Photo: Salina Damer
When it comes to thrash metal, two specific countries lead the field in terms of quality acts that have been reliable since their infancy. Everyone knows the Bay Area movement that burst onto the scene in the 80s, yet simultaneously the German scene also has a strong footprint due to its aggressive and speedier tendencies. Add the following trio Warfield to that mix – their second album With the Old Breed suggesting lots of youthful angst in the Kreator, Sodom, and Destruction mold – and yet adding a bit of sophistication and diversity to the mix from time to time. We got the chance recently to catch up with bassist/vocalist Johannes Clemens and drummer Dominik Marx to fill us in on the group’s development as childhood friends, where the new album differs from their debut, video memories, thoughts on the German scene, lots of concert memory talk past and present, takeaways from other bands, and what is on the horizon for the group.
Dead Rhetoric: Warfield came together in 2012. What were those early rehearsal and songwriting sessions like – did you have specific elements that you wanted to make sure even back then were essential components to your sound?
Johannes Clemens: We knew each other since way before, and we started to play music together in 2009. When we started Warfield, we had already been a band with covers and one or two originals. Like every band starts, you cover your idols, and we covered Metallica, Slayer, and German classics like Accept for example. The first rehearsals were very good times. After school and to the rehearsal room, it was like imitating your idols, it was a lot of fun. I think we quickly found out that we wanted to have more speed and more energy to it, so we started to play covers from Slayer, and Suicidal Angels, one of the newer bands that influenced us. The Warfield sound just morphed out of this.
Dead Rhetoric: With the Old Breed is the second album for the group – coming seven years after your debut full-length Wrecking Command. Where do you see the major differences in these two albums, and where do you believe you’ve grown the most that made this material stronger in the end?
Dominik Marx: First of all, I think the biggest difference you can find is in the sound. Wrecking Command sounded like it has to sound – raw, old school, and aggressive. But in my opinion, it didn’t have that much punch that you need nowadays to survive the test of time. We wanted to do a not really modern sound but a better sound. We managed that very well. It’s still raw and aggressive, but just with a little bit more punch in it. We also tried some new things – new elements like gang shouting that we didn’t have on Wrecking Command. Those were the two big steps that make a difference between Wrecking Command and With the Old Breed.
Clemens: And also with the overall songwriting, we dive in a little bit more and spent more time on each song to fix it in places where maybe things didn’t click. With songwriting as well, the lyrics, we dive deeper into the mental perspectives of the individuals within our songs. No matter if it’s a historical, war theme or in our modern society, we try to write more about how you feel instead of just describing things. That was also a plan for us with this second album – we are happy that we were able to achieve that.
Marx: There’s a stronger focus on the inner lives of the characters and impact of the experiences.
Dead Rhetoric: How was it to develop a song like “GASP”, which is quite different than some of the speedier and shorter tracks on this record?
Clemens: We were talking about this a few weeks ago. It’s amazing that “GASP” is on this album, as it’s very untypical for us. We are three total perfectionists, so the decision making can be really hard. And then if it’s a hot topic for some that it’s not speedy or thrashy all the time, it came to my mind I wonder how the song made the album, but we all love it. The song basically shaped itself in the rehearsal room. We didn’t plan on doing an epic or a slower song, it wasn’t our intention. Matthias came up with this riff, and then we started jamming. We thought it felt really evil and maybe Slayer-like, Bolt Thrower-ish where evil riffs can be slow also. It wasn’t our plan, but it turned out to be fitting for this lyrical theme as well.
Marx: It felt natural in the rehearsal room while we were creating the song. Even at the end of the song, when you listen to Bolt Thrower with “When Cannons Fade” in that drum outro, it’s something that we decided in the rehearsal room to make this a slower one. Putting the synthesizers in the chorus, it just fits to go over seven-minutes. We did the bass at the end with the drum outro.
Dead Rhetoric: You’ve released a few videos from the record including “Laments of the White Realm” and “Tie the Rope”. Are there any special memories surrounding these video shoots- plus what are your thoughts on the visual medium and its impact in the current social media platform marketplace?
Clemens: “Tie the Rope” was the first video and song we shot for the newer songs. It was all done by us and friends of ours. No official professional production, but when we do something, before we do something we work ourselves into this, so we don’t go in unprepared. It was very fun to DIY; everything was under our control. It was very funny, and very hard – it was the summer, the hottest day of the year. We were sweating, but there were great memories.
