also mentioned, was clearly influenced by the 19th century novel written by James Fenimore Cooper. What lead you to adapt this particular novel into a Running Wild song and also, do you think it fits entirely into the Running Wild pirate image you built up over the years?

rw5I always brought in different kinds of ideas on the albums because I never felt myself forced just to write about the pirate stuff as it could be too limitating musically. Also, if you only write about that kind of certain topic just have certain melodies in your head and certain musical ideas. Back on Death or Glory we had a song called Battle Waterloo which also was a part of history. From time to time I’m just doing different stuff because there were also some songs on the album just like Victory of Guns which is just a normal rock ‘n’ roll song. So I never felt myself forced to just go ahead for this kind of image stuff.

The story of the Last of the Mohicans takes place in the 18th century, but the pirate stuff did too. So it fits in that case as it is a part of the story and so it is a part of what happened then. The indians were pretty much in the same kind of situation as the pirates were. They had to fight for their lives and for the right and had to see how they pull through this. The first place there was a war between England and France about North America, they just wanted to keep their hand on that, so that was the basic story back then.

We can notice that the lyrics after your 1987 album Under Jolly Roger were intensely researched. Where did you get the inspiration and especially the information for the lyrics?
What does the whole pirate image mean to you and how did you get yourself into it?

Everything started with the song Under Jolly Roger. I was watching TV when I came around with the idea of the song, there was this advertisement for the movie called Pirates (1986) written by Roman Polanski. And there was this scene where the flag was rising up and I found it beautiful. “Wow Under Jolly Roger, a great title for a track!” – It started with that. I became especially interested in this stuff when I was writing for Port Royal. And I just love books about that. Totally different kinds of books about different pirates, about history, about theories, about shit, about everything that had something to do with the life in the 18th century. It was all about that pirate stuff on the Caribbian. And I had a lot of books where I could pick the stories from, stories that all come from reality. Just as our song called Calico Jack.

rw-jollyrogerAnd sometimes our songs are coming up with imagination about the topic. If you have a look on the new album a song like Black Skies, Red Flag has nothing to do in the first case with the reality, just has this kind of red flag as a symbol for the pirates that they will show no mercy at all. We have the real pirate flag in our minds with a skull and crossbones. But actually every pirate had his own flag back then.

So there’s totally different stuff that comes from that. And sometimes I’m coming back to that, I had all the ideas for the new album and one of them turned out into a song called Black Bart, which is a song about Bartholomew Roberts who was the most famous and the most successful pirate of all time. He was mentioned in the story of Treasure Island and he was real. It was not just imagination, he actually existed and was a very strong character; there were a lot of different things in his character that were not at all usual for that time. He was never drinking alcohol – what a weird situation for a pirate (laughs)! He was always sober, all the time. And he was gay, for the 18th century he was gay! He was very very open, he didn’t hide it, he was never hiding. And it was very strange for the 18th century to do that. The crew was really onto him, he was also relentless, a really tough guy. And so that was the story I was coming back to, I was just going for the books again and I found a story about which I haven’t had a song written yet, I figured he would be a great character to do a song about.


Running Wild (Death or Glory era)

Rapid Foray also brings back some of the memories from the classic Running Wild period. Your previous two albums (Resilient, but especially Shadowmaker) didn’t convince entirely many older fans of yours. Was this something you were looking for this time, to make peace with the older fans?

No, not really. When I was going through all the ideas I had for the album, I figured out that there were some parts that had some more trademarks from the late eighties-early nineties. But I was not heading down when I was writing the songs, when I was collecting the ideas. I never said to myself “you have to write songs like back then” – that simply wouldn’t work. If you try to do a copy of a song from 25 years ago, there would not be coming any good song from that. If I got a great idea that sounds like that and I got this feeling and I got this kind of spiritual thing going around what you feel about the pirate stuff or the metal that you consider to be classic for Running Wild… It’s great when it’s there. You really can rock on that and you can go and work on the bits of pieces to make it to be a great track. And that’s what I did. But I never said to myself that I had to write songs like that. I don’t think that would really be ending up as a great record. The record was just the way I was feeling when I was writing and collecting the ideas and when I was picking the songs for the album. I figured out very early when I was working on the tracks themselves that a lot of songs had trademarks from the classic stuff.

I agree with you on that that you couldn’t simply copy a song from back then because it wouldn’t work out the same way.
As you also mentioned earlier, you had more than 30 songs completed for Rapid Foray. If I can ask do you sometimes use portions or complete songs that were not featured on the previous album(s)?

