MetalStorm

XCEL - Deliverers Of The Dream

2012-02-07T23:09:00.000-08:00

It all started when Kevin Cox guitarist of Xcel dropped me an email to thank me for the review that I have done some years ago, on the band's one and only album "Deliver This Dream" on the online edition of my Forgotten Scroll Zine. Well that means luck. You see I have been trying for ages to track down some members of this magnificent Power Metal band from Southeast Texas and now a member of them is dropping an email to say hello and thanks! Of course I could not let the chance to go away and I replied faster than the speed of light requesting an interview. My good luck went even further cause Kevin is one of the most friendly musicians someone would ever meet. Not only he accepted to answer on my questions but he even set up a massive answering of my interview by the ENTIRE band! It was a matter of days until my printed question-paper was in the band's rehearsal room. Yes you have read correctly. Rehearsal room, cause the band has returned in full action again. They are composing new stuff, getting ready to re arrange the older one, they are uploading some rare video footage on youtube and they are preparing some t shirts for all of us the die hards. So the original plan that was a feature of this great interview into the next printed issue of Forgotten Scroll changed a little: I thought that bands in the high level of Xcel should spread their word in as many people as possible especially when they are active. So here is the expanded plan: an online publication of the whole interview into the online edition of Forgotten Scroll together with the printed edition that would come on the next issue of the Forgotten Scroll Zine (no. 5) that would feature Xcel in the front cover as well! Well here it is, one of the most interesting interviews I have done, with some really friendly guys that totally express their passion about their band and their music! Go ahead, read and discover all the adventures of a Metal band that hunted the dream during the 80s, returning now in full glory to deliver some more inspired Steel the way it deserves to be released. This is the story of Xcel my friend, the story of the dream deliverers! Enjoy!

Hello guys and thanks very much fortaking the time to answer to my question. This interview is reallyimportant for me and I want it to be a real special one. Long liveXcel!

Kevin C.: Thank YOU Chris. We wereflattered at the review you gave us on the Forgotten Scroll. Itmeant a lot to all of the guys in the band.

First of all let's start with yourhometown. Where are Xcel from? please confirm that Xcel were from?

Kevin C.: We are all from the sameSoutheast Texas area originally. I’d have to say Port Neches, TXwas our base/hometown. Our rehearsal studio was there. It used tobe at an old bank in the downtown area and we rented it out forcheap, carpeted the walls, blacked out the windows,etc. It stillhad a vault in there too. We would frequently have the local policestop in to see what we were doing, but they got to know us and wouldjust drop by every now and then and say hi. We invited them in andshowed them around. They would patrol because they knew we had a tonof gear in the back room for shows. So it worked out great.

Ok lets take a long and big flash backin time. When and where was Xcel formed? Who were the foundingmembers?

Barry: Peter and I were playing in aband called Wizzard, along with drummer Rob Duplantis. I decided toleave Wizzard and play with another band. I felt Wizzard was gettingstagnant and wouldn’t go anywhere. Rob, who was the leader of theband, asked who he could get to replace me, I suggested Kevin Cox. Kevin Cox was an “up-and-coming” guitarist with a lot of driveand good work ethic and the band he was playing in couldn’t get offthe ground due to personnel issues. I left, Kevin took my place, andeverything was okay for a while. However, the band I went to playwith couldn’t seem to get any traction and I was quickly gettingdisenchanted with them.

The guys from Wizzard invited me tocome watch them play at a local bowling alley one weekend. Thatsounded fun, I was curious, so I went. I was blown away! Kevin Coxhad injected a whole new vibe and energy into the band! Not tomention, they were writing some really good original material.

I called Rob (drummer) a few days afterthe Wizzard gig and told him if they ever lost their other guitarist,I‘d love to take his place. Two days after that phone call, I hadthe job. Apparently, it wasn’t a popular decision and the singerleft too!

We all sat down and discussed a newdirection and a new look for Wizzard, that’s how the new name cameabout. Everyone says I threw the name “Xcel” out, but I didn’treally like that name, so I’m not entirely convinced it was me. Everyone else liked it so it stuck.

Now, we need a singer. Peter knew aguy from a neighbouring town that he had met through school choirfunctions and suggested him. Kevin Luke auditioned and flooredeveryone! He was in! Now we’re ready to roll, th line-up iscomplete...right?

Within 2-3 months of getting KevinLuke, Rob, the original drummer who had weathered all these personnelchanges, and affected some of the personnel changes, announces thathe’s leaving the band because he and his girlfriend are going tomarry soon. Now, we’re back to searching for a replacementdrummer.

Kevin Luke knows a drummer who’s notplaying with anyone at the moment and suggests him. Once again, weare treated to a great new member in Dag Gabourel. He’s got thelook, he’s got the chops, he’s got a nice set of drums (I’msure he’ll disagree) and he can flat out pound the drums. One ofthe hardest hitting drummers I’ve ever played with, bar none!

Now the line-up is complete.

Kevin L.: Xcel formed in 1985 andeveryone considers me the first real singer for the band.


First XCEL picture ever taken.

Kevin Cox – Lead Guitar, Kevin Luke –Vocals, Dag Gabourel – Drums, Peter Voight - Bass, Barry Duncan -Lead Guitar. This is the only known line up of theband, were there any members prior and after this line up or was itthe only Xcel line up existed. Please give some info about the lineup of the band –possible changes etc-.

Kevin C.: In my opinion, this line upalways was and always will be Xcel. They’re like brothers to me.

Barry: The only other member was abass player, David Parent that replaced Peter when he left after acouple of years.

Kevin L.: The only lineup change wasmade towards the end of Xcel when Peter left. He was replaced for ashort time, maybe 2-3 months, by David Parent.

How did you guys met each other anddecided to form Xcel? Tell me some behind the scenes stories?

Kevin C.: Peter, and Barry were inanother band called Wizzard at the time, and I used to go and watchthem whenever they played. I really looked up to Barry, and Peterwas a friend of mine. Funny thing is, one of the shows Wizzard wasabout to do, Barry had trouble with his distortion pedal and I ran upto him and said I could get him one and I ran home and brought mineup there just in time for their show. I ended up sort of aroadie/guitar tech for them for a while. Barry and I hit it offimmediately. I was asked to join Wizzard, but shortly after, wedecided to break out on our own and do original material mostly andthis morphed into Xcel.

Peter: I knew Kevin Cox from school andwe played for the Port Neches-Groves Indians High School Footballteam together and knew that each other played music. I think Barryleft Wizzard and Kevin was the first person we thought of to replacehim. Wizzard was a cover band. Kevin and I wanted to do originalsongs and get with some guys who wanted to do the same thing. Thiskind of started the foundation of Xcel. I cannot remember if Barrycame back into Wizzard or if we got him to come into Xcel after weleft Wizzard? I knew who Kevin Luke was because he was in his HighSchool’s pop group and I had seen him perform at a competition. The first time we approached him about singing with us he was workingat the local skating rink. Kevin Luke knew Dag from school and alsofrom playing in the High School’s pop group together.

Kevin L.: The band was originallyWizzard and really started with Barry coming back to the band andthen I came in and then Dag replaced Rob Duplantis. You could almostsay the two original core members were Peter and Kevin C.

Dag: I received a call from Kevin Coxto come over to his house because he wanted me to listen to somesongs that he had written and to see if I would be interested injoining the band. I walked into his bedroom and was immediatelycurious. With a Marshall stack staring me in the face and Kevinstrapping on his Randy Rhoads Jackson guitar, he definitely got myattention. He is an incredible musician. It was an instant yes in mymind. He was serious, enthusiastic and he simply shred!

I knew Kevin L. from the high schoolshow choir and had heard first hand that he could sing like only thebest can. He is a very powerful singer with tremendous voicecontrol. All you have to do is listen to The Vision, as an example.

I didn’t know Peter or Barry. But itonly took a few notes with Peter to realize we could find a steadypocket. He was a solid bass player with a knack for providing a goodfoundation for our music.

Barry is a phenomenal musician and Iwas very fortunate to be exposed to someone with such God-givenability. He didn’t have all of the best gear, didn’t need it, hecould flat out play.

Were any of the band members in anyband before Xcel? Have you got any information to share?

Kevin C: Other than briefly filling infor Barry in Wizzard, I really wasn’t in anything worth mentioning. I played with a couple of bands before Wizzard who never wanted todo anything but smoke pot and hang out. I didn’t do drugs andwasn’t into all that crap. I wanted to get out and do shows, notsit around and waste away.

Barry: I played in Wizzard whichmorphed into Xcel. And Court Jester which was the band I left beforerejoining Wizzard.

Peter: Yes I was asked to come playbass for a band called Wizzard. Barry Duncan was one of the guitarplayers in that band and that’s how we first met.

Kevin L.: Nothing official for me, butI've sang my whole life, probably since I was 13 years old.

Dag: I was in five bands that werenothing compared to XCEL.

How did the name Xcel come up? Is itsomething like a game with words or letters? Is there any specialmeaning behind your name?

Kevin C.: *laughing* No not at all. Nothing really special about the name whatsoever. We wantedsomething positive and we were very energetic about succeeding withthe band. I think at one point if I recall, there was talk of namingthe band “Mako” after the shark. Now, I get sick of the responsewhen they hear it was Xcel, “You mean like the spreadsheet?!” There wasn’t a Microsoft Excel spreadsheet back then.

Barry: There’s nothing cryptic inthe letters, just a positive, forward-looking name.

Taken from http://www.dictionary.com:

ex·cel

–verb (usedwithout object)

1. to surpass othersor be superior in some respect or area; do extremely well: to excelin math.

Or, in our case: Music. Even though Ididn’t initially like the name, it came to mean a great deal to meand the other guys as well.

Peter: *laughing* I remember that atone point Kevin C. suggested the name of Wicked Bitch for the band.Not the most positive name we came up with. At that point we werelistening to a lot of W.A.S.P. Xcel was short, simple, positive, andto the point. We dropped the E and Barry designed the logo.

Kevin L.: I thought Kevin C. came upwith the name? I remember Kevin C. bringing in pieces of paper withthe definition of "excel" written on them. Maybe I'm justdreaming that, but that's what I thought I remember. To dobetter...to be the best...that's what we wanted to do, be the best!

