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More Metal

2013-04-03T23:16:00.001-07:00

I created a website. It went to shit.
I wrote for a few webzines and magazines. Some of that went to shit too.
Though, I miss blogging. I miss posting "real" content.
I forgot how to blog so bear with me.

Go tell your metal head friends that this blog is up (again) and (almost) running!

Yours in metal,

LAST POST

2012-10-05T05:32:00.000-07:00

Dear Air Guitar Metalheads,

Thank you for your patience, support and unwavering devotion to metal music!

Air Guitar Blog is expanding to make sure that we include EVERYTHING that heavy metal music has to offer. It is more than just about the music that we love. Heavy metal is about a culture, a lifestyle and an identity. Air Guitar Blog will represent just that! That which makes us proud Metalheads!

Unfortunately, that means Air Guitar Blog has to move domains, posts, contents, and design to airguitarblog.com

HOWEVER, we are currently under construction.

See you in ~~Hell~~ November!

Yours in metal,

Lav Nandlall

AIR GUITAR BLOG

REVIEW: ING (SOUTH AFRICA)

2012-09-29T11:21:00.000-07:00

ING - INGQUISITION

In South Africa, the bloody-mindlessness of politics is rife. Ask any citizen to explain the political dilemmas and you will get a list beyond infinity but ask any citizen to explain what they are doing to stop the political quandary – you won’t get any answers except a blank gaze and a mumble.

This is where the complainING stops and the investigatING starts. ING are one of the first South African English bands that address their lyrics directly to the political affairs of the nation. The Cape Town based band warped, bended and blended the local diplomacy with the familiar skills of thrash metal to create something undeniably unique. Today, 29 September 2012, marks the official release of ING’s second full-length album entitled Ingquisition.

The guitars and bass, aptly played by Darren Webb and Henk Kruger, screech and squeal with headbanging riffs on Ingquisition while the drummer, Marius Theron, compliment the not so clean singing vocalist and guitarist, Bryan Villain. Some tracks unfold with prowess and energy while other tracks feature infamous Cabinet voice samples. The highly charged atmosphere of the album is consistent and subsequently there are no breaks for a sweet melody or a lacklustre chug. The highlight tracks of Ingquisition are “Julius”, “Satan Rules”, “Ingquisition” and “My Way Or The Die Way”. A sense of the band’s enterprise comes through on the highlighted tracks and immediately the listener is drawn into the raw energy and can comprehend the theme of the lyrics. Villain’s vocals are not entirely clean singing but hold enough rhythm and vigour as well as a bit of a tainted South African accent. The high-quality production values really make Ingquisition the topping of blood on snow. It is independently produced with super studio clarity and razor precision is placed on composition and beat.

After a few spins of the thirteen track album, the impressive satire and skill of ING is apparent. The corners of a few tracks blend a little too much but the breakdowns add some fine stylistic variation. Each instrument is heard and what truly stands out is that no instrument is superior to the other. Furthermore, the track list runs fluidly and ING’s cut-out-the-fat approach to making an album is thoroughly pleasing.

What problems do I have with Ingquisition? None.

You can find ING on Facebook and on Twitter and on Reverbnation.

THIS IS MY METAL LIFE: BETH WINEGARNER

2012-09-25T05:07:00.000-07:00

BETH WINEGARNER

Picture taken by Carrie Breinholt

Beth Winegarner, writer, novelist, poet, mother, and proud Heavy Metal lover chats to Air Guitar about women in metal, backward messages and what the journalism field really is all about.

Let me first ask you, how and why did you get into journalism?

I was excruciatingly shy when I was young – to the point where I couldn't actually read or speak out loud if a teacher called on me in class. My parents tried several things to help me overcome my anxiety, including spelling bees and learning the violin, which required me to perform for small audiences, but it continued to be really difficult.

Around 13, I discovered writing. I started keeping journals and I wrote poems, and in the process I realized I had this really amazing, safe way of communicating my thoughts and feelings. I could bypass my shyness.

Then, in high school, I started taking journalism classes, which meant working on the school paper. I wrote articles, helped with page design, edited other people's work, and discovered that I was good at it. This was the latter part of high school, when the pressure was on to figure out what I'd like to study in college and pursue as a career. I loved writing so much, and journalism seemed like a smart way to use that passion and skill in a way that could support me financially. Of course, back then, I had no idea that the journalism industry might change so dramatically in the next 20 years!

You have written for many magazines, webzines and you are the author of several books – is there ever time that you feel ‘burnt out’? If so, how do you overcome it?

It's pretty rare that I feel burnt out, which assures me that journalism was the right path. I've had periods working for daily newspapers when I would get tired, or I was working on a series of stories that I wasn't so passionate about. But I get a lot of sustenance from journalism: the process of discovering facts and ideas, interviewing people and gathering information, and turning all that into something that's helpful to readers. There's so much variety to the work, it's tough to get bored or stuck in a rut.

Early on, I did get burnt out when I was trying to make it as a music writer – I had to write so much about bands that didn't matter to me, and I also discovered that I can't stand reviewing live concerts. I've gotten back into music writing now, but in a much more selective way that feels more sustainable to me.

I have read many of your recent articles but the one I always come back to is the superbly expressed “The Heavy Metal Witch Hunt Lives On” which was written for Popmatters. Why did you opt to write that article and what were your thoughts when doing so?

I'm so glad you liked it! In the course of blogging about metal regularly, I started to discover metal bands in other parts of the world, particularly in the Middle East and North Africa, where playing in a metal band can be a very risky proposition. I'd grown up during the PMRC years in America, and I knew how ridiculous it was when powerful people called heavy metal “evil.” But I thought the world had moved past it – and here were all these examples that proved it hadn't.

I was impressed by how dedicated those musicians were to creating and performing heavy metal music, even though it could get them harassed, arrested, or tortured. Emos and metalheads in Iraq were even recently killed. I wish their societies could make room for them. But their dedication says something important about heavy metal in general, and what it means to the people who love it. People who love metal love it fiercely, and that's something people worldwide need to recognize.

In your blog, Backward Messages, you debunk negative portrayals of teen interests and culture. Where did the concept of the blog come about and what has the reaction been like from parents and society?

Between 2007 and 2010 I wrote a book for parents about all the most controversial teen interests – violent video games, paganism, and heavy metal, and so on. Once I finished the book, I wanted to keep writing about those topics while I shopped for a publisher, so I started the blog.

I had originally hoped that the blog would be a resource for the parents of teenagers, but I'm discovering that the parents of teenagers don't seek out parenting advice or resources online; I don't know why. I know lots of folks with teenagers, and certainly some of them struggle with the challenges of parenting, but they seem to go it alone.

Still, the blog gets plenty of traffic – predominantly from people who are keyed into a particular issue. For example, goths comment on the posts I write related to goth culture. Or, if I write about a recent crime, friends of the suspect or victim will find my posts in a Google search and come over to talk about it.

I've had quite a few commenters who thought I was totally off my rocker for arguing that these various influences can actually be good for kids. But I've also had plenty more who thank me for posting about a particular issue that's dear to them, because it's rare to find someone who says, yes, Satanism can be safe and healthy! Or, don't worry about your kid playing Skyrim – unless it's for 48 hours straight, without getting up to pee!

Throughout your work, you are very strong and consistent in your discussions and arguments. What is the most valuable lesson you have learned as a journalist?

It's funny that you say that, because when I am making arguments or stating my opinions, I don't consider that work “journalism.” It's based on similar research techniques, but for the most part, I feel that opinions don't belong in journalism; it's a reporter's duty to collect and report the facts and let the reader make up his or her own mind.

But there are definitely times to show a side of the story that hasn't been told, to provide a kind of balance. In part, we need that because some journalists aren't doing their duty to remain as objective as possible. It's not just that they're telling only one side, but they're reporting faulty and poorly researched information, and even injecting their own (incorrect) speculation into their articles.

That said, I think the most important thing I've discovered has nothing to do with objectivity. As I said, I'm shy, so it took me a long time to work up the nerve to ask the kinds of questions that reporters really need to ask – the pointed questions about topics their sources would rather not talk about. In everyday life, we're discouraged from asking those questions, because it's considered rude. But when you're a reporter, it's your job to ask. And, some of the time, no matter what you ask, people will answer. Or, the worst they'll say is “I won't answer that.” But you have to ask. You have to be brave enough to ask.

“Women in metal” is an on-going topic and a lot of writers, feminists and musicians are giving crude sexist metal men the middle-finger to defend the gender inequality. Can you please elaborate on such?

This is such a rich topic, and really tough to summarize, in part because it's an ongoing conversation in the metal community. Each time it comes up, people evolve a little bit.

First, I don't think the metal community – and especially individual metalheads – are intentionally sexist. There are plenty who accept women as equals, whether it's in the audience, onstage, or elsewhere. And there are others who believe they see women as equals; they may act in ways that say otherwise, but they don't realize they're doing it. However, metal as a culture is a branch off of mainstream society, and mainstream society still favors men and male power. Plus, metal in particular is founded in expressions of darkness, power, and aggression – qualities society normally sees as “masculine.” Once we can really embrace those qualities in women, I think we'll find a more balanced place for women in the culture.

Women have always been part of metal culture, and their numbers seem to be increasing. With that comes both friction – as women make space for themselves and define, both privately and publicly, what it means to be a female metalhead – and acceptance, as others get used to their presence. Unfortunately, many times women's presence is sexualized in a way that men's isn't (such as with Revolver's “Hottest Chicks in Metal” issues), or women are treated as a novelty (as with Decibel's recent “Women in Metal” issue). The natural opposite is a “Men in Metal” issue, and when you devote one issue to women, you suggest that the rest are overly devoted to men.

At some point, I'd like to see women treated simply as part of the fabric of metal culture. We don't need to be pointed out. We don't need to be elevated. We just need to be included in the same way that men are. It needs to be clearer that we're into the music for the same reasons as men. But that hasn't happened yet, and that's why the conversation is still happening.

As a busy writer, poet, family giver and proud Metalhead – what do you do for relaxation?

Well, I'm not very good at relaxing, let's just get that out of the way! But when I want to take a break from writing, working, or parenting, I tend to make a beeline for the computer – just to chat with friends, read blogs, or see what other people are up to on Facebook and Twitter. I also love to cook, and in particular I love to bake breads and desserts. I read a fair amount, and of course I listen to music as often as possible. Music really helps me recalibrate and return to centre.

Can you tell us what you are working on at the moment? Perhaps, there are plans for a new novel?

Well, I freelance for local (San Francisco) newspapers, so I'm always juggling a few different projects. Right now I'm finishing up a cover story for the SF Weekly that should be published in early October, on the topic of same-sex marriage. I'm also researching another long-form piece, but I haven't started pitching it yet, so I don't want to give too much away. I will say that it relates to metal, and that I hope to sell it to a national (non-metal) magazine. That one, if it works out, could become another book down the road. I'm extremely excited about my research, so I'd love it if someone gave me the space to write about it.

You can find Beth Winegarner on Twitter and on her official webpage and Backward Messages.

GHOST CULT MAGAZINE

2012-09-13T13:18:00.002-07:00

GHOST CULT

http://www.ghostcultmag.com/

Air Guitar Blog had a chat with Raymond Westland about the launch of a new rock and metal digital magazine called Ghost Cult. Air Guitar grilled the Chief Editor about it being "another metal magazine" but Ghost Cult is set to be in a premium class.

Ghost Cult is a hybrid webzine and digi-mag with an outlook on forward thinking rock and metal. Could you elaborate on "forward thinking rock and metal'?

Generally speaking many bands within the rock and metal scene tend to be quite conservative as far experimentation and adding new flavours to their style goes. I can perfectly understand that, because the list of failed experimental train wrecks is endless with the latest Morbid Angel record being the most recent example. Not to mention the Lulu album by Metallica and Lou Reed. Having said that there are also bands who like to evolve and experiment with new sounds and influences. Those are the bands that keep the metal genre alive as a whole. As a person I like to discover new things, so there you go.

Does that mean there will be more emphasis on up and coming bands (underground) and less emphasis on commercial music?

I find the term "commercial music" quite a contradiction seen within the metal context. For all intents and purposes metal still isn't pop music. I prefer the term "mainstream metal" and those are the bands that get enough exposure in metal media, so I feel there's lot to be gained to give high quality up and coming bands in the spotlight with Ghost Cult , although one or two mainstream metal acts may slip through, because we're fans.

As you mentioned, there is a lot to be gained by giving high quality up and coming bands exposure, who are Ghost Cult’s primary target audience?

Hard to say really, but I think everyone with a passion for high quality metal and good writing will enjoy Ghost Cult. In my (humble) opinion the GC writing crew consist of some of the best writers and reviewers out there, personally selected by yours truly!

I expect nothing less but how does Ghost Cult differ from other webzines especially ones that you have previously worked on?

In many respects Ghost Cult is evolution of sorts of what I've done and worked on before. The thing that will set us apart is the fact that we combine the best aspects of a digital magazine and a webzine and the fact that we have an very skilled and talented designer in the person of David Alexandre. He's the one that really brings Ghost Cult alive

Ghost Cult is an overhaul of Scratch The Surface webzine. Staff has changed and a new blueprint was made. Can you tell us a bit about the new team?

The writing crew consists mostly of people I worked previously with Alternative Matter (now defunct) and Thisisnotascene.com, plus some people that were recommended to me. The editorial staff consists of Chris Wright (PR/content editor), David Alexandre (designer/senior editor), Pete Ringmaster (content editor) and yours truly as chief editor. We have the skills and experience to bring Ghost Cult to the next level.

The Ghost Cult tagline is "Spirit of Metal". How do you as the Chief Editor define that?

