The submissions are now open for the CANADIAN METAL / HARD MUSIC ALBUM OF THE YEAR.
Last year only a very small percentage of eligible Canadian Metal bands submitted an entry to CARAS to be considered for the award. I’d like to see that number increase.
As a fellow Canadian Metal fan I’m writing to you to ask you to consider entering your album into this years competition. The process is simple. The following is taken directly from the Juno Awards web-site…
In order to be eligible for a 2016 JUNO Award your music must be released between September 1, 2015 and November 11, 2016. Your music needs to be available for national retail sale either in stores or online in Canada within this period.
If you’re actively participating in the Canadian music industry and plan on making a submission then a CARAS membership is a great option. Along with your discounted submission rates, you will receive voting privileges on 13 JUNO Awards categories, discounts on JUNO Awards ticket packages and more!
According to my research there are over 300 eligible bands this year (that have released albums between Sept 1, 2015 and Nov 11, 2016) and it would be fantastic to show CARAS the wide range of talent, creativity and skill in the Metal community in Canada. Please consider submitting your album to represent the best of Canadian Metal!
Beasto Blanco, the band fronted by long time Alice Cooper bassist Chuck Garric, will release their self-titled, full-length second album on November 25, 2016 via Rat Pak Records. Beasto Blanco is the follow up to the bands critically acclaimed 2013 release Live Fast, Die Loud (Rat Pak Records) which was endorsed by the likes of movie actor Johnny Depp, Iron Maiden drummer Nicko McBrain, producer Bob Ezrin, and many more. The effort, which was produced by Ryan Greene (Alice Cooper/Lita Ford/Mr. Big), features 11 new tracks and an amped-up cover version of Alice’s hit song “Feed My Frankenstein” that also features Alice’s daughter and fellow Beasto band mate Calico Cooper. The album is currently available for pre-order via Rat Pak Records website at: http://smarturl.it/BeastoBlanco16.
The first single from Beasto Blanco, the band’s version of “Feed My Frankenstein,” can be heard on the “Nights With Alice Cooper” radio show, which is syndicated on over 100 stations worldwide. The song can also be heard at 15,000 AMC, Regal, Cinemark and NCM movie theaters in the United States throughout the month of November.
Influenced by bands such as White Zombie and Motörhead, Beasto Blanco’s all new 12-song, sophomore release is a potent mix of heavy riffs, driving bass and melodic choruses. “I’m very proud of this release” says Chuck Garric, “This new album showcases the bands evolution as songwriters and our unity as a musical force” and Calico Cooper adds “This record is like a baseball bat to the chest that you want more and more of“.
The track listing for Beasto Blanco is:
01. Buried Angels
03. Feed My Frankenstein (Alice Cooper cover)
05. Death Rattle
06. Dark Matter
08. I Rise
09. Machine Girl
11. Blind Drive
Beasto Blanco will embark on a 2016/17 Fall/Winter tour starting in November, that includes a string of U.S headline dates, as well as an arena tour of Europe with German Hard Rock heavyweights Boshe Onkelz. They return home to the U.S for another run of headline dates that will conclude with performances on the 2017 Monsters of Rock Cruise in February.
A Casual Guide To The Music Of Original KISS Guitarist Ace Frehley
As “Spaceman” Ace Frehley became one of rock’s most revered and entertaining guitarists with KISS from their formation in 1973 to his departure in 1982 plus his reunion with the band in 1996 until 2002. Frehley has also had a successful solo career with his own band Frehley’s Comet and under his own name. It is widely thought that his 1978 debut solo album is the best of the original KISS self-titled solo albums. His solo career is the most high profile of all the musicians that have performed in KISS.
This is not specifically a book on KISS but of course references to the band are plentiful. The first part of the book offers a potted history of Spaceman’s career from his upbringing and musical tastes and influences to the formation of his earlier bands and first meeting Gene Simmons and Paul Stanley. In the second half of this book you’ll find a wealth of information on Frehley, from a timeline of important events and releases, to a discography, trivia, reviews, influences and words from the man himself as well as some thoughts on his music from fellow rock scribes. It’s a handy little book that will sit comfortably on the bookshelf next to fellow books on other world class rock guitarists.
From the author of books on Paul Stanley, Richie Sambora, Brian May and Joe Perry, Space Invader celebrates Frehley’s musical legacy. Also included are previously unseen live photographs of this awesome American guitar rock icon.
Space Invader is essential reading for KISS and Ace Frehley fans.
NEIL DANIELS is the author of respected biographies of Judas Priest, Metallica, Iron Maiden, AC/DC, Bon Jovi, Journey and Pantera. His books have been translated into over a dozen languages. Visit his official website atwww.neildanielsbooks.com
One of the most significant news items from the metal music world has been Mike Howe’s return to the ranks of Metal Church. Howe originally joined the band in 1989, replacing the original vocalist David Wayne. The revised lineup released albums BLESSING THE DISGUISE (1989) and THE HUMAN FACTOR (1991) which are still the band’s most successful albums to date. HANGING IN THE BALANCE followed in 1993, but it was less successful than its predecessors. New music trends, politics, and wrong decisions led to internal conflicts and as a result, the band broke up in 1995. Metal Church was re-established in 1998. The line-up was the band’s original members, the same line-up which recorded Metal Church’s first two albums in mid ’80s. The band released the album MASTERPEACE In 1999. However, the line-up did not last for a long time together. With the exception of Kurdt Vanderhoof, the line-up fell apart one after another. Vocalist Ronny Munroe replaced David Wayne in 2001. The band released four albums with Munroe before he unexpectedly left the band in fall of 2014. The future of the band was once again at stake. In April 2015 the band announced that Mike Howe had returned after more than a 20-year hiatus. The band’s eleventh album XI saw the light of day in March 2016. In August, the band arrived in Finland and performed in Porispere festival. There, I got a chance to sit down with Mr. Howe. We discussed about his return, the past and the future… Read on!