Kevin C.: *laughing* Wicked Bitch?! Idon’t remember that at all nor do I have any explanation as to whyI would want to name the band that. I think Peter dreamed that up.

Dag: We did want to be the best atthe music we were playing.

Xcel PromotionalPhoto – Accent Records - Palm Springs, CA, USA

How did the band started to roll? Didyou do any covers or began straight with original tunes? What was thefirst original Xcel song you have composed?

Kevin C.: Well I think from the start,we wanted to build up a mystique about the band and be somethingdifferent. So we went underground for a long time and rehearsedrelentlessly and didn’t tell anyone anything about us. We kept itquiet. You have to understand that in Southeast Texas where we allgrew up, everyone assumed you played blues or sounded like ZZ Top. Not that there’s anything wrong with that, but we wanted to be thenext big band and come out heavy. We immediately started withoriginals, because that’s what we wanted be known for. It’s hardto say what the first Xcel song was, we were writing so many at thetime and we would show up to rehearsal sometimes with 2-3 new ones. I think it was “Out To Maim” but I can’t recall for sure.

Barry: I believe we set straight aboutwriting original music. We threw covers in only as filler. Wedidn’t particularly enjoy doing other peoples music. I think thefirst original Xcel song was “Out to Maim” written by RobDuplantis. Kevin Cox wrote the music for it.

Kevin L.: The first original Xcel songwas "Teaser", it carried over from the original bandWizzard and everyone loved it (laughing)! We always did covers, nota lot, just our favorite metal covers, you know, Maiden, Queensryche,Whitesnake. People loved the Whitesnake arrangement we did. Tenminute long medley of "Still of the Night", "Slide ItIn" and "Here I go" (I'm trying to remember how itgoes)...and then finished out with the end of "Still of theNight" again.

Xcelwith Andy Owen (sound engineer- bottom) and Dana Miller (guitar/stagetech – 2nd from right)

Dag and Barry in rehearsal studio

How would you describe your music inyour own words? Which were the band’s main influences? There was aHeavy Metal explotion in the scene of Texas back in the mid 80w, wereyou influenced by this situation somehow?

Kevin C.: I struggle to say how I wouldlabel us musically. Our influences were the early Queensryche andanything Iron Maiden. So we were a power metal hybrid of that Iguess. I don’t know of any metal explosion in the Texas musicscene at all. If there was, no one told us when or where!. That waspart of the problem, you had this band that sounded like we did, andeveryone wants you to play Lynyrd Skynyrd or ZZ Top type music, andthat wasn’t us at all.

Barry: I’m not sure how to describeour music. I don’t remember any of us saying we wanted it to be aparticular style, or mode of writing or subject. It just came abouton its own somehow. If we didn’t like a song, we scrapped it, ifit turned out good, we kept it. We wanted our music to hold yourinterest either through the lyric content, or the tempo changes orboth. We wanted the song to tell a story and captivate the listener. I think you can hear a lot of Iron Maiden and Queensryche in ourstuff, although, we tried to not emulate anyone. I personally made aconscious effort to not purchase any music during that time so Icould avoid being influenced. And, I was poor...so that helped. No,I don’t think we were influenced by any Texas Metal...I’m notsure we were aware of that because of our location. We were quiteisolated from the rest of Texas and the rest of the world.

Peter: I would say Queensryche, IronMaiden, and King's X . For my personal main influences I would haveto add Kiss, Rush, and Stryper to the list.

Kevin L.: Tasteful metal. Well, Ithink anyone that liked heavy music could appreciate what we did,whether they liked metal music or not. My influences were myfavorite vocalists: Steve Perry, Geoff Tate, Bruce Dickinson, JeffScott Soto, those were probably my favorite guys back then. I don'tthink we were influenced at all. We did what we wanted to do, or weplayed what we wanted to play.

Dag: Sophisticated metal, as I likedto call it. I was a huge Neil Peart, Alex Van Halen, Peter Criss,Nicko McBrain, and Scott Rockenfield fan. I was definitely influencedby those guys.

It sound strange to me that I have notnoticed Xcel mentioned on the glory days of Texas Metal Undergroundalong with bands like Militia, Watchtower, SA Slayer and similarones. Perhaps you were too far away –distance speaking- to takepart in all this?

Kevin C.: Possibly, but I haven’theard of any of those bands either, or the Texas Metal Undergroundfor that matter. I’m sure we would have hit that up if we’dknown about it, or if they had known about us.

Barry: You are correct! Logistically,we were not in a good location to play out and get noticed. Theeconomy in the area was down and there weren’t many places to play,especially for our style of music. The closest place was Houston,Texas, we managed to play there once and it was the last night theclub was open. I think I’ve heard of Watchtower, but I’ve neverheard of the other bands. The only other band that I can recall thatdid make it was Pantera from Dallas, Texas.

Kevin L.: (Laughing) I think we werelooking at the bigger picture, we were reaching for the spots thatIron Maiden had, or Queensryche. You know, we weren't looking forthe local area, we looking for national, or bigger, attention.

Dag: We were way too far away to getany real attention.

Back on thefirst steps of formation, well can you recall the very first Xcellive show?

Kevin C.: Jan 3. 1986 – Port ArthurCivic Center. That was our very first Xcel show. It was somethingwe had been planning for quite some time. We wanted to come off thatwe were the ‘big boys’ coming into town. We bought radio airtime, everyone was already wondering what we were up to. We grabbedanother unknown local band at the time and had them open for us. Butdidn’t tell them much about it until right before, because wedidn’t want the word to get out too soon There were commercials,ticket give-aways – just like the major groups did – and that’show we wanted to position ourselves. We used to listen to the radioin our rehearsal studio and hear these people calling in to wintickets. It was really cool. We sold that place out, it was packed. Someone had said that a big band had played there a week or sobefore we did and they didn’t have as many people as we did. Andwe promoted this whole thing ourselves. I remember pulling upoutside this civic center and seeing long lines trying to get in. They had run out of tickets and started stamping hands. The radiostation DJs even showed up and introduced us. No one had ever donethat before. I’ve always loved the way Gene Simmons and PaulStanley made themselves larger than life, so you can say we took apage from their playbook. We built amp risers, stairs, drum risers,made our own flash bombs (that’s another story) – and it worked!


Jan 3, 1986, First Xcel Show

Barry: Absolutely! We wanted to turnthe world upside-down, so we decided to go as big as we could afford. We rented out the floor of a local convention center, about 800seats, I think, at least, that’s how many tickets we had printedup. We paid for promo spots on the local rock radio station and itstarted generating a bunch of interest. Partly because no one knewwho we were, we stayed to ourselves and did our thing and didn’tmake any big announcements. We had the radio station in a buzzbecause they couldn’t figure out who we were! We kept ticketprices cheap, like $3.00, so everyone could afford to go and KevinCox and Peter sold a bunch of tickets! We made the date a Fridaynight too so all the high school kids could go as well. We werehoping 100 or 200 people would show up. We would be ecstatic if thatmany came to see us. The night of the show (I’ll never forget –January 3, 1986) one of the girls that volunteered to take tickets,came backstage about 30 minutes before we were to go onstage andannounced that they had run out of tickets and there was a linewaiting to purchase more! We all about fainted! One of the rockstation DJ’s was backstage with us and said just start taking $3.00apiece from them and stamp their hands. We ended up selling 1100tickets! It was a sold out show (I still get goose bumps talkingabout this)! We had pulled it off, and pulled it off in a majorway.

There has been no one, before or since,pull off that big of a show with local talent. Even the radiostation we had fooled tried to put on a show like we did and theyfailed miserably. They even invited us to play! They gave us aterrible slot, there was no onstage coordination, and they had theirfavourite bands in the time slots they wanted. They only had about100 people show up and most of them left after we got throughplaying!

Jan, 3, 1986, First Xcel Show

Kevin L.: January 3rd, 1986. Playedat the local civic center for 1000+ people.

Jan, 3, 1986, First Xcel Show

Peter: I don't know if the rest of theguys remember, but about 3 hours before the Jan 3rd show we blew ourPA power heads during sound check. We were freaking out and under somuch stress; it was a good thing that we had a great reputation withour local music store (A&S Music) they let us borrow some PApower heads free of charge so we could do the show. The thing Iremember most about the Jan 3rd show was that we played for over 2hours and it seemed like only 10 minutes. It was a dream come trueto play in front of that many people in our home town.

My information says that there was notany Xcel demo release prior to the debut full length. Can you confirmthis? In the case that there was a demo release can you give someinfo about it? Perhaps you have some demo recordings that remainedunreleased –prior to the album- any possible light on them –ifthey are in existence-?

Kevin C.: The very first thing I wouldlabel as “demo-like” we ever did was a song called “Out ToMaim”. We never released it though, but we still have therecording of it. It was pretty heavy even by today’s standards andKevin’s vocals were spot on. We also have live video footage of usplaying some of these songs, including “Out To Maim”, and it’sa trip to see. We may publish that out on YouTube or something,we’ll see.

Barry: Again, you are correct. Therewasn’t any demo in the beginning. We set about doing the albumonce we had enough good songs to produce a full length album. It wasstill a very short album, right about 30 minutes in length.

Kevin L.: Nothing before the album. But, we do have a bunch of practice tapes we've been going over.

How the hell you decided to straightforward record an album form the start without making a demo first?

Kevin C.: Well that’s just it, ifputting out a demo got people interested, we thought, “hey let’sput out an album to show them we mean business and that we’recapable of doing it on our own.” At least that was the plan backthen. We did all the legwork to have it sold in record stores onconsignment and there we were front and center in these recordstores. It was pretty cool seeing your album sitting there out frontwith all the big groups of the time. It was a feeling ofaccomplishment to say the least.

Barry: Again, we wanted to turn theworld upside-down. Queensryche had done it with their self-produceddemo, why not us? We felt we were every bit as good as they were andwe were willing to show anyone with any interest in us (like a recordlabel) that we would work hard for them.

Kevin L.: (Laughs) We didn't have toask anybody's permission. We paid for it ourselves, with gig money. We sold it ourselves, we didn't have a record company until Accent(out in California) picked us up.

