With the world literally at one’s fingertips, collaborations expand horizons in fulfilling musical ambitions into any style possible, as Aries Descendant features two virtuoso studio musicians from Minnesota and Denmark. Keyboardist / orchestrator Jonah Weingarten is a part of Pyramaze, Catalyst Crime plus numerous collaborations or session outings for others all across the metal, rock, film, and video game realms – while vocalist, guitarist, bassist Nicklas Sonne has worked in Defecto, Evil Masquerade, and his own self-titled project beyond session work with a multitude of musicians. The duo’s debut album From the Ashes of Deceit presents ten tracks that fuse a love of film music into heavy metal – results of which should move many followers of both camps, plus grab a curiosity factor of outsiders given the strength of the performances put forth.
Dazzling displays of neo-classical runs against conventional power riffs allow Jonah to equally intoxicate the aural landscape with vivid keyboard / orchestration coloring – immediately apparent to full imagery on the Kamelot-esque “Symphony of Demise”, where Nicklas rears back for some upper register melodies in a very dramatic chorus next to some side growl action for a darker twist next to Dragonforce-like lead break action. Contrasts abound, as other songs inject more of the reflective serenity to bombastic mid-tempo march-like charge that has been explored with artists like Evergrey, Manowar, and Rhapsody (Of Fire) as “Renewal of Hope” and “Moira” illustrate. Layers of piano, keyboards and orchestral movements penetrate the almost eight-minute epic “Echoes of Betrayal”, the soothing sequence in the early parts perfect for Nicklas’ lower to high pitch melody shifts before kicking into stunted metal splendor, the lead break very thoughtful even in its note bends or fleet of finger proclivities. Beyond the eight main songs there are two instrumentals that bookend the record – the title track at 1:47 contains those requisite tension filled classical/film score peaks to engage multi-sensory appeal while closer “The Heart of the Forest” features cellist Tina Guo that brings the proceedings to a satisfying finish, as if warriors stand tall embracing a tranquil landscape once the battle has ended.
There’s no question that heart, passion, and timing play a strong part in why Aries Descendant can deliver an entertaining debut out of the gate for From the Ashes of Deceit. This will be a band to watch develop, as it appears the marriage of film/cinema and heavy metal has plenty of wider horizons that need to be conquered and cherished.
Entheos has had their finger on the pulse of progressive/extreme metal for quite some time. Their third full-length, last year’s Time Will Take Us All, saw the duo of vocalist Chaney Crabb and multi-instrumentalist Navene Koperweis really spread their wings and deliver a piece of extreme metal that shook with brutality but explored a variety of soundscapes in cinematic fashion. An End to Everything follows this as a 5-song EP that continues their exploration of diversity in a way that’s just as powerful and thought-provoking as anything else they’ve done.
For a 5-song EP, the biggest selling point is how diverse the songs feel. While they all circle around a personal narrative that deals with the tragedy of addiction and loss, there’s a lot of sonic exploration. That says a lot considering the Entheos albums that have come before this. Opening with the title track, there’s a more uptempo feeling to the grooves and progressive noodlings, even to Crabb’s impressive clean vocals (not to discount her throttling extreme vocal performance), in comparison to the remainder of the songs. It sets a distinct opening though which “All for Nothing” capitalizes on. From the eerie, enticing opening it cuts right into brutality. Driving blastbeats, chunky grooves, and progressive yet earworming guitar melodies not only provide a backdrop for Crabb to again showcase her vocal talents, but craft a world that feels visceral and tangible yet not devoid of hooks. “Life in Slow Motion” doubles down on the massive grooves and headbang-friendly riffs, only to snake them away for some dark, brooding melodies that are rooted in the esoteric. “A Thousand Days” finds it’s strongest footing in its ear-catching vocals from Crabb at it’s chorus, coupled with some gloomy melodies from Koperweis. “Return to Me” escalates this darker descent for it’s culminating track. Eerie, almost otherworldy riffing and melodies flirt with Crabb’s almost desperate sounding screams towards the end give it some really bone-chilling vibes as it closes.
Entheos continue to be one of the most creative and interesting forces in extreme music. An End to Everything offers a huge platter of diversity without feeling like a smorgasbord. If you want something that can manage to be absurdly heavy yet intellectual, technical yet cinematic, as well as being gripping and cinematic, Entheos provide a certain thrill that other groups just can’t seem to capture.
Since forming in 2000, Swallow the Sun have gained a reputation as one of the leading doom/gothic acts. Known for their gloomy and dark explorations, they’ve never really limited themselves to any sort of sound. Doom, gothic, acoustic, classical – they are willing to dabble in it with genuine vision. Shining, their ninth album, may prove itself still to be a divisive release for the veteran act in their attempt to bring in new colors to their sound. Of course, we are speaking of the ultimate metal taboo, pop influences. But for those willing to follow the band down the rabbit hole, you’ll likely agree it’s their strongest effort to date.