Hanoi Rocks will see their early albums compiled into two collector’s edition box sets, one a 5CD set and the other a 6LP vinyl set, both to be released by Cleopatra Records. Entitled Strange Boys, these collections offer the band’s first four studio albums, plus the live album All Those Wasted Years! These are the complete albums and include several of the group’s signature tunes, such as “Tragedy,” “Motorvatin’,” “Don’t You Never Leave Me,” “Malibu Beach Nightmare,” “Back To Mystery City” and a ton more! These gorgeous sets re-create all of the band’s original artwork and come with a glossy full-color booklet, which contain rare photos and extensive excerpts from the band’s official biography, All Those Wasted Years, which will be released for the first time in English this year!
Hanoi Rocks was formed in Helinski, Finland in 1979 by Michael Monroe (Matti Fagerholm) and his friend, guitarist Andy McCoy (Antti Hulkko). The band saw major success in the early ‘80s, having sold over 1,000,000 albums while touring the world. However, heartbreak struck the band when drummer Nicholas “Razzle” Dingley was killed in a drunk-driving accident after a day of partying with fellow glam rockers Mötley Crüe. Hanoi Rocks broke up a year later in 1985, only to resurrect themselves in the early ‘90s with a reunion tour and several more studio albums. Now, decades later, Cleopatra Records keeps the legacy of Hanoi Rocks alive with this superb reissue that fans will absolutely love!
2. Village Girl
3. Stop Cryin’
4. Don’t Never Leave Me
5. Lost In The City
6. First Timer
8. 11th Street Kids
9. Walking With My Angel
2. Don’t Follow Me
4. Teenangels Outsiders
5. Sweet Home Suburbia
6. M.C. Baby
7. No Law Or Order
8. Oriental Beat
9. Devil Woman
10. Lightning Bar Blues
11. Fallen Star
1. Love’s An Injection
2. I Want You
3. Cafe Avenue
4. Nothing New
5. Kill City Kills
6. Self Destruction Blues
7. Beer And A Cigarette
8. Whispers In The Dark
11. Problem Child
12. Dead By X-Mas
1. Strange Boys Play Weird Openings
2. Malibu Beach
3. Mental Beat
4. Tooting Bec Wreck
5. Until I Get You
6. Sailing Down The Tears
7. Lick Summer Love
8. Beating Gets Faster
9. Ice Cream Summer
10. Back To Mystery City
2. Oriental Beat
3. Back To Mystery City
5. Until I Get You
6. Mental Beat
7. Don’t Never Leave Me
9. Malibu Beach Nightmare
11. 11th Street Kids
13. Lost In The City
14. Lightning Bar Blues
15. Beer And Cigarette
16. Under My Wheels
17. I Feel Alright
18. Train Kept A Rolling
Death Metal lives and well as the Finnish death metal squad Morbid Vomit proves that fact. The four piece debut album DOCTRINE OF VIOLENCE is a tremendous great slap of the brutal death. The album presents the brutal, but still sharp and tight death metal at its finest. Therefore it was about time to have a chat with the frontman of Morbid Vomit Ville Ryöti.
Interview and photos by Arto Lehtinen
Good day whats up in the Morbid Vomit camp at the moment
Good day! The summer is over and we are working hard on new material!
THE BEGINNING OF THE BAND
Morbid Vomit is relatively a newcomer into the death metal genre as some readers may be unaware of how the band got started out. Could you shed some light in a nutshell how the band got together ?
The band was formed in early 2012. Me and guitarist Löndgren played in a band called The Zombi for many years and after when that band went to a long hiatus, we decided to form a new band of our own.
When Morbid Vomit crawled out of the cellars to the wider public, due to the name of the band people didn’t know if a real band or what, therefore I can’t help asking if you come up a name with the tongue-in-cheek or was it more like carefully planned ?
Well, at first the idea was to record really lo-fi tunes just for fun and release only tapes and such. To match that kind of style, we needed a really stupid name. Mörbid Vomit was the dumbest we could come up with. We had other ideas such as Bestial Goat, Evil Vomit etc. but Mörbid Vomit just rolls out of your tongue. When the first songs came together, they turned out to be too good to be wasted with a shitty production to be collecting dust in some pile of cassettes so we decided to go for a more professional approach, yet keeping the cringeworthy name.
All of you have an extreme strong background by playing in other bands, what kind of lesson have you learnt from playing in those bands ?
Personally, I think I’ve learned to stay more focused on the goals we have and to demand a group that functions very well all together. Nothing big happens quickly so it takes time, patience and effort and trial and error to get things going.
The drummer decided to quit and published the official statement regarding his departure, I assume there were some personal issued inflaming the situation in the band, but what kind of brotherhood and bond do you need to share between the rest of the guys to keep the band going on ?
We’ve had a few line up changes but now we have a solid group where everyone has their own place. Humor is one of the most important things when it comes to playing in a band, for us at least. The chemistry comes from (stupid) humor and sharing the same kind of passion to the music we make. It doesn’t matter how good you are with your instrument as long as the chemistry is there.
As far as I know you have found a replacement ?
Yes indeed. Our drummer Köhäri joined the band in January 2016. After our original drummer Ristöla left the band (or was kicked out of the band), mr. Aki Kuusinen from The Zombi & Pain Confessor played as a session drummer for us. He also played drums for our debut album, “Doctrine Of Violence”. He never was going to join the band as a full member and after his scheduals got really tight, we found Köhäri to be a full member behind the drumkit.
Morbid Vomit is known for sporting with the blood covering all over your bodies, I can’t help if the purpose on having the bodies entirely covered by blood is to have one kind of shocking value or is it more a visual or theatrical aspect ?