Dag: We wanted to try and prove wecould do it ourselves and set our goals for the band extremely high.

Have you got an offer by a Record Labelor did you do the whole thing yourselves? Can you give us anyinformation about Tri Records? Was it a Record label or just aMoniker that you have used to get out your own private release?

Kevin C.: We totally did it ourselves. But here’s the deal, what you hear on that album is all we couldafford. And I think I’m pretty safe in saying that the whole bandHATES that album or the recording anyway. It did NOT do us justiceat all. Those are the weakest sounding guitars ever, Kevin Lukesounds like he’s at choir practice, you can’t hear Peter at all,and the drums sound like they’re in a wet paper sack. We hated it. But it’s all we had. People would come see us live and see thatthese songs had WAY more balls than the album shows. Hell, we hadfull blown Marshall cabinets blasting up there and Dag would flatdemolish a drum head, so in order to hear what we really soundedlike, you would have had to see us play live. Our practice tapes areway heavier than the album. Tri Records was just a couple of guysthat had some recording equipment and it was the only thing around atthe time. Accent Records was an independent label in RanchoMirage/Palm Springs, CA who picked us up for our single, but itturned out they weren’t much better anyway. Nothing ever came ofthat. Same old story, we were made a ton of promises but nothingever came of any of them, other than what we would go and do no ourown by ourselves.

Barry: No, there was no record deal. Tri Records was just a couple of local guys with decent bit ofrecording equipment and a pretty nice recording facility. They werekind enough to “place” us on their “label” for the album. Unfortunately, they had only recorded country and western acts, notany rock-n-roll or metal. They really had no idea what to do withus. They squashed the guitars so much with their compressors thatthey sound thin and weak. A great example is “Hold Your Faith”. Listen to the very first strike of the pick on the strings and theguitar sounds full and whole, in a split second, the compressor kicksin and squashes it into oblivion. Rest assured, Kevin Cox waspushing an easy 100 watts through his Marshalls and we did not skimpon the volume!

The other terrible faux pas they madewas putting Dag’s cymbals and toms on the same microphones insteadof their own separate mics. So, if you needed more cymbals, youautomatically got more toms too. They had some terrible recordingtechniques, and the album’s production quality suffered for it. Maybe that’s the way they record C&W, but it’s not how yourecord hard rock and heavy metal!

Kevin L.: Tri Records was actually"Triplex Recording".

In how many days have you recorded“Deliver This Dream”, can you recall anything interesting fromthe recording sessions?? In which studio was it recorded?

Kevin C.: I honestly can’t recall,I want to say it was a couple of weeks or so. We were exhausted whenwe would leave there, or at least I was. It was record at TriRecords and mastered in Nashville, TN. Recording is a wholedifferent animal. I can honestly say that I had much rather playlive any day.

Something interesting from the recording sessions? Well, the most interesting thing to me waswatching Dag. He was phenomenal to watch. He never had to doanything twice, unless HE wanted to. He nailed it every single timeand he was just as flashy in the studio as he was on stage. I lovedwatching him play. I’ve always had a bit of drummer envy*laughing*.

Barry: It only took about 3-4 weeks torecord if I remember correctly. We had picked the 8 songs we likedthe most, and the ones we felt the public would enjoy the most too,and rehearsed them over and over for weeks so we could minimize thecost of our studio time.

From the recording sessions, yeah, I remember one incident: One ofKevin Cox’s friends was hanging out with us at the recordingstudio. Mind you, this was the same guy that I witnessed droppingKevin’s Randy Rhoads Jackson “V” and chipping the paint at thebowling alley gig they invited me to come see. He, the friend,decides he’s going to sit in the recording room where Kevin isabout to lay his guitar tracks. I told him he had to leave. Heprotested that he wouldn’t make a sound while Kevin was recording. Yeah right, I told him when he wanted to help pay for the studiotime, then he could stay while we recorded. He left. Needless tosay, we were very serious about how our money was spent and wecouldn’t afford any slip ups. “Deliver This Dream” wasrecorded at “Triplex Studios” in Port Arthur, Texas.

Peter: I remember that almost all ofthe recording was done late at night. Some of us were in school orworking during the day so we would get into the studio around 7:00p.m. We would stay just about all night most nights. I remember thatKevin C. would always have a bag of gummy worms and a chocolatesoldier drink with him. Sugar rush to get him through the night. Thiswas before energy drinks.

Kevin L.: We blocked the studio fortwo weeks, it was our studio for two weeks. We recorded and mixed inthat amount of time, final product. As mediocre as the quality was. At the time we thought it was good, but, we weren't engineers, wewere musicians.

Dag: I remember finishing and thenimpatiently waiting for everyone else to do the same. I didn’t likesitting in the control room without the finished product. I alsorecall thinking that the engineers didn’t have a clue how toproduce a heavy sound when they tried to mic my snare drum from thebottom.

This record is simply one of the top 10US Metal Records ever. When did it face the light of the day? In howmany copies was it pressed? If you could change something to thisalbum what would it be?

Kevin C.: *laughing* I don’t knowwhat to say to it being a top 10 US metal record. It’s flatteringthat someone would think so, but I’m sure all the guys would say“You’re kidding right?!” We know we are better than thatwithout question, so if we were given the right equipment andengineer, then I guess I’d say if you liked that crap, then the newstuff would knock you over!

What would I change?? Everything! AndI do mean everything. I would completely re-record it. I’m not sosure I would have kept “Teaser” on there either. Peter and Iwrote that song just kind of goofing around. Funny part was, peoplewould always ask us to play that one and Accent Record’s AR guywanted it on the single. Go figure.

Barry: I wish Capitol Records believedit was a “Top 10 Metal record”! That’s very kind of you tosay...we thought it was too! I honestly don’t remember when thealbum was released...and, I’m not sure how many copies got pressedeither, a couple thousand, maybe? Maybe if I could change how thealbum was recorded, or maybe where it was recorded. The content wasthere, the song structure was there, the guys in the recording boothcouldn’t translate it from us to the tape correctly.

Kevin L.: I can't remember, 3 monthsmaybe, after we finished recording...not sure. (Laughs) I woulddefinitely change the quality of the recording. Point ofinformation: The single used the original drums from the album, butwe re-recorded everything else. You can see that the quality is muchbetter.

Peter: It’s very flattering to hearthat. I wish we could have got the attention of some major labelsback in 1986. I am very proud of what the album has done and at thesame time almost embarrassed of how it sounds. I think the songs areexcellent but the quality of the sound is not what any of us wouldlike to hear on our album. I think the songs rerecorded today couldstill bring in new fans.

Dag: You’re too kind. I wish morepeople would have thought the same as you. I’d change everythingsound-wise. I think we pressed 1200 copies.

Which is your favourite song of thealbum?

Kevin L.: Ichabod! The crowd lovedit!

Kevin C. : For me, I would have to say“Deliver This Dream” and “The Vision.” We would open theshow with DTD and nothing gets your attention like a hard hittingdrummer and Marshalls sliding into that intro riff. Barry wrote “TheVision” and I felt like it showed some maturity on our partmusically. It had the breaks, intros, dual leads, and of courseKevin’s vocals.

Barry: I would have to say “TheVision”.

Peter: My favorite song would be“Deliver This Dream.” Dag has a really cool drum beat going onthroughout the whole song which helps it to really stand out. I alsolike Ichabod. It's just a straight forward in your face kind of song. The Vision is really cool too. I like how the song tempo changes. I guess it would be easier to answer which song I like the least onthe album.

Dag: Deliver This Dream, of course. Itstarts with DRUMS!

Who should deliver the dream and fromwhat?

Kevin L.: It was a metaphor for whatwe wanted. That was to play music.

Barry: You’ll have to ask Kevin Coxabout that, I couldn’t ever figure out what he was talking about.

Kevin C.: That song is aboutstanding up to any kind of oppression really and not letting anyonekeep you down. I wrote that in a geography class one day when I wasenrolled in college briefly before the band got going (laughing)shows you how much I was paying attention eh? But Kevin L. iscorrect.

Any small or bigger comment about thealbum lyrics or perhaps the lyrics of a chosen song?

Kevin C.: I wouldn’t say that we werereally focused on any one thing in particular. I mean we would talkabout mythology, hypothetical situations, historical events andsociety, to girls and cartoon characters. I’d have to say that thestuff I’m writing now is more related to society. I have a lotmore experience with life than I did back then.

Barry: The strange thing about me isthat as soon as I’d hand Kevin Luke the lyrics, I’d forget whatI’d wrote. So, in some respects, it’s hard for me to comment. On a general note, we wrote based on experiences, something that hadhappened to one of us, or, maybe it was just a movie we had watchedor a book that we had read. We did want to inspire with our lyrics,kind of like Triumph’s “Fight the Good Fight” song. It’svery inspirational and a lot of our stuff follows those same lines. Don’t let people get you down; don’t let someone tell you thatyou can’t do something. If anything, that should be the very thingthat drives you to prove them wrong!

Kevin L.: Laughs) Uh...no. I'll answer it in the next question.

Was “I’ll Make It Someway”written for a real person or it was just the usual tactic for aballad that should appear on a Metal record (perhaps the answercatches both of the cases)?

Kevin C.: Kevin Luke wrote that, soI’ll let him answer.

Barry: I’m not sure. Kevin Lukewrote that one and it went over in a big way, especially with thegirls! But, I don’t know if he wrote it for someone or not. KevinLuke’s singing and Kevin Cox’s lead work was awesome, especiallywhen they played/sang in unison.

Kevin L.: That was the only writingthat I did in the band. And, it WAS about a ex-girlfriend.

Dag: I know who it was about.

Who was “Ichabod Crane”?

Kevin L.: Google "HeadlessHorseman" and you'll find out!

Kevin C.: Ichabod Crane – The Legendof Sleepy Hollow about the headless horseman. What I remember mostabout this one was, Barry was coming over to my place on Halloweenone year and the story of Ichabod Crane was on the TV. I came backin the room and Barry had sat down with one of my guitars and wasjust playing something and watching that show. Long story short, wenever left to go out, we stayed in and wrote “The Last Ride ofIchabod Crane” and it turned out to be one of the crowd favoritesand was fun to play.