Well, "Spirit" is obviously connected with "Ghost" and "Cult". What the "Spirit of Metal" means differs from each person. For me it means a sense of freedom to do what you like to do without being too concerned with fitting in a certain mould or form. As much as I hate to admit it, metal in itself is in many regards a bulwark of conservatism with all types of ludicrous social conventions and rules. I want Ghost Cult to be a gathering for free spirited people who enjoy all sorts of different music and bands without any prejudice

I like that last statement. In terms of "Global Metal", how will Ghost Cult embrace the foreign scenes?

Ghost Cult has writers from Canada, US, UK, South Africa and even Australia, so we're not really concerned with borders, nationalities or so-called "foreign scenes". All we care about is high quality music, so it doesn't matter from which continent or country a band comes from.

When can we expect the first Ghost Cult issue?

When all goes well, the first issue will appear on October first. Without giving too much you can expect interviews with Enslaved, Katatonia, Kontinuum, Zatokrev, Winterfylleth and a host of others. Check http://www.ghostcultmag.com/ for updates and all!

How can contributors and artists contact Ghost Cult?

There will be a contact address on the Ghost Cult website as soon as it's ready; in the mean time people can drop me a line at HomeNucleonics [at] gmail [dot] com

Do you have any last words?

Thank you very much for this opportunity and all join the Ghost Cult

Thank you, Ray!

THIS IS MY METAL LIFE: SABRINA RAMDOYAL

2012-09-11T11:02:00.002-07:00

SABRINA RAMDOYAL

Photo Taken By: Michelle Murphy http://www.mootography.com/
SABRINA RAMDOYAL

Photographer, Artist and Proud Metalhead Sabrina Ramdoyal shares the highs and lows of being a a music photographer, the Slipknot moment that changed her life and Bloodstock Festival 2012!

Please [CLICK HERE] to access Sabrina Ramdoyal's portfolio.

Let me first ask you, how and why did you get into music photography?

In 2007, I completed an honours degree in Psychology & Counselling Studies. To get a job within the industry would take a further seven to ten years. So, being very distant towards my job goal, I was very fascinated with Art Therapy from my studies. I love Art and I’ve used it as a means, along with metal music, to control my hectic mind. It was one day I was with my partner, now of six years, I told him my experiences and showed my Art. I questioned if I should take up a course in Art and Design to expand on my interest. He simply said to follow my dreams and he’ll support me along the way. So, after learning the many art forms within the course for one year and gaining a Merit after completing my final major project specialising in Fine Art & Photography [I used a digital camera]. The tutors and the examining board expressed, however, I was of Distinction level and they’ve said to take my talents further as it shouldn’t go to waste. I got a job after the course and with the money I’ve saved up, I’ve got a ticket to see one of the incredible gigs of my life - Slipknot, Machine Head & Children of Bodom on 9^th December 2008. It was the song “Prosthetics” of Slipknot’s set that clicked [no pun intended] “I could have captured that moment with my camera”. After the show … well, I let you fill in the blanks from there!

How would you describe your photography style?

As a wise photographer once said to me, there are no rights and wrongs, but as long you feel it is a great picture that meets the client’s requirements, it is a job well done. Coming from a self-taught background for nearly four years, my photographic style tends to change within time by techniques I gained through many assignments I’ve done. It could be a little alteration in my editing, an interesting method from a professional photographer being put into practice or whilst being on a photo shoot. I make sure the final product is authentic to the eye, but adding my own flair. It expands on my creativity and confidence in my work. The last thing you want your work to be is the same.

Your credits range from Soundshock, Ed Stone Rockwear, Punk Star (UK) and your photo work has featured in Metal Hammer as well as Roadrunner Records (UK) – what keeps you going?

With those achievements alone, I wouldn’t have thought my work would be recognised with some of the top names. Although I have a long way to go until I know I have reached that level of success, the amount of support since starting have been nothing more than delightful.

As a freelance photographer – what are the highs and lows of the job?

As you can see, there are many great things when doing this. You gain access to some of your favourite gigs and festivals; your work is recognised by potential clients and most of all, you get to have the time of your life being involved in the music scene. You meet new people and it is your chance to shine through networking with other professionals. Recently, I had two photography students from Canada and England to interview me as part of their reports as I’m one of the reasons why they started photography. Even when I am asked to do an assignment by one of my clients is a high in itself!

But, as someone greatly put it, it is a luxury lifestyle through minimum wage. Photography is an expensive job and as technology advances, you can’t do the job without raking a fortune on the latest equipment. Unless you’re working for a major magazine or you’re contracted with a client, it doesn’t pay your bills. Sometimes, you don’t know when your next assignment will be, so you have to find your own means of work. When all the fun and games are over, you will be constantly editing, networking and promoting your recent assignments to the world. It takes a lot out of your body and mind.

Recently, you were at Bloodstock Festival – please do give us some feedback.

I’ll be honoured to! I photographed the almighty Bloodstock Festival 2012 for two clients. One is coverage for my music website This Is Not A Scene and I had two photo shoots to promote a great clothing apparel Ed Stone Rockwear. So, prioritising the many bands playing across three stages to organising times for the clients’ photo shoots was a challenge worth achieving. On the first day of shooting, I had an accident in which stopped my workflow. But the amount of support I got from the photographers on the weekend was tremendous. They made sure I was okay, if I needed help and I could use their laptops if I was struggling to transfer work. I’ve seen through the weekend that the media are a very tight community striving to give it our all to make Bloodstock Festival one of a kind. The people ranging from The Noise Cartel PR, record companies, the management, the sponsors, the security, the fans and many more have been immaculate. In the end, with the intense work, it wouldn’t be complete without the memories. The music, stints on stage, laughs, an incident involving sleeping on the job, duck pout pictures and witnessing a sourball challenge balanced the chaos. It was a great festival with like-minded people with the same passion and I would it all over again!

Your portfolio has amazing shots from Spires to Lamb of God! What has been your most memorable assignment to date?

Thank you for great words on my photography! This is a tough one as each assignment is memorable to me in some way! The one that sticks to mind was when I was asked by my editors of This Is Not A Scene to be their photographer for Sonisphere Festival 2011 across all stages. This was my first ever festival to document and as you would expect, I was as nervous as anything! As the weekend went by, I became comfortable in my own skin. The moment when it finally hit me was on that heavy raining Sunday night whilst singing to every word to the emotionally-charged Slipknot stage set dedicated to the late great bassist Paul Gray. It made me realise “Wait, I was in the photopit photographing all of The Big Four [Anthrax, Megadeth, Slayer and Metallica], including legends Diamond Head! I photographed the British icons Motorhead! Holy Hell, I was …” It was at that point where I have something to prove in my work. I’ve worked very hard on getting to that stage [sorry about the pun] and to work alongside the professionals. I’ve met some great people and I’ve learnt so much just from that weekend. That gave me the insight that I shouldn’t quit after this.

What do you think of the rock/metal music photography industry at the moment and where do you see it 5 years from now?

So far, I hadn’t seen any problems as there are many new photographers wanting to do this and they have the same level of passion for the music in this line of work, apart from photo releases being used to some bands’ shows. I can’t exactly provide an answer as I don’t know what will happen in the next five years. As long as everyone supports each other and don’t get ahead of themselves, and then it will be good.

Is it true that you are from the gorgeous island called Mauritius but the United Kingdom is your home?

Well, it’s my parents who are from Mauritius. I was born in London, but I have lived in Manchester since the age of two. Learning from my parents of how life in a tiny island is difficult and to see how they’ve worked from the bottom of the gutter to where they are now, I am absolutely grateful to learn not to complain of what we have in this day and age! That gives me strength to work harder.

Apart from photography, what are your hobbies and interests?

Well, I keep my ideas flowing by going to Art galleries and being constantly inspired through the many aspects of life. I make sure it is all recorded in a diary of some kind, just in case of a photo shoot! I love going to gigs, whether I photograph or just being a punter. Since doing Zumba for a couple of years, it’s becoming a nice way to release some pent-up energy and keep healthy. With all the work, spending time with your loved ones is a great way to treat the soul. You need that to keep you going and sane more than anything. Every now and again, I like to go to a comedy show. I rarely watch TV but I do watch Metalocalypse, Robot Chicken and TV series The Walking Dead, American Horror Story, Spartacus, and Game Of Thrones. I need to catch a few more! Who says photographers are boring, eh?

As a metalhead, do you have any must-have albums picked out for 2012?

As a proud metalhead for over eleven years, I’ve been confronted with many recognised and new artists with their blasts of metal. This year is no exception. Recent records released from artists like Katatonia, Testament, Gojira, Kreator, Moonspell, Anathema, Ihsahn, Cannibal Corpse and Devin Townsend Project shows how great 2012 is shaping. There are new bands like Alcest, Aborted, Mark Tremonti and Storm Corrosion in line too. There are artists from the local and UK scene such as Triaxis, Saturnian, Savage Messiah, Orange Goblin and Oaf as they are fast becoming just as great as some of the major bands. My Dying Bride, Stone Sour, Cradle Of Filth and Sylosis are the last bands of this year to check out too! I am going to have a difficult time choosing my best records of 2012! I can’t wait what 2013 will bring to us in metal!

What advice would you give to up-and-coming photography journalists?

All advice is based on experience I’ve been through and seen. Beware as it is a lot to take in. Document a music scene that you are comfortable in and support it. Bands work tirelessly for great music and they need your support for exposure to the public. You won’t get any attention with potential clients without a body of work. There are social media sites to reveal your adventures. Create a website and blog for your work. It is essential to have business cards and nowadays, an iPad on the go. Expect the work to be voluntary as you don’t get into major publications that easily. Once you get an assignment to document a gig by applying to a music publication, remember the rules of the photopit – respect the people involved and do not give others a hard time. They were once like you. Be wary of crowdsurfers and drinks that may come over the barrier as you will get a few knocks. I’ve seen professionals go underappreciated whilst “fauxtographers” get more attention. It is a tough world out there so it is very important to stand out from the crowd with your own photographic style. Never copy or steal from others as there will be consequences. You’ll get critics assessing your work and even you can be your own worst critic. Ask the professionals for advice. I ask for constructive criticism so I’m aware of what to do for improvement for future assignments. You never know the accidents you may encounter so, it is important to have financial support in order to pay for your equipment and insure them.

With all of the advice, it all comes down to two imperative points if you decide to become a music journalist. The first is practice. That’s where all of the mentioned will fall into place. And the second is being careful once you take this profession. As AC/DC famously said “It’s a long to the top if you wanna rock and roll.” Don’t take it very lightly because it will be a journey of tears, tantrums and long hours if you want to succeed.

Are there any last words that you would like to add?

Remember, as an Artist, appreciate your work, embrace your achievements and learn from your mistakes. I am sure you have made some at one point. I have had mine and I’ve learned, hence I am carrying on loving what I do. Only you need to prove that you’re worthy of this. Be fearless and show other competitors that you are the competition.

Thank You Sabrina! Please [CLICK HERE] to access Sabrina Ramdoyal's portfolio. You can catch Sabrina on TWITTER

SOUTH AFRICAN METAL MUSIC SCENE

2012-09-08T13:49:00.000-07:00

(Full article here)

Naturally, the comments that follow are quite hysterical!

There is a lot of questioning about the South Africa (SA) metal scene and how it differs from the international scene. It is difficult to write about such a topic from a bias perspective (myself being proudly South African) and it is even harder to write about a topic that will inevitably be ‘compared to’. So, this is an attempt to put some perspective on the SA metal scene or rather an attempt to give an opinion.

Firstly, does SA have a metal ‘scene’? Yes. This is established as a place of activity. Durban (the third largest SA city) might be dormant in the live music area but there are still underground places frequented by metalheads.

So, how did metal in SA begin? A fairly detailed article will be printed on this question in a well-established music magazine (when the Editor decides to send it to the printers). Until then, here is a nutshell: It began in 1984/5. Four bands namely Odyssey, Ragnarok, Mind Assault and Black Rose set the pace. These bands and many more defied Apartheid, authorities of state and religion to create something only they could define. There was little in the way of recordings and even less in metal media and music education. Though the bands pushed forward, independent music labels took the challenge and the wayward souls from around SA began to appear. More bands emerged from all parts of SA, each taking inspiration from international artists and putting their own spin on it. Remember, metal was and still is not commercial in SA and recordings are limited, so everybody has a very different take on what is “metal”. It took several years, a revolution in technology and an open-mind to create what we embrace today as the “SA metal scene”.

Fast forward to 2012; let me tell you what really goes on. Apart from the burgeoning financial crisis that almost every band faces – South Africa has other issues to contend with. Location is one of them. Geographically, SA is huge and there is a great Diaspora of local metalheads. It is one thing to ‘Like’ a band on Facebook and offer them online support. I do it, my friends do it but very few of us can get down to the next city and windmill at that band’s gig due to location. Not many (actually zero) major metal labels look below the equator line to sign bands. Also, with articles like the one above – why even bother with SA metal? It is a known fact in South Africa that there is a lack of metal venues. Pop, Hip-Hop, Kwaito and House music are the norm and such genres have been catered for with special venues that are easily seen in every town. A large portion of bars, pubs and grills cater for alternative music and unplugged music sessions. It is very generous of them but not very practical for the bands in the long run. Promoters of the metal music scene get the bitter end of the deal too. Without established venues, quality sound engineers and lack of media interest – their job is often cursed. Some promoters come and go and some put in laborious work hoping to change the scene – it is what I call a true labour of love. The standard of dedicated metal promotion is at an all time low and SA metal bands prefer to take DIY action. The internet and spew of social media is positive in this sense but online support and physically being at a gig are two separate objectives. Metal fans like festivals and SA is no different. The largest annual popular metal festival is RAMfest. The Fourie brothers came up with a good concept and followed through. It has been a success in recent years with fair feedback. Several new and smaller scale festivals have emerged since the early millennium. Recently, there has been a question burning down my throat about these festivals – was it worth my time and money? The answer varies and I often hear Maslow in my thoughts, “Man is a perpetually wanting animal.”

