One of the most enthusiastic, fan-loving and intimate bands of our time; thanks to you, Mark “The Shark” Shelton! Your musical work is indescribable and your energy and nerves for playing live gigs and catching up with fans in the past few years is honourable. I am incredibly happy I had the chance to be present at your second last live concert at Chaos Descends. Rest in peace – if someone, you can be sure you’ll be missed!
The second issue of Metalegion Magazine, another exciting project I am contributing to is now out and ready to be purchased for the fair price of 6€ (printed version) or 0.99€ (digital version)! Besides lots of other highlights, the issue features my in-depth interviews with top acts of the metal scene like Running Wild or Sodom, a few reviews as well as an extensive festival report of the French Fall of Summer Festival 2017; written under the name of Estelle.
92 English-written, full colour pages + a 79 minutes Sampler CD covering metal bands from different genres ranging from Heavy to Brutal Death Metal: If this sounds good to you, don’t hesitate and support us by purchasing the magazine HERE!
We’re really thankful and will get to work soon with the third edition. Couldn’t be more excited! :))
Very happy birthday to the one and only Uli Jon Roth! :)
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!
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.
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.
ROLF UNVEILS… RAPID FORAY
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.
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?
I 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.
And 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.
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!
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.
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.
About 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.)
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!
Even though at first listen it seemed rather mediocre to me, Iron Maiden’s new album The Book of Souls started to grow on me right away. They changed and got even proggier yet managed not to disappoint this time either – personally, I even enjoy the new one better than The Final Frontier.
Let’s listen to this epic closing-track, the 18-minute-long Empire of the Clouds for example, Iron Maiden’s longest song to date. It’s so well-written that instead of getting bored the listener gets completely lost in the various gradually building melodies, slow and soft yet dynamic sections while not even noticing its length and getting the feeling of something satisfyingly complex and ‘whole’ at the end.
In Solitude – In Solitude (2008)
Review by Estelle on the 2nd of July 2015
First part of the In Solitude-review series as a tribute to the band after their break-up.
- In the Darkness
- Witches Sabbath
- Beyond is Where I Learn
- 7th Ghost
- Faceless Mistress
- Temple of the Unknown
- The Monolith
Genre: Heavy Metal
Label: High Roller Records
Date: December 22nd, 2008
Pelle Åhman – Vocals
Uno Bruniusson – Drums
Gottfrid Åhman – Bass
Mattias Gustafsson – Guitars
Niklas Lindström – Guitars
The five-piece Swedish heavy metal band In Solitude (formed in 2002, split up in April 2015) is one of the few bands I can think of who have three albums out, all of them showing a different side of theirs yet each being fully characteristic, representative and outstanding in their own way. On their debut In Solitude the band put the stress on instinctiveness, catchiness and simplicity – very much to fans’ delight.
As album-opener In the Darkness strikes, the first thing our ears spot is the odd, drawling, low-pitched voice of Pelle Åhman – then come the simple yet fresh, well-written and catchy riffs that keep flowing and flowing through each song until the very end, taking over the lead and turning out to be the most important component of the record.
The album consists of melodically complex songs with mesmerizing tunes in the veins of 80s heavy metal, surrounded by a great deal of mistery and obscureness. Even though In Solitude is a far cry from a ‘copy-band’, we cannot ignore the obvious Mercyful Fate/King Diamond influences both appearing in the vibe, melodies and lyrics of the album (e.g. Witches Sabbath). The lyrics include occult, otherwordly, mystical themes with no signs of irony or silliness, keeping the listener from not taking them seriously.
Everything fits together astonishingly: the ominous voice of Pelle, the harmonized instruments, the strange yet matching combination of the energy and freshness and the misty, gloomy atmosphere. To my great surprise (as I’m personally not the largest fan of modern sound), on the Swedish guys’ debut even the clear production is appropriate as it gives an edge to the dark, cold, haunting tone of classic heavy metal In Solitude managed to capture perfectly, making the Mercyful Fate-like gruesomeness come alive.
Everything is cohesive, natural and straight to the point – not a hint of desperation or artificialness, no ballads, no useless experimentation; instead vivid riffs, meaningful lyrics, innovative power, non-repetition and a massive amount of passion. It all sounds so effortless that we can question ourselves why no one came up with as brilliant ideas in our days as the ones In Solitude present on their debut.
By means of the lively riff-flow throughout the songs kept interesting by the tempo changes, In Solitude turns out to be an album which is catchy, easy to get into and to digest and is still absolutely enjoyable.
If you were asking yourself where the good albums are nowadays or if you simply need an authentic, exquisite cut of first class heavy metal: you have found what you were looking for.
Outstanding tracks: Witches Sabbath, Kathedral, Temple of the Unknown, The Monolith
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
2. 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
3. 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
4. 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
5. 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
6. 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
7. Nocturnal Witch – Summoning Hell
Bestial German black/thrashers rising with their first album. I’d say it is worth buying.
Nocturnal Witch – Black Star
8. 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
9. 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
10. 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
Nocturnal – Rising Demons
Now where do we go?
No chains & leather for 70s Priest.