Barry: It’s a story based onWashington Irving’s book “The Legend of Sleepy Hollow”. Itried to make the song only about Ichabod Crane being chased by theHeadless Horseman. There’s a lot more to the story than just thechase, but for my purposes, I only wanted the frantic, chasing part. The slow, acoustic part in the middle of the song was supposed to bewhere Ichabod is on horseback going through the forest right beforethe Headless Horseman sets upon him. We were trying to convey acreepy, dark, forest with the guitar swells and wind. You can read a synopsis here:

http://en.wikipedia.org/wiki/Ichabod_Crane

Where have you took the photo of theback cover of the album? It is very unique and obscure...

Kevin L.: (Laughs) It was a place wethought looked good.

Kevin C.: *laughing* In a field acrossthe street from where our rehearsal studio was, behind a 7-11 storeor something. No kidding! So when we walked across the streetlooking like that, heads turned. The picture on the single was inthe exact same place.

Barry: That’s funny, but I guess thephoto worked! It does almost look like the creepy forest thatIchabod was going through! It’s actually behind a conveniencestore across the street from where we practiced. There was a smallpatch of trees and we just walked behind the store and I believe itwas Dag’s older brother that snapped the photo.

And then what? You got this diamond onyour hands, so? Did you hit the road to promote it? What was thefeedback from fans and press?

Kevin C.: Well that was the plan, yes. But it turned out much harder than we had hoped. In hindsight, it’sprobably because of where we were located. We made it to Houston, TX(again on our own) and were signed with a management company who hadseen the show. We blew that place apart and there were policereports about it from several businesses down the street. *laughs* We were really excited about having a manager now, but he got usnowhere. He spent all his time working for this pop band outfit healso managed and did nothing for us. We dumped our manager andhooked up with LD Promotions in California and we thought it wouldtake off after that, but this bunch turned out to be nothing as well. All promises, no action. The feedback we got locally wasencouraging, but it needed broader exposure. Ironically, the sameradio station that was so supportive of us initially wouldn’t playour material and there were a lot of requests for it on the radio Iwas told. We got more airplay in California and the Northeastern USthan our own hometown. I guess their program director felt LedZeppelin, Lynyrd Skynrd was what everyone wanted to hear, so it diedon the vine I guess you could say.

Barry: We tried to promote it, but wewere not in a good location to do any of that. Sure, we shopped itto the local music stores, and I guess we may have sold a few, but byand large, there wasn’t an outlet for us to promote it. The localradio stations wouldn’t promote it, we didn’t fit their mold, andthey didn’t much care for us any way. We did do some interviewswith a couple of the local newspapers, but again, they didn’treally know what to make of us. The press was nice though. Therewas a girl that wrote for her high school newspaper, we probably gotmore good press and more positive results from her writing about usthan any other source!

Our fans liked it. We had a lot of thesame people show up for every gig, so that was always appreciated. And, I think our fan base was growing. We had some very dedicatedfans!

Kevin L.: Then we played as much as wecould. Most of the feedback was good. When we finally got on AccentRecords we got distributed (the single) to 17 states.

A year after the album, there was a 7’’single release. Can you confirm that this was out on 1987?

Kevin C.: Yeah, this single release wasthe new manager’s attempt at getting us more exposure. He claimedhe was shopping us to major labels at the time and setting us up fora nationwide club circuit tour and we were extremely pumped up aboutthat. But in hindsight, I don’t think he did anything.

Barry: Yes, I think 1987 is correct.

Kevin L.: Yes.

There is a new label behind the “LastRide Of Ichabod Crane” single. Can you give us any informationabout Accent Records? How did you get in touch with them? Why did youleft Tri Records? Was it a record label or a new moniker simplybehind the band?

Kevin C.: Accent Records was that tinyindie label in California.

Barry: How in the world did you get acopy of the single? It’s amazing to me how our stuff has migratedall over the world! The single was actually produced to give out toradio stations across the United States; we never made them to sellto the public. Accent Records was a small, independent label inCalifornia that, again, they just stuck us on for the purposes ofproducing the single, just the same as Tri Records did for the album.

Were the versions of the two songsincluded in the single -Last Ride Of Ichabod Crane, Teaser- the sameversions as the ones included in the LP?

Barry: Mostly, they were. The guythat did the engineering was pretty good, much better than the guysthat did the album. He played rock-n-roll, so he better understoodhow to mix our stuff. Unfortunately, we were told by our thenmanager that we only needed to bring our guitars, everything elsewould be provided. That was not the case. We had a tiny practiceamp to play through and no drums! Dag was not happy, understandably. So, the single still had his crummy sounding drums. The guy did thebest he could to bring the drums out better, but it’s hard when youdon’t have anything to work with.

Kevin C.: Yes, pretty much. Some stuffwas re-recorded, but, for the most part it’s the same. It sounds alittle better, but not much.

Kevin L.: Other than the solos, theyshould be 99.9% the same.

Dag: No, I wasn’t pleased. I wasshafted! The cymbals on the original recording were too hot. I waslooking forward to recording the drum tracks again.

Why have you chosen those two tracksfor the single?

Kevin C.: We didn’t. The AR guy atAccent Records chose those tracks. His thinking was, those would getthe most airplay and funny thing was, “Teaser” was one of them. I couldn’t believe it.

Kevin L.: I think it was a combinationof what the band wanted and what the fans wanted. We liked"Ichabod", but we always got asked to play "Teaser".

Barry: Those two songs were garneringthe most attention. We also felt that they showcased both astraight-forward rock-n-roll song like “Teaser” and one that wasmore complex in “...Ichabod Crane”. The hope was that one or theother would get a record label’s attention.

Dag: They are from opposite ends ofthe spectrum. Teaser was in your face and Ichabod was more textured.

In how many copies was the single pressed?

Kevin C.: I think there were only like500 copies of that pressed. We kept a couple for ourselves, but allthe rest were mailed out to radio stations, or so we were told.

Barry: There were only 500 singlesproduced, there wasn’t enough to sell to the public. As far as Iknow, virtually all 500 copies were sent to radio stations.

Kevin L.: 500.

You have re-recorded all the stuffexcept the drums, right?

Kevin C.: As best as I can recall, were-recorded and or remixed the bass, guitar tracks, and vocals. Iremember having our guitars with us because one of the airlinesdamaged one of my cases and I remember Dag being unhappy about notbeing able to re-do his tracks. I think some of it may have been doneoff the original tape too. So there wasn’t a whole lot to workwith.

Barry: Correct, the drums were notre-recorded at the studio near Palm Springs, CA. We were told, bymanagement, to just bring our guitars, that everything else would beprovided (drums, amplifiers, etc.)…and, unfortunately, that was notthe case.

Where have you re-recorded the stuff, Iguess it was not the Triple / Tri Records studio, right? So where wasthat place / studio?

Kevin C.: I can’t remember the nameof the studio. But I remember it was in Rancho Mirage, California. Itis close to Palm Springs, California.

Barry: Correct again. I don’t recallthe name of the studio near Palm Springs, CA where we recorded thesingle. Triplex Studios, where the album was recorded, was located inPort Arthur, TX.

And in how many days have you completedthose recordings?

Kevin C.: I believe we were onlythere for one or two days. It was in and out pretty quick.

Barry: The single was recorded in about2 days if I remember correctly. I believe that’s all the time wecould afford.

Do you think that the guys or guy thatdid the re-recording of the single -on the other studio- had a betterknowlegue in Heavy Music? Do you think that the sound of the singleis better than the album?

Kevin C.: Most definitely. The engineerthat worked with us was a guy named Nick Mandola. If I’m notmistaken, he is still around and does some work with Accent Records.He had a much better understanding and I think if we had all the gearwe needed and more time, he could have had us sounding much better.We didn’t have a lot to work with in a short amount of time, so Ithink he did the best he could with us. I think LD Promotions wantedus in and out just so we could have something to throw at radiostations.

Barry: Yes, the engineer on the singlewas a rock-n-roll guitar player so it was easy for him to understandthe mood and grit we were looking for on the two cuts. It’sunfortunate we didn’t have access to him, but again, we didn’thave access to the better engineers and studios because of where wewere located in Texas. I do feel the single sounds better than thealbum, but not by much, simply because we weren’t able to re-recordthe drums. Dag’s drums were a huge part and played a huge role inour music and we wanted them up front and in your face, it justdidn’t translate on the album.

If you have recorded the album on thatspecific studio can we say that the result would be better than theone it ended in the album -which you have stated that sound weak inyour ears-...

Kevin C.: Yes, without a doubt. I can’trecall what gear they had in that studio it has been too long.However, engineer wise, Nick would have done a much better job withus. As Barry stated, the guys that recorded us the first time didn’tknow how to translate what Xcel was to tape. If we were to have spentthe time originally with Nick, our own gear, some time, and someguidance, I am confident that it would have been a much differentoutcome.

Barry: I whole-heartedly believe theengineer on the single would have done a WAY better job on the album!I would have loved to work with him. I think we all liked him, he waseasy-going and understood what we were trying to accomplish and did agreat job given what we he had to work with.

Lets meet the band on stage. Describean Xcel show, recall some shows, have you ever played outside Texas?With which bands?

Kevin L.: Full out! High energymetal, NO down time! No, I dont' think we played outside of Texas.

Kevin C: *laughing* Loud, hot, sweaty,and lots of hairspray. I don’t know what kind of look we weregoing for back then. It was a cross between the Ratt torn spandexthing and the Queensryche “Rage for Order” look. We played showswith several different bands. None of which went on to do anythingbig that I know of. Again, I think it was just the scene we were in.

Barry: We tried to follow the sameidea as Kiss: Give them the best, most over-the-top show you can! Iron Maiden was doing the same thing. We tried to give our audiencelots of theatrics, lots of movement onstage and lighting tocomplement the mood of the song. We even had band colors: Black,white and red. So, that’s pretty much all we wore onstage.