Festivals are risky business. SA metal festivals are even more risky business. A recent article by MusicReview shut down the ‘wanting animals’. If you want to see a metal act that you like in SA, go out and buy the album, single, poster and T-Shirt. Those genuinely supported bands will see good market value and be prepared to play at a decent price. Though a portion of SA metal fans fail to see this logic and take up internet trolling and piracy instead. I’ll dismiss piracy in SA as downright disgusting. These laws need to be tougher, Mr. President.

Despite all that is mentioned above, there are two things that in my opinion are very unique about South African metal (take note MetalSucks). The SA metal scene has major talented artists each creating their own brand of metal. There are one or two copy and paste metal bands in SA but there are at least 100 metal bands that have twisted, warped and shaped their own music. In doing so, there is a tinge of raw and unprecedented authentic quality in their screams, lyrics and compositions. Furthermore, SA metal bands are highly dedicated. A band never gives-up easily and if they do – legitimate reasons are often announced. Perhaps, SA metal acts know that hard work pays off in the end and such motif is evident in the history of our country.

The SA metal music industry is growing; yes it is slow but from what I know it is not “terrible”!

By the way if you don’t agree with this article, please don’t be a cunt about it rather present a logical argument.

METAL NEWS

2012-08-31T08:36:00.001-07:00

No time to read? I call bullshit!

There is plenty of time to read – on the bus, in the bank queue, waiting in the parking lot, between lecture periods, during television advert breaks, on the train, whilst sitting on the loo (okay, slightly gross) but you get the point!

Air Guitar Blog has decided to make a weekly metal list of what you have been writing, reading and tweeting about. This week features:

Red Tentacle

If you are in the music business for the long haul then you should be subscribed to the music solutions blog. If not, Red Tentacle talks us through frustration and failure.

This Is Not A Scene

Photographer, Sabrina Ramdoyal had a blast at Bloodstock 2012. There are stunning pictures from Anvil, Orange Goblin, Mayhem, Nile, Grand Mangus etc. up on This Is Not A Scene.

Hellbound

Great review by Matt Hinch of a very good band called Vilipend featured on Hellbound.

MSN Headbang

Speaking of reviews, Adrien Begrand summed up the new releases for 28 August 2012 on the Headbang blog for MSN.

Toronto Is Awesome

Air Guitar blog gets a lot of hits on “how to be a music journalist”. Natalie Zed articulates on how to write a review for the series, Heavy Metal Ambassador on Toronto Is Awesome.

SF Weekly

Beth Winegarner writes "Don't Blame Heavy Metal For Alleged Baltimore Shooter Bobby Gladden". We agree! Read the full story at SF Weekly.

Beastwars – Empire
Thanks to Craig Haze for bringing it to my attention.

THIS IS MY METAL LIFE: DANIEL MARSICANO

2012-08-29T23:11:00.001-07:00

DANIEL MARSICANO

Music critic, Daniel Marsicano shares his side of the story about heavy metal music, that first listen to "Turn The Page" and how the internet has skewed our perception of journalism.

You have been writing for several years in several formats and positions. Why did you choose music journalism?

I’ve been into journalism ever since I was in middle school, helping my technology teacher write video game reviews for the school newspaper. I was the editor-in-chief of my high school newspaper, “The Accent.” When I got to college, I continued to study journalism. I never considered writing about music in any capacity until my freshman year. I saw an opening at 411mania.com for a staff writer in their music section.

I was a big fan of the site at the time, and it seemed like an interesting opportunity to undertake. I wrote a review of Chimaira’s “Resurrection,” which was good enough to land me a position on their staff. My first published review was for Machine Head’s “The Blackening.” From there, I worked on my writing, trying to improve with each review. It’s a process that I’m continuing to learn to this day.

There’s something about sitting down and expressing my thoughts on a piece of music that draws great appeal to me. Though I’ve only been doing this since 2007, I’ve developed a vast range of knowledge on music that I’ve very proud to possess. The metal culture itself, especially the people that write about and create metal, is unlike anything else out there. It’s one of a kind, and I’ve always felt accepted in it, even when I was struggling to find my literary voice in the early days.

Reading your work, I realize that your taste in metal music is rather eccentric. When and how did you get acquainted with heavy metal?

I have to thank my mom for opening me up to heavy metal. I still remember the first time I became entranced by metal. I was 11 and driving with the family down the backroads of New Jersey in the middle of the night. My mom was a big fan of the classic rock stations, so I became familiar with bands like Led Zeppelin and The Who early on. I didn’t pay much attention to the heavier stuff, as I was more into classic rock as a young kid.

That fateful night, the radio station was playing Metallica’s cover of Bob Seger’s “Turn The Page.” It was something about the power and force behind their version of the song that mesmerized me. I knew I had to hear more like it, so I picked up the “Garage Inc.” album immediately afterwards. That was the first metal album I ever bought.

From there, I was a slave to the metal machine. I began to do research, finding out about the artists that Metallica covered on the album. Bands like Black Sabbath, Diamond Head, and Motorhead became objects of my affection. Soon enough, Megadeth, Anthrax and Slayer entered the fray because of the “Big 4” association. Most of my high school years were building up my CD collection with every album from the “Big 4,” along with other metal artists of the ‘80s and ‘90s.

It wasn’t until I got to college that I began to really dig deeper into metal, past the stuff that would be considered “mainstream.” That’s how I became interested in genres like death, doom, and black metal. I got recommendations from friends, spent hours on the Internet looking up bands, and tried to soak in as much about metal as I possibly could. I love listening to new music, whatever genre it might be. There isn’t one particular genre that I’m obsessed with; I honestly enjoy them all for different reasons.

Based in New Jersey, what can you tell us about the metal scene over there that we don’t already know about?

Like every place in the world, there are bands that have hit it big (The Dillinger Escape Plan, God Forbid, Overkill) and then are the underground darlings (Evoken, Ripping Corpse). However, there are plenty of up-and-coming bands looking for any kind of spotlight. Fantastic talents like Beyond Dishonor, Windfaerer, and Grimus deserve more coverage than they may get, and that’s what I like to do as a writer. I like to give bands working their way up the opportunity to get their music out to a bigger audience, whether it’s by interviewing them or getting a review up of their latest work.

As a part of About.com, SMN news, and Metal Underground – you have come across several releases. What are your “must have” album/EP’s for 2012, so far?

Well, it’s hard just to pick a few, as 2012 has been a great year so far for metal. The album that I will probably have near the top of my “best-of-year” list has to be Woods of Ypres “Woods 5: Grey Skies & Electric Light.” No album this year has moved me the way that this album does, and it’s really a shame that David Gold is not around to see the positive response it has obtained. CattleDecapitation’s “Monolith Of Inhumanity” is just an insane death metal record, and seeing them play almost the entire album live reinforced how incredible the album is. For those looking for the lighter side of metal, Anathema’s “Weather Systems” is top-notch. In my opinion, it’s easily their best album since they switched to a more atmosphere style of music.

On that note, what are your “must watch” movies/films for 2012, so far?

This is a tougher question for me to answer than picking the “must-have” albums/EP. I love films, but I tend to stick to less contemporary material. More often than not, watch older films from the ‘70s and before; material from directors like Brian De Palma and Martin Scorsese, before they got really big. From what I’ve seen this year so far, I would have to recommend “God Bless America,” “The Dark Knight Rises,” and “Cabin In The Woods.” That list will probably get bigger once I actually stop being cheap and go to the movie theaters more than once a month.

Do tell us more about your aspiration to be a novelist/screenwriter?

My aspirations as a novelist/screenwriter have only come about in the last few years. I never saw myself as the kind of writer that could handle a massive undertaking like a novel or a screenplay until my senior year in college. I took a creative writing course that opened my eyes to the potential I had as a novelist/screenwriter. Using an idea that I’ve had since I was 15, I wrote a screenplay in late 2010/early 2011 called “The Lost Soul.” I’m very proud of it, though it is collecting dust at the moment until I figure out what to do with it next.

With all the music writing I handle, it is hard to find time to fit in a novel, but I’m doing my best with that. It’s a slow process, but I hope to get something done in the next year or two. Being able to act creatively like this allows me to flex my writing muscles, and not be confined to reviews and interviews. I enjoy those as well, but I get a different kind of joy out of sitting down and fleshing out characters and stories that have come from my twisted imagination.

The internet has skewed the perception of “journalism”. What are your pet peeves about the press?

I went to school specifically to learn about journalism, so my definition of what journalism is differs from music writers who jump into the field with no writing experience. To me, what I do is not journalism. If I was out there, reporting on hard-hitting stories and breaking news involving music, I would consider myself a fedora-wearing journalist of the classiest kind. I think of myself as a music writer or a critic, but not a journalist.

Anybody who sits and regurgitates press releases to make “news” is not a journalist either. It takes no skill to copy and paste a press release someone else spend time working on, and plopping your name on it. That’s really one of my biggest pet peeves about the so-called “metal press.” Having a blog and throwing other people’s work up there with your name in the byline doesn’t make you a journalist; it just makes you a wily Internet basement dweller.

The Internet has very few avenues for compelling metal journalism; hell, in fact, it’s hard to find it in print too nowadays. Maybe I’m being very jaded or a cynical prick, but that’s how I see things. I have no issues with people going out there and trying to make a name for themselves in metal journalism, but it takes a lot more than being on a bunch of mailing lists to call yourself a journalist.

When you are not being a writer – how do you spend your time?

Since 90% of my life revolves around writing/listening to music, I find I don’t have much free time. When I do find it, I spend it working out, playing video games, watching obscure films, and reading. I’m trying to learn how to cook too, but that’s shaky territory at this point.

I read on your Twitter profile that you like 80’s romantic comedies – are you talking about "Say Anything" or "When Harry Met Sally"?

Both actually, though I would have to say that “Say Anything” is definitely one of my favorite ‘80s movies, period. I’m a big John Cusack fan, so that helps things a bit. I enjoy all kinds of ‘80s romantic comedies, especially “Moonstruck,” “Sixteen Candles,” and “My Crazy Summer.” Like music, I have a very eccentric taste in movies. I can watch “Cannibal Holocaust” one day and “Sleepless In Seattle” the next. I enjoy watching both of those movies in different ways, as well as everything from westerners and cheesy action flicks to artsy, low-budget indie films.

Are there any last words that you would like to add?

I just want to thank you so much for letting me be a part of this. Anybody interested in keeping up with my work or wanting to learn more about me can visit me on Twitter @heavytothebone2. I’m very sarcastic and a little goofy, but that’s where you can find any articles that I write. I’m more than happy to respond to any tweets sent my way as well!

Thank you, Dan Marsicano!

THIS IS MY METAL LIFE: EDWARD BANCHS

2012-08-22T11:50:00.001-07:00

EDWARD BANCHS

Edward Banchs tells Air Guitar about his book on African Heavy Metal, expresses his opinions on Pussy Riot and talks about his obsession with guitars!

Please give a brief introduction of yourself?

Well, I was raised in a small industrial city/town in Central Pennsylvania, Altoona. I moved to Pittsburgh, Pennsylvania when I was 19 just to get out of that place. I wanted to pursue music. I started a band with some like minded gentlemen called Negative Theory and we gave it hell for four and half years. Playing thoughout the region; Pennsylvania, Ohio, West Virginia, even as far west as Arkansas. We shared the stage with bands such as DRI, Sworn Enemy and Rwake. We were dirty, loud and angry. I MISS IT! I left Pennsylvania for South Florida in 2004 just to get back into college (university as you may say). At the time, it appeared that our band was not going to do much. In retrospect we just needed a break. We got back together after five years to play with a band that we are all fans of, Architect (Syracuse, NY- Metal Blade). It was great seeing those guys again, they are my best friends. And I really do miss living among the mountains and winters of Pennsylvania. Florida is flat, hot and too much of a contradiction to my personality. I live in Orlando now, which is a little better than south Florida in terms of peronality. Who knows what the future has in store, maybe some more music with my best friends, maybe some change of seasons again. Florida lacks a proper autumn.

Into the gritty, how did you get introduced to heavy metal?

Growing up, my neighbor and I were obsessed with guitars and the sound that came from them. MTV, at the time, was heavy into the glam metal, and we ate it up, I even made a guitar out of carboard with the Poison logo on it! They were the local guys who ‘made it’, so everyone was into them…as was I. So I learned about the other types of metal through a show that he and I were told about, Headbanger’s Ball. Saturday nigths at midnight. Every Saturday, we soaked every note, of every band. Needless to say, the glam was ditched as the Anthrax, Skid Row tapes came in. Once the ‘90s came it was Helmet and Biohazard and even my Korn phase. Once I got into hardcore in the late ‘90s, extreme metal got into my radar. Here I am today with the same obsession.

You are based in Florida, what can you tell us about the metal scene over there that we don’t already know about?

The local musicians complain frequently and often, like anywhere else. They think that no one here cares. Often they are oblivious to the history of metal in Florida, and rock in general. Besides the death metal that are well known, all of which still call Florida home, bands like Marylin Manson, Poison The Well, Dashboard Confessional, New Found Glory, Less Than Jake, Saigon Kick, Nonpoint, and even Matchbox 20 and Creed, are among the many who started out of Florida. Lynard Skynard and Tom Petty are also with Florida origins, so the complaints are ridiculous. A local Orlando band that is doing well is Trivium, they will be the first to tell the work that is involved with getting a break music. The work ethic, the dedication, all are involved. In general, American bands are thought of as being in a great spot, and yes the opportunities here are better, but the work must be put in, all of the bands I mentioned worked ridiculously hard and were extremely dedicated to their passion. Luck goes a long way, but talent goes even further.