It would be silly to think that the long-standing doomsters of Swallow the Sun are going to put out anything remotely uplifting and well, poppy, and that’s where the reinvented contrasts and dynamics come into play. Producer Dan Lancaster (Muse, Bring Me the Horizon) doesn’t seem a likely candidate for this task, but it’s through this that the StS filter gets changed. There’s still soul-crushingly heavy riffs, with “Kold” and “Charcoal Sky” offering that earth-shaking sense of power that the band has always held, with the latter almost tip-toeing into black metal territory at times. It’s a familiar feeling, yet something’s different. Mikko Kotamaki’s clean vocals speak with greater prominence and urgency. It gives the group a slightly new element that stands out more so on the gentler cuts. Opener “Innocence Was Long Forgotten” already ruffled some feathers with it’s entirely-clean vocal work that feels more vulnerable and modern, alongside the band’s signature downtrodden melodies and lyrics.
There’s a certain feeling of ethereal warmth that comes through the band’s usual bleakness. Recent single “MelancHoly” revels in heavy, depressive riffing, but literally shines with it’s chorus that is all but guaranteed to linger in your head long after it ends. When coupled with the following track, “Under the Moon & Sun,” it delivers another potent chorus that glimmers in contrast to its more mellow and wandering melodies elsewhere in the track. “November Dust” is the closest to a traditional doomy track, with its plodding and methodical tone but there’s still some melancholic beauty to the track with it’s soaring guitar solo and Kotamaki’s vocals. Likewise, the stomping energy of “What I Have Become” operates under the band’s usual attack at their most abrasive, yet the dynamic with the melodies delivers much more contrast than what has been offered previously, with a more noticeable hook in the chorus. To close the album is the almost 9-minute title track, which does a fantastic job of claiming its “Shining” status with appropriately expressive guitar melodies as it ebbs and flows through more brutal sections and moments of poignancy, showcasing all of the evolution the band took for this release.
Shining is a beautiful example of what can happen when a veteran band is comfortable stepping a bit outside of their comfort zone. It’s full of the same gloom and doom that Swallow the Sun has always provided, but it’s showcased in a bit of a different light that provides a stark but promising contrast. This album has given them the opportunity to take their powerful and emotionally charged music and really spread their wings. In short, it’s an incredible release, if you are willing to adjust to the changes, that is going to really captivate and impress.
Another early 80’s act has returned to the scene to deliver more high-quality traditional metal – proving that there’s no age limit in this genre. Swedish act Mindless Sinner are a quintet of musicians that deliver potent twin guitar-oriented traditional riffs, chock full of those indelible vocal melodies that soar through the musical landscape while the rhythm section pounds out the foundation that puts listeners in a festive mood. Their latest album Metal Merchants contains a lot of the spirit and power that put Judas Priest, Accept, and early NWOBHM artists into the hearts of millions from all parts of the globe. We reached out to vocalist Christer Göransson to find out more behind the record, finally opening for Judas Priest after pandemic delays, favorite memories from their first EP release to playing other countries, favorite Swedish metal albums / artists, what metal means to him personally, as well as future plans into 2025.
Dead Rhetoric: Metal Merchants is the latest Mindless Sinner studio record. How did the songwriting and recording sessions go for this set of material – did you have any specific ideas of where you wanted to go stylistically that may have been similar or different to previous records?
Christer Göransson: Well, we started out back in November of 2021, a long time ago. We had some ideas for 11 songs – our original drummer played on the recording, Tommy (Johansson). After that he decided to leave the band for personal reasons. We got a new drummer, Linus Melchiorsen, and we had some more songs we wanted to record so we ended up recording two more songs, to end up with 13 songs on the album. We just wanted to make a better album than the last one, so to speak. On our terms.
Dead Rhetoric: Did the pandemic have any effect on the songwriting? Where you were able to drill down deeper on the details maybe?
Göransson: The Poltergeist album, our previous album, was released on the 17th of January in 2020. And then COVID-19 struck the world in March. That album went down the drain so to speak. We wrote songs along the way, but we started recording this in November of 2021. I don’t know if this affected us in many ways.
Dead Rhetoric: Were there any songs that came together easier than others – or specific tracks that took on a great transformation from the initial idea to what we hear as the final product?
Göransson: Yeah, some songs from the beginning, you think that this one is going to be great. Then when it’s recorded, you realize oh no, this is not so great. Some of the songs got better and better for the ride. We have a song on the record called “Third Time’s a Charm” – and that’s about us being the support act for Judas Priest here in our hometown. The first date was in 2020 I think, it was postponed to 2021, and then the third date finally happened in 2022. It’s about things in life where that happens.
Dead Rhetoric: How was it to be able to open up for such a legendary band like Judas Priest, your heroes? I would imagine a dream come true for a band like yours…
Göransson: Yeah, it was. Judas Priest is my personal favorite band. I adore them, it was a hazy dream. They were cool, and it went well actually.
Dead Rhetoric: How would you compare the guitar styles of Magnus Danneblad and Jerker Edman within the band?