Since Kevin Cox, Peter and I didn’thave matching equipment, we built stage risers to cover ourequipment. The risers extended out eight feet on either side of thedrums with stairs to go up and down the risers. They were sturdyenough to stand on top of and were modular so we could break themdown, transport and store them easily. Only one other local bandfollowed our lead on this, but we were the first in our area.

We also covered the fronts of therisers with cloth and painted the front with our logo, like the logoon the album. It worked great...no one else in the area had the sizeof stage show we did.

Peter: *laughing* Let’s not forgetthe black eye liner and black finger nail polish. I can say nomatter how many people would come to see us if it was 30 or 1500 wewould put on the best show your money could buy. We were known asbeing a great live band.

Which was your best live show toremember?

Kevin C.: Aside from our very firstshow and all the hype around it, ironically, it was one of the showswe played at a club at a teen night of all things. We went from thishuge show down to playing teen nights over the years and it was amassive let down for all of us. But we all loved playing, and atthis one show in particular, all these kids were really getting intous. It was packed and we put on one hell of a show. The flip sideof that was somewhere in Leesville, Louisiana at some biker hangout. It wasn’t big enough to hold all of our gear, and yes, all youheard was “Play Freebird” or “Play some Skynyrd man!”. Wefinished the set and got out of there. If it weren’t for all theloyal fans following us over there, it would have been really awkwardto say the least. Barry also recently reminded me of one place wherewe kept blowing the circuit breakers due to all of the amplifier loadwe were carrying.

Barry: Our best live show wasdefinitely our first gig, the January 3rd gig. Next would probablybe the show we played in Houston at the club that was shutting downafter we got through. We hired a guy to provide his equipment andour guys ran the show. It was, by far, our best sounding gig. Weactually signed with a manager after that gig. That was a proudmoment for all of us!

Peter: I think it would be the January3rd show at the Port Arthur Civic Center. In part due to the amountof people we were playing in front of. I can remember being toldjust before we went out on stage that the show was a sell out and thefire marshal was not allowing any more people into the Civic Center. I also remember playing at a club in Houston, Texas calledPhydeaux's. We were playing really tight that night and the soundmix was great. It was our first time playing in Houston and at theend of the show we had a lot of people stay after and tell us howgood it was. We also ended up spending the whole weekend in Houstonbeing treated like Rock N Roll Royalty. We had some promoter take usto a number of different clubs to see a lot of the Houston bandsplay. It was a lot of fun.

Kevin L.: It's really between ourfirst show, January 3rd, and our show in Houston, Texas atPhideaux's.

Dag: I have to agree with Kevin L.Nothing will ever replace the feeling we shared at the first show.But Phideaux’s was a great show.

After 1987 and the single release whatwas your next steps? It seems like you have been lost in time orsomething…

Kevin C.: We tried to keep it going. But since we had set a high bar for ourselves, it was costing us toomuch of our own money to keep pulling off these shows. And one breakafter the other didn’t pan out. It got to the point where wecouldn’t even afford a place to practice anymore and with billspiling up, we had to look elsewhere to survive.

Barry: We waited to hear something,anything, from any record labels or radio stations. We did do aninterview with a local rock station in Palm Springs, California andit generated a little buzz, but nothing came of it. The singlesdistributed to the radio stations didn’t do much of anything. Ithink there was some interest, but nothing materialized from it. From what we were told, we did receive a good bit of airplay fromCalifornia and all along the Northeast coast.

One positive thing that happened was alocal guy that Dag’s brother had met was interested in us andpossibly investing in us. We spoke to our manager about him and gota meeting set up between the two. They met and shortly afterwardsour manager told us that the deal had fallen through. We werecrushed. Why had it fallen through? What happened? I can’tremember exactly what our manager told us other than it “fellthrough”.

A couple of years (maybe not even thatlong), after Xcel had broken up, I happened to meet the investor guythrough the job I had at the time. I introduced myself and explainedthat I was the guitarist in Xcel and asked what had happened in themeeting between him and our manager. He said that our manager wantedto distribute the money he wanted to give us to the other bands hewas managing. The investor said “no”, that he didn’t knowanything about the other bands, but that he did know Xcel and themoney was to go to them only. Apparently, our manager wouldn’tagree to that so the investor withdrew the offer.

The man told me straight to my face, “Iwas prepared to write him a forty-thousand dollar check.” Afterlearning that, I was furious! Wasn’t our manager supposed to helpus?!? Why would he turn down that amount of money?!? Even if hecouldn’t use it for the other bands, why would you turn it down?!? Once again, we had trusted someone to “take care of us” and wehad gotten burned.

When and for what reasons did the bandsplit?

Kevin C.: Money, or lack thereof, Period. We had investors who were supposed to get the band back offthe ground and we were pretty excited about that. However, shortlyafter, the stock market crashed in the US in 1987, all of them leftus high and dry. Who’s going to front a rock band during all that?

Barry: Even after learning that theinvestor deal fallen through, we had managed to catch the interest ofseveral other people for investment purposes. Then came October1987: Black Monday. The American stock market fell in a major wayand all our potential investors pulled the money they were sayingthey would invest in us. That was a major hit. And, for me, I wasexhausted from trying to make something happen with the band andtired of being poor. My whole life for the past couple of years hadbeen poured into the band. I hadn’t had a steady job in two years. I was just scraping to get by and was ready to make something elsehappen.

Peter: I could not tell you why theband split. I can tell you why I left. I only had a year left tograduate from college. I was about 21 or 22 years old and at thattime it seemed to me Xcel had done all we could do and we were kindof just standing still and not moving forward anymore. I had tostart thinking what I was going to do with my life because music wasnot working at that point. Here in the States in the late 80's Metalwas not as popular as it once was in the early 80's. The SeattleSound (Grunge) had taken over. I just could not see any of us doingthat kind of music. Besides I don't look good wearing plaid and it'stoo hot in Texas to even consider it.

Kevin L.: The stock market crash of1987, really led to us losing funding to go on a tour, and losing ourbass player led to the band going their separate ways.

After Xcel have any of the band membersparticipated in other bands?

Kevin C.: None for me. Barry, Kevinand Dag have done some other projects.

Kevin L.: I've played almostconsistently in other bands until 2003.

Barry: Yes, I have. I played inseveral other bands over the years. The last one was in early 2000with Kevin Luke and his younger brother Keith. I started out onbass, Kevin Luke played guitar and sang backup, and Keith was thelead singer. It was a good band, not like Xcel, but a lot of thesame work ethic and great song writing. Keith was an excellentlyricist and I helped out on the music. He and I clicked really welland we were fairly prolific song writers. I just spoke with Keithrecently and he’s still playing and recording in Sienna Blu, theband he formed after we broke up.

Peter: No, after I left Xcel I quitplaying. I knew that if I started playing again with other bands itwould never be the same as it was with Xcel. I would compareeverything we did to Xcel. (When I was in Xcel we did it like this.) Do you know how annoying that would be for the new band? *laughs* The guys in Xcel were like an extension of my own family. We werelike brothers.

Dag: I played in a couple of bandswith Kevin L. after Xcel. It NEVER had the same intensity as XCEL. That was our true calling. It wascompletely different being with the Xcel guys. We were all going inthe same direction until ended. It was like one unit, a well-oiledmachine.

There is a wave of re united bands thatcame from the 80s, they appear active again, playing in Festivalsaround Europe –yes in Europe we love the good old bands, especiallythe US ones- and releasing new albums, what is your opinion about allthose re unions?

Kevin L.: (Laughs) The good bands needto come back and the bad ones need to stay at home! The funny thingis I've owned a sound company since 1997 and have run sound for a lotof the "come back" bands!

Kevin C. : Honestly, this is the partthat blows me away. We have had more interest in Xcel now fromEurope than we ever have. When we heard they were selling albums outon E-bay, we couldn’t believe it. At one point they were going for$1000+ each! Then we see that you can buy our album released by somerecord label in Italy or Germany? What?! We bought one of thosejust to see what it was and it’s our OWN stuff but it has beenmodified by someone, it is not original stuff. I think it’sfantastic that all this resurgence of metal is going on in Europe. Hell, look at the total crap we have to listen to in the US. Nothingbut rap and hiphop junk.

Barry: I think that’s great. Ifthey can pull it off, more power to them.

Dag: I wish it was us.

It seems that US Metal is more popularand beloved around Europe and never made it to its original country(USA) do you agree with this for what reasons do you think this ishappening?

Kevin C.: Well I’ll take your wordfor it. It’s great to hear. I would absolutely love for Xcel toplay at festivals over in Europe. That way, you could hear and seefor yourself what I’m talking about. I personally love theEuropean metal. One of my favourite bands is Primal Fear. I alsolisten to Brainstorm and like their stuff as well. I’m not intothe growling death/satan/thrash metal stuff at all. When it is sofast that it’s hard to tell what is even happening musically, Iturn it off. I’d rather have that drum, bass and guitar punchingyou steadily in the gut. Take Primal Fear’s “The Final Embrace”or “Rollercoaster”..... I flat out love that stuff man. I hadthe pleasure of meeting them in Austin, TX last year and I have theutmost respect for them. I took my wife and stood there the wholetime just smiling and saying, “that should have been Xcel rightthere.” The nicest guys you could meet but they kicked yourass....I loved ‘em. Matt Sinner is a metal icon in Europe and Isee that Ralf Scheepers is consulting with bands, vocals, recording,etc. That would be a dream come true for me to have him sit downwith Xcel and help guide us. I think that would refine the talent wehave and I’m not against constructive criticism on my playing atall. No ego here! I’ll tell you this, getting to travel and openfor someone like that would be the ultimate for me. Europe, the US,or even on a barge in the Atlantic Ocean, doesn’t matter to me.

Barry: I’m not sure why the U.S.hasn’t embraced their own metal bands like Europe has, but maybe ithas something to do with the fact that Europe doesn’t glom onto thelatest flash-in-the-pan? To me, it seems the U.S. is only concernedwith the latest trend and a lot of bands put out one song that gets acouple of months of airplay and they’re done. But, they’re thelatest rage and that’s the “in” thing to do in America. MaybeEuropeans gravitate more towards something that has more lastingqualities? I mean, the U.S. is not producing the quality of metalbands like Europe has been, especially in the last decade, not thatthey’re not out there, but in sheer quantity of good heavy bands,the U.S. is lagging. I may be wrong, but that’s what it looks likefrom my vantage point “across the pond”.