I guess you can’t shock people anymore these days but we do it for the visual aspect. We want to look as we sound so you get the full package when you come to see us live. It gives that extra something for the shows and for us it’s a ritualistic thing to do before every show. Not in a “satanic” ritual way but every member needs to suffer through that shit, haha!
When you started the band – did you already know as the name of the game is going to be brutal death metal with the certain grip, or did you have to find a suitable way of having the right sounds and approach ?
We only knew that we wanted to play death metal. We didn’t have any material written when the band was put together and the music just came out in that way quite naturally. Of course it’s influenced by Bloodbath and Entombed and other Swedish death metal groups but we didn’t have anything planned out before hen.
NEW DEADLY HYMNS
The debut album titled DOCTRINE OF VIOLENCE saw the light of day in 2015, therefore presumably you may have laid down some riff and ideas for new songs How will the newer songs differ from the songs on the previous outputs ?
The songs have more variation, I hope haha! I think that Doctrine Of Violence is a good start for us but listening to it now, for me it sounds fucking dull and repetitive. So there’s an issue to be fixed for the future releases. I don’t want to go any details yet but I’m excited for the new songs and all the shenanigans happening there.
What are the priority things in writing of new deadly hymns of Morbid Vomit – catchy riffs with brutal hooks or suitable lyrics ?
It is a compilation of all of those things. The music must be brutal. Our music is a mixture of ballcrushing riffs and sinister melodies. We want every song to sound like an anxiety attack and a total collapse of everything you ever loved. The lyrics need to fit to the music, it is very important for us.
Do you view writing new tracks is a little bit of the challenging as the debut album got extremely good respond and received ultimate positive feedback all around ?
We are very happy for all the positive response of the first album but it doesn’t affect our state of mind when working with the new material. Doctrine Of Violence was a learning experience in many ways and now we are on the next level when it comes to making an album. The biggest challenge for us is to satisfy the other members when we make music. It is a cliché but we don’t really care what others think or may think of us so that drops all the pressure-issues. As long as we are satisfied as a band and the songs are fun to play, we go with that.
How do you usually bang songs together ? Do you create the platform with ideas for songs on your own and as a band they rehearse to reach the ultimate pleasing brutal sounds ?
First album was almost completely composed by our guitarist Löndgren because I was too busy being drunk and fucked up all the time. The way it works is that he makes a song structure at home, records it with Drummer etc and sends us the file. After that we rehearse it as a group in our rehearsal place where the song usually progresses with ideas from everyone. So everyone still participates, it doesn’t matter who comes up with the basic structures. They all change anyway when we get to rehearse the song.
DOCTRINE OF VIOLENCE AND RESPONDS
As stated above DOCTRINE has got really good respond, but were you in a way or another surprised to see those reaction or did you somehow expect to have highly ranked feedback ?
I was surprised yes. Of course I hoped that people will like it but I didn’t expect it to be selected as “album of the month” anywhere and to get all those high reviews. It feels good in my tummy.
Were you aware of the frontman of Black Dahlia Murder had named Doctrine Of Violence as a highlighted album by saying “The vocal is really strong and very striking… dude has a really big voice that just booms… you can’t ignore it. He drills those lyrics right into your head. This disc grabs you from second one… right out of the gates and you’re off to the races. “ and have you received other interesting praising comments from so called wellknown band ?
Yeah, we are aware of that and we appreciate Trevors promotion! We haven’t heard any other so called public praises from any known people but it’s great that many people seem to like what we do.
Was it an easy going process to create the lethal output pleasing especially yourself totally ?
The process was quite a struggle, to be honest. Löndgren had quite a burden to write the material alone as I wasn’t helping at all because of my drinking. But as said before, the songs found their completion at our rehearsal place but I guess it was quite stressful for Löndgren to make the album happen. In my defence, I wrote almost all the lyrics and made the vocal patterns but those times were quite dark for me at least. The recording process was painful as hell too. Things kept going wrong all the time and we had huge issues with the guitar sound and guitar tracks in general and we end up rushing everything to get it done, including the mixing process. At one point we didin’t even care anymore, we just wanted the album to finish and to be released in time. We sure know what to differently next time.
Do you think you could go over the top with the lyric and push the boundaries or has the peak what comes to brutality and barbaric raw in lyrics been reached ?
Yes. Doctrine Of Violence has some good moments on the lyrical side but I have lots of stuff to say in a very brutal way. Doctrine was supposed to be a theme album but actually it is not. All the lyrics are about killing and violence in general but it has no direct theme connecting the songs. I have no clue about the next album, will it be themed or not but I can guarantee that the lyrics will go under your skin and make people feel sick and disgusted.
As far as the lyrics are concerned, they mostly deal with the violent issues, where do you usually get the inspiration to write about ?
Everyday life is a huge inspiration. For example when I’m walking down the street, it usually takes minutes until I’m fantasizing someone to die or smash his/her face in. Also human species in general is an inspiration to write violent lyrics. That’s what we do best, act violently. Religion is also a huge pet peeve of mine. I go crazy even having a thought about it. Around 80% or so of earths population are somewhat religious. It’s fucking amazing. People living their lives to some ancient bullshit book. But well, that’s an inspiration from frustration to write the way I do. I also look up on serial killers and mass murderers, that takes balls to do what they do and I can’t blame them, we’re all scum.
As far as I know you are influenced by Richard Dawkinsin ja Lawrence reflection their thoughts in your writing, right ? Could you tell a bit more about this ?
Nice one! Yes, I am influenced by Dawkins and Krauss and also Sam Harris but it’s not that direct. The influence comes mainly from a scientific (and factual) view that we have absolutely no meaning to exist in this vast cosmos. It’s all random events that brought us where we are. Of course we make our own meaning blah blah blah. We are all meaningless scum. Period.