Göransson: They are two different players, but together they really fit very well together. I think Jerker is a bit more melodic of a guitar player, and Magnus is more like a shredder.
Dead Rhetoric: The title track speaks about the metal community and the common love/passion for this genre. What has heavy metal meant to you personally over the years – and how has your commitment to the genre evolved from your early days of youth to what you’ve been able to put forth as a musician in bands all these decades later?
Göransson: You know, we’ve been around for so long. We started this band back in 1981, and this is our life, music is our lived. “Metal Merchants” – the lyrics talk about everybody in the business. The fans, the bands, the promoters, the guys who sell the merchandise, everybody is a metal merchant when it comes to our music. That’s what the song is about.
Dead Rhetoric: What about the cover art, how did the idea develop?
Göransson: We had an idea that we wanted to make. We had our little mascot, that we call Mr. Evil – he’s like our Eddie. We wanted a steel mill with lots of smoke and fire, and then he would appear with molten metal coming out from his hands. We contacted an artist from Romania, and he did the album cover.
Dead Rhetoric: How does it feel to be a part of the High Roller Records roster after your previous albums on Pure Steel?
Göransson: It’s great. I think we are home now, so to speak. High Roller Records is a great label, and so far, so good. Great people to work with.
Dead Rhetoric: What would you say are some of the key elements and qualities that have to be present to make for an ideal Mindless Sinner song?
Göransson: For starter, there must be a melody in the song. It’s important that the vocals are very melodic. It can be a harder riff or a fast song, but it has to have those elements in the song. It can be hard heavy metal, but there has to be a melodic touch.
Dead Rhetoric: Do the melodies come easy to you as the singer than the lyrics – or do you handle both hand in hand?
Göransson: I think so. You can have a melody in your head that ends up as a song. On the other hand, you can have a lyric and you write the song off of that. You can play a guitar and write something off that. I think it’s easy for me because I have the melodies in my head. When the guitar players – we are the main three people in the band writing, we have the ideas for the songs. The bassist and the drummer also have their input. We think that everybody is writing the song, so they all have input. If the guitar player has an idea about the vocals, it’s easy for me to write the melody he has in mind.
Dead Rhetoric: Where do you see the major differences in the profile and following of Mindless Sinner from your initial efforts during the 1980’s to the reformation of the band? Do you believe the internet, social media, and other instant communication technology platforms have given the band a second chance at glory beyond live show / festival appearances?
Göransson: Yeah, absolutely. Back in the day, we had nothing. We used to copy cassettes and send tapes to the record companies all around the world. It took ages just to get an answer back. Now you can press a button and the songs are off, and the labels can have an answer for you the next day. It’s easier in one way, but nowadays there are more bands. It’s harder to push forward, because there are lots of good bands around. And everybody can make a record – you can make a record in your bedroom and release it to the world. I think it’s easier in that way, but it’s harder because there is more competition.
Dead Rhetoric: Do you enjoy the current recording technology at your disposal compared to the days when you were on the clock in bigger studios paying by the hour or session?
Göransson: Yeah, because nowadays we have our own studio. But it goes hand in hand, you get spoiled when you have your own studio. If you go to a studio and you have to pay for it, maybe you have a Monday or Tuesday to record the vocals, then on Wednesday… now with our own studio, we can record anytime we want. It’s a minus as well, because you can put things off until tomorrow. The tools are great though.
Dead Rhetoric: Can you describe the importance of band chemistry / friendships for Mindless Sinner? Has it been important to divide out responsibilities beyond the music activities to achieve better things on the business end for the group, especially if certain band members have special skills in these areas?
Göransson: Yeah, when we first started out in 1981 and then split up in 1990 – we were always friends. We’ve known each other since we were in school. We did other projects outside of that time, but we were still friends. No hard feelings ever in the band. We are buddies.
Dead Rhetoric: What would you consider some of the career highlights for Mindless Sinner? Specific albums, shows, tours, festival appearances, or other activities where you felt like you were making a strong impact with your music and activities?
Göransson: The first moment was when we released our first record, our first EP Master of Evil. That was a very proud moment for us. Then you have some shows that we have done, like the Keep It True festival. We’ve been to the United States and played there, we’ve been to Japan, we’ve been to England – we’ve been everywhere. Every place that we are able to tour and play has been a dream for us. We wanted to do those things back in the day, but we couldn’t. It’s great. And every time you finish a new record, that’s a great moment as well. It took so long for us to record Metal Merchants from the Poltergeist record – I think it’s been five years since the last one.
Dead Rhetoric: How would you assess your vocal regiment and abilities at this stage of your career? Are there specific tricks of the trade or ways you keep things in shape both in the studio and on stage?
Göransson: No, but it’s better now than it was before. I don’t have any tricks. It’s natural for me, I just belt it out as good as I can.
Dead Rhetoric: What do you consider three of the premiere Swedish metal or hard rock albums that every reader of this site need to invest time and energy into that stand the test of time – beyond the catalog of Mindless Sinner, of course…?