This was the first time that I had so many ideas for an album. If you have a look back into the early days Death or Glory etc. – those were really the songs I had that I put on the album. I couldn’t pick from such a big “pool” from which I have the possibility to do that today. There were a lot of ideas I had to put down because they didn’t fit to these 11 songs. But that doesn’t mean they are not great songs. Meanwhile I was writing the material and was working on the production itself, I had a lot more ideas for the next album that I had to put down and force myself to forget them. This is a kind of pool of creativity I have in the last 2-3 years which I never had before in my life. There are a lot of things going on, a lot of ideas are just coming and I really can’t stop it (laughs). It’s totally different because before, I put down Running Wild as it was really hard for me to write the songs and get the proper ideas for a good track. It was really hard work, but today it’s just coming like a river.

That’s for sure great for us fans to hear!


Running Wild at Wacken Open Air 2015 [Photo: apesmetal.com]

About “putting down” Running Wild as you said, the last time you played live was on Wacken Open Air in 2015. Was it because your last show in 2009 also happened to be on Wacken? Also, do you plan to give concerts anywhere else seeing that so many fans are kind of dying for you?

I was just starting out working on the new album and we got the idea from the Wacken guys to do a show there in 2015, festival headlining. We felt like it was a great idea to do that but we had to find 2 new members for the band as it was just P.J. [Peter Jordan guitarist – ed.] and me at the time. We figured it out but after that I had to go back to the album to finish the recording.

About concerts, we are not doing touring but we will play on a lot of festivals the next year. So we just get all the offers and we sit down and consider all of them and see what we can do, what festival is suitable for us concerning the fees and the possibilities. We plan to bring a full set from Running Wild on the stage. This is all planned for the next year. It is also the plan maybe to do 2-3 shows around the next Christmas, 2017. This is the next plan and now we are working on that. Now we are pretty much involved in interviews and the promotion for the new album. We will just sit down and see what we can do about 20 different offers from festivals all over Europe.


 A fan’s Running Wild-themed leather vest

That’s awesome to hear that there is a chance of seeing you!

You guys are also really active on your Facebook-site when it comes to marketing, for example you have an album where you upload fans’ pictures with their Running Wild tattoos and reliquia. What was the most surprising way of a fan showing his respect towards Running Wild that you’ve experienced?

The fans are so loyal to Running Wild, even if we talk about 32 years now because it was in 1984 the first album which was revealed for the public. I see so many people getting tattoos from Running Wild, some of them even more than a dozen. It’s a statement that Running Wild means a lot to them and it is a big part of their lives and makes me proud. Also if you take a look at how many musicians claim to be influenced by Running Wild, even if they are fans you never came across with because they are doing different music themselves. In Flames for example, they have grown up with my music – they are making totally different music themselves but are saying “you were a milestone for us because you’re the reason we started out making music”. It makes me proud to see the next generation rising. Or Sabaton, they also claim to be great Running Wild fans and have grown up with my music. Handing over the fire to the next generation – I am really proud of that.

rw6About fans and about being proud of fans being so loyal: Do you feel like you ever disappointed either your fans or yourself with any of Running Wild’s records?

You know the fans are a big part of Running Wild, we would be nothing without them. That is for sure: they bought the records, they bought the tickets… They made the band great and this is what it’s all about. You always have to have the focus on that these people were loyal to the band through the good and though the bad times, and it makes me proud to be a part of their lives. For example once we got a letter from an American soldier who was fighting in Iraq and he said what brought him through all these evil things going on there was to listen to Running Wild all day long. And this means a lot to me to be the help for people through situations, to feel better, to make it through.

All time highlights…

For the end could you select up to 3 albums that you consider your all-time favorites and tell me something about each one? (For instance when you have heard it for the first time, why you consider it a highlight or some sort of memories when hearing it.)


Judas Priest – Unleashed in the East (1979)

Firstly Unleashed in the East from Judas Priest: Priest is a starting point for me for heavy metal in the reality. When this album came out, everything started and one year after that all the NWOBHM started. We are called since then a heavy metal band because we were called before some kind of a hard rock band. Listening to KISS and AC/DC…

What also was really important for me is British Steel. It’s an all-time classic for me, THE most heavy metal album of all time. It just sums up everything that heavy metal means to me.

Thank you very much for all the interesting things you told me Rolf, all the best to you in the future and looking forward to seeing you sometime in 2017!

Thanks for the support. Have a nice day!

Announcements and announcements

Reasons for not being active pt. #a lot.