As far as who is up and coming, I must confess I’m oblivious. I go to few gigs, and local support is rare for the national and international touring acts.

Currently, you are working on a book about heavy metal in Africa. Do give us a short synopsis of why you have chosen to write about the once ‘dark continent’?

I am an Africanist. I studied the continent academically, I was an intern for a lobbying firm in Washington D.C. working the Diplomatic Corps on issues such as development, foreign policy and aid for Africa. I LOVE Africa. I have an MA in African Studies from the University of London. I want to earn a living somehow, someway working with Africa. Aside from metal, it is the other aspect of my personality that I consume my self with. Everyday, I check the African news sites and the metal news sites. Everyday. So it made sense for me to pursue the book. I was tired of finding nothing about metal in Africa, and I knew it existed. I fear that many judge it as a novelty, and that is a gross misrepresentation of the genre in the continent. The photos of Africans with guitars were not taken seriously, often they were mocked and the comment boards were not kind. Thus, I want to write about the dedicated and passionate thoughout Africa that defend the faith everyday. Frank Marhsall, the photographer in South Africa, did a fantastic job of capturing the passion in Botswana, yet it is getting overlooked.

The idea was in my head for years, I just went for it. I was tired of telling people that metal in Africa was real. It is about time the metal world includes Africa in their conversation.

What are the myths about Africa that you would like to dispel – in terms of music?

Everyone has the image (outside of Africa) of the percussion cirlces, the chanting, the hymns, the prayer songs. While that is respectable, the demand for Western music is incredible in Africa. Heavy metal fans are no different. The beauty of the genre is its adaptability with tradition and culture. Quite often, many do not believe that this music exists in Africa, yet they can believe that hip-hop exists because of some bogus stereotypes. It is no different, a Western genre that spead globally, much like metal. Africa has long surprised people, hopefully African metal may do the same.

The generalization of Africa in Western culture is patronizing. Too many fall into the trap of generalizing an extremely disparate and diverse continent. Few realize that Africans have the same interests, goals and passions as anyone else in the West would. My book is called, Heavy Metal Africa; Life, Passion and Heavy Metal in the Fogotten Continent, because I feel that Africa is fogotten as a result of stereotypes and generalizations.

I fear that the stereotypes of Africans is the biggest obstacles metal musicians in Africa are going to have to face. I hope my book changes that.

What can you share with us about your book, so far?

It is ambitious, it is challenging, and it is taking on a life of its own. It will be a while more before I’m near completing it, but I look forward to sharing it with the rest of the world. I’ve met the nicest, sincerest people throughout this process. There are moments where I’m so humbled by the generosity of everyone involved, I get even more motivation to keep going. They trust me, and that means the world to me.

What are the challenges of having to publish your book?

Books about Africa and Heavy Metal have small audience. The industry is very competitive, more so than music I feel, and it is taking a hit, much like music as a result of the pirating of books. So it is difficult getting someone to take a chance on a new author writing about a topic that many already feel is a contradiction. But I am optimistic something will happen.

I’m going to be biased here and ask you, what do you think about the metal scene in South Africa? What do you like or dislike about it?

I love it. So many talented acts. Dedicated, passionate, and most importantly, in my experience, there is a mutual respect and a fraternity. Bands are proud of the other bands’ acheivements and applaud the other bands’ efforts. I LOVE it. Overall, throughout Africa I notice the same thing. Everyone is there to support each other in the ‘game’, as we say in the US. Great respect for each other. Too many good bands that stand out for me, I cannot just name them. I love the diversity of the scene, black metal, death metal, thrash, glam/sleaze, power metal, prog, metal-core, hardcore, and blues/stoner. I LOVE IT!!!

As a BA degree holder in Political Science from Florida Atlantic University, what are your thoughts about the punk-rock group Pussy Riot?

Well, well. Russia is showing itself to be the ‘free’ country is disguise. I applaud their efforts. They struck the wrong nerve with the government by protesting in the church, that perhaps hurt them in court. But the message was clear and in many ways, they won. They showed the world what sort of country Russia really is. Still!

What are your hobbies outside of music?

I read a lot, I explore vegan cooking , and enjoy sports here and there. I write about sports for theopinionation.com as well.

Are there any last words that you would like to add?

Thanks for the opportunity, thank you South Africa for having a great metal scene and I look forward to shaking all of your hands, sharing a beer with you and talking about metal! I need to get back out there soon. I love SA. Beatiful country, great people. All the best.

Guest Blogger: MARK ANGEL BRANDT

2012-08-02T13:06:00.000-07:00

METAL AND ME ~ by Mark Brandt

One of the most enticing things about metal is its ability to take all sorts of people under its wing. Metal is a genre rooted in emotion; in its cheerier moments it makes you feel strong, empowered and united. In its gloomier parts, it is an enveloping and strangely comforting blanket of darkness. The diversity of the genre (to anyone more acquainted than a cursory glance) is truly phenomenal, stretching across more than a hundred countries and countless styles. It was only inevitable that one teen, a logophile disillusioned with the offerings of more mainstream genres, was going to fall into the trap, and its eccentric assortment of music and people.

By way of explaining why I do what I do, I'd like to tell you a story, traveling back to 2005. A boy, aged 14, possesses a music taste ranging from rap to smatterings of rock bands, but nothing particularly offensive. An older school friend has passed him a couple of albums with intriguing artwork. He chooses at random and clicks the CD into his player. What flows through appeals to his rap/rock-oriented senses, but there is an underlying darker atmosphere than what he's accustomed to. It feels almost metallic, punchy and full of energy. He flips the jewel case, and reads the album title. Linkin Park's Meteora.

Admittedly, not the classiest of entries into the metal sphere, but it is tough to deny that Linkin Park provides a solid gateway to discovering metal. What followed was a yellow brick road, stopping at Disturbed and others along the way, before a final accidental stumble onto Insomnium solidified my love of melodic death metal. I was hooked, and my research of metal bands drew me in further and further. The combination of melody, vitality and poetic lyricism appealed to me as a writer, particularly focusing on lyrics. The genre became irrelevant, I grew to love all of them, although the darker side was always interesting. Soon, I found a way to merge this new-found love of metal with the current love of writing.

Although my lyric-writing days faded at the age of 18, the love of writing and words continued. Due to a lack of metal-loving people in the proximity, I soon turned to the internet and its various forums, inexperienced with the genre but eager to learn. After finding myself saturated in band recommendations, I discovered I could be pickier with my choices, what with metal being a “diamonds in the rough” genre. Still searching for new music to listen to, a more analytical side opened up. Although I was nowhere near an expert, I still noticed patterns emerging, discovered full scenes of similar bands, and the dot-to-dot game became easier. I found myself improving at recommending albums for friends to try, based on their current music taste. It wasn't long before my own reviews emerged on a blog, in the plethora already on the internet. A series of consequential events resulted in collaborations with like-minded sites (like this one), which resulted in me becoming firmly planted in the world of music journalism, much more quickly than I envisaged.

Far from the portrayed jet-set lifestyle that of course inevitably entails (sarcasm, gentlefolk) with working in the metal industry, music journalism is far from glamorous. Much like any writing-based job, it has its downsides, its deadlines, its stress. It can be quite demanding of your time, especially if you feel like a perfectionist. But the perks compensate: meeting wonderful individuals in the business, listening to high quality music (bracing yourself for the worse releases) and this wonderful feeling that you contribute something to the genre. The emotion you get when you see people taking influence from your recommendations, being a metal tour guide of sorts, is wonderful.

For all its squabbling and infighting, metal is a fairly united and passionate scene, and one that I love dearly, stepping aside the endless trivial arguments about lineups, bands and genres. Once that is removed, what is left is an entity still finding its feet, but each decade becoming steadier than the last. As a journalist who loves his job, I feel a sense of pride to be a part of this blossoming genealogy.

- Mark Angel Brandt (InAngelsHeadphones)

Brandt is a lover of music in most genres. At the moment, he is studying Russian and German. You can visit all his music musings at InAngelsHeadphones

Catch Mark's writing at Metal Recusants, DeathMetalBaboon, A Metal State of Mind and (140 characters) on Twitter.

Guest Blogger: MATT HINCH

2012-07-31T04:22:00.000-07:00

Air Guitar blog has one motto that is "Sin is the subject - metal is the teacher". Interpret that as you wish. For guest blogger, Matt Hinch, metal has taught many great things as he muses over Air Guitar Blog's latest feature series, Metal and Me.

METAL AND ME ~ by Matt Hinch

When I was first put to the task of writing a piece based on the theme "Metal and Me", I will admit it felt a little daunting. I mean, metal has been such a huge part of my life for so long that deciding just where to begin was a challenge. I might as well start back in my teen years. Compared to many of my peers, I was a late addition to metaldom. I was 19 before I was labelled a metalhead. In fact, my nickname in my first year of university was Metalhead Matt. (Sometimes Marilyn Matt. I was a big Manson fan.) But we can go back a little further than that. The first CD I ever bought was Pantera's Far Beyond Driven. I bought it before I even had a CD player. A friend bought it for the Black Sabbath cover ("Planet Caravan") and hated the rest of it. He sold it to me and that got the ball rolling. Slowly but steadily I moved away from grunge, alternative and rock until I basically adopted Dee Snider's mantra, "If it's not metal, it's CRAP!"

Between those formative years and now, my tastes in metal have changed and expanded as different sources exposed me to different genres. I'd go through phases and so on but it was all just fuel for the fire. Which brings us to the present, where that fire burns hotter than ever. When I was younger, people kept telling me I would grow out of metal. It's for kids they said. They couldn't have been more wrong. I love metal more and more with each passing day. It's become an integral part of who I am, of my identity. Especially online. My Twitter handle is MetalMatt_KofN. Forum usernames, MetalMatt. Blog comments, MetalMatt. Siri calls me MetalMatt. Everything. That's how I see myself. That's how I choose to be identified. I don't even put a space between the two words because that would separate them. I don't ever want to be separated from metal.

A suitcase full of metal - Matt Hinch with his Metal belongings
Photo credit: Becky Hinch

Even in the "real world" metal follows me. Anyone who knows me, knows I'm a metalhead. Perhaps that's because I wear my passion on my sleeve. Literally. I wear a band shirt almost every day. I'm the guy with the headphones on in the grocery store. Everywhere I go, I take metal with me. As soon as I hit the bottom of the stairs every morning, I turn on the music and it stays on all day. Unless my wife asks me to turn it off. (Love you, Hunny!!) I guess that's basically how metal defines me. It's much easier for me to express that than it is for me to define metal itself. That is very much left to individual interpretation. I worked in a record store and before I got there they had AC/DC, Led Zeppelin and Rick Derringer (!!) in the metal section! No, No, and NO! I fixed that in a hurry.

Ironically, the things that I love about metal are the polar opposite of how I see myself as a person. I love that metal is loud, but I'm quiet and soft-spoken. I love the intensity and aggression in metal, but I'm laid back and shy. I love how varied, experimental and diverse metal is but I'm a non-spontaneous creature of habit and routine. But I can relate to some of the things I love most about metal. That's the passion and commitment and sense of family. Most metal bands have to scrape and claw for everything that they get and you can't do that without passion and commitment. And in my opinion, metal fans are the most passionate of all. It's that passion that binds the greater metal community together. Bands, fans, labels, promoters, writers, we can all lean on each other and support each other. Like a family. All because of a deep shared passion.

Which brings us to the question of "What do I contribute to metal?" What's my role in this big metal family of ours? I see my contributions and my role as being very similar to my role as a father. My role as a father is to be a provider and educator, someone to turn to for advice and protection. I work hard to provide my family with everything they need (84 hours this week!). I teach them and offer all the advice I can. And I will defend them to my last dying breath. If we translate that to metal, as a fan and writer, I support the bands by buying as many records as I'm able (not nearly as many as I'd like), buying merch and always paying for shows. I try and educate the fans and offer my advice on what to spend their hard-earned money on through my writing. My actual contributions in that respect may be small but that's why I do it. Metal has given so much to me, enriched my life, been there for me to lean on, and so on that writing is really the least I could do. I can only hope that through my writing, the bands that I enjoy can somehow benefit from my time and effort. Hopefully monetarily, because we all have to make a buck. But even just through encouragement and advice, or just by making their day.We could all use a little pick me up now and again, especially if you've been living in a van for three weeks, surviving on free beer and $2 burritos and "showering" with baby wipes.

So it's because of all that makes metal what it is, the energy, the emotion, the passion, the commitment, the sense of family, that as I would my own family, I will defend metal to my last dying breath. That all might sound a little over-dramatic, and I know there are all kinds of people "more metal" than me, but that's who I am, that's what I do, and that's why I do it.

- Matt Hinch

Hinch is a Father. Husband. Metal freak and blogger. Bass player and singer (sort of). Bearded. Vegetarian since Apr. '10 Contributor at Hellbound.ca

Catch Matt's feisty writing on Hellbound, musical musings on Twitter as well as his own blog Kingdom Of Noise.

This Is MY Metal Life: DYLAN ELLIS

2012-07-29T13:30:00.000-07:00

DYLAN ELLIS

First and foremost, Dylan Ellis is a superb mentor, an excellent music producer, composer and a musician. Ellis has allowed for Air Guitar to once again pick his brains about the tough music industry, his passions and his bold decision to work with the first rock musician from Qatar.

You hold various titles in the studio seat as a music producer, engineer, composer and even a musician. Why did you opt for such a career?

Thank you very much for keeping in contact and for supporting the bands and artists that I have worked with. Music has always been a huge part of my life; I started young and just made it a priority. By the age of 8 I had written my first song and by 12 I had made up my mind that all I wanted to do, was be surrounded by music in one way or another.