Göransson: Axewitch’s first EP Pray for Metal. Torch, their first album with the blue face on it. And I like a Swedish band called Madison. Their second album Best in Show, a great album. You have tons of bands – Heavy Load, Europe of course, but they were on another level. And then you have the new bands – Enforcer, Ambush is a great band. Helvetets Port, there are lots of great bands from Sweden.
Dead Rhetoric: Being a huge fan of Judas Priest – what are some of your favorite memories beyond playing with them, did you get the chance to take in their shows live before?
Göransson: I’ve seen them lots of times. Best memory is when I got to see them for the first time back in 1984 when they came to play Sweden. A friend of mine, we went to England in 2006 to see them at the Royal Albert Hall, and that was a great memory. And of course when I got to meet the band in person, that was great for me.
Dead Rhetoric: Which types of hobbies, interests, or passions do you like to engage in away from music when you have the free time and energy to do so?
Göransson: I don’t really have many hobbies. Fishing maybe. If you call that a hobby. Otherwise, nothing special. If I don’t play music, I listen to music. Music is really always in my life.
Dead Rhetoric: What’s on the horizon for Mindless Sinner over the next twelve months? Are you already working behind the scenes on songwriting for the next release?
Göransson: We have some things cooking, but it’s nothing finished. We have some ideas, absolutely. We are trying to get out there as much as we can. We have some things planned for next year, we’ll see. Hopefully as much as we can.
Modern metal has taken ahold of a bigger share of appeal in many media circles – look at the streaming numbers on platforms like Spotify, coverage on channels like Octane or Liquid Metal for Sirius XM, as well as hefty concert attendance when these acts come through your local circuits. Put Italian band Never Obey Again in that mix – they got off to an impressive start through last year’s debut release The End of An Era. It’s very surprising (and welcoming) that the follow-up Trust hits the streets in quick, turn-around fashion. The blend of heavy guitars, multi-faceted clean to extreme vocal abilities, as well as electronic / alternative soundscapes through keyboard passages, ambiance, and rhythmic loops / EDM elements leads to songwriting that has an immediate impact which grows fundamentally through successive passes.
One exposure to the wide array of soothing melodies and explosive, emotional screams that pour forth out of vocalist Carolina Bertelegni will hook most instantly – check out both dimensions on the mid-tempo “Never Feel, Never Fear” or the semi-staccato, serenity against chugging extremity within “I Wish” for spine tingling memorable activity in that Jinjer, Lacuna Coil, Spiritbox vein. Large guitar hooks from guitarists Alessandro Tuvo and Alex Pedrotti give way to cleaner, calmer proceedings on “Under My Skin, Before Your Eyes” – the juxtaposition intoxicates while the melodies slide around in this outer world universe, the bluesy lead break injection providing another dynamic twist. An 80s synthwave instrumental “Lost…” prepares ears for the eerie, alternative meets industrial atmosphere within “Control”, another highlight for its measured rhythmic verse flow (this scribe loves the delayed ‘blah, blah, blah’ refrain) and the use of instrument push / pull to make more of a bombastic explosiveness when the breakdown hits. The title cut closes the record in a reflective manner, a series of simplified circular guitar parts and calmer drumming set the stage for a tremendous Carolina led vocal – hitting all those key lower to higher notes in the verses to a splendid chorus.
With plans for more extensive European touring, Never Obey Again have all the tools to be recognized as another standout in the modern metal scene – even at this stage of their career. Trust checks off all the key boxes when it comes to dynamics, hooks, tremendous performances and songwriting that has lifetime appeal.
2019’s The Sea of Tragic Beasts was a groundbreaking album for Fit for an Autopsy. It saw the ever-evolving act truly metamorphose from a deathcore-esque band into something entirely without definition (outside of metal, of course). 2022’s Oh What the Future Holds held that flag up high with offering some different variations and exploring some darkly heavy territory without jettisoning the progress that they had made previously. As their latest album, The Nothing That Is continues to see Fit for an Autopsy flex their muscles in this progressive, violently aggressive yet melancholic and beautiful approach that should more than satisfy fans of their previous two releases.
Much like the last two albums, it’s hard to really put much of a label on it as a whole. The combination of sheer brute force heaviness, chilling darkness and sorrow, and a feeling of melody without compromise continue to rank in at the top of Fit for an Autopsy’s priorities. So let’s talk about the heaviness first. If one thing stands out in this regard, it’s that there’s almost a renewed presence in making the album a bit more dark and brutal. This is apparent from the opening salvo of “Hostage.” Mammoth-sized grooves with effectively placed progressive melodies in the background provide a backdrop that builds itself up to the strong chorus, with sees Joe Badolato effortlessly flip to a cleaner vocal (something he has more of in recent years). “Lust for the Severed Head” uses a number of tech-y riffs and melodies in galloping tempos and bouncing grooves, alongside a bellowing breakdown, and should please long-time fans looking for some straight-ahead brutality that never relents. Likewise, “Weaker Wolves” tosses in some melodic hooks into an otherwise riff-forward aggression into a formula that will thrill as much as it causes you to dive into the track to hear it’s nuances.