So dear everyone, first of all I would like to apologize for being completely passive when it came to posting in the last months. The main thing is that at the beginning of April I moved from Budapest, Hungary to Leipzig, Germany and as you can imagine unfortunately the main point before my eyes was not moving forward with my blog and getting stuff in connection with my hobbies done but adjusting to a different country and doing all the administration required for it, trying to get used to my new job, new language and all the people I keep getting to know day by day. I kind of would be able to feel settled already but I just moved again into another apartment with some of my friends inside Leipzig so I don’t – also what makes the whole thing harder is that I’m doing a night job and even though I do enjoy it (just like everything else) so far, I definitely have to practice a lot of time management in case I even wanna have social life or get any stuff done, let that be administration or handling anything I care about, including reviews/interviews.

Being happy in Leipzig. Such a perfect city

I do have a feeling that this will change soon tho, as I feel like writing stuff again already especially becaaaause…:

The first issue of Metalegion Magazine I’ve been doing interviews for in 2014-15 is finally out and available for free download, featuring my interviews made with John & Donald Tardy from Obituary, Bobby Blitz from Overkill, Andreas “Gerre” Geremia from Tankard and Marc Grewe from ex-Morgoth along with a few reviews written under the name of Estelle. HERE you can find it – in case you like what you read & see, I would be happy about having the word spread. :)

I also got a few more names already with whom I will surely do an interview as we are planning the 2nd edition of the magazine: Sodom, Running Wild and Destruction, plus a lot of more band and festival ideas among which a lot will probably be sorted out. Couldn’t be more excited. :D

Soo hopefully I won’t disappear for months again and will be able to put some energy in writing, I love doing it and wouldn’t like seeing something I’ve done slipping away. :) Until then!

“I hope we are all getting old together” – Andreas “Gerre” Geremia (Tankard)

I realized that I still haven’t published my phone interview made with Tankard’s Gerre in September, so here you go people! It clearly shows he’s an easy-going and easily likable guy.

Interview with Andreas “Gerre” Geremia (Tankard)

Interview for Metalegion Magazine by Estelle on the 4th of September 2014

tankardHi Gerre, first of all thank you for doing the interview for Metalegion Magazine! If you had to describe the work of Tankard over all the years in three words, what would you say?

Thrash, fun and beer. (laughs) 

In what aspect do you think you are different from the other old school thrash metal bands?

I think the main difference is that we had a lot of humour from the very beginning of Tankard. We called our second demo just ‘Alcoholic Metal’ because at the time there were a lot of new metal styles, black metal and speed metal, and posers against all the others… And you know, we never took ourselves too seriously, we always had a lot of fun and I think it wouldn’t really fit for us to have an evil kind of image or something like that.
We have a lot of serious lyrics, a good combination of funny stuff and serious stuff, but we still have a lot fun in playing that kind of music. I think this is the biggest difference between us and some other bands.

In one of your earlier interviews when someone asked you how many albums the band plans to do, you said that in a case of beer there is space for twenty bottles. You just released your sixteenth album, R.I.B. (Rest in Beer) – are you still determined about doing four more?

At the moment it looks like it. (laughs) We still have a lot of fun, we still have good things happening, we keep going now for 32 years and I can’t see the end with the band, I could not imagine my life without Tankard – so I guess the case will be full some day!

Tankard – R.I.B. (2014)

Tankard – R.I.B. (2014)

How much work and time does it take for you to record one new album? You seem to go pretty easily with it, even besides the fact that none of you is a full-time musician.

This is a very hard period for us, but it’s actually not planned to put out a new album every two years. I mean I think it’s cool releasing a new album two or three years in between, but now R.I.B. is out, we’ll see what we’ll do with the next album. I think it will take another ten or twelve years to keep Tankard alive for the 20th studio album to get the case full.

How is it different to work with Nuclear Blast from how it was when you were at Noise, Century Media or AFM Records?

Nuclear Blast is the biggest one among the heavy metal labels, they have a lot of power, so I think this was really another step forward for Tankard. They do a lot of promotion stuff and it was really a kick for Tankard, we are very very satisfied and hope that we can stay much longer with Nuclear Blast.


Tankard – Chemical Invasion (1987)

The cover of R.I.B. is kind of an obvious reference or ‘recommitment’ to your classic album Chemical Invasion, as well as the continuation of some of the lyrics and the insane professor character. Is this a sign of the fact that you are not willing to distance yourselves from your roots, from the simple and primitive thrash metal?

No, we never distance ourselves from our roots. You know, it was a funny idea to bring the mad professor back on a cover, but I think this album sounds different than Chemical Invasion. The story is totally weird because the professor failed in ’87 to stop the chemical invasion and now he’s back to take revenge on mankind and poison everybody with free beer. I actually really like the stuff that we did back in the eighties, but I’d never do that again in these days because a lot of things have changed with the sound and everything. Tankard is a band that never forgets about its roots, we always play a lot of old songs live, yet we always try to do a good mixture of old and new stuff.