AND DEATH METAL REIGNS
What is the biggest improvement in terms of playing and creating new songs in the band since you started out in 2012 ?
The biggest thing is that now we know what we sound like so the song writing should be less difficult. It’s also liberating to expand our style to different directions, of course keeping it in the genre of death metal. Our chemistry is stronger than ever and now when the first big step is taken, it’s time to take a bigger leap towards our new adventures with the second album.
Do you think there is a huge demand for Death metal nowadays in Finland and in general how do you view the current state of the Finnish death metal genre and which bands would you like to recommend people out there to check out ?
I don’t follow the “scene” so I’m not sure how Death Metal is doing in general. There are lots of death metal bands though but only few of them are good. We do have death metal oriented festivals and they seem to be doing great, which I am happy about. If I was to recommend something, definitely check out Torture Killer, been a huge influence for us too.
Before concluding the interview, could you name five albums having an major influence on you ?
– Judas Priest – Painkiller
– Rainbow – Rising
– Pantera – Cowboys From Hell
– Cradle Of Filth – Cruelty And The Beast
– Cannibal Corpse – The Bleeding
I thank you for the interview and the last words are yours.
Thank you for interviewing! Hail to all who has ever supported us in anyway. Please follow us on Facebook to get the latest news and tour dates and listen to Doctrine Of Violence on Spotify. As Shinnok says, DEATH TO ALL.
The Brazilian death metal horde Rebaelliun’s brutal and raw, yet the technical grip, death metal is such mauling and crushing that every death metal fan should fall on their knees. Even though the band was on hiatus for about 13 years, there is no piece of evidence of getting rusty or slowing down. The most recent album HELLS DECREES is without any doubts one hell of brutal output indeed. Metal-Rules.Com talked to the band’s guitarist Fabiano Penna about the new album and the past the present and the future.
Interviews and pictures by Arto Lehtinen
Good day down there in Brazil, how’s it going at the moment?
Hey there! Things are fine over here, last week we played here in São Paulo to support the release of our new album here and it was killer.
THE HELL’S DECREES being the third album of Rebaelliun, the previous album came out back in 2001, well I can’t help asking what you see the main different between those albums as the time has flown a little bit?
I think that the spirit is the same. Extreme Death Metal, fast and furious. The main difference is that now the song writing is more mature, we’re able to sound intense and extreme with less efforts, let’s say. The playing is also in another level, it’s almost 15 years later and we all developed better as musicians during this time. Band is tighter and cleaner. And the album is heavier than our first albums as well, due to a lower tuning and the song writing itself again.
When you started working on The Hell’s Decrees, how long after the long hiatus did you have to find the right balance in the writing and the composing to have all the songs finished for the album?
Well, we had a very tight schedule. We announced the band one day and a few days later Hammerheart Records offered us a deal where we should have to deliver a new album in 7 months. We started from zero, from nothing. So there was no time or chance to find any balance, I wrote the first song (Dawn of Mayhem) a couple of weeks after we announced the album and I just kept writing music until we had the 8 tracks for the album. Of course I did some pre production in my home studio and tried out a few different things here and there, but the fact is that we did not have time to think too much. I just realized the quality of the stuff after it was recorded, mixed and mastered. And I really enjoy it, to be honest.
Did the recording process of The Hell’s Decrees go smoothly or did you face any unexpected challenges while recording the material for the album?
I work producing bands in Brazil on the last 10 years, more or less. I know the shortcuts to get a good performance in studio. I mean, when writing the music – this time I wrote the whole album – I avoided anything too complicated for my playing at this moment, I tried to use material that would be comfortable to play in studio and live. The same for drums. I wrote the drum lines in the demos and showed to Sandro. The stuff that was too hard for him to play and that would demand time to be played well, we just cut off and changed for good lines for his own playing. I believe that this concept of ‘playing well’ has more to do with playing comfortable than playing a lot of notes. That’s my concept.
I assume you sat behind the producer desk, did you mainly take the main control over mixing and recording of the album and observer every detail went as planned?
Yes, it was a very stressing process, I assume. And mainly because the schedule was too tight, so we did not have the luxury to make any mistakes. I had less than 10 days to mix the whole album, the mastering was already booked in another studio and I could not change the dates. So I had to pay attention on the first track I mixed to get the right sound on the first couple of days, otherwise it would become a hell for me to deliver the album in time. During recordings I believe that things went well most of the time, the experience in studio and producing help a lot.
Is it the easy flowing and easy process to work with the guys after these years to get the songs completed?
This time the process was completely different than in the past: I wrote all the music and Lohy wrote all the lyrics and the vocal lines. And it worked very well. We changed a few parts during the few rehearsals we could make before recording – we rehearsed only 8 times before starting the recordings – and also we changed a few vocal lines in the studio during recordings. But as I said before, it was a very ‘straight’ process, we wrote the stuff, recorded it and it was ready, we did not think too much about it…
As for the title of your new album, “The Hell’s Decrees”, does it describe the content of the album, the brutality of the songs and other things?
Yes, it does. The title reminds one of the songs from our first album, Burn the Promised Land – the track Hells Decree. The whole conception talks about a decadent and chaotic world, something like how the world should be and look after the annihilation we talked about in our previous album from 2001.
REBIRTH OF REBAELLIUN
As for the rebirth of Rebaelliun, well how did this come about after all?
During these 15 years, there was several moments that the subject came to us. Sometimes when we met, sometimes a friend who talked about, etc. Last year a very close friend of us in Brazil, who had produced some shows of Rebaelliun back in 2001, offered us a small tour in Brazil, like a reunion, in the main cities, for the new Death Metal fans that could not watch the band live at that time. We
thought it was an interesting idea, but to prepare a decent show it would take months of rehearsing, etc. And we all live in different cities nowadays, it would cost a lot of money to prepare this show. So we started thinking about maybe recording a new album and then playing the shows, and then we assumed that we could give a chance to the whole project again as a band itself, not only a reunion. And here we are…
When you started putting Rebaelliun back together after 13 years, was each member willing to start the band again or did you have to talk about the band’s future and solve some personal issues?