Murky atmosphere has been a growing part of the FfaA arsenal for the last few albums, and it seems they’ve really mastered it here. “Lurch” has a quiet, moody clean opening that’s coupled with Badolato’s screams that sees fit to explode a bit later on while keeping that sense of bleakness. “Red Horizon” goes for a similar building-up approach to itself, but utilizes a more melodic side to it that flips the switch to go into oppressive heaviness in it’s stunning climax. Even the more straight-up aggressive tracks, such as melodeath-assisted ripper “Spoils of the Horde,” which swerves into an eerie solo later in the track before slowing to a crawl. But the masterstroke has again been saved for the finale, and “The Silver Sun” lives up to it’s predecessors. An esoteric opening with gloomy clean singing slowly escalates its sense of urgency into full-on blastbeats and monolithic grooves as the song picks up momentum before hitting it’s sorrow-fueled climax, which then longingly retreats as the song comes to a close. If there’s ever been a song to showcase this band’s evolution in one track, this one really nails it.
From thundering, gargantuan riffing to ear-worming melodies to a sullen, bleak atmosphere, Fit for an Autopsy continue to prove they can take a number of influences and make them fit into their perpetually evolving sound. The Nothing That Is represents their strengths in working new elements into the mix while maintaining a strong sense of consistency and urgency. Never has the gripping, visceral energy of the act that goes back well over a decade been compromised, they’ve simply found new ways to express it with outside flourishes of color to make that darkness stand out. Fit for an Autopsy have again proven themselves to be one of extreme music’s most consistent and exciting acts.
Managing to catch significant buzz at the end of this past year with their first single “Pray,” the cinematic and modern sound of Gore. seemed to be one that was not going to be unsigned for long. There was little shock when the group signed to Spinefarm for their first EP, A Bud That Never Blooms, after having released more singles since that stuck to the same high caliber. For those already following the band, you are only going to get one “new” song but it’s nice to see all of their singles present in one location.
Gore.’s strongest point is how you really can’t place their sound in a nice and neat description. It’s obviously modern, but there’s shades of everything from metalcore to industrial to rock, and pretty much everything in between. When you factor in vocalist Haley Roughton’s clean vocals, you can add pop and even R&B into the band’s description. While it might seem like a lot, the band is impressively cohesive. From the stomping riffs, industrial rhythms, and electric beats that open “Pray,” you can hear the way that Gore. builds up the atmosphere to the serene, cinematic chorus even without their strong visual presence that their videos provide. How it jumps from pulsating grooves to soaring melodies at the drop of a hat is thrilling, easily grabbing the listener at each stop along the way.
“Doomsday” twists between poignant, gentle melodies on the way towards a rumbling climax, full of snarling vocals and vicious riffing. “Babylon” uses the opposite effect, rolling right in with industrially-augmented atmosphere and thunderous instrumentation before the clouds break for a majestic chorus. Likewise, “Angels Like You” flirts with R&B vibes swirled in a hypnotic, groove-centered riff machine. The ‘new’ song “Heaven is Above Me” hits with playful piano and electronics with Roughton’s vocals at the forefront in a dreamy soundscape that moves towards a choir-backed climax that thoroughly satisfies as the finale.
Cinematic, groovy, and able to switch between ethereal and menacing, A Bud That Never Blooms establishes Gore. as a thrilling new prospect in the metal community. They’ve managed to make a modern sound feel more impactful and majestic by giving it their own vivid, picturesque spin that feels nothing less than gripping at any point. Considering this is their first release, check them now and watch them continue to spread their wings going forward.
Niche power metal mavens love American acts like Fifth Angel and Riot who released some classic records during their careers – and that’s what we have hear with this musical project / collaboration in Cleanbreak. James Durbin is a powerhouse vocalist, Mike Flyntz wields mighty guitar riffs and lead breaks, Alessandro Del Vecchio provides bass, keyboards, and backing vocals while Nicholas Papapicco rounds out the band on drums for this second album, We Are the Fire. Assembling some experienced songwriting talent behind the scenes ensures a high-quality final product – hooks abound from stirring anthems to heartfelt ballads and everything in between.
We reached out to James via Zoom to catch up once again on all things related to Cleanbreak. You’ll hear his thoughts on what makes this record different than the debut, specific elements that pushed his abilities and range, what it’s like being a part of the Frontiers Music roster now five plus years, lessons learned being a part of the music business for so long, what’s been on his music playlist as of late, and the importance of intentionality to his career.
Dead Rhetoric: We Are the Fire is the second Cleanbreak album. Outside of the differences behind the rhythm section personnel, where do you see the significant differences or improvements that were made between this set of material and your 2022 debut album Coming Home?
