…ansitions allows these songs to shine even brighter – the latter given a co-writing assist by ex-Stratovarius main man Timo Tolkki. In under 40 minutes, Violet Eternal with Reload the Violet create an intoxicating, familiar blend of melodic power metal with European/Japanese ethics on hand. Should be interesting to see if this will be an active outfit, as there’s something magical in these performances worth exploring for future records. https://w…
…iley our drummer who has been there since the beginning. I have the song structure in mind, and some drum beats, but he comes with some – things start slowly getting together. I place the lyrics or the parts where I want to sing, and then I talk with Sonny to say, we need a guitar solo in this part here, this other part, some kind of melody to go on top of this part. He does this work at home. So, when we do get together everyone already knows wha…
…what part of your sound grabs people the most, or you at least hope does? Gruber: I think one of the important things is the chorus. That’s what we listen to first and decide which ones have the strongest chorus to see which songs we take to the studio. So when I hear other songs, that’s what catches me. Hopefully that will happen to our listeners too. But people often say that people really like how we play with my clean vocals and Robin’s harsh…
…don’t want AI taking over so much that it loses the creative process from human being and human mind use when it comes to art. I think people can usually tell the difference when something is computer generated versus when something is derived from humans… Hoffmann: Yeah, until now. But how will it be in ten years, my man? That’s the big question. We might not like it, but can we change it? Nope. Once the genie is out of the bottle, it’s too late…
…ext to dramatic keyboard parts from Xavier to bring home a soaring, harmony-fueled chorus that could be the album’s highlight. A quality ballad or two also feels like a given on this type of record – fortunately “Alone With My Shadow” has that next level theatrical quality featuring some fluid, classical-like piano passages as well as a slow building circular instrumental sequence that brings the subsequent chorus to an uplifting conclusion. Altho…
…ut of their way to showcase their ability to wield all of these elements in such a way that makes an experience greater than the parts themselves. Those seeking an immersive experience that never lacks for emotional depth or wall-of-sound immensity, there’s never been a better time to check out Imminence. https://www.youtube.com/watch?v=NEhSK6BMRiQ&pp=ygUJaW1taW5lbmNl https://www.youtube.com/watch?v=SE88noufabg&pp=ygUJaW1taW5lbmNl Imminence offici…
…istens to death metal, and he loves to play death metal. All our previous drummers are not so typical death metal-wise. It makes things easier for us because we are not limited to a certain speed or something. We’ve tried out several songs to keep a cool balance between speed and groove. Dead Rhetoric: Can you discuss the human soul breaking aspects that come up on the lyrical content for the record? Were you able to channel specific experiences o…
…ith a wider array from lower restraint to higher muscular power. Be it Ozzy-period Black Sabbath-oriented along with key organ sequences for the opening title track or mystical in its psychedelic, outer realm charm for “Hawks & Hounds”, the quartet just embrace this proper songwriting mechanics no matter what idea they explore – intent in focus to let everything unfold as it should. Smaller details lead to bigger payoffs – bassist Roger Nilsson an…
…but also as a producer and a mixer. Roland has been a fifth member as a co-producer, he’s someone I really trust, and we get along really well. The most difficult thing for me being the producer sometimes you have problems with your bandmates. They look at you and are used to you in the rehearsal space and the live stage as Tony, my bandmate, the guitar player. We are equal – but when I am in the studio with them as a producer, I’m the boss. It’s…
…s and a multi-faceted approach that does whatever it needs to in order to truly capture the needs of a particular song or even album. Such is the case here with the Eg Er Framand EP, which follows 2022’s full-length Nova. This EP doesn’t come close to the heavier side of Sylvaine, providing reworked Norwegian folk songs and some of her own design into a mixture that’s equal parts mysterious, ethereal, and reflective. With a release like Eg Er Fram…