Again we did not talk too much. I believe that most of the personal issues are in the past, we all are different people nowadays, with different experiences and so. Of course we still have problems, everybody does, but I believe that we’re more able to deal with that today. It’s not perfect, but we’ve been able to travel, to play live, to promote the band, to work on the music we love. That’s what matters in the end.
Did you firstly do a try out rehearsal to figure out how the playing works out or did you find the chemistry immediately?
The very first rehearsal was great. I mean, the last time we were all together in the same place had been in 2001, and then we were in a rehearsal room again, in 2015. It was like a jump in time, you know? And we started the rehearsal just like we did in the past, playing Morbid Angel’s Day of Suffering to warm up, and it sounded great. Then we started working on the new stuff. Great memories of that day…
When did you actually start thinking seriously about going back to the studio and recording the next Rebaelliun album?
We announced the band one day, the day after Hammerheart Records got in touch and offered us a deal. At that moment we already had a lot of offers to play live in Brazil, it looked like everybody wanted to organize our ‘first’ show after so long. Then we realized that we would have to work hard from that day on, and that’s true, it’s been 16 months and I still didn’t stop one single day… And I love that.
The first two albums came out on Hammerheart as well as The Hell’s Decrees, how come did you decide to stay on Hammerheart – did you have some commitments to fill up the deal or did other labels try to get you signed?
We didn’t even try other labels, they offered us a good deal, we had a good experience with them in the past and we just thought it was the best thing to do.
How much do you give the credit to the staff at Hammerheart for working for the third Rebaelliun album regarding all the promotion, so on and what they have done for you so far just to get the band’s name back on the map of the extreme metal scene?
I think they’re doing great. The album got great reviews in the main publications in Europe, we’ve got tons of interviews, there was a good support for the shows we did in Europe last August. It’s doing good so far.
The solos have been the important factor in the Rebaelliun songs slightly reminding me of Trey Azagthoth’s relentless solos, obviously you are a bit influenced by Azagthoth’s guitar works and inspirited in your own solos?
Yes! Morbid Angel has been our main influence, with Slayer of course. Both bands always had great guitar solos and so we just used this same conception with Rebaelliun. I believe that today I’m more focused on song writing than on shredding to be honest, and that’s related to music listening and music producing. But we will always have guitar solos in our music, it’s almost a trademark we created for ourselves and there’s a lot of people waiting for this when listening to our music.
In general how do you usually start creating new songs for Rebaelliun?
Since I work producing bands and also writing music for short movies and animations, I start things right on the computer with some conception in mind. At least I have the tempo of the song in mind, then I start to try some riffs in this tempo using a metronome and the ideas start to happen. But I’m a lot dependent on the computer, I record the riff and I have to write the drums right after that to check how it sounds. In the old times I was used to record riffs in a cassette and show them to Sandro a few days later, and then in a rehearsal I would check how it would sound the whole idea – guitars + drums. Nowadays I do this in my home studio and already know if it will work or not. I believe most of the song writers in Metal work like this nowadays.
Could you unveil a little bit about the lyrics what they deal with?
The whole idea is to be a continuation of Annihilation, lyrically speaking. After the world as we know it was annihilated, what do we found? A very chaotic atmosphere, no laws, no rules, some radical cults and religions arising and this dangerous environment. That’s the ‘scene’ we had in our minds while creating the new album.
Has it always been an easy step for you to set yourself into a songwriting mood? Or do you first have to find yourself in some specific state of mind and feeling before your songwriting get its sharpest edge?
That’s a good question. As I said before, on the last years I started to write music for movies. Nothing big, but some Brazilian shorts, lots of animations (for kids mainly) and music for advertisements as well. When you work with music for demand, as it is called, you have tight schedules and very specific requests from directors. And so you discipline yourself to write the music they need in the time they have. This is a fucking excellent exercise for people who write music, because you depend less and less from what’s called inspiration. And you find out that most of the music genius we know today, they wrote a lot of music every day (for demand too) and that it rarely depended on inspiration, because they had schedules too. I mean, you learn how to write music more quickly and from time to time you end writing something ‘more special’ than the rest of the material.
When Rebaelliun went on the long hiatus, you formed another band called The Ordher, could you consider having two bands at the same time? Or is The Ordher permanently dead and buried for the time being?
Yes, I formed The Ordher in 2005 and until 2010 we worked quite a lot, it was a very interesting project. The good thing about The Ordher is that it was a trio and I had to trust 100% on my guitar playing and also on my music writing, because it depended only on me. Nowadays I’m completely focused on Rebaelliun, sometimes Brazilian bands offer me to be a session member for shows and I could not get any proposal till now, but if it happens in a good time, why not?
Did you have any so called leftover material or ideas from the era of The Ordher used or modified for Rebaelliun’s songs?
Not at all. We quit The Ordher in 2010 and as far as I can remember, I had no idea about what to do concerning a new album at that time. But I have listened mainly to the first album on last weeks, there’s a lot of good ideas there that maybe can have some impact on new Rebaelliun songs, maybe…
SHARING THE STAGE WITH OTHER BANDS
You have played in several places and with several bands, I can’t help asking which bands bands you especially would like to make a tour or played together with?
That’s a though question. There’s this idea to have Krisiun and Rebaelliun together on stage sometime, we met the guys last week in our show in São Paulo and we again talked about that. That would be killer… And of course, if someday we could share the stage with Morbid Angel or Slayer, that would be a dream come true…
Taking a quick glance at your gig calendar, I paid attention that you have some one-off gigs booked, did single shows in Brazil and of course a short visit to Europe. Well it seems like there’s no extensive tour in sight yet, so what’s the latest news from that front? Is there a headlining or co-headlining tour of Rebaelliun planned?