James Durbin: I was just listening to it. Hot take – I know you are supposed to like your newer stuff better. Personally… for all intents and purposes, this is a Frontiers produced supergroup sort of album project band. I’m not necessarily going to call it a band – it’s an album that features myself and Mike Flyntz as the talent in creating this. The songs were written, the songs were delivered, we learned them, and we performed them. With the first Cleanbreak album, I had more stock, I had more investment. We got to do music videos, we got to actually meet each other. And I also got to contribute some songwriting to it.
I had submitted a few songs and compositions for this one, which were not included. It is fun though, because I do contribute material for Durbin and the other things I do. It is fun to get stuff like “Warrior’s Anthem”, the first single, getting to interpret that source material and think of how I can make this my own. Which was quite an enjoyable part of this album making process – probably the most enjoyable part. From a genre difference, this one has more orchestral power metal vibes to it.
Dead Rhetoric: Is it harder for you to be an interpreter, being that you are a songwriter and musician yourself? How are you able to put your own stamp on other people’s material?
Durbin: No, I think it’s easy. It’s a lot easier than having to write (material) yourself. You are writing it, you are figuring out what it is, you release it and then go, oh shit – I would have sung it differently now. When you have time to live with it, when you are learning material, you listen to it, and you are unattached to it. You are learning it as it is, then you figure out different inflections, maybe change things here to make it more melodic. When I was recording this, I was listening to a lot of Foreigner and listening to Lou Gramm live. How he is able to do the runs in some of those songs, change the melody slightly from what you were used to hearing on the radio when you hear it live, I took some of those kinds of influences.
Dead Rhetoric: Have you always been impressed with Foreigner and the range of Lou Gramm? I grew up on that band – not just being a fan of the top radio songs, but the deeper cuts on their albums… I put him up there with Steve Perry as far as abilities…
Durbin: Steve was the master of melodies; from what I have heard he would stick a little closer live to the recorded version of the songs for Journey. Lou would just go off. It was exciting – maybe it had to do with the cocaine (laughs). That could make him put different runs in there. Lou Gramm all the way. I think Lou can be better – then I hear something by Steve, and I go oh my god. Steve Perry, it’s the range that just baffles me. And the note choice. With Lou, it’s the soul. He is more in that Steve Marriott sort of place. His vocals are just underrated, and such a powerhouse, he had such control over his voice in his prime. It’s a beautiful thing to go back and hear these artists.
Dead Rhetoric: What’s it like working with such seasoned artists as Mike Flyntz and Alessandro Del Vecchio in this capacity? Does it make your job easier or harder given the expectations song to song to achieve the best performances you can muster?
Durbin: I think it’s easy at this point. They are seasoned, but I’m also seasoned. I’m a grizzled young vet. I’ve been doing this non-stop for the last 15 years. The majority of that is in the public eye. I just do what I do. There is a lot of effort. When you are trying to record this kind of music, you have to put in 110% effort to get that performance, you are performing for your fans, and you are performing on something that is a studio album with a studio band. I don’t expect anytime soon we will perform these (songs) live together. With that said, you need to have a great impression, and everybody brought it. If that’s the only place you are going to hear this, it’s the only place it’s going to live, and you have to make sure it doesn’t suck. We try our damnedst to make sure it doesn’t suck (laughs).
Dead Rhetoric: Which songs do you believe on this new record took on the greatest evolution or transformation from the initial demo stage to what appears on the final album?
Durbin: Hmm. I’d have to look at the track listing. “Warrior’s Anthem” for sure. “Love Again”. There was another one… there are a couple of songs that are kind of ballad-esque. “Love Again” I tried recording that like ten times on ten different occasions. It was the first song I started recording, and I think it was the last song that I recorded. I couldn’t get the emotion that I wanted. It’s a beautiful song, it reminded me of Muse in a little bit of a way. I really wanted to get that drawn out, Freddie Mercury-like pull in the vocal that isn’t forced but just feels like the words are longing for love again as a prayer, as a hope. To get that to be authentic, I had to be longing for a good vocal take. I was impressed hearing that song for the first time, yeah – I get to sing this! I’m stoked. I sing so much stuff, the same over and over. With my Durbin material, I’m writing it, but I’m living it by what I’m capable of. It’s really nice to get something and get something unexpected. This is beautifully written, and I can’t wait to sing this. For that one to be the hardest one to get right, it was something I’m very happy with how it ended up.
I use my voice so much these days – I’m gigging every weekend, it’s always a different thing. I don’t know if I’m going to be singing for two hours straight, for three hours straight on my own, one of two singers or one of three singers, if that is going to be yacht rock, 70s rock, Journey or Foreigner, pop / rock. There are different variables of where my voice is going to be during the week, and I have the studio time. So many of these songs – on “Warrior’s Anthem” the middle section, there’s a guttural sort of thing where my wife was like, ‘are you okay’? You are going to kill your voice if you are going to do that. I knew what I needed to get the perfect sounding take of this – and then I don’t have to ever sing it again. I need it to have the most force and guts. I popped myself huge when I figured out the high stuff in that song – that happens nowhere else in the song. That’s when it’s fun to interpret – I can take a whole verse and change the melody of things.