Kevin L.: I do agree! I thinkEuropeans like music more than Americans. I think they're moreEXCITED about music.

…And ok I wanted to get you into thisquestion: Are you in contact with other members? Have you everthought to bring the band in action again?

Kevin C.: Absolutely! We have all beenin contact. And it’s this resurgence of activity around the bandthat has us all excited again. Someone created an Xcel Facebook fanpage about us, and it’s a thrill to see the people in Europe sayingnice things about us. We humbly appreciate it more than you know. We are talking about completely re-recording 3 songs off the DTDalbum and putting new songs that no one has ever heard before. Butwe’re going to do this on our own time and make it sound good. Ifa label wants to pick that up, that’s great, but we are still goingto do it for ourselves and those that liked the band no matter what. Not sure yet, but we will probably release it on Itunes when we feelit’s ready. I would like to see us do a kickoff show at South BySouthwest (SXSW) that brings bands from all over the world. We couldplay on the main rock stage. Now what comes after that?..., I’mopen.

Barry: Yes, I’m in contact with theother band members. I’ve always stayed in touch with both KevinCox and Kevin Luke. We are in the process of talking about doingsomething again, maybe doing some recording, re-releasing, nothingvery serious, just see what happens. Everyone has so much going onin their lives, with kids, careers, mortgages, braces, collegetuition, etc., etc., we didn’t want to over commit ourselves onanything. Not to mention, there are some logistic issues with KevinCox located in Austin, Texas and Dag on the far side of Houston,Texas and Kevin Luke, Peter and myself located in Beaumont...it makesit a bit more difficult to coordinate things.

Kevin L.: Yes, I'm in contact with theother members, although some of the time between meetings was sparse,we could always get in touch with the other guys if we wanted. Yes,but I think metal has passed me by.

Dag: We are in contact and would loveto bring the band back together. We’re just at another stage in ourlives. We should have done it sooner. The band break up was verytraumatic for me, personally. We poured our hearts and souls into theband and didn’t get anything of substance in return. Unfortunately,there comes a time when you have to move on and make a real living.

Have you got any unreleased material?In which format? Audio or Video?

Kevin C.: Yes, quite a bit actually. Wehave recordings burned to CD of many rehearsals with the newmaterial, as well as VCR and DVD footage of some shows we did. Someof our best ones disappeared with the investors though, a lessonlearned. Make copies next time.

Barry: Yes, we recentlyrecovered/discovered a video that was made in one of the clubs weperformed in. And, as it turns out, Kevin Luke had recorded severalof our practices on cassette tapes. I’m in the process of gettingthem burned to CD.

Kevin L.: Old practice tapes.

Have you got any composed but notrecorded Xcel songs?

Kevin C.: You bet. We’re reallyexcited about the new stuff no one has ever heard before. When wegot together and listened to it, we all sat there with our mouthsopen. With some polishing, it will be that diamond you mention.

Barry: Oh yes, they’re on cassettetape, thankfully, because I don’t have any of the lyrics.

Kevin L.: See previous question...Ican barely remember some of the songs on the practice tapes!

Have you ever thought of re-releasingthe “Deliver This Dream” masterpiece? Have you ever been asked bya label for this?

Kevin C.: Yes. We think about it allthe time. Like I said, we hated it. It didn’t capture what wereally sounded like. No label has asked us for it. There have beensome that have illegally re-pressed it though. We’ve beencontacted a few times about doing metal festivals here in the US. But again, I was like ‘show me the proof’. I’m older and wiserthan I used to be.

Barry: Thank you for the “masterpiece”comment. Yes, that’s what we’ve all been talking about doing. If we can overcome the logistics problems with the distances andeveryone can stay energetic and excited enough to see it through, Ithink we might just pull it off. No, no record label has approachedus about re-releasing the album. This project was born simply out ofus wanting to redo the album in a manner befitting how good our musicwas. At least now the recording equipment is way better than it usedto be and with the Internet it’s far easier to share stuff.

Kevin L.: I hope that we can recordanother album and just put it on YouTube. I think that would becool.

Dag: It would be cool to put somethingout with the same quality that was put into the music. Do you have alabel that will pick us up?

And yes… which was the best and theworst moment on Xcel saga in general?

Kevin L.: Many "best"moments: First show. Worst moment: The last practice.

Kevin C.: There were tons of greatmoments. I’ve never worked so hard at something and loved everyminute of it. The worst moment by far was when the band split up, itwas like a divorce to me. I moved away, simply because it was toodepressing. But there isn’t a day that goes by that I don’tthink about it and miss it, and that’s no joke. I was happy to seethat the others feel the same way, so we’re going to see where ittakes us.

Barry: The best moment would have tohave been the January 3rd gig at the Port Arthur Civic Center. Wehad pulled off the biggest coup of any local band, before or since. The worst moment for me, and ultimately Xcel, was speaking to ourfirst potential investor and learning that he was prepared to give usa $40,000 check and our manager turned it down. I know that’safter Xcel broke up, but it was heartbreaking to think that moneycould have gotten us to California and possibly a record contract.

Peter: Way too many great moments tomention. We were young and had a great time together as a band. Theworst thing would have been the breakup of the band and not seeingthe guys daily. It was almost like losing a loved one. We were andhave always been friends. Being friends and having the same goal inmind for the band kept us going for as long as it did.

Dag: Anytime we would write a new songit was a great moment. The experience of that part of our lives witheach other was special. We are brothers and will always have a bondthat not many will ever understand. The worst moment was learningthat the band, as we knew it, was over.

For what reason do you think that Xcelwas not gone in a big career despite the fact that the band got ALLthe talent and ability for something like this?

Kevin L.: Talent and ability is justone piece of the puzzle. We didn't have all the other pieces.

Kevin C.: Lack of exposure to the rightpeople, the onset of the whole grunge sound, money,

luck/breaks, andlocation. That pretty much sums it up.

Barry: We simply were not in a goodarea of the country where we could successfully promote the band ormaterial. That’s very kind of you to say we had “...all thetalent and ability”. We never felt like any one member wasextraordinary, but that it was the combination of people, Kevin Luke,Kevin Cox, Dag Gabourel, Peter Voight and I, which made Xcelextraordinary. We all shared the same work ethic and we consideredwhat we were doing as the utmost important thing in our lives. Thatcombination was reflected in our music.

Are you stuck into Metal today? Do youlisten to any Metal if not what other kinds of music?

Kevin C.: I’d have to say I probablylisten to more of the whole European power metal thing than anyoneelse at this point. I like some of all kinds of music, but I alwaysgo back to that guitar, drums, and PUNCH. Here are the CDs I have inmy car now: Primal Fear 16.6, Primal Fear Live in USA, Iron MaidenLive After Death, Disturbed, and UDO Mastercutor Live.

Barry: Yes, I still listen to a lot ofhard rock and metal. I’ve recently picked up Black CountryCommunion and think it’s an awesome CD! I love Glenn Hughes voice,what a huge voice he has! Kevin Cox recently turned me on to PrimalFear and those guys sound great. They are more akin to what we weredoing back then, great musicianship and great vocal work. I likewhat Evergrey is doing as well, their sound is awesome and what greatmusicians! I still love Iron Maiden, Rainbow, Deep Purple, Kansas,Rush and Black Sabbath with Ronnie James Dio. What a giant man andgreat front man and voice. There’s a huge hole in the rock-n-rollcommunity since his loss.

Kevin L.: I listen to everything butcountry and rap...put that together and we call it "crap".

Peter: I still love metal today. Atthis time you would find I am listening to Breaking Benjamin,Sevendust, Creed, Iron Maiden, and Fly Leaf. I guess that is a mixof all kinds of music.

Dag: I listen to Rush, Steve Vai, IronMaiden, Pre- Promised Land Queensryche and Dream Theater.

Is there anything more you want to addthat I might have forgotten to ask or to mention?

Kevin C.: I can’t think of anythingoff the top of my head. It was our pleasure to give you a briefinsight on the band and what is in the works. I’m ready to do itagain!

Barry: I can’t think of anything. You’ve asked a lot of great questions, a lot of things I haven’tthought about in years and you’ve brought back a lot great memoriesas well! Thank you for that!

Peter: I think you have covered itall. I do have a question for you. When, where, and how did youfind our album?

Chris: I first have heard the album through CD-r trading with a friend of mine. I was shocked from the very first listening. I could not believe that a band delivered such melodic and inspired Steel! I remember clearly that it was somewhere around 2001. From that specific time point the music of Xcel was stuck in my mind. The next big goal was to find an original copy of the record. I succeed getting one on a private sale some years later. Of course I always wanted to be able to track down some members of the band or the entire band for an interview. Well finally you have found me!

Kevin L.: Wish we'd have gotten backtogether 20 years ago! Would have considered touring then.

Dag: Nothing else for me. I’mcurious like Peter, though. The single too.

Closing I want to mention that it was adream for me to find and interview Xcel, I was searching the band forages and finally you tracked me down. I do not know how to thank youfor this. Close the interview as you like.

Kevin C.: Chris, we were happy that wecould do this for you. I initially tracked you down to thank you. Your write-up was very complimentary, we appreciate it and you did itbefore anyone else. We’re thankful that the people over in Europeare keeping this type of music alive. And my hope is that when weare able to release new Xcel material that it will be viewed the sameway we view it and maybe someday we can play at one of thosefestivals and all get together for a long awaited and overdueEuropean Xcel family reunion – you’re invited!

Barry: You can’t imagine how much funthis has been for me! I can’t thank you enough for you taking thetime to even develop all these questions and getting to the “heartof the matter” on what made the band tick!

I’m still amazed and humbled by thefact that our music is still out there and still being enjoyed. Ifind our album, now CD, on eBay all the time...how did it get there? It seems our music has travelled a lot farther than we ever did! Iwould like to think our stuff is that timeless...that lets me know wewere headed in the right direction with our music. Chris, thank youagain for taking the time to arrange all this and we wish you all thebest for you and yours!