Yes, we have played every month since April, when we played our first show. In Brazil it is really hard to have a long tour, playing every day, it’s almost impossible. The distances are too big and you’re only able to play during the weekends. But that has worked for us, we played already in some of the main cities, some of these shows being in important festivals, it’s being good. The mini tour in Europe was fucking great, specially both festivals we did, Party San and Brutal Assault. We’re planning a long tour in Europe for next spring, but it’s not fixed yet.
In what kind of places do you usually play in Brazil and South America in general and with whom?
We played in some very famous festivals over here like Abril Pro Rock or Matanza Fest and also in underground clubs. For us it does not matter how big it is, we really love to be on stage and we get the same energy for both situations. We have shared the stage with several Brazilian bands such as Funeratus, Queiron, Ancestral Malediction and many others.
THE NEXT ALBUM ON THE WORK ?
Do you view Rebaelliun will be pushing and stretching musical boundaries again when it’s time to record the next album or do you view Rebaelliun will follow the path of the brutal death metal?
I have thought a lot about that lately. Specially because I already started writing new material. I’m always inclined to keep writing the same kind of riffs I’m used to, this kind of riff that it’s the sound of Rebaelliun. But I know how important it is right now for us to include different elements in our music to make it more diverse and interesting, for ourselves and for the audience. Right now I would say that I’m looking for more darker tunes for the next albums, I have listened more Black Metal than Death Metal on last months and it should have an impact on the song writing for the coming album…
Do you have working titles for some of the other songs that you may use for this forthcoming album and can you reveal any for the readers?
Not yet. Lohy will take care again of the lyrics and we just have talked about the way we should follow, but there’s nothing decided yet.
What other plans do you have for Rebaelliun?
Now that we don’t have close shows to play I will finally work on some other issues as launch our official web site, then a virtual store with all our merch items. We’re talking to an agency in Brazil to take care of our shows in South America in 2017 as well, I’m talking to an agency in Europe about a long tour next year, we’re writing new music and working on the Brazilian release of The Hell’s Decrees, which must happen before December.
I for one thank you for your time to do the interview and as usual, the last words are yours…
Many thanks for this great interview! For those who still don’t know, Rebaelliun is back since last year, we have a new album out called The Hell’s Decrees released this year thru Hammerheart Records and we’ve played live since then. You can look for more stuff on all social medias and hopefully we meet soon somewhere in the road. At war!!
12 October 2016
Finnish female fronted metal group, Evil Drive, have released a video for the new single of their, still untitled upcoming, second album to be released via Mighty Music worldwide on early 2017. The new video can be found below. Recorded, mixed and mastered at Äänilaitos studio in Kotka with Juuso Elminen (Domination Black) “Anti-Genocide” presents Evil Drive’s melodic metal reinforced by Viktoria Viren’s over-the-top growling with one of the tightest guitar sections in the scene. The video was shoot and filmed by the bands long time trusted man Tino-Viljami Vanhala . Viktoria Viren comments “Anti-Genocide has a totally different theme and feeling compared to our debut album THE LAND OF THE DEAD, which was all about the current world politics and war. The new track is about the history of the American Indians and about the fate they had to face when the white men came and took over their land”.
“Anti-Genocide” also presents the bands updated line-up which now features guitarist Juha-Pekka “J-P” Pusa who recently replaced the band’s original guitarist Niko Huusari. Ville Wiren comments “The new line-up makes the band sound better than ever. J-P definitely brings us a lot of new energy and ideas and helps the band to find a completely new level. We’ve finally found ourselves, our musical style and finally have access to all the musical tools we’ve ever wanted: strong growling vocals, two great guitarists, and a great rhythm section. We trust that our upcoming album will be a turning point for Evil Drive, and we are excited to be with Mighty Music for this new chapter”.
Evil Drive is a melodic metal band, founded 2013 in Kotka, Finland. The band was originally formed because the aim was to set up a band which has not previously been heard. All the musicians in the band, have a history in a number of different bands and different genres. The band has incorporated many different musical styles, leading press and fans to label them as melodic death metal with a twist of 80’s style thrash metal. But in fact Evil Drive’s sound is therefore the combination of all of its member’s musical history.
EVIL DRIVE 2016
Viktoria Viren – Vocals
Ville Wiren – Guitar
Juha-Pekka Pusa – Guitar
Juha Beck – Drums
Marko Syrjala- Bass
NEW RELEASE OF REVISED EDITION OF “AND JUSTICE FOR ART” BOOK
Title: “…And Justice For Art: Stories About Heavy Metal Album Covers” Author: Ramon Oscuro Martos
Publisher: Dark Canvas/Ramon Oscuro Martos Specifications: 264 Pages – 8×12 Inches – Full Color
Press Contact: email@example.com
A limited, revised edition of the out-of-print book …And Justice For Art: Stories About Heavy Metal Album Covers” has been released via indie publishers, Dark Canvas.
This one-of-a-kind collection of stories features more than 450 color graphics and recounts all the particulars behind the making of artworks as iconic as SLAYER’s “Reign In Blood”, METALLICA’s “…And Justice For All”, MORBID ANGEL’s “Blessed Are The Sick”, BLACK SABBATH’s “13”, DEATH’s “Symbolic”, CARCASS’ “Heartwork”, SLEEP’s “Dopesmoker,” TESTAMENT’s “Dark Roots Of Earth”, OPETH’s “Heritage” andmanyothers. Thesearetoldthrough105 exclusiveinterviewswithheavymusic’siconslikeJeff Walker (CARCASS), Charlie Benante (ANTHRAX), Max Cavalera (SOULFLY, SEPULTURA), Fenriz (DARKTHRONE), Sebastian Bach (SKID ROW), Paul Masvidal (CYNIC), Chris Adler (LAMB OF GOD), David Vincent (MORBID ANGEL), Travis Ryan (CATTLE DECAPITATION) among many others.