I had started playing in bands and the recording process was always a big part of that. At the time I had felt very unsatisfied with the people who were recording me, so I started small, doing some recording in my bedroom on a 4track tape recorder, and eventually a Pentium 1 computer. After doing some recordings for myself, some of my friends in other bands started asking for my help, and it just progressed from there. By the time I was 19 we had built the first of three studios. It was very basic, 1 room under my parents house drum kit and computer with a guitar amp and vocal mic. By 21 the second studio was a bit bigger with 2 rooms in a small shopping centre and by 23 the third was a 4 room professional facility. As each of these progressed new opportunities emerged to do things like scoring films, or writing jingles. It really opened up my world of experiences. By the time we sold Inner Flame Studios and moved to Dubai I had worked with over 100 bands and artists from all over the world. Invaluable experience. Music just consumed me, and I am grateful to be a part of it.

Over the years you have built up a brand for yourself in South Africa and now in the United Arab Emirates – working with various artists over the times. What advice do you have for future music producers?

Make a conscious effort to learn something new about your craft every day, and apply it. Learn how to be disciplined and efficient and most importantly stay humble.

As a central figure around artists, you have seen the good, bad and ugly while sitting in the studio seat. What are the common errors that musicians make while recording a musical release?

The biggest error is to a start recording without having a real understanding of the music business or the process of making a good record.

I have always said to bands that their first album is their learning curve. There is a level of inexperience that breeds ego, for the guys that have done it before, they know it is not easy and they come prepared and ready to work, and understand the reality of promoting an album and dealing with reviews that might not be positive.

The younger guys new to music or the recording process will often make the error of thinking that they will sell millions strait of the bat or that they are so good that they don't need to practice with a metronome or show up on time for sessions. Music is such a personal thing to the musicians making it, that they often think that it is better than it actually is -purely because it is their labour of love. The key to making a good release to make sure the songs are great, the performances on that recording are great, the sound and production value is great, and that you have a realistic budget and strategy to promote that album. If you do not have a following that warrants a full length release, don't make one. Make an EP instead. If you don't have money available and a plan to tour or promote the album or EP, don't make one.

Who are you working with in the studio at present and what can you tell us about Dylan Ellis’ future projects?

On The South African front, I have just finished mixing the new “Unseen Hero” EP “1986” it is a rocking EP. I think that if these guys keep going at it, they will have a good career ahead. I have also recently completed a mammoth new “HOKUM” Single called “Tin”. Look out for it, it is a beast. And I am in the pre-production phase with “Urban Vitamin” via skype and dropbox. Amazing how close the internet brings us.

On The UAE Front, I am working with Beat Antenna's front man “Neil Harrison” on his first solo release; it is a project I am very excited about. I am also half way through a new “Behold the Locus” EP called “Amplifier” their first music video for the song “Shepherd” will be released soon. We are also half way through recording “Naser Mestarihi's” new album.

There is certain special relationship with the artists that you work with. Could you elaborate on the relationship with a band called Hokum? As well as the bold decision to work with Naser Mestarihi who is the first person to release a rock album from Qatar.

HOKUM is just a real pleasure to work with. These guys have been making great music together for a very long time, and they are always pushing creative boundaries. We started working together a few years back and as we explore their sound it just keeps taking us to new places. I am very lucky to work with them. They will work on a song for months until they feel it is in a place where they are happy with it and then they bring it to me and together we will explore the many possibilities. I recorded a lot of songs with them before I left South Africa, and now as we look at new songs Jason Jackson, (Hokum Drummer) will record them and send the raw files to me and we will discuss them and try out different ideas and send them back and forth. Every member is involved with every piece of the puzzle until we are all happy. If you like progressive rock or metal, go find these guys.

Naser Mestarihi is a guitar slinging rocker with influences like Van Halen, The Cult, Led Zeppelin, Jimi Hendrix, Jethro Tull etc. A lot of that music I enjoy personally, so it would only be natural that we would make a good fit. He called me up last year when he was looking through some producers for his full length album and we met up a few times and after lots of talks we decided to start working together. Its been a long process so far, we've been working hard on making sure that all the performances are just right. He has some great riffs, I think classic rock fans are going to enjoy this one.

Besides working with musicians, you have done a bit for films and documentaries. Could you tell us more?

That side of things started with Jingles and composing music for Radio and TV adverts. In the early days my brother needed a Jingle for a radio spot for his business and he asked me if I could do anything like that, so I thought it was worth a try and after doing that one, I started using it to look for other songwriting opportunities and they just kept coming. then I started doing composition for some advertising agencies and through them, I wrote some music for the Nashua Cape Cobras cricket team, Simba Chips, Jagermeister and Pepsi.

After a while I started looking for longer duration projects that would challenge me like film scoring. I started working with a film producer who was also a lecturer at a university in Pretoria , and he started recommending me to some of his talented students at the time like Andrew MacDonald and Jarred Sassman, and through them I did some cool short films in multiple genres. Some of them won some cool awards in various film festivals.

Most recently I have been writing music for an Iranian TV station based here in Dubai, writing the theme music for all their new TV shows. It has been great.

A busy body of note, how do you relax and what are some of your hobbies?

Unfortunately this is a sore topic at the moment. I have had very few weekends or days off this year, At the end of these projects I am going to take a few months off and just enjoy some time with my wonderful wife. My hobbies would normally include reading and painting.

As a music producer what is your take on this quote from Rick Rubin, “I don't know what makes someone hip. The goal is artist achievement and the best work we can do with no limitation.”

I think Rick Rubin has seen the great side of some classic albums. There is a reason the greats are great and that comes down to dedication to achieve excellence with the work they do. As he says “the best work we can do with no limitation” It is a great quote.

Do you have anything to add?

Just a quote that my family use. “If it is to be, it is up to me.”

Contact Dylan Ellis: [Here] and [Here] for more information!

Twitter: https://twitter.com/ProducerDylan

Review: CALIBER X

2012-07-26T13:22:00.000-07:00

Caliber X – Suburbia

German based band Caliber X is still summoning the mark of the beast with their latest release entitled Suburbia. The album spins eleven tracks of ruthless riffs, plummeting drum kicks and the signature low baritone vocals of Torsten Schramm. Released by Brett Hart Records early 2012 – Caliber X’s Suburbia is admirably produced and there is an unfailing smoky atmosphere swirling around the tracks.

The album opens with a gruelling guitar breakdown of which create a wicked rhythm. The boisterous melodies of the second track, “Suiciety” entwine to create damn good thrash riffs and the low baritone vocals give it a sprawling edge. Title track, “Suburbia”, tickles the old school blues groove but screams with powerful injustices of society. The singing on track six, “Moment to Wake-up” has a healthy dollop of verve and the bass reigns prominent – making it an astounding favourite. However, further down the track list “Epic Part One” and “Epic Part Two” are the hero tracks of Suburbia. Both tracks have high spots, meandering rhythms and a foggy distorted under-tone.

Suburbia is feisty with its machine-gun pace and the razor baritone vocals of lead singer Schramm add a fourth dimension to the music. Bass player Ole Gutmann and guitarist Bene Adenuaer strike the correct strings for the ferocious rhythm while the pots and pans player Fabian Renz give it a deadly kick!

Want a copy to listen to? Click [HERE] and [HERE] and thank me later!

Caliber X: http://www.caliber-x.de

They are out to get ya!

This is MY Metal Life: CRAIG HAYES

2012-07-23T12:03:00.001-07:00

CRAIG HAYES

Craig Hayes offers an excellent primer to the good and ugly of rock journalism. His writings are superb, fluid and most importantly honest. None of that watered-down nonsense.

Let me first ask you, how did you get into music journalism?

Well, I've been scribbling things down my entire life, but a couple of years back I was diagnosed with a chronic pain condition which led me to eventually having one of those 'life's too short’ epiphanies, and I committed to writing full time. I was already writing for NZ magazines, and had a part-time music editor role, but like a gazillion other metal writers I really wanted to write for Decibel, Terrorizer and kin. I thought long and hard about if or how that could happen, realised the chances were minuscule, and just decided to plough on writing about metal regardless.

I decided to start a blog (sixnoises.com), and then contacted Hellbound about the possibility of contributing. Hellbound welcomed me aboard, that in turn gave me the confidence to approach Popmatters when I saw they were looking for writers. After writing a small piece on NZ metal for Heavymetal.about.com I began to contribute reviews there too.

Earlier his year I began writing a column for Popmatters (Ragnarök) and my workload increased drastically. I had to drop my magazine work here in NZ, which was tough decision, but I feel really lucky about how things have been developing.

Why did you get into music journalism?

I'll be honest here. I write about music because for the last decade it's been an essential outlet in maintaining my equilibrium in life. For many years I tussled with addiction and mental health issues, and it all ended up getting a bit Trainspotting/Leaving Las Vegas. Music played a huge role in piecing my life back together and I couldn't overstate its importance to me, so in many ways writing about music seems predestined.

Linked to that is my belief in the transformative possibilities inherent in music. Metal's filled with an array of mind-bending/expanding outfits, and whether that artistry is delivered in a bombastic, blackened, brutal or beautiful package, its ability to identify meaning in life is colossal—I'm just writing to reiterate that fact.

I guess there's also an element of obstinacy in my work because I'm dyslexic, and I got very tired of people telling me that I'd never be able to make it as a writer. Ultimately, I'm a hermit who happens to be a music geek, so there's really nothing else I’d rather do.

What are the most important attributes to remaining sane as a writer?

I think the key attributes to remaining sane as a writer would be to do everything I don't. Get organised, eat healthy, exercise, and don't spend hours watching Iron Maiden footage and shark documentaries on YouTube when you have work due.

You are based in New Zealand (Wellington), what can you tell us about the metal scene over there that we don’t already know about?

We have a fairly extensive scene down here with a raft of fantastic bands (and some dire ones too). We're geographically isolated, but that hasn't hindered the resolve of NZ metal musicians. I think most NZ metal bands are realistic about the vagaries of the music industry and just get on doing what they do best. A DIY spirit underscores a lot of NZ metal, fans are really supportive of local acts, and I think it has its own flavour. I'd say NZ metal is grounded yet tenacious—which I think also defines the NZ music scene as a whole.

The scene is really thriving. You have bands like Ulcerate, Diocletian, Witchrist and Beastwars doing well internationally, and aside from those guys, if you want a taster, then check out: Razorwyre, Arc of Ascent, Old Loaves, Meth Drinker, Stone Angels, Vassafor, Creeping, Winter Deluge, Exordium Mors, Cobra Khan, Keretta, House of Capricorn and The Mark of Man.

At the moment you are a scribe for Popmatters.com, Hellbound.ca, HeavyMetalAbout.com, your own website Sixnoises as well as a freelance writer, what is the most brow-raising band/album that you have come across?

I'm pretty promiscuous when it comes to music, especially the experimental, eccentric and ear-splitting stuff, so I think my tolerance for weirdness is fairly skewed—I don't know if I could pin it down to a single album. Certainly, as a teenager, hearing Hellhammer, Bathory, Slayer and ilk for the first time made me raise a brow, and encountering Disembowelment really shook my expectations of how 'heavy' metal could be.

But in the contemporary realm Oranssi Pazuzu definitely fulfil my brow-raising requirements, as do Deathspell Omega and Blut Aus Nord. Justin Broadrick and Aaron Turner's various side projects are always fascinating too. I think my go-to idiosyncratic metal bands would include Locrain, Bosse-De-Nage, Sutekh Hexen, Sunn O))), Circle of Ouroborus and Botantist—those guys all offer genuinely unconventional metal—as well as any band that resides in that noise/ambient/metal nexus.

Is it true that you briefly endeavoured to be a Rockstar?

That is entirely true. My attempt at rock 'n' roll glory lasted for around 30 minutes sometime in 1992. I can confidently report it was a staggeringly awful experience for all concerned, apart from one guy who'd spent the night huffing solvents to the point of psychosis—he seemed to enjoy himself.

Now that “Rockstardom” is over – how do you spend your free time?

Like I said, I really am a bit of a hermit. I just hang out with my family and friends. I have a seven-and-a-half-year-old son, so we do all the usual dad/son stuff like kicking a ball round, going on adventures, loading up on candy, and arguing about why he can't play with my Star Wars Lego. My partner is really into bikes so we go on bicycling jaunts about the place, and we live about one minute from the beach and an outstanding rugged coastline so we make the most of that. We don't watch television, so movie/DVD nights are a big thing in our house, and personally I'm happiest just trawling second-hand record and bookstores, and catching a gig every now and then.

Having worked in print media as an editor – what is your take on music webzines versus printed music magazines?

I'm a complete anarchist when it comes to any artistic endeavour, so I love the unbridled passion of webzines. I think everyone's opinion on music has validity, and I love the wild variances of quality and content you get with webzines. I do think people need to have realistic expectations about what they're doing with a webzine. I'm not privileging studied criticism over passion, but there's a difference between the two, and having an editorial buffer between writers and readers would really help on some webzines—but then, many others do just fine without it.

There's no doubt the rise of webzines has contributed to many print magazines folding, and that's a tragedy because along with that go hopes and livelihoods. Adaptation and survival is a cruel process, and I know from experience how tentative some magazines’ existences are. I hope the print industry finds some steady footing, because I love the tactile world of magazines, and that can never be replaced by online content or reading off electronic devices. I'd really hate to see the day when I couldn't flip open a copy of Decibel or the Wire. Magazines continue to be a huge part of my life.

If it wasn't for webzines I would never have discovered the bulk of the writers I love to read, and we wouldn't be having this conversation, because I wouldn't have read your work, and you wouldn’t have read mine. I don't think I have a concise answer for that issue really, aside from the fact that I really enjoy both, and I think they occupy very different and important roles.

At Victoria University (New Zealand), one of your majors had been philosophy. What are your philosophies of heavy metal?