Peter: Thank you for taking the timeto put this all together. It's been a blast to go back in time withsomeone who seems to appreciate what we did 20 (+) years ago. Youare making this old man seem cool in the eyes of his kids. That's ahard thing to do now days. I hope we can do another interview withyou when we release some new material. I can promise that it willsound 100% better than the DTD album. Who knows we might just seeyou in person one day on an Xcel European Tour.

Kevin L.: Thanks for your undyingsupport! It's a long shot, but we might end up playing again!

Dag: Thank you for your dedication toXcel. We really appreciate it! Maybe your interview will create someinterest. We would love to give it another shot under the rightcircumstances.

Chris Papadakis

RIOT vs HELLOWEEN @ Rainbow

2011-11-25T02:22:00.001-08:00

RAMPART - A Tale To Cold - Cassette-Single

2011-11-23T22:41:00.001-08:00

RAMPART - A Tale To Cold - Cassette-Single
INFERNO Records - October 2011

With no doubt here we got an excellent Heavy Metal release from this band coming from Sofia, Bulgaria. Released as a three track, pro printed cassette single by Inferno Records (hail) this release brings straight in your face three Heavy Metal dynamites in the vein of Chastein, and Zed Yago. I would point the "Stronghold Of The Sun" track as my favorite from here, enforced by some real killer guitar parts and of course the great vocals of Maria D.S. who is with no doubt the secret force of this band.

Check out this band you will discovered some really inspired and powerful steel.

Write to Fab asap and get your copy of the band's tape before it disappears.
inferno-records@hotmail.fr

Official site :
http://www.myspace.com/rampartbg

E-mail :
rampart_metal(0)abv.bg

ARKEYN STEEL - New singings WARLORD, DRAGONSCLAW, CRILLSON, OSIRIS, ALLOY CZAR, LUCIAN BLAQUE

2011-11-04T05:17:00.000-07:00

It’s been 5 months since the last Arkeyn Steel Records release and the time has come to announce our new signings which will come out in 2012.

Arkeyn Steel Records, mainly focused on US Steel, always tries to release music from the best and most important bands of the '80s and '90s, bands that have written their own golden chapter in the book of Heavy Metal. One huge step closer to this target was made by the re-release of "One Small Voice", the second masterpiece of HEIR APPARENT from Seattle, Washington.

Now almost one year later to this release and among other great releases, Arkeyn Steel is taking the next big step releasing the entire back catalog of the most inspired and important band from the USA, a real legend, THE legend, WARLORD from Los Angeles, California. A double Anthology CD featuring everything that the band has officially recorded. The "Deliver Us" Mini-LP from 1983, the "And The Cannons Of Destruction Have Begun" album from 1984 and the "Rising Out of the Ashes" album from 2002. The bonus material will be the "Mrs. Victoria" track from the Japanese edition of "Deliver Us", the Out Of Print "Lost And Lonely Days / Aliens 12" single, the "Hands And Feet (Thunderchild's Farewell)" instrumental from the "Thy Kingdom Come" compilation, plus the "Lost and Lonely Days" track from the Japanese edition of "Rising Out of the Ashes".The Anthology includes everything from the band's official recordings, fully remastered from the very time and packed with exclusive artwork, photos, lyrics and info. In addition to this, the first 300 of the 1000 hand-numbered copies of this double CD, will be packed with a book featuring the band's official biography full of details, along with information and photos never before available to the public provided by William J Tsamis himself. WARLORD - Anthology double CD will be out in April 2012 (Keep It True Fest).

Arkeyn Steel Records is proud to announce a new series (Under the sub-name “Rising Force”) of releases that will feature new bands of today. We strongly believe that the next big Metal Masters are somewhere around us so we hand-pick selected new and bands giving them the chance to deliver some Steel to the masses. The first band that makes the debut release of this new series is DRAGONSCLAW from Sydney, Australia. Their first album "Prophecy" will be out on December 2011. Forged in the established traditions of Heavy Metal, the band delivers a sonic alloy of aggressive yet catchy song writing, soaring vocals, powerful melodies and blazing guitar solos combined with symphonic orchestration. This is a mix of Judas Priest, Jag Panzer, Riot, Helstar, Symphony X, early Kamelot, you can also add some Malmsteen (Rising Force), some Ring Of Fire and some Eden's Curse and Empires Of Eden in order to shape in to your mind the sound-background and the influences of those Australians. You should definitely check Ben Thomas, an excellent shredder and Gilles Lavery one of the best new Metal singers of today, both members of DRAGONSCLAW. In the album you can also hear two special guests singing: Alessandro Del Vecchio (Edge Of Forever, Eden’s Curse, Glenn Hughes, Ian Paice and James LaBrie) and Blaze Bayley (Iron Maiden, Wolfsbane). Watch out for this debut: Ten songs of pounding and powerful Steel that will blow your mind away. Don't miss this album for anything.

Just like all our releases the four rest bands that have been added to Arkeyn Steel’s roster are gems of US/CAN metal. Unfortunately, three of them never managed to release anything official only demos whereas the third band did get an album out but the limited number of copies make it the most expensive, rare and sought-after CD in the scene. To ease your excitement, I will give you the details of all four releases:

First up is the band that’s probably on every single US power collectors’ wantlist. Unfortunately, the extremely limited copies printed (barely 200 in early 1993) have rendered the CD nearly unattainable. So, after many months of constant contact Arkeyn Steel Records has finally signed CRILLSON. The spectacular “Age” CD will be re-mastered and to the delight of US power fans, Arkeyn Steel Records managed to get hold of an additional unreleased 2nd album making this CD a full one! The amazing cover artwork will stay intact with minor but necessary improvements/corrections.

Our second release is OSIRIS, hailing from Canada. Only a handful maybe know about this killer band that sadly stayed on the demo-band level. Arkeyn Steel Records acquired the rights to all four of the band’s demos plus a number of unreleased demos and rehearsal tapes and we are packing it all on a full CD, featuring a full digital re-master. Fans of Jag Panzer (like myself), it’s time to rejoice as the third band is one that I have been on the lookout for many a month and I really wanted to have them on the label’s roster since their material has never seen the light of day except a few tapes the band had for personal use.

The time has come for the demos ALLOY CZAR recorded to be unearthed. Bob Parduba (who, besides having an awesome voice, is a really nice person who helped immensely with this release) is the one who sang on the exceptional "Chain Of Command" when Tyrant had quit to join Satan’s Host. All eight ALLOY CZAR songs will be digitally re-mastered and the CD will boast a 12 page full-colour booklet with lyrics, detailed bios and many unreleased pics, just like all our releases. As usual, all 3 are limited to a thousand hand-numbered copies.

Last but not least we got LUCIAN BLAQUE. This band for sure have written a very special chapter in the history of US Metal. They have recorded two official demos plus one live in the studio and finally one demo which was only distributed only in the members of their fan club. Arkeyn Steel Records got the rights to release their second demo "Judgement: Insanity" from 1994 adding as bonus the "Live @ Morrisound" which was recorded at the famous Morrisound studios in Florida the same year. All these may sound unfamiliar to the most of you but it is a sure thing that you know of the band's singer, the one and only WADE BLACK (CRIMSON GLORY, SEVEN WITCHES, LEATHERWOLF etc).Well during his days on LUCIAN BLAQUE he has recorded some real amazing high pitched vocals, perhaps the best ones he ever did. This is high class US Steel not be missed by anyone.

As you can understand ARKEYN STEEL RECORDS continues to grow stronger offering high quality METAL to all the METALHEAD out there! THE FORCE IS RISING!

http://www.arkeynsteel.com

Noah King - Portrait of a Creative Spirit

2011-11-02T08:08:00.000-07:00

The name of Noah King may be familiar to the most of you as he was a founding members of the Power / Prog Metal legends Moriah from Pelham, Massachusetts, USA. Moriah have written their own chapter in the big book Power / Prog Metal however after the band's breaking Noah moved on to California and went on to a very interesting and creative solo career including various recordings. To those recordings we shall focus on this small article:

Noah King - Loves And Laughs (2010-Booby Hatch Music)

In this release you will have the chance to hear excellent Melodic Rock & Hard Rock tunes of the 70s & 80s performed by Noah himself. His characteristic riff driven guitar playing is here and his excellent lead parts as well enforcing those classic tunes. Yes the album includes covers in classic 70s and 80s giants like Black Sabbath, Iron Maiden Lita Ford and Eurythmics and Iron Maiden. Noah keeps the absolute feeling of the originals meanwhile he adds a little of his magical touch. You will be able to hear his very characteristic voice that gives an extra vibe to the covered tunes as well as some great piano parts that fills the music -listen his approach on Lita's "Kiss Me Deadly" and you will understand. My total favorite form this CD is "National acrobat" -originally by Black Sabbath-

Noah King - The Pain Of Love (2006-Noah King)

The 2006 release of the artist catch him following a darker but still adventurous path compared to the music we have get used to listen from it the last decades. A mix of alternative rock, Blues, Neo-Progressive rock with some new-wave and dark wave touches here and there and even some Psych musical references is what you will be able to hear in this album. Still with the characteristic vibe of Noah's playing. From its dark its more joyful moments, this album is a real musical adventure. For example here the exotic "Still Beautiful" and compare it with the enigmatic instrumental "Manic Blues" different songs, different feelings but this is the journey..... Noah has made the surprise keeping one of the best compositions of the album -the same titled one- to be the last song of the album. Yeah I know you would not expect it but it is happening, you see artists with talent are not after the "catchy record opening tracks". Speaking of talent you will think about the very same word when you hear the magnificent, the exotic leads and the trademark-voice of Noah.

Noah King - From Shine-Ola To The Fire (2011-Booby Hatch Music)

Well this is actually a "Best Of" album that Noah did. A "Best Of" of the last 10 years. drawing from the eclectic releases from 2000 - 2010. So many years and so many music. Selected parts of this musical journey are included in this CD release from an artist that album by album presents a different artistic approach to the music he delivers but each and every time the inspiration is his one and only guide.

Last but not least I would like to make a small reference to his Temple Fire album which is perhaps his harder personal release. In a Hard / Progressive Rock mood the artist delivers an excellent album which is probably his best one. Hard driven guitars, melodic piano and excellent vocals this is for sure a great example of inspired good music.