Additionally, the book’s Revised Edition also features new revealing commentaries by Dani Filth (CRADLE OF FILTH), Dave Lombardo (SLAYER), Kelly Schaefer (ATHEIST), Neige (ALCEST) and by critically acclaimed illustrators such as Michael Whelan, Eliran Kantor, Dan Seagrave, Joe Petagno, Arik Ro per and Travis Smith, just to name a few.
The first edition of this 264-color pages volume was first published in 2015, thanks to a successful crowd-funding campaign. The constant demand and the new available material motivated author Ramon Oscuro Martos, to create a new Revised Edition featuring additional interviews, commentaries and graphics.
“I didn’t want to just re-print the same book again,” says Martos—who writes for publications like MetalUnderground.com and Heavy Music Artwork magazine. “I had new material available. So, I decided to introduce some changes that definitely bring something new to the table while keeping intact the essence of previous edition. It’s still the same book… but dramatically improved and updated.”
“…And Justice For Art” has been reviewed by many specialized music publications including USA’s Decibel Magazine (“A lush, edifying, fascinating, surprising tour de force history of metal album covers”), UK’s Zero Tolerance Magazine (“Meticulously researched, beautifully designed and with a wealthoffascinatingandinsightfulinterviews”)andBelgium’sRockTribuneMagazine (“It’svery impressive, do not hesitate too long if you want to have this book”).
TheinternationalMetalcommunityhasalsoexpressedsupportforthebook. Forex-MorbidAngel frontman, David Vincent (who wrote the book’s foreword) “this is a historical document about the importance of Metal album covers.” Obituary’s drummer, Donald Tardy, comments that “the world needs books like this.” Cattle Decapitation’s frontman, Travis Ryan, says: “this is exactly what the music world needs to remind us all just how important album covers have been to all of us that grew up surrounding ourselves with physical media.” At The Gates’ guitarist, Anders Björler admits being “really surprised when I got this book; it’s highly recommended!”
Copenhell Festival 2016
23-25/6 – 2016
Live pictures and review by: Anders Sandvall
Guest contributor: Ulrika Henriksson
This year the Danish hard rock/metal festival Copenhell turned 7 years old. The festival has grown bigger and bigger each year and for the first time in their history, the three-day festival tickets were totally sold out. This year the festival played host to names like Alice Cooper, Scorpions, Megadeth, Trivium, King Diamond (performing the ABIGAIL album), Rival Sons, Entombed A.D, Amon Amarth and for the last time on Danish soil – Black Sabbath. If you’re curious about what happened during the three days of metal madness in the rain and sun then read on…..
Jason Becker is one of the world’s most precious talents and true warriors. Becker has written a full album of amazing music to be performed and recorded by many of his peers. This album will comprise of a few compositions that have been waiting for this moment to be recorded, to many new pieces recently written – To accomplish this, he needs your support! Be a part of this album!
Becker is giving out some the most kick-ass perks from T-shirts, signed CD’s, a signed guitar from Joe Bonamassa, to your name credited on the album.
Becker is considered a virtuoso guitarist and one of the top players of his time. He studied the works of violinist Niccolò Paganini and rearranged Paganini’s 5th Caprice, which Becker then performed this masterpiece during an instructional guitar video. Becker’s compositions often include high speed scalar and arpeggio passages—trademarks of his ‘shred’ style of guitar playing.
Jason Becker began his career as a Shrapnel recording artist by joining forces with guitar virtuoso Marty Friedman to form seminal progressive metal pioneers, “Cacophony.” Amassing worldwide acclaim as a guitar virtuoso, Becker came to the attention of David Lee Roth who he later joined and recorded one album with him, A Little Ain’t Enough. Becker’s performing career was cut short by Amyotrophic lateral sclerosis (ALS). In 1996, Becker lost the ability to speak, and he now communicates with his eyes via a system developed by his father.
This project is exactly the kind of record that the Jason Becker fans have been waiting for. Now YOU can be a part of his new project with just one click!
Legendary Motörhead guitarist, Phil Campbell, has teamed up with his sons Todd, Dane and Tyla, plus vocalist Neil Starr, to record their debut self-titled five track EP, which will be released via Motörhead Music on November 18, 2016. Today, the band released their first single “Big Mouth” via lyric video.
Produced by Todd Campbell at their own Stompbox Studios in Wales, UK, and mixed by Motörhead’s producer Cameron Webb, PHIL CAMPBELL AND THE BASTARD SONS loudly shoves you head-first into its raw, gritty, classic and instantly-accessible rock n’ roll charms. Whether it’s the speedy biker-charged refrain of “No Turning Back”, the crunchy catchy jump of “Big Mouth” or the beautiful, yet bombastic, balladry of “Life In Space”, PHIL CAMPBELL AND THE BASTARD SONS brings uniquely organic life and verve to every last riff and stomp, with Starr’s sensational vocals ensuring this EP will be the surprise of the 2016 rock n’ roll release calendar.
Stay tuned for more coming soon from PHIL CAMPBELL AND THE BASTARD SONS.