…far as range – many will feel the chill bump nature to his key verse / chorus melodies in more of a doom-like marching template for “The Haunting” or contrast lower register note holding against some savage bellows during highlight “Valkyries (Raise the Hammers)”. Kalli’s rhythm guitar work possesses this proto-metal meets 80s edge, his lead breaks naturally intuitive for the service of the song, while he allows space for the progressive bass lin…
…stals. (laughs) Maestas: Between that and lots of records. I’ve got the Cha-Cha-Cha records. I’ve had this record for as long as I can remember. My aunt put her own return address on the label of the record. She passed away many years ago. I collect old 8 mm films. I have 8 mm film nights with my friends, we watch old horror movies and other people’s vacation videos from the 50s and 60s. Whatever else I find on there, sometimes I find these for $1…
…We found ourselves in a huge hurry to have the artwork ready, I told our drummer Tommy (Portimo) to handle this bit. He runs our webstore and does a lot of the artwork design and everything anyways, he was happy to take over this while I just acted as a consultant. Tiny details, those are the salt and pepper within the artwork that we needed. Dead Rhetoric: Did it feel satisfying to explore the history of Sonata Arctica in acoustic form for the t…
…is more difficult than composing progressive music. Anybody can do fifteen-minute-long songs, it’s easy to do this. It’s not easy to do a three-minute song which is not regimented. The world changed, and there seems to be no place anymore for big progressive new bands. Dead Rhetoric: How do you balance the music responsibilities you have with your career as well as maintaining the business side of things, plus the relationships, friends, and fami…
…s go, and what do you consider some of the highlights on this type of multi-day event? What do you believe about Chris’ multi-layered presence in the metal and wrestling realms, has it helped keep the music thriving in the modern world? Durbin: Chris is a pioneer; the man is a pioneer. The same with everything I’m talking about at a different scale. Everyone’s journey is their own, and I am in the practice of not comparing my accomplishments to th…
…going out next month with Skeletal Remains and Oxygen Destroyer for a four-day, West Coast run. Two weeks after that we are slated to go to South America with Malevolent Creation. Those are the plans. We want to try to get to Europe at the end of the year, we’ve had a lot of problems with that. Costs are definitely a factor in this. We probably will do another short US run, if anything, later in the year. https://www.youtube.com/watch?v=o7rfHknVa…
…laying out eight songs from compact to epic arrangements allows this forty-five-minute record to unfold in adequate mannerisms – where listeners can absorb all the bombastic orchestration, supreme high pitch melodies, or dazzling guitar/keyboard virtuosity sans information overload. Opener “Rise Amaterasu” resides in that Finnish/Teutonic anthem-oriented mold, containing the requisite double kick, uplifting chorus moments that keep audiences in a…
…n another day you aren’t as emotionally strong and maybe something else disrupted your emotional equilibrium, that same thing that didn’t bother you a few days ago, now you can barely sing it. I was rehearsing for the upcoming festivals and the cruise, and I had to take a moment and cry and do some breathing exercises because some songs are still very heavy for me. Dead Rhetoric: When you put yourself into the music like that, I can imagine you ar…
…rd. It’s not that they are our friends, but they have really created an out-of-this-world record indeed. I’m also quite fond of Dutch musician Jurre Timmer’s acoustic folk solo project Thurnin. His first record Menhir grabbed my attention back when it was released in 2021, and his follow up Utiseta from last year is equally brilliant. Really soothing, evocative folk. And just to round up some of the things I’ve been listening to lately: Hexvessel,…
…roll mechanics into the heavier mainframe thrash or death styles. The mini-drum solo break next to the four-on-the-floor foundational locomotive riffs for “Unnecessary Consuming” revels in its classic Motörhead-ish glory, while the alluring gallop next to some alternative chugging, low-tuned picking puts “A Waste of Human Being” into another potent highlight, Felipe’s fervent bark mirroring the jackhammer atmosphere to the max almost like Prong c…