You can visit the artist's page in CD-Baay at: http://www.cdbaby.com/Artist/noahking and check all those releases out. In the near future we going to host an exclusive interview with Noah in which he is going to tell us about his perosnal saga in the universe of music.stay tuned!

Exxplorer Interview On Forgotten Scroll

2011-10-11T23:47:00.000-07:00

http://www.forgotten-scroll.net/interviews.php?act=s_inter&id=106

Riot - Immortal Soul (SPV / SteamHammer)

2011-10-05T20:57:00.000-07:00

Riot is one of those bands that could be mentioned as "trademark" for the Us Power Metal scene, mainly thanks to their golden 1988-1992 period and their "ThunderSteel" and "Privilege Of Power" albums. Many rumors have been heard the last three years that the band will return to its 1988-1992 golden line up. Well the rumors are over and we got the real thing in our hands called "Immortal Soul": the 14th studio album by the New York Metallers.

From the very first "Riot" opening track the listener would realize that in their latest musical effort Riot stand somewhere in the middle Of "Thundersteel" and "Privilege Of Power" albums. It could not be different. Fast tempos, essential riffing, great lead parts and the vocals of Toony Moore that sings like it is his very last time, are the big features of the album.

It seems that Mark Reale and Toony Moore are the two main mans on the big game that called Immortal Soul. Of course every other single members gives an absolute performance -especially the killer drumming of the one and only Bobby Jarzombek is of course one of the greatest features of the album), but it is more than clear that Reale and Moore are the key persons to make this album a special one and not just "another Rior album".

I would pick up the "Riot" opening track, that would take the listener by storm form the very first minute, the mysterious "Crawling" and the Power / Speed Metal diamond "Wings Are For Angels" as my three favorite tracks of the whole release.

So I guess that we have what we were expecting by this come back: some great -really great- Us Power Metal Steel Enforced by one of the genre's best voice -Toony Moore- and by one of the greatest and characteristic guitar players that you can heard on the US steel pantheon -Mark Reale-. You want outstanding lead themes? You got them, you want the trademark vocals that made you love Riot back on the day? You got em. You want some real power? You got it.

A nice trivia is that Tony Moore himself made the artwork of the album. It could actually fit as a front cover of a late 60s Psychedelic Rock record but it will still make the album notable in every store hahaha. would love to see this cover on the vinyl edition of the album -the vinyl would be double, and colored blue, not bad at all-.

I do not know if we should mention this one as the new "Thundersteel" but is definitely a great comeback featuring the band's best line up and base don the the same musical recipe that made this line up so special between 1988 and 1992. If you have love Riot form those very specific album you going to lvoe this one for sure. It is a release full of passionate, fast and storm taking US Steel.

http://www.riotrockcity.com/

Dantesco - Seven Years Of Battle (StormSpell Records)

2011-10-03T21:15:00.000-07:00

The most important thing about Dantesco from Puerto Rico is that they are taking absolutely no prisoners when they mess with some pure steel. If you are searching for nice words to describe and analyse the band's music, if you are trying to focus on their influences in order to describe their style, I will simply take you out from the difficult situation as the current phrase that fits perfectly to this band has already used to this review: "PURE STEEL". Their latest album on Strmspell records brings the band again in the battlefield and believe me this bands of Heavy Metallers makes music for Heavy Metallers only.

From their very first self titled "Dantesco" demo until their latest "Seven Of Years Battle" third full length the bands deliver a fantastic mix of powerful Epic Doom Metal and traditional Heavy Metal. Music that is able to crash your head in small pieces. The Power of The Sword and the Light of the Death's Candle are trapped inside the magic of this band's Steel.

Solid riffing, magnificent leads, a hammering rhythm section and of course the trademark and recognizable around 100 different voices, great vocals of Erico LaBestia singer and mainman of the band. Those are the strongest features of the band.

Listen to the Dark and Epic "The Burning Times" that opens the record, this is an absolute Epic Doom Metal anthem my friends. You cyan surely bang your head the hellish way in the follower "Rasputin" track which is a Heavy Metal killing machine, fast and storm-taking. Listen to the bombastic riffing of the song "Anima Et Corpus" and let yourself stuck to the majestic interlude of the "Purinos Polemos (Virathus)" the song -with a Greek title- would soon turn to another Epic Metal anthem. Have I already mentioned half of the album I guess yes.

This is for sure on my list of the top 10 best albums out on 2011. Those Epic Domm warriors from Puert Rico have done a little miracle in Steel. you should listen to the album LOUD. Only this way you will be able to taste all its mighty Power!

http://myspace.com/dantescoepico

ARRAYAN PATH - Ira Imperium - New album details

2011-09-30T07:13:00.001-07:00

ARRAYAN PATH NEW ALBUM – “IRA IMPERIUM”

Features a guest appearance by Tony Martin

PITCH BLACK RECORDS is thrilled to announce the release of ARRAYAN PATH’s third album, which as previously announced will be titled “Ira Imperium”. A follow-up to last year’s highly acclaimed “Terra Incognita” (nominated for IMPALA’s European Independent Album of the Year Award) “Ira Imperium” can only be described with one word: MASTERPIECE! Fans of melodic epic power metal should brace themselves!

“Ira Imperium” features a guest appearance by the legendary Tony Martin (ex BLACK SABBATH) and also sees the return of Vagelis Maranis (SANVOISEN) lending his voice on several songs. The main voice throughout the album remains the same of course; that of Nicholas Leptos, the driving force behind ARRAYAN PATH whose unmistakable charismatic voice is the finishing touch to the brilliantly passionate sound of ARRAYAN PATH. Completing the lineup are Socrates Leptos and Alexis Kleidaras on guitars, Vagelis Maranis on bass, George Kallis on keyboards and Stefan Dittrich on drums.

Recorded and mixed at Maranis Studios in Germany, “Ira Imperium” is released worldwide on November 4th (November 7th in the UK) with a bonus track featured on the CD version. Also through major mp3 stores, while a limited edition will also be available for die-hard fans, details of which will be revealed later.

Tracklisting:
1. Dies Irae
2. Gnosis of Prometheus
3. Ira Imperium (The Damned)
4. Kiss of Kali
5. Katherine of Aragon
6. 77 Days 'til Doomsday
7. Emir of the Faithful
8. Hollow Eyes of Nefertiti
9. Amenophis
10. Lost Ithaca
11. I Sail Across the Seven Seas
12. The Fall of Mardonius
13. The Poet Aftermath (CD bonus)

www.pitchblackrecords.com
www.facebook.com/pitchblackrecords
www.twitter.com/pitchblackrcrds

TOKYO - Back catalog to be re released on 30-9 by YesterRock

2011-09-22T18:19:00.000-07:00

TOKYO were founded in the early 80’s near Frankfurt, Germany. The studio musicians and song-writers Robby Musenbichler (vocals, guitar), Ken Taylor (vocals, bass), Fritz Matzka (drums), Lothar Krell (keyboards) who previously had been part of the Michael Wynn Band and Supermax completed their new band with Klaus Luley (vocals, guitar).

TOKYO went on rehearsing for a half year before they started to play their first live gigs. This was the beginning of a great time of many diverse experiences and unforgettable hours on many stages. TOKYO took the crowd by storm with their strong stage presence – with three singers, two powerful guitarists, tasty keyboards and a pumping drum sound.

Their first and self-titled release ‚TOKYO‘, produced at Music Park Studios in Bad Homburg, Germany, was released in 1981 and immediately stormed the charts. The band then started to produce some live videos themselves. The title track ‘Tokyo’ became a rock classic and received tremendous airplay in every rock club. Until today, this track still appears on many 80’s rock compilations.

The beginning of the ‚Neue Deutsche Welle‘ era took away some time from the band as all members continued to work as successful studio musicians for various different projects - including the band Spliff. This success and the connections to an international management brought them together with the greats of the rock genre such as Toto, Deep Purple or Meat Loaf.

In 1982 TOKYO’s second effort ‘Fasten Seat Belts’ was released, straightly followed by the record ‘San’ in 1983. All three albums previously only have been released on vinyl and will now be available for the first time on CD. All CD’s have been remastered and include various bonus tracks.

The bonus tracks ‚Young Kids In Love’, ‚The Time Is Right’, ‚Behind The Faces’ and, ‚On My Mind’ have been recorded during the 80’s. Robby Musenbichler, who today owns a studio near Graz in Austria, has re-produced these tracks between 1995 and 2004. The tracks "Carry on", "Cryin" and "Girl" are newly recorded versions of the originals – both technically and musically up to date.

This version -video- is from 1995 released "Back To The Fire" best of compilation.

http://www.yesterrock.com/

Ruff Justice - No Justice No Peace (A.R.T. - 1995)

2011-09-22T17:41:00.000-07:00

If there was a God of Justice -or perhaps some better luck?- in the Metal Universe this band from Dallas, texas, USA would be really big. I mean it. Their saga was not that big but this release was for sure their ultimate trademark -they have also released the Just Us live tape and the Wings Of desire CD) and the big proof of what that band was able to do musically.

"No Justice No Peace" was released back in 1995 on CD under the moniker of A.R.T. record label -drummer of the band Scott Baughn was behind the label-. It includes eight tracks of excellent melodic US Power Metal with some Prog touches here and there. The solid riffing, the magnificent guitar leads and themes and above all great vocals are some of the features of this release that would make all of the fans of bands like Queensryche -first period-, Heir Apparent and Crimson Glory, to worship this release. It is a fact that Ruff Justice ha don't got the talent to deliver some excellent riffs, they got the talent to release complete songs able to shine like diamonds in the Metal universe. A good riff can almost delivered by anyone, an outstanding Metal song is difficult to be created and believe me this release includes more than one outstanding Metal anthems!

Songs like "Trouble In Paradise, "Sanctuary", "City In Flames" and of course the same titled magnum opus "No Justice No Peace" are for sure the absolute pick ups from this release. The album has been re-released in 2010 by Retrospect records, the label works on the band's next re issue -Wings Of desire- while Ruff Justice are already in studio working on their follower album entitled "Propaganda", a