Could you choose one song from the new album and describe what it means to you?

This is a very personal song on this album, it’s called ‘Hope Can’t Die’ – it’s one of my fave songs on the record. I lost a very good friend two years ago, at that time you have this confusion of feelings, anger and sadness and hope, “what did go wrong?”, “could I have helped?” – something like that – a mixture of emotions I had two years ago when I lost that very good friend of mine.

In the song ‘No One Hit Wonder’, you are asking “Where the hell did we go wrong” and saying “We played our asses off for more than thirty years, but now our patience’s gone, we want cash, keep the beer!” – is this just a fun track again, or do you (to some degree) mean what you are saying with the song?

Noo, this is a totally fun track again. That was my idea, because it’s really interesting to see that there are some musicians who only had one song in their lives and they can live all their lives from the money for it because the track is always played in the radio. And of course, Tankard will never do a ‘one-hit wonder’ song, because we played that long, so the idea was born to call this song ‘No One Hit Wonder’ and of course the lyrics are totally funny.

Tankard (Chemical Invasion era, 1987)

Tankard (Chemical Invasion era, 1987)

Besides the funny lyrics, you have some serious stuff going on in the lyrics again, for example in ‘War Cry’, ‘Hope Can’t Die’ or ‘Clockwise to Deadline’. Do you want or try to prove the fans that you also have this more mature side of songwriting? Or do you think that if they still haven’t noticed that Tankard is not Tankard only because of the beer, it doesn’t even matter?

We had that kind of beer-image since Chemical Invasion, we did everything for it, but later on we wanted to get rid of it – we totally failed in the nineties of course. Nowadays we do a lot of jokes about our own image, we see it with lot of parody and stuff like that. Since Chemical Invasion we always had a good mixture of serious lyrics and funny lyrics – if you watch the news every night and if you walk in the world with open eyes, then it’s not only fun, there are a lot of bad things happening on this planet.
We will always write also some serious stuff – first of all we are a band with a lot of humour and a lot of fun, but we are also a band that can play serious songs on stage while having fun. But we would never do an album only with fun lyrics.

As you said with your album Two-Faced from 1994, you began to try getting rid of this concept, of this image that the band built around beer, still, nowadays you accepted that it probably became the largest characteristic of the band.
In general, do you guys usually stick to the key things that seem to work for you, or do you still have the desire to try something new?

We never have a plan when we start the songwriting, about which direction it goes. For example if we did the next album totally seriously, nobody would believe that it’s Tankard. Somehow the old Tankard is reduced only to this beer stuff and we did everything at the beginning for it, but now we have to live with it, and as I told you before, nowadays we make a lot of jokes about our own image, so of course nobody has to take it so seriously. We really can live with that Tankard is sometimes just reduced to this kind of beer image, but we still keep on going, writing good songs, trying to do the best and hoping that the fans like it and expect Tankard to continue the music.

How seriously do you guys take yourselves when it comes to writing and recording a new album? Do you just have fun during the recording, or are you rather the hard-working types?

The songwriting and the recording stuff is very very hard and needs a lot of work, of course sometimes we have the moments in the studio when we are laughing and having a little bit of fun but it’s 95% totally hard work, you really have to concentrate on it. To tell you an example, I don’t drink any alcohol in the studio. I just open my first beer when we finished, when we are in the last minutes of finishing the last song.


Tankard (current lineup)

Now that’s dedication!
Counting from 2000, the lineup of your albums are always the same. Have you ever thought about having some kind of a refreshment?

We are now together since 1998, especially with our guitar player Andy, he wrote most of the songs on the last couple of albums. I could not imagine to play with another member in Tankard, so I hope we are all getting old together.

I read that you are working as a social worker together with drug addicted people, can be an interesting situation for you day by day! Can you draw influence from the happenings at work for the lyrics of the band?

No, I would never do a song about that because this is my normal work and Tankard is a totally different world and I don’t really want to mix that. 

In the end I’d like to know: Is there any question that no one asked you before, and you would like someone to ask it from you?

(laughs) This is a really good question. I did so many interviews and now I had to think this over for a moment. Nobody asked me, actually nobody knows that I was a really good football player when I was young, and I really wanted to become a professional player. And nobody asked me about that! When I was getting older around 15-16, the partying started and then my career as a football player was over.
But concerning the music and singing, I think if you asked me that question at the moment, I would have to call you back in two hours maybe. (both laughing)

Thank you very much for the interview Gerre, have a good time with Tankard and put out some more albums because we are curious about you!

We will, thank you very much! Just so you know, we hope to go back to Hungary one day. Thanks for the support and have a nice evening!

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

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

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

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

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

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

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

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

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


[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 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.


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).


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!]


“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!