That is a big question, and metal and philosophy make for great bedfellows, because both offer conflicting theories about the answers to life.

Metal is so incredibly broad that it's an endlessly fascinating philosophical mind-fuck (I'm pretty sure that's the correct academic term for it). You can look at metal through the eye of any number of critical theorists, and you can try and gauge its accent using countless theories, and you'll find entirely different and often contradictory answers about what metal 'is' every time. You can think you've got it pinned down one day, then take another peek—questioning its aesthetics, moral relativism or culture—and find all your answers negated again.

I appreciate metal for its purely visceral aspects, but I’m also fascinated about the philosophical basis of an artist’s works. Obviously, metal is more than anger, bile, devilry and buckets of gore, even if those happen to be some of its best aspects, but I guess the closest I could get to my own philosophy of metal could be crudely captured using two sets of metal lyrics.

The first is the initial question that metal has always sought to answer in its broadest terms: "What is this that stands before me?" The second defines metal's temperament: "Fuck you, I won't do what you tell me."
I think metal seeks to answer big question, while carrying an even bigger chip on its shoulder—and that's why I love it.

Do you have any albums picked out for the ‘must-have’ of 2012?

I always hum and haw about 'must-haves' and 'best-of' lists because it's all so dependent on time and place. However, going by my headspace today, I would heartily recommend:

· Panopticon—Kentucky
· Pallbearer—Pallbearer
· Samothrace— Reverence to Stone
· Horseback—Half Blood
· Dawnbringer—Into the Lair of the Sun God
· Sutekh Hexen—Larvae
· Arc of Ascent—The Higher Key
· Tragedy—Darker Days Ahead
· Locrian & Mamiffer—Bless Them that Curse You
· Connan—Monnos
· Mares of Thrace—The Pilgrimage
· Witch Mountain—Cauldron of the Wild
· Vatnett Viskar—EP
· Bosse-De-Nage—III
· Astra—The Black Chord
· Ancestors—In Dreams and Time
· Ufomammut— Oro: Opus Primum.

I could go on and on… the new Rush, Ahab, Father Befouled, and Wrathprayer albums are great. Titan's Burn is HUGE, and those Adversarial/Antediluvian and Alaric/Atriarch splits were amazing.
I think if you buy all those, and every other 2012 release from Profound Lore, Gilead Media, Dark Descent, Handmade Birds, Southern Lord and Nuclear War Now! you'll be making a good dent into 2012's must-haves. Oh, and Christian Mistress and Royal Thunder too. And… sorry.

You are a Krautrock fan – is that a reflection of your eclectic music taste?

I think so. I like a really broad range of music, and I'm open to exploring most musical avenues—aside from vacuous, mass-marketed soulless pulp. I really enjoy the contextual aspect of music; seeing how it's developed and mutated into various strains. Krautrock was huge discovery for me, and it opened up a whole new world of fringe-dwelling artists; I love that proto-electronica, experimental, and progressive and psychedelic rock world.

Krautrock is the perfect conduit into that realm, and if you're shy and a bit awkward like I am, then that insular and nerdy niche-within-a-niche vibe is the perfect place to hide away. I just love that feeling of stumbling upon under-appreciated or forgotten treasures. It's the same with metal: the more underground and obscure the better. I guess I'm looking for music that's a geeky as I feel.

Most writers eventually move into novels and biographies, do you have any plans to go in this direction?

I sure do. I have two books in various stages that I've put aside, and one other idea that I'm going pitch to a publisher here in NZ, just as soon as I can pluck up the courage.

What advice would you give to up-and-coming music journalists and are there any misconceptions of writers that you would like to dispel?

The most important lesson I have learnt in all my time writing is that it's vital you remember you're writing for an audience. Folks are busy, and time and attention spans are fleeting, so the key is to find that balance between satisfying your own creative instinct and providing an accessible piece for the reader. If you can say something in 250 words rather than 500, do it. You want to keep your readers engaged, keep it sharp and punchy—which is probably something I should have kept in mind for this interview.

You should never write solely for money or egocentric reasons, because there's little money in the writing game anyway, and conceitedness is an insult to your readers’ intelligence. Write because you want to find that perfect way to express how music makes you feel in the marrow of your bones.

I’ve written umpteen thousands of words, and I'm still not sure if I've found my voice or if my work has any personality. Writing is a continually evolving process, and ultimately the key is just to keep grafting and grafting, and to never give up. If people tell you you're wasting your time because one piece of work happens to be less than perfect, keep in mind they are completely and utterly wrong. The sharing of different perspectives and voices is what writing, and life, is all about.

Alternatively, feel free to ignore my advice and do whatever you want—it's probably best not to take advice from someone who failed all his English exams at high school anyway.
As far as misconceptions about music journalists go, they're probably all warranted in some sense. We're a wildly diverse bunch, which is perfect, because music causes wildly diverse reactions. I hope we all have a touch of the tortured artist lurking within, as that’s what turns the dull and descriptive into something altogether more lyrical.
At the end of the day, I think the most crucial piece of advice I would pass on to writers is that you if you work from home, try your utmost to get dressed before lunchtime. Because if you don't, you'll inevitably find yourself at the corner store buying cigarettes in your pyjamas at 3pm—and trust me, there's really no way you can escape that scene with your dignity intact.

Are there any last words that you would like to add?

Thank you so much for asking me to have a chat, Lav. It's such an honour to appear on your blog, and congratulations on all the success you're having with your writing. I want to send out my everlasting thanks to Hellbound, Heavymetal.about.com and Popmatters for allowing me to pollute their pages, and cheers to the writers and readers who’ve sent an encouraging word my way. I really can't underscore enough how much that means to me.

My family and friends have been ceaselessly encouraging, enormously helpful and have put up with all my idiosyncrasies while I type away. So I’d like to send out a mighty hail to them all. And an extra special mention has to go to my partner El, who has been unwavering in her support (although, she has made some extremely disparaging remarks about Bruce Dickinson's stage attire).

Craig Hayes (Haze) can be found scribbling at: www.popmatters.com/ www.hellbound.ca/ heavymetal.about.com/ sixnoises.com/ and on Twitter

Air Guitar's Metal Week

2012-07-14T13:16:00.001-07:00

Review: Mouthful Of Flies

2012-07-11T07:09:00.000-07:00

MOUTHFUL OF FLIES - TEN: NEGATIVE: SIXES

Nothing beats receiving a physical album in your mailbox for review and otherwise. It’s the same elation that a kid experiences when the television controller is first discovered or that candy comes in better tastes and colours. Yip, it is that awesome!

A neatly packaged album [accompanied with a 12 page lithographic artwork booklet] arrived a month ago entitled Ten: Negative: Sixes by a British band called Mouthful of Flies. The album drips with death punching riffs, dark acoustics and monstrous vocals. That’s right, ten grinding tracks to windmill through!

As far as the history of the album is concerned, the United Kingdom based band released Ten: Negative: Sixes in 2007 (Yes, it has been a while). Mouthful of Flies garnered some positive attention through live shows and radio play – most notably Bruce Dickenson’s 6 Music Rock Show. The album still remains to be the crowning jewel of Mouthful of Flies repertoire but it is much more than that – it is demonically impressive!

The album opens on an enigmatic and speed-fuelled track titled “Deadened Soul”. The guitars and drums are slightly reminiscent of Disturbed – it’s tight, neat and has that machine-gun prowess. The vocals are almost clean singing but remain brusque and the lyrics are righteously powerful. The track list progresses flawlessly into another fist-pumping title, “March of The Clones” with pleasing riffs and thunderous drums. Again, the mosh-pit tendencies of the album are just amazing. Further down the album, the short track “Breeder” ropes me in with the invigorating rhythmic guitars. The breakdown is incredible and the iron-fist impelling nature of Mouthful of Flies makes this a stand-out, must hear track.

There is no doubt that the band members are skilled and highly proficient musicians and that immediately shows throughout the album. Furthermore, Ten: Negative: Sixes is studio quality and was produced, engineered and mixed by Mouthful of Flies band members, Dean Smith and Daniel Stevenson. As far as I am concerned, there is only one track that loses edge, “Black Magick”, because the vocals remain veiled in the background of the prominent drums and guitars. The raw energy created by the instruments and aptitude of Mouthful of Flies makes the release Ten: Negative: Sixes well worth the listen! I dutifully recommend it to any traditional heavy metal fan!

Thank you to Dean Smith for sending the album! For more information about Mouthful of Flies: CLICK

REVIEW: BLOOD CEREMONY

2012-05-28T13:34:00.000-07:00

Blood Ceremony – Blood Ceremony

Blood Ceremony’s infused tinge of sophistication meets Hippie rock, comes alive on their 2008 release modestly entitled “Blood Ceremony” reissued by Rise Above records. Fuelled with a passionate influence of Black Sabbath and words of the occult – this album makes me want to handle the music with a glass of Red and tap along with my bare feet.

Track by track the reissued Blood Ceremony album grows on me; with its various elements of strong and well-played guitars, polished flute additions and vocalizations of Temptress, Alia O’ Brien. The rough and smooth instruments contrast on “Blood Ceremony” to perfection, venerating the esoteric and almost creating a celestial atmosphere. The unforgiving nature of Black Sabbath bleeds through the album – and I being an avid Sabbath fan could notice the reigning power. The most stand-out feature on the album aside from the flute nuances is the old school production feel. It has an almost smoky achievement best described as a gathering of Witches and Wizards around a ritual bonfire.

The album’s opening track “Master of Confusion” sets the tone of what can be expected from Blood Ceremony. The unusual execution of the flute can be associated with folk metal but Blood Ceremony is far from it. The stretching riffs and retrograde metal elements are purely enthralling and it is rare to have to hear such ‘fleshed out’ tracks. The most favoured track of mine is “Children of the Future” with its beautiful guitar riffage and spooky correlations of Tony Iommi techniques. The labyrinth of complex rhythms are implemented skilfully and one could get lost in thought when listening to such dexterity. When the transition of stylistic variation takes place – I barely noticed it due to the fluidity and neatness on the album. Alia O’ Brien compliments the “Blood Ceremony” album with her amazingly luscious vocals.

On initial listen to Blood Ceremony’s self-entitled release, I was acutely aware of the most feel-good Sabbath moments and I took like a bee to honey, growing accustomed to Alia O’ Brien and the band of retro-rock awesome. The genre is not centred to retro-rock or metal but it deserves a merry recommendation to any alternative fan. Furthermore, it would be a sin not to hear Blood Ceremony at its finest.

This was one of my first reviews posted in Alternative Matter [now merged to Thisisnotascene.com]

REVIEW: BEYOND THE BRIDGE

2012-05-23T16:44:00.000-07:00

Beyond The Bridge – The Old Man and The Spirit

Concept albums always seem to come from a naked part of the Artist – profound and full of allegory. With that mentioned, the same can be said for Beyond The Bridge’s long anticipated release “The Old Man and The Spirit”. The lyrical based album comes across as a large musical with your imagination as the theatrical director and you as the only spectator.

Herbie Langhans and Dilenya Mar are responsible for the alluring duet of the “Old Man” and “The Spirit”. As far as the conception of the album is concerned, the “Old Man” refers to the human experiences while the “The Spirit” refers to the lady of wisdom. Throughout the album, there is a touching dialogue between the two embodiments and thus a connection is forged. It took a pulsating five years to complete the “The Old Man and The Spirit” and thus the album was ready for release with Frontier Records late January 2012.

Not being much of a progressive rock listener, it took a great deal of effort to hit play on the album though once started – I did not stop. The beginning of “The Old man and The Spirit” is absolutely smooth, fluid moving and sounds like the start of a high-end musical production. One can expect extravagant appearances from the orchestra as well as good use of the choral group and voice samplings. The piano and guitars deserve a special mention as they are both played to superior perfection – not surprising as most of the musicians on the album are trained professionals. The tinkle of bells can be experienced all over the release and one can catch the sprinkle of Arabian influence. If it is heavy that you are after, there is one stand out track that matches the speedy riffage with lyrics entitled “Doorway to Salvation”. There is a heavy rustic chug which complements the coarse vocals and do expect an enduring memorable bridge. However, don’t expect any brutal or slamming sounds rather nip in for some headphone time and ease into the jazz metal infused vocals. Become familiar with the crafted techniques of instruments and of course take pleasure in the musical production designed solely by the listener.

The concept release by Beyond The Bridge is quality and deservingly impressive. Normally not my cup of tea but “The Old Man and The Spirit” is a brilliant exception. With its classical attributes, silky vocals and a hint of metal – it goes down in my book as a worthy recommendation.

This review was originally posted by Alternative Matter [now merged to ThisIsNotAScene]

REVIEW: KARNAK SETI

2012-05-22T15:02:00.000-07:00

Karnak Seti - In Harmonic Entropy

Karnak Seti’s, In Harmonic Entropy burns slow like the midnight oil. It is powerful at the beginning yet not sustainable till the end. It is harmonious metal yet generic death metal.

On the other hand, the self-released album earns a fantastic mention for its riffs of great calibre as well as its fluid moving track list. The Portugal based band spent a great amount of time crafting nine intense tracks of which two are re-releases from prior recordings. In Harmonic Entropy does arouse the listener into an atmosphere of organized chaos with biting licks and plenty of clean lines.

The biting riffs are best enjoyed on the track “Loss” with its distorted alternating of furious and slow tempos. It is here that the drums become the most prominent feature as well as a heavy and neat bass line. The vocals are fairly melodic and at times clean so do not expect any pig-squealing or unnecessary grunts that is often illustrated in the death metal genre. Though do expect a brusque force in the vocals and a slight bit of raw in the track which stands out, entitled “Only Red Mists” in which a superb use of grinds are expressed. The stylistic variations in the album change from death metal to melodic metal and even possess a lucid In Flames quality.

Nevertheless, Karnak Seti has been playing for a subsequent number of years and their skills are relatively refined so in terms of musicianship, the band is not lacking. The main problem with In Harmonic Entropy is the closet recording which slightly stifles the sound quality. The drums become suppressed on most of the tracks while the guitar gets pushed to the background thus implicating the overall potential of the album.

In terms of listenership, Karnak Seti racks up a good chance with the audience especially with the In Flames fans. Although In Harmonic Entropy might not be on the ‘must have’ list – it falls under the ‘definitely worth dexterity’ category.

Review originally posted on Alternative Matter [now merged to ThisIsNotAScene.com]

BAND HORN: KILLED THE FIXTION

2012-05-11T10:52:00.000-07:00

NEW JERSEY HAS TALENT!

A howling breath of fresh air! That is one way to describe Killed The Fixtion’s latest single release called Moonlite Blue.

Killed the Fixtion is a tempo tight band with really clean vocals and a mash-up of extorted influences. As the band members of KTF put it lightly, “Music is an element or tool and the way we reflect it through our music is simply just by feeling the combination of heavy rhythms mixed with harmony and melody. In the end, we play what we feel and what is in our hearts.”

Moonlite Blue has a twist of harmony, some sexy blues, and tight rhythm. It is neatly recorded and the track quality is pretty darn good! Howlin' Wolf (Chester Arthur Burnett) is a major inspiration for the KTF single and righteously the band has been able to recreate the smoky guitar edge.

Don’t believe me? Click on the Video to hear for yourself! If you like what you hear, then stimulate your eyes with Killed The Fixtion's prior interview on Air Guitar and support the New Jersey band on their social cyber sites; Facebook and Twitter.

EXCLUSIVE INTERVIEW WITH BATTLECROSS

2012-05-07T10:19:00.000-07:00

BATTLECROSS

BATTLECROSS reign supreme with a wicked thrash metal release entitled "Pursuit of Honor". It's stripped down heavy metal with grating guitar work, roaring drums and vocals of true steel. None of that watered down nonsense is expected because BATTLECROSS bring it to the fans!

Tony Asta of BATTLECROSS tells Air Guitar about band dedication, Don Slater being the most badass bassist and the crazy but awesome number of current and upcoming tours!

Hello Battlecross!

Hey Lav this is Tony Asta, guitarist of BATTLECROSS, thank you for the interview opportunity.

Thank you for agreeing to do this interview with Air Guitar (South Africa)!

Of course, my pleasure!

Battlecross struggled to find a dedicated and reliable line-up since 2007; has the band settled at this point?

We are the strongest we have ever been. I trust my band mates, they are very driven and talented and continue to prove their dedication every day. I am very confident in this band.

There is a complete disarray of incredible influences and styles in Battlecross. How does this work and why?

We all like to have our input and the writing process can be pretty painstaking, but we enjoy what we do especially when it pays off. Having multiple influences shapes a band into its own sound. If we all liked exactly the same bands then chances are we would end up sounding exactly like them. Having a variety of influences brings out the flavor.

By being signed to Metal Blade records, the band has something to live up to. Does this make it more difficult for you?

The real work starts here. We have always been a hard working band but it is true being signed and the touring lifestyle has its own set of demands. Everything is at a larger scale, including the work load.

Let’s talk about some of the songs on “Pursuit of Honor”, starting with the re-mastered, “Push, Pull, Destroy”.

“Push Pull Destroy” was our first single released from our debut Metal Blade album. The song has been featured on Sirius XM Liquid Metal, been on the top twelve of the Devils Dozen countdown for several months and number one for five weeks in a row. Check out the official music video for “Push Pull Destroy” on our website www.battlecrossmetal.com or on Youtube.

How about “Breaking You”?

“Breaking You” is the second single released and is actually one of the first songs legit we ever wrote, back in early 2007.

There is a little bit of truth in the bass player being the ‘forgotten’ band member. In Battlecross, the bass reigns prominent especially on the track “Man of Stone”.

Don Slater is the most badass bassist I’ve ever had the privilege of jamming with. He includes a couple awesome bass-solos in “Man of Stone” and I recommend all modern metal bassists check out this song in particular. The bass player will never be the “forgotten” member and I think Don proves that.

Ozzy Osbourne once said, “We don’t all want to sound like the rock ‘n’ roll version of Albert Einstein.” As a band, what is your take on that?

I imagine what he’s trying to say is “we just want to rock, ingenious or not”. And if that is what he’s trying to say than I completely share his opinion. Not everybody wants to razzle dazzle the audience with sweeps and ultra progressive structure or unusual time signatures. Some of us just want to kick some ass. Without limiting ourselves, we absolutely came to kick some ass.

Tour season is kicking in for Battlecross, what can the fans and new audiences expect for 2012? I read the live acts are raw and superb and the recordings don’t do justice.

Right now we are on the Occupation Domination tour with Origin, Cattle Decapitation, Decrepit Birth, Aborted, and Rings of Saturn. This July/August we will be the opening slot for the Trespass America tour with Five Finger Death Punch, Killswitch Engage, Trivium, God Forbid, Emmure, and Pop Evil. And this December we will be joining the Mayhem Cruise with Lamb of God, Hatebreed, Anthrax, and Machine Head. But to comment on our live show, we are generally modest, basic, and stripped down. We don’t care about theatrics so much, but we do our best to deliver a raw, energetic, in-your -face performance. The music and the connection with our fans is the most important thing at our shows.

Battlecross has a very hard-line work ethic; always persevering and believing in what you do. What can other bands learn from that?

Never give up and believe in yourself. Follow your passion and the things that make you happy. Enjoy life and shoot for the stars. Surround yourself with Positive people. Don’t be lazy and never “expect” anything from anyone.

Would Battlecross like to spill on any blueprints for future releases?

The next album is about half complete. I have no comment on when or where we will be recording or when it will be released. I can say for sure we are taking the next album to a new level.

Does Battlecross have any last words, especially to the South African audience?

I am blown away people on the other side of the world listen to the music we create and I am very grateful someone actually likes us in the first place. Thank you all for your interest in BATTLECROSS and I can’t wait for the day to come to South Africa and bang heads with you all! \m/

We look forward to a BATTLECROSS visit when time allows.

Cheers Tony Asta for a good interview and thank you to Metal Blade Records and Fayz Media Group for organizing it.

Catch more BATTLECROSS at the Official webpage, Facebook, Twitter and Metal Blade Records.

This is MY Metal Life - Adrien Begrand

2012-04-20T11:33:00.000-07:00

ADRIEN BEGRAND

Instead of writing my own spiel about Adrien Begrand, I have decided to copy and paste the unmerciful and honest words from Invisible Oranges:

"Adrien Begrand’s writing at PopMatters was what made me give writing a go. His writing about metal was as accessible and informed as any other writing about music I’d seen. What I learned from Begrand was the importance of research. Know your shit before you write about it!"

Do tell us – how did you get into music journalism?

Ready for a long story?

It’s weird, writing about music was always in my blood, the seed planted when I first discovered how brilliant and hilarious John Lennon’s lyrics to “I Am the Walrus” were on my Mom’s old Magical Mystery Tour LP when I was about nine years old. After I became obsessed with metal in early 1984 at the rather late age of 13, while friends were picking up instruments and starting bands I was having more fun writing essays about W.A.S.P. and the PMRC in English class, reading record reviews in mags like Circus, Metallion, and, yes, Rolling Stone, and basically trying to convince people why they should own this record instead of that. But being an introverted, bullied kid in some absolutely hellish, ostracizing schools, I had zero confidence in the end, and didn’t even consider music journalism a possibility. I was sapped of ambition.

As the years went on I became interested in a much wider range of music outside of the metal realm – the US and UK indie scenes from 1990 to 1997 had an enormous impact on me - and the Internet in the mid-‘90s re-ignited my interest in music criticism and journalism. This might seem goofy, but before I started my own blog in January 2001, what really got me going in the late-‘90s was writing the odd customer review at Amazon.com. People would email me telling me how they saw what I’d written, bought an album, and wound up agreeing, which was awfully nice, so I just kept at it, whether it was emailing friends about stuff, posting on music newsgroups, or eventually my blog. Finally in late 2001 I saw PopMatters was looking for new writers, and I offhandedly applied. I can’t even remember what I said in the email. Miraculously they took me on, and I was having a great time churning out review after review after review, covering all sorts of genres.

Most fun, though, were the metal albums I covered. Back then nearly all indie metal labels didn’t even think of submitting CDs for review, they just assumed the mainstream webzines weren’t at all interested. There was so much great metal music going unnoticed, and in 2004 I finally suggested to my editor that I start approaching labels myself. Because PopMatters likes to cover all facets of popular culture, I immediately got the go-ahead, and starting with Nuclear Blast, Relapse, Prosthetic, Century Media, and Roadrunner, I got them to send me stuff, and my writing focus started to shift from all genres to mostly metal. By 2005 I was talking to lots of other labels and PR people, saying, “Send me anything!” That year we decided at PopMatters that I start a monthly column devoted exclusively to metal, something no widely-read, non-metal webzine was doing at the time (Stylus and Pitchfork would start their own metal columns not long after). I named it Blood & Thunder after the Mastodon song (I’m notoriously lousy with titles), and proceeded to churn out 60-odd 2000+-word columns over the course of six years or so.

That was the big turning point, as Decibel magazine would come a-knocking in late 2005, having seen my PopMatters writing, and I’ve been with them ever since. Metal Edge would ask me to join in 2007, and it was great fun helping rebuild the magazine for a year and a half before it was sadly shut down by its parent company in 2009. With four major magazines folding in just a few months – Metal Edge, Metal Maniacs, Brave Words & Bloody Knuckles, Unrestrained! – 2009 was a rough year for metal writers, but a group of us Canadian scribes got together to start Hellbound.ca, and in 2010 Sick Sounds and Terrorizer asked me to contribute. Then last year I was asked to succeed my friend and peer Phil Freeman over at MSN’s Headbang blog, which has been such a blast. So it took a while, and I’m a quintessential late bloomer, but ten years later I can say I have a pretty cool little career going.

You have been writing (professionally) about metal for ten years – what keeps you going?

One harsh lesson I learned pretty darn quickly was that music writers earn peanuts. If you want to make any sort of money doing this you have to really, really keep at it, pitching freelance stories and reviews. Thankfully I don’t have any kids; I have no idea how my peers with kids handle all the work! The interesting thing about working for MSN is that while I’m paid a monthly wage, more than any combination of writing gigs ever got me, the real challenge is writing good content five to eight times per week. It’s really easy to get burned out, but I’ve learned to make a few adjustments, such as working strictly nine to five rather than all hours of the day and night. Forcing myself to stay away from the computer at night has paid off nicely, I’m able to handle the grind a lot better. Living healthily is something that’s easy to forget when you’re doing freelance work.

The bottom line, though, what drives it all is that I’m still as interested in good new music as I was ten years ago, 27 years ago. Sure, now more than ever I have to listen to a lot of mediocre music, but every so often I’ll get a great new CD in the mail or a digital promo in my email, or a new band will bowl me over, and that excitement will be back just as always. If you don’t have any passion for the music, then you have no business writing about it. I’m glad to say that I’m as passionate for metal music now at 41 as I was when I was 13 or 14.

Was there a time when you thought that maybe you should get a ‘real’ job?

Of course. But writing is the only thing I do, it’s the one thing I know I’m decent at, and I can’t imagine myself doing anything else.

When you are not contributing to Decibel, Terrorizer, MSN.com and many more – what do you do with your time?

When you’re this busy you don’t really have a life. It’s very insular, and my life pretty much revolves around music. Of course I have other interests, I’m as big a hockey fan as you’ll ever meet, my 20-year obsession with the Beat Generation writers has resulted in quite a massive collection of books and multi-media, I love good films, from the French New Wave to the master Krzyztof Kieslowski. There’s traveling of course. And the little things, like hanging out with my niece, those are the best.

You were one of the lucky few who got to be aboard 70,000 Tons of Metal as well as toured with various bands – what can you tell us about those experiences?

Living in the middle of Western Canada I’m not privy to as many cool metal shows as my buds in Toronto or New York are, so whenever I do get a chance to experience a festival or a big show it’s something I savour. 70,000 Tons was crazy; not only were there 42 bands on a cruise ship (including older bands I love whom I’d never seen like Voivod, Raven, and Saxon), but the fact that it’s so self-contained and so well run by the ship’s crew made it perfectly suited for me. Let’s face it, at 41 I have no desire to sleep in a tent at Wacken for four days. On this cruise, you had a bed just a 60 second walk from any of the venues, there was all the free food and (non-alcoholic) drink you wanted, you’re mingling with bands, most of whom are super-nice, and it was all on a freakin’ boat in the middle of the gorgeous Caribbean Sea.

Back in 2008 Phil Freeman at Metal Edge had a crazy idea. Why not send me on the buses with Paganfest and do an old-school tour report traveling from city to city? So for a week I hit the road with Ensiferum, Turisas, Tyr, and Eluveitie, across Eastern Canada and the Northeast United States. I was a little wary at first, but everyone was so accommodating, especially the guys in Tyr, whom I got along with splendidly. Sure, there were hijinks, like losing a coked-out guitarist in Montreal and then trying to get across the US border with the same coked-out guitarist, but what really hit me hard was the down time. You’re stuck in an awful neighbourhood in a city with nothing to do but wait for the show to start. The shows and afterward are awesome, visiting with fans and hanging out with the bands afterwards (man, do Finns ever drink), but in between there’s a whole lot of nothing. And it gets worse when it’s pouring rain outside, you’re stuck on a crowded bus all day. If there’s one thing I got out of that trip is a deep admiration for those road dogs, especially the merch slingers and the crew, who grind it out on the road during those long tours. It’s just not the life for me…one week was more than enough!