…was done with my studies, a psychologist, I was going to turn into a grown-up, have a full-time job, and if I’m going to have any flexible time it’s now while I’m writing my master’s thesis. I just knew I wanted to do something that was more akin to the international bands than what I was used to here. There are some progressive bands but most of us listen to stuff like Opeth, Tool, and I wanted that kind of dynamic where it’s still dark and heav…
…ely reminds of Gravesend, whose latest Gowanus Death Stomp has a similar to-the-point feel, though Resin Tomb isn’t as grind-oriented. Vermin Womb is another apt comparison overall, along with the likes of black/death merchants Ruin Lust. The massacre commences with the tightly wound “Dysphoria” and its meticulous riffs, black metal inspired lead work, and the percussive explosion that is Perry Vedelago. His drum work is the spine of Ruin Lust’s i…
…everything. I talked to a couple of friends of mine, they thought it was brutal and would work. Let’s try to run with it. I like the idea that its black and white – it’s appealing in terms of how I hear the album, the sound, and the colors. Dead Rhetoric: Where has the importance of fellow Canadian bands like Obliveon and Voivod taken your output, creativity, or general outlook on what can be done in the realm of the metal genre based on their di…
…fucked as a species. Art is something that has been such a massive part in human history that I feel if that’s lost then we lose a massive part of what makes us human. Dead Rhetoric: What is a pivotal or critical moment that helped shape your musical career? Peppiatt: Without a doubt joining Psycroptic was the biggest and most powerful thing in my musical career. Getting to write, record, perform and tour the world with three of my best friends wh…
…ale. I don’t know about “Sedatives”: I came with this ordinary crossover structure with chords, bridges and so on and they turned into a sort of Tool-esque doomy melancholic piece you can hear. It’s difficult to recall how this band surprises me at first. Dead Rhetoric: What can you tell us about the cover art design for AbyssUs? Do you believe that the visual elements and artwork are important in conveying the right atmosphere and initial impress…
…ing ways through mandatory highlights like “The Madness Within” and the mid-tempo, Dio-esque marcher “Battle at Marathon”. Distant rhythm measure plus psychedelic guitar passages give the longest track “Gargoyles” at 7:16 a dynamic twist right from the opening passage – the pace transitioning into a power/progressive charge forward as the musical interplay will find hands soaring high in homage to its galvanizing presence, Tsalikis hitting those e…
…instrument as a kid. That’s a pretty easy phase of production. It’s also true because the drum parts themselves are fairly straightforward. We aren’t technical metal, or jazz fusion with all these technical time signature transitions. It’s musically quite straightforward. I’ve gotten pretty good at bass in my older years, too. Really everything but the rhythm guitars tends to go smoothly. Dead Rhetoric: How did the cover art design process work w…
…andemic? Joe: To be honest, it’s just one of those things. Because our long-time drummer had left the band at the start of 2020, we didn’t have a drummer. So, we’ve been using James from Vader, we know he’s a great drummer and a great guy. We would send him demos, and he would send us back finished drum tracks. And we would then all go about doing our parts and send them individually. John and I probably have the same opinion, it is easier to be a…
…ming out in their rehearsal space with these songs. They asked Tommi the ex-drummer and Markus the ex-singer to play. From there Markus helped us record the first demo at his studio. Dead Rhetoric: Do you remember Miika when you joined the group, what was exciting about being in this band? Kokko: (laughs). Well, I didn’t have any expectations. I was looking for a new band as my previous band had broken up a couple of years before that. I could thi…
…former benefiting from some additional audience chants to mirror the Voivod-ish militant mid-tempo riffs against some crushing mellotron mood enhancement, while the latter showcases the group’s unrelenting speed/thrash mechanics as well as proper hook/groove knowledge to keep things somewhat grounded for retention purposes. Cryptic, thought-provoking cover art beyond the professionalism on the recording/mixing side (Unleashed’s Fredrik Folkare res…