Marx: “Laments of the White Realm” was quite the opposite experience. We drove into the Austrian mountains for that shoot. It was cold, and then we went into a place close to us for a museum where we shot the second part of the video. It’s like a bunker, and it was a different experience. You put your drum set in the dirt, and you can feel what the song is all about when you record a video in the dark, in the cold, and it was muddy. It just had the right experience to deliver the emotions and what we wanted to put into the song.
Dead Rhetoric: How did the special vinyl-only bonus cover of Nuclear Assault’s “F# (Wake Up)” come about? What do you consider special about the impact this group had on the scene?
Clemens: We did a Razor cover on the first album, and we wanted to have something special for the vinyl buyers. We didn’t want to cover the obvious stuff, and we all love Nuclear Assault. I don’t know how we all decided on this, it just happened. We were down to the songs “Sin” and “Wake Up”, we tried both and I remember one week before we went into the studio we tried to decide which one to cover. One main reason was because the lyrics pretty much spoke to us. They are describing a situation that is very similar to the band’s situation – take chances to risk something. It’s about society to start thinking for yourself, and we relate to this.
Dead Rhetoric: Given the band’s three-piece lineup, what do you enjoy most about this set-up? Do you believe this places a greater emphasis on each musician’s skill set and proficiency to achieve what you want sonically?
Marx: Yes, for us it’s the fact that we’ve known each other since we were kids in 2009 making music together. Everyone knows how each other acts in certain situations. That’s a big plus point for the current situation. Meanwhile, we were five members back in 2015 or so. We had some personal issues at the time and two members had to leave. Johannes ended up taking over the bass in 2018. It’s the fact that it works live too – fans don’t come up to us after the shows and say that there’s something missing, they say we have the same energy as a four or five-piece. We don’t intend to stay a trio forever, but as we are getting along well and nothing is missing, we have not aggressively looked for another band member right now. A second guitar player definitely would be interesting, so if it’s interesting and it fits maybe someday in the future. For right now, we can go our own way with knowing each other, we all live in the same village, the communication is not so stressful.
Dead Rhetoric: Now Johannes, how did you develop your vocal style? You obviously have a lot of comparisons to Mille from Kreator in terms of your approach…
Clemens: Yeah, actually it’s hard to tell because what has morphed during time. I remember the decision to want to learn how to sing evil, growling stuff. It was in 2010-11. I don’t remember anything else, what has happened since then. It became natural to sing in this way. I thought it sounds better to sing this way. I was talking in another interview about how my voice has changed in the last seven years from the first album to this album, it’s not a big change but there is a change because the way I sing now, I feel really comfortable. It’s more demanding, but not on the voice itself. Breathing-wise and energy-wise, but I think it shows the emotion even more than in the past so I’m very happy how the vocals have turned out.
And of course, Mille is an inspiration, but I didn’t actually try to copy him. I see it and I take it as a compliment, and I’ll take that every day.
Dead Rhetoric: To these ears there is plenty of domestic / German influence in your brand of thrash, be it the attack of the riffs on through to the raspy vocals. Discuss the importance of your domestic scene, who are some of the veterans or newcomers you admire and look up to as far as their sound?
Clemens: It’s always a mix from the old school veterans. Sodom, Kreator, Destruction, Tankard – you can’t deny the impact those four bands had. And also, in Europe and worldwide – even in the US, the Germans are known for being extra hard and extra speedy when it comes to thrash. They shaped the style. Of course, Exodus, the Bay Area bands, Testament, Slayer, without them there would not be any thrash left today. They are still touring, still doing it, and transporting it to the people. We didn’t have the chance to see these bands in the 80s, we saw them as kids still, and as young adults. They’ve shaped a lot of younger bands like Toxic Holocaust, Suicidal Angels, they are the next wave. I would name bands like Power Trip; I really love these guys. There are many up and coming thrash bands that I really like – I don’t know if it’s a second wave or third wave, but it feels good to see many bands up there. One of the great young bands from Germany is Traitor from Balingen – we are playing with them next week at our album release show. It’s good that the bands are coming up.
Dead Rhetoric: What’s it like playing with your brother in this group? Does your personal relationship also put pressure on your musical activities and what you want to achieve with Warfield?