Iron Maiden are British Demi-Gods that you nabbed a sit-down interview with. Are they very private and reserved or have we got the wrong idea about them?

Landing this assignment was the big one for me. After this, it’s all downhill. Iron Maiden remains my favourite band of all time, and to get the chance to sit down and talk individually with four of the six members was mind-boggling. I was in Dallas with about 20 other members of the global metal press, so the guys in the band were fully prepared for the barrage of interviews. They’re total pros, they were there to answer questions, they knew that. But it was fun dealing with the different personalities. Dave Murray is very friendly, always with a smile on his face. Adrian Smith, my favourite songwriter in the band, is more reserved, very laid back and chooses his words carefully (what broke the ice for us was our first meeting: “Adrien, meet Adrian”). Bruce Dickinson was awesome, exactly how you’d think he’d be, extremely witty, you ask him a question and it’ll be ten minutes before you get a chance to ask another. I had so much fun talking to him. Steve Harris was so imposing, he’s very straight-faced, he’s a reserved guy, but after the requisite questions about the new record we got onto more fun topics and turned out to be an absolute pleasure. I didn’t interview Janick, nor Nicko, but saw plenty of them and those two are so gregarious. You know when Nicko’s in a room, you hear him from miles away.

Lars Ulrich once said, “Once in a while the heavy metal community needs a good fucking kick up its arse, because it can get a little predictable.” As a metal music critic, what is your take on that?

Yes. Emphatically yes. Like any metal fan I adore certain bands that refuse to change. It’s like comfort food, that familiarity when you put on a new Motörhead or 3 Inches of Blood album is a wonderful thing. But at the same time, going back to when I was listening to Metallica, Voivod, and Queensrÿche back in the 1980s I’ve always craved new metal music that dares to try new things. Metal’s a very conservative form of music at heart – just look at the backlash Liturgy has gotten over the past couple years just because they’re trying to do something a little different - but I’m a bleeding heart liberal, so much of the time it’s the forward thinkers out there who remind me most often how even more exciting metal can be than just complacently adhering to a formula. Even though Lulu was arguably one of the most misguided experiments since Celtic Frost’s Cold Lake, it’s admirable that Ulrich wanted to try something like that. His heart’s in the right place, but his head clearly isn’t.

I know its borderline April but do you have any albums picked out for the ‘must have’ of the year? (Now it is April)

I’ve already heard dozens upon dozens of albums this year of course, and I always have to keep a running tab of my favourite albums at the moment. If I had to pick ten, they’d be (in alphabetical order):

Accept, Stalingrad

Alcest, Les Voyages De L'Âme

Christian Mistress, Possession

Dawnbringer, Into the Lair of the Sun God

Horisont, Second Assault

Mares of Thrace, The Pilgrimage

Meshuggah, Koloss

Pallbearer, Sorrow and Extinction

Torche, Harmonicraft

Witch Mountain, Cauldron of the Wild

You are a Goldfrapp fan boy – what can you tell us that we don’t already know about them?

Ha! I am utterly shameless when it comes to Goldfrapp. I can’t help it. Along with Anneke Van Giersbergen Alison Goldfrapp is my favourite singer out there. She and Will Gregory have a great partnership going, and every record they create has its own unique identity. You never know which direction they’re going to head in next.

I’ll readily admit to having a particular weakness these days for women singer-songwriters with a predilection toward the esoteric. Basically if Kate Bush is an influence, my ears will perk up. Or of it’s just Kate Bush (50 Words For Snow is wonderful). I’m awful. Canada’s really starting to churn out a lot of such talent as of late…Austra was one of my 2011 faves, and now this year I can’t stop listening to Grimes and Yamantaka//Sonic Titan.

Because I listen to so much metal music I don’t have nearly as much time to devote to all other genres as I’d like to, but being a Polaris Music Prize juror since 2006 (Canada’s version of the Mercury Prize) I do make every effort to stay current. As much as I love metal, it’s only a fraction of my musical interests. I need that variety, especially when casually listening to shuffled tracks on the iPod. Just now my iTunes went from Firewind to Florence + the Machine. I wouldn’t have it any other way.

Notice how I evaded the original question?

Are there any last words that you would like to add?

Only thanks so much for asking to be interviewed! I’ve ben reading your site for the past few months, and it’s great to see such a smart metal writer doing good work promoting the scene in a country a lot of us don’t consider a real metal superpower. Keep it up, Lav!

Thank YOU, Adrien!

South Africa Metal: STRIDENT

2012-04-18T11:22:00.001-07:00

STRIDENT

(6 Brothers who love driving melodic metal and good times)

Thank you for taking some time out to do an interview with Air Guitar! Melodic rock is back on the agenda. Why now?

Well, in our minds it’s always been there, but it’s always been in the fabled lands across the sea! The first thing we were struck by when we started gigging was the incredible hunger among the metal fans here for precisely what we were offering: melodic, epic metal. Internationally, too, the power metal genre has gone through many permutations, and there’s a whole new audience waking up to it now. So the stars have aligned, one might say.

For our readers abroad; could you elaborate on the ‘epic’ Strident?

It’s a band of 6 brothers who love nothing more than driving, melodic metal and having a good time. Our shows are theatrical, unashamedly bombastic and frequently tongue-in-cheek; a celebration of the metal brotherhood and all the things that it entails. We hoist broad swords, knight our most loyal fans onstage and just embrace the sheer power of heavy metal.

You’ve said in the past: “Today, Strident stands as South Africa’s defender of true steel, willing to live and die for their brand of heavy metal, in all its cheesy glory.” Why the ‘cheesy glory’?

There has always been an element of cheesiness about power metal, an element of self-indulgent fun that separates it from more thematically ‘serious’ metal genres. It’s a release; there’s no pretence, no having to be ‘brutal’, no fear of being caught smiling. Music is about expressing yourself and having a great time and this is a philosophy that power metal embraces fully. So we take the music seriously, but never ourselves. As for glory, power metal should make you feel like you’re on top of a mountain slaying a dragon; it’s every fantasy epic in musical form. And besides, who doesn’t like to sing about pirates, legendary warriors and power metal from space?

Strident has played a mass amount of gigs – which gig was the most chaotic?

RAMfest 2010 really stands out. People got punched in the face, underwear was thrown on stage. German girls, too. It was quite an experience. Rock The River this last new year’s was also quite a hit – we had random fellows and ladies jump on stage, sing our songs and just plain rock the fuck out. Even the death metal fans had fun. But overall nothing touches the absolute madness of the gigs we used to play in the cramped confines of Eye of Horus - complete insanity which we look back on with nostalgia.

The quality of your songs is amazing on Oath – where did the tracks get recorded and mastered?

Why thank you! They were recorded and mastered at our good friend Jo Ellis’ BlooRoom studio in Ladysmith. Jo has really helped us progress as a band and has tons of knowledge. It was his first foray into power metal (the amount of sound engineers in South Africa who know power metal is painfully small) and our first proper studio recording, so we’re really proud of the result. That said, our new material and initial recordings with Jo for the second album are sounding so good it hurts – people will really be blown away. Better songs, a real choir, vast orchestral arrangements and a far more modern sound - we cannot wait to unleash this beast!

Let’s talk about some of the tracks from the album Oath. What was the idea behind “Metal or Death”?

Metal Or Death is a live favourite, an assertion that metal is our life, and that we’d rather die than live without it. Its opening lines - the opening lines of the album - neatly sum up our mission statement: “Wrought from the fires of Hell, we rise / The thunder sounding your demise / There’ll be no fucking compromise.” That about says it all. We also like the fact that it’s not the typical power metal opener - it’s a thrashy monster with a wicked grin on its face. The vocal delivery is inspired by the old school blues Deon likes - go listen to Bo Diddley’s “I’m a Man” to see what we mean - which we feel gives it a real visceral ferocity. And what is could be more life-affirming than shouting “METAL OR DEATH!” at the top of your lungs?

And the much slower track “Homeward”?

Homeward is our grand ballad, a warrior’s solemn hymn as his spirit is guided to its rightful resting place. It’s a beautiful track and really adds variety to our live show.

What is Strident planning for 2012? Will there be any tours or maybe a new release?

We are working on our second release, yes, which is partly why we have been so quiet on the gigging front. That, and our drummer Chris needing work done on his wrist. He should have had the procedure done late last year, but he refused to let down the fans at Rock the River and played through the pain. He’s nearing the end of his recovery period, though, and all seems well. We have some shows and recording sessions set up for May and June, and the second half of the year we are planning some monumental tours – it’s time we get the word of glory up north!

How would Strident describe their fans?

Loyal, true, honest and in possession of impeccable taste in music. Their level of dedication really amazes and inspires us. They are the reason we make music. It should be the reason why anyone makes music, really. All the beautiful artworks found in our album booklet were gifts from a fan - Christopher Michael Beukes - and the album cover was done for free by an American fan named Lew Lashmit

Can the band spill some thoughts about the Cape Town metal scene, is the scene growing or falling into a loop of same band – different day?

It really is growing; unfortunately the infrastructure for it isn’t quite at the same pace. A lot of venues are closing and losing their music licenses, which is a great shame, but that simply means we have to step up our game and create new opportunities for ourselves. We see too many amazing artists playing to crowds of 8 or 9 people at a time, where they would be making a killing in a country where metal is a commercially viable genre.

Musically, there is a definite glut of bands playing certain sub-genres, and the handful of truly masterful bands in those styles are in danger of being lost in the throng. However, on the plus side, the last three years have also seen the emergence of a number of excellent thrash, progressive, black and death metal bands, which is heartening.

Overall, though, it’s a tight-knit scene which has proven time and again to be strong in spirit, if not in numbers.

Does Strident have any last words?

Never give up on metal, play it loud and if you can’t stand the heat, strap a furnace door to your face. Keep an eye on our Facebook page for details about upcoming gigs and such! Thank you for the interview Lav - From Chaos to Glory!

Strident has an event coming up on the 5 May 2012 and 14 May 2012! Click [Here] for details and for 30 April at Zula Bar Click [Here] for details! If you are in South Africa, go check ‘em out and thank me later!

If you cannot make it to the event, check Strident out on their Official page and Facebook!

Metal horns and thanks to the Lads of Strident for the interview!

South Africa Metal: RIGORMORTEM

2012-04-07T15:45:00.000-07:00

RIGORMORTEM

(True Black Metal/ Grotesque Beautiful/ Aggression)

Thank you for agreeing to do an interview with Air Guitar! Do you think some people might have the wrong idea about Black Metal?

Indeed, especially since commercial black metal has grown.

It has become a disgusting money maker, stealing the true essence of what black metal should be. Black Metal seems to be more of a trend nowadays – a complete eyesore to the true supporters of the genre. The true art behind the black flame that is Black Metal has been smothered by Trend.

Let’s talk about the grotesque beautiful black metal of Rigormortem – the band is quite reminiscent of early Dimmu Borgir – has that influence shaped the band?

Where older Rigormortem held keyboard pieces yes, but most would notice that they have been written out of the newer compositions. Symphonic Black Metal is an idea we scrapped early in our minds after forming the band. It is a general misconception that Rigormortem is attempting elite black metal. We aren’t. In fact, We’re heading more into Black Death now. Something We feel very strong about.

You’re down to two original. How many band members can you go down to before it stops being Rigormortem?

Where some have left, others have filled the void. Moulding the beast if you will… As long as there is an original member, the band will continue, and still be Rigormortem.

The two Original members have always been in Rigormortem, and still are.

The band just played at Summerfest 2012: the pictures look amazing and the corpse paint still haunts, how was the gig?

Was a good return after many years. A tribute to the end of an era for Rigormortem before moving on to greater things. Many advances for the band’s sound lies ahead. Rebirth, if you will.

Let’s talk about The Fall of God’s Empire – what was the concept behind the release?

It’s been put down very blatantly – The title absolutely speaks for itself. Simply put, it depicts our disregard for Any and All religion. A very strong, common ground, for all the members of Rigormortem. We find ourselves overcome with aggression even at the thought of Religion, so why not use our music as an outlet.

There is a great tendency of Rigormortem to use symphonic elements – if budget was no object – would the band use more classical instruments?

As mentioned, we feel it would not fit into the path we have ahead. It’s something We put behind us many years ago. We were young, and had no idea of what direction we wanted Rigormortem to head towards. We wrote a few tracks hoping it would eventually take us to the right path, and it eventually did.

Adding the slightest atmosphere would probably be as far as we would be willing to go. This "Dimmu Borgir" connotation is not something we find flattering.

Are there any plans for a new album that the band would like to share with Air Guitar?

A full length is due. We aim to create the strongest material to date. We’ve been brainstorming and compiling for some time now, and it’s finally about to take form. A completely new Rigormortem will come from this.

What does the rest of 2012 hold for Rigormortem?

Reshaping Rigormortem into what it was always meant to be. It was decided that 2012 would be the year we announce Our return. Something We’ve been very eager about. We’ve been away for 3years – too long.

If you could ask the father of corpse paint, Dead (Per Yngve Ohlin) a question, what would it be?

His thoughts on the parasite that is humanity. Guidance to cope with the idiocy force-fed into our genre by trend.

Tell us what the Cape Town metal scene is like – are the Metalheads creeping out of the woodwork?

Many metalheads in very mixed new-age genres, along with the old and true.

Still much room to advance. Two steps forward, one step back. But growth is definitely there.

Does Rigormortem have any last words?

Only for Our supporters to be patient - The best is yet to come… We’ve needed the time away from the scene to grow musically, and it’s paid off. We’ve set a very high bar for ourselves, and We won’t settle for anything less.

Horns Up to RIGORMORTEM for the interview!

More RIGORMORTEM can be found at Facebook and Reverbnation!