The band are touring throughout Europe and the UK for the remainder of 2016. The tour dates are:
Oct 18 Magasin 4 – Brussels, Belgium
Oct 20 Kulturfabrik Kohfmel – Solothurn, Switzerland
Oct 21 Campus iNDUSTRY – Parma, Italy
Oct 22 Druso Club – Bergamo, Italy
Oct 24 Proxima – Warsaw, Poland
Nov 4 The Scene – Swansea, UK
Nov 5 The Ironworks – Inverness, UK
Nov 6 Audio – Glasgow, UK
Nov 10 Bierkeller – Bristol, UK
Nov 11 FAC251 – Manchester, UK
Nov 12 Hard Rock Hell Festival – Pwllheli, UK
Nov 18 The Venue – Selby, UK
Nov 19 Kasbah – Coventry, UK
Nov 24 Boston Music Room – London, UK
Nov 25 Open Club Room – Norwich, UK
Nov 26 The Gateway @ Seaton Town Hall – Seaton, UK
Dec 2 Planet Rockstock – Porthcawl, UK
Dec 31 The Muni – Pontypridd, UK
Earlier this summer, Ohio’s AFFIANCE dropped a killer cover of Toto’s ’80s soft rock gem “Africa” (listen here). The band has returned with another Affiance version of a classic. This time, they offer up their take on Iron Maiden’s classic “Aces High.”
Affiance singer Dennis Tvrdik had this to say about his band’s Maiden cover: “This has been a long time coming, as we always knew we would cover a Maiden song. Bruce Dickinson is my biggest influence from my youth and I hope he feels we do the song justice.”
The band has dates overseas with Ice Nine Kills.
AFFIANCE ON TOUR
11/4 — Nottingham, UK | Rock City Basement
11/5 — Birmingham, UK |The Rainbow Cellar
11/6 — Bristol, UK |Thekla
11/7 — Cardiff, UK |The Globe
11/8 — Plymouth, UK | The Underground
11/9 — London, UK | Dingwalls
11/10 — Southampton, UK | Joiners
11/11 — Paris, France | Backstage By The Mill
11/12 — Arnhem, Netherlands |Willemeen
11/13 — Bochum, Germany | Rockpalast
11/15 — Hamburg, Germany | Indra
11/16 — Berlin, Germany | Musik & Frieden
11/17 — Wiesbaden, Germany | Schlachthof
FRONTMAN JOEL O’KEEFFE FALLS FROM STAGE, INJURES RIBS, DOESN’T MISS A BEAT
All in the name of rock!
While shirtless, sweaty, and soloing his way through the encore of “Running Wild” at his band’s September 22 show in Kamloops, British Columbia, Airbourne lead singer and guitarist Joel O’Keeffe suffered quite the mishap.
While feverishly headbanging and slaying his instrument, the frontman fell off the stage. While O’Keeffe escaped serious injury, he did break a few ribs and tore a few ligaments in his foot.
Despite taking a nasty tumble, O’Keefe finished the show, playing while seated in a chair.
The fall didn’t sideline the tough-as-nails O’Keeffe or his band. Airbourne haven’t canceled a single tour date nor do they plan to, proving that Airbourne have completely sold their bodies, minds, and souls to rock ‘n’ roll.
Airbourne’s Spinefarm Records debut Breakin’ Outta Hell is available now.
A limited, Revised Edition of the out-of-print book …And Justice For Art: Stories About Heavy Metal Album Covers”has been released via indie publishers, Dark Canvas.
This one-of-a-kind collection of stories features more than 450 color graphics and recounts all the particulars behind the making of artworks as iconic as SLAYER’s Reign In Blood, METALLICA’s …And Justice For All, MORBID ANGEL’s Blessed Are The Sick, BLACK SABBATH’s 13, DEATH’s Symbolic, CARCASS’ Heartwork, SLEEP’s Dopesmoker, TESTAMENT’s Dark Roots Of Earth, OPETH’s Heritage and many others. These are told through 105 exclusive interviews with heavy music’s icons like Jeff Walker (CARCASS), Charlie Benante (ANTHRAX), Max Cavalera (SOULFLY, SEPULTURA), Fenriz (DARKTHRONE), Sebastian Bach (SKID ROW), Paul Masvidal (CYNIC), Chris Adler (LAMB OF GOD), David Vincent (MORBID ANGEL), Travis Ryan (CATTLE DECAPITATION) among many others.
Additionally, the book’s Revised Edition also features new revealing commentaries by Dani Filth (CRADLE OF FILTH), Dave Lombardo (SLAYER), Kelly Schaefer (ATHEIST), Neige (ALCEST) and by critically acclaimed illustrators such as Michael Whelan, Eliran Kantor, Dan Seagrave, Joe Petagno, Arik Roper and Travis Smith, just to name a few.
The first edition of this 264-color pages volume was first published in 2015, thanks to a successful crowd-funding campaign. The constant demand and the new available material motivated author Ramon Oscuro Martos, to create a new Revised Edition featuring additional interviews, commentaries and graphics.
“I didn’t want to just re-print the same book again,” says Martos-who writes for publications like MetalUnderground.com and Heavy Music Artwork magazine. “I had new material available. So, I decided to introduce some changes that definitely bring something new to the table while keeping intact the essence of previous edition. It’s still the same book… but dramatically improved and updated.”
…And Justice For Art has been reviewed by many specialized music publications including USA’s Decibel Magazine (“A lush, edifying, fascinating, surprising tour de force history of metal album covers”), UK’s Zero Tolerance Magazine (“Meticulously researched, beautifully designed and with a wealth of fascinating and insightful interviews”) and Belgium’s Rock Tribune Magazine (“It’s very impressive, do not hesitate too long if you want to have this book”).
The international metal community has also expressed support for the book. For ex-MORBID ANGEL frontman David Vincent (who wrote the book’s foreword) “this is a historical document about the importance of Metal album covers.” OBITUARY’s drummer Donald Tardy, comments that “the world needs books like this.”CATTLE DECAPITATION’s frontman Travis Ryan, says: “this is exactly what the music world needs to remind us all just how important album covers have been to all of us that grew up surrounding ourselves with physical media.” AT THE GATES’ guitarist Anders Björleradmits being “really surprised when I got this book; it’s highly recommended!”