Dead Rhetoric: Do you enjoy being a part of the Frontiers Music roster at this point in your career, now that you’ve done a couple of albums with both Durbin and Cleanbreak?
Durbin: I definitely know what to expect with it. I have really enjoyed it. I’ve gotten full creative control of what I want to do with Durbin. It’s like being independent, except they pay you. And all of the advertising, marketing and distribution. Like with anything, when you are working with or working for someone else, there are things that you like, there are things that you don’t like. I’ve been independent before, there are things I would enjoy doing on my own. There are things to explore. But it’s been a great almost five years with Frontiers. As a solo artist with a solo deal. Before that when I was with Quiet Riot, they were with Frontiers. I never really talked with the label, but I met with everybody in Italy in Milan for the Frontiers Rock Fest – where we filmed and recorded One Night in Milan with Quiet Riot. It’s definitely been good – getting to do two Durbin albums, two Cleanbreak albums, a spot on Magnus Karlsson’s Free Fall album, and a spot on an Alan Parsons record.
Dead Rhetoric: You mentioned in our previous Cleanbreak talk that you end up doing a lot of musical deep dives with blinders on. Any particular deep dives of note around the metal spectrum or outside of it that have captivated you as of late?
Durbin: Yeah. I’m buddies with Les Carlsen from Bloodgood, so I’ve done deep dives on Bloodgood. I’m getting back into Backyard Babies. I have loved them for about fifteen years now, and I hadn’t listened to them in quite a while. The self-titled album from 2008, People Like People Like People Like Us from 2006. Some Toto, “99”, “I Won’t Hold You Back”, “Patiently” from Journey. What else? Some of the newer Stryper stuff. David Bowie, I hadn’t really gotten him before. With music, I understand it’s a certain time in a certain place. It depends on what you are influenced by and what you are into. I’ve been loving the rise and fall of Ziggy Stardust and the Spiders from Mars. I love music. All my latest listens are MGK, Stryper, Bowie, Edgar Winters, Barren Cross, Hallas, Bad Company. I love metal, but overall, I just love music.
Dead Rhetoric: Does it give you hope as Michael Sweet possesses a great range this deep into his career for Stryper?
Durbin: Yeah, personally I like where his voice is now, for my ears more than where he was when he was younger. And their songwriting is so great, they’ve got such a great lineup. Everyone is contributing, they are super heavy. I played an 80s Christian revival heavy metal festival in Versailles, Ohio a couple of weeks ago with Les from Bloodgood. I opened the third day, solo acoustic, did some Barren Cross, Bloodgood, and Stryper all acoustic, and that was a ton of fun. I received some nice reactions. People have asked me for years to cover Stryper, it would be so cool if you covered them. Digging down past the obvious choices, I would pick something from a 2020 album, I’m going to cover my favorite song. It’s from Even the Devil Believes, “Blood From Above”.
Dead Rhetoric: How do you view the evolution of the arts in current times versus the period when you were growing up going to school with music theater in your background? Are there any words of advice you would offer the youth of today in terms of pursuing their musical, theater, or fine arts dreams based on your experiences?
Durbin: The thing I’ve learned is, if you want to do it, just do it. That’s the kind of thing I was talking about concerning being with a label versus not being with a label. I have different songs that I’ve written. I have songs about my hometown that are beach, coastal pop rock, really super personal songs, and I really want to put those out. Those would just be under James Durbin. I’d be into writing and releasing country songs under a different name. I’ve got a traditional metal band with Durbin. And power metal with Cleanbreak. I did a Judas Priest cover song with David Ellefson that will come out at some point. If I’m playing something, writing something, and it feels good, if I have any possibility of releasing it, you make a way.
You have arguably one of the biggest hip-hop artists make a country album. You have a big pop / rhythm and blues artist make a country album. Country singers will make pop albums, anything in between. Genre doesn’t matter. The only people that limit genre are hardcore fans. The only people that say ‘you aren’t true metal’ are hardcore fans. That’s being a passionate fan. As an artist, you try to make something cool that you like and then other people say that sucks. The people that inspired you in those bands tell you, ‘I love what you are doing – you are amazing’. Wait, what? I’ve met all the bands and musicians; they are the coolest and most humble people. You know that there is no faking the thing. If you are struggling out there to do the thing, you are not a poser.
Do what you love, do what you want to do. If one person enjoys it, that’s more the reason to keep doing it. I do this mentorship thing at my son’s high school, and I’m telling these kids… my son has a YouTube channel, and he makes animation content. There were a few (videos) that were getting 5, 10, 20 views, and he made this one that got 40,000 views, and it boosted his subscribers. Then he made another (video), and it got 1,000 views. Views are views, that is somebody taking their time out of their day to view things, let alone subscribers. It helps the creator be a creator. Just keep creating and don’t get in your own way.
Dead Rhetoric: Now that you are in your mid 30’s, if you could look back and give advice to yourself during your twenties, what areas do you think you would have concentrated on more that would have been beneficial to your well-being and career?
Durbin: Bet on yourself. Being in so many different bands now, I probably would have encouraged myself to be in more bands then also. Because these bands were available. I could have bought a house a lot sooner. But also, be careful of what you wish for. I thought I wanted to be the singer of an established band. I thought that this would be easy. I thought that that would be quick money. And enjoyable work. Boy, was I wrong! (laughs). But it taught me a lot. What I wanted to gain is wisdom. Most large morsels of wisdom are gained from failure. It doesn’t have to be your own failure. It could be from people around you, just listening to others or asking questions. Questioning answers. That mostly…
Being intent. It wasn’t until after Quiet Riot for me that I finally heeded my wife’s own wisdom and her begging me to write down my intentions. I’ve had the same intentions written out on my computer, taped right at eye level in my studio for the past five years. I, James, will and intend to have financially successful tours with an easygoing band. Not specific to anything. And that ended up being James Durbin, unplugged, The Lost Boys, Tainted Love, Metal Street Boys, and five or six bands that are actively performing. This keeps me busy and keeping money in my bank account to pay my mortgage. We have multiple concerts booked every month; with Quiet Riot, we had maybe one concert booked a month. That’s not enough to sustain a family, let alone yourself, living in the state of California. I don’t have to be playing in front of 2,000 people every night. That doesn’t check all the boxes. If I know that I’m taking care of my family, my mortgage and bills are going to be paid, all the necessities are taken care of, without taking on credit card debt to live the dream, that’s not living the dream, it’s making nightmares. I don’t need to worry about that.
If you do what you love, and love what you do, turning your love into your work, you don’t want it to be work, you want it to be fun and enjoyable. Let me entertain and be lifted and fulfilled by the people around me. I share my time and energy around these people, and it is just that. Everybody in these bands is fulfilling, I tell them all the time I am grateful and thankful for them. What more could I ask for, except more of the same.
Dead Rhetoric: Always curious to know how you see the current state of professional wrestling as we are near the end of 2024 between all the major and minor promotional companies? Did any of the big moves surprise you behind the scenes as far as streaming services get involved in the pay-per-view / broadcasting rights game?
Durbin: It’s definitely an interesting go. Nothing is really surprising these days. If anything, I’m more surprised that AEW hasn’t done just yet, they seem to be working with Max to stream their pay-per-view content, but it’s not exclusive. I wonder if you’ll have to pay an extra premium for Max, or if it’s all included with the service. I enjoy wrestling – I am one of those hardcore fans, and I treat it like that. I have friends that work at both companies (WWE and AEW), I know people that work at both companies, and free agents, and at indie companies. I enjoy what I enjoy. There is a lot of good out there. There is meah too in both places, but there is plenty of great in both places. That is wrestling. Some of it’s technical and old school, some of it is high flying, some of it is blood gushing. It’s there for everyone. I like variety. They wouldn’t be doing it if somebody didn’t like it.
Namesake alone says a lot about what to expect when it comes to certain metal acts. Finnish quintet Rifftera for example don’t play around in their amalgamation of thrash, melodic death, and groove-style songwriting on this latest EP Coda. Since arriving on the scene in 2010 they’ve released three demos and two albums, the last one Across the Acheron hitting the market in early 2019. The time away has expanded horizons especially on the vocal front, as the dual abilities between guitarist Janne Hietala (harsh plus clean) and second guitarist Mikko Kuoppamaa (clean) offer more versatility to match the variance present by compositional framework.
The three original songs emphasize a burly riff attack surrounded by groove or alternative / atmospheric touches. “Carved in Skin” for example starts off very quiet before the militant Children of Bodom-ish drum/guitar syncopation levels the playing field, a crunchy synthesis of power thrash and melodic death metal while the vocals shift between hoarse screams and clean, ethereal melodies. The follow-up “Quicksand” has interesting keyboard runs surrounded by a swirling mix of mid-tempo groovy riffs – the contrasts between harsh to clean vocals similar to Soilwork or Mercenary. The most commercial offering is “No Turning Back” – the main musical hooks similar to 90’s-era Metallica, although the 80’s-style synth intro plus haunting background vocals add cinematic tension to the arrangement, a ripping guitar/ keyboard instrumental volley ideal for this highlight cut. Most will probably be surprised to hear Rifftera take on “Moonchild”, the first song on Iron Maiden’s classic Seventh Son of a Seventh Son record. The band readily admits that no one can duplicate the ‘Air Raid’ siren’s prowess vocally, so they just chose to ride it out in 80’s fashion, allowing the guitars to propel the hooks and make this a fun tribute to the band’s long-lasting legacy.
Hopefully we will get a third album quicker than five years, as Coda feels like a decent placeholder for things to come. Rifftera has the ideal blend of thrash, melodic death metal, and groove-oriented stomp to garner decent following from all three camps.