Clemens: I wouldn’t say so. Of course, we have like all brothers a lot of fights – but every time when it’s rehearsal time, Warfield is the main focus. We don’t have to talk during the rehearsals but can still rehearse. That doesn’t happen often, but that can happen with Dominik as well. It doesn’t make that much difference, Dominik has said before we know what to say to each other, and we know what buttons to push and what buttons we don’t. We get along pretty good.
Dead Rhetoric: What would you say have been some of the lessons you’ve learned from other bands either from playing with them live or talking to them in person that you’ve been able to apply to Warfield for the better?
Marx: Just always try to have yourself under control before the shows. I have seen bands stretch before the shows. We are getting older each year of course, and ten years ago you may have thought, ‘what are these guys doing there?’. As you get older, it totally makes sense now. If you want to get the crowd going wild, and make your job good on stage.
Clemens: I think you never stop learning from other bands. If you watch other bands and see them do something that connects with the crowd, it’s something you take away and may apply to your own stage show. I remember from friends of ours, a German band called Senseless, the singer he passed away a couple of years ago – in between songs, he would be screaming at the crowd to hype them up, and not in the microphone. This was an influence, it clicked in my head, it’s more personal if you don’t have the mic between you. Speak to the audience, scream at them, and I think this happens all the time. We all love to go see live concerts still, it’s always a good time.
Dead Rhetoric: From what I’ve read in a previous interview online your drummer’s father went to a number of metal shows in the 80s that would make everyone envious. What were some of those special shows that you heard stories about?
Marx: Yeah, they visited the first Metallica gig ever in Germany, to name the number one gig. Stuff like seeing the Rock Pop festival in Dortmund, Germany back in the day – where there were two stages left and right and the bands were Iron Maiden, Judas Priest, The Scorpions, Ozzy Osbourne were changing. One band ends, another one begins, you just had to go from right to left to see every band, seven hours non-stop. He shows me the pictures back in the day – Slayer live in Belgium back in 1984 or 1985, throwing bedsheets with the band messages and logos on the stage.
Dead Rhetoric: What has been your favorite concert memory, just from attending a show or a festival?
Clemens: I would say Iron Maiden on the Maiden England tour in 2013 in Frankfurt. I caught the pick from Adrian and Matthias caught the wristband of Steve Harris. I remember seeing Violator, the band from Brazil, they were in Germany one time, and it was the most brutal gig I ever went to.
Marx: For me it would be Iron Maiden of course too. I could mention every show; it’s a great live experience. Danzig in 2018 in Luxembourg, that was a really great experience. He came on stage and made aggressive moves on stage; you really felt the power. Seeing that guy live was a real pleasure too.
Dead Rhetoric: What sorts of hobbies, interests, and activities do you like to engage in away from music when you have the free time and energy to do so?
Clemens: We all love football (soccer). We also like to watch darts and play darts.
Marx: A friend of mine came to me and said he liked to watch American football – so he got me a little interested in that. I am trying to watch the games when they are televised. The Raiders have a big history in the metal scene with Slayer, and Fast Eddie or Philthy Animal wearing a t-shirt of the Raiders. That really got me the last two years.
Dead Rhetoric: If you had the opportunity to share some special time together at dinner with three to five people – past or present – who would you like to spend time with, and what sort of topics or subjects would you discuss?
Clemens: Probably at least one person who is not alive anymore. Maybe just a normal guy from 1730, to get to know how his life was – in the place where I live right now. I would want to see how he lived. Celebrities, it’s hard. I would like to talk to Bruce Dickinson. And I would like to drink a beer with Angelripper from Sodom.
Marx: For me, Dave Lombardo. Just to ask him how he got so fast on the double bass. Out of the metal scene, I would say Robin Williams. I have watched his films as a child, and I still like to watch all the movies he has done. A great person, and definitely worth talking to. As a kid I loved Mrs. Doubtfire, I also like Beyond the Horizon or One Hour Photo. Patch Adams too.
Dead Rhetoric: What’s on the agenda for the next twelve months with Warfield? Where would you like to see the band in terms of your career or goals at the end of this album’s touring cycle?
Clemens: We want to tour. We want to play as many places as possible. Take as much new listeners as possible on our journey. And grow as a band to get more popularity while staying always having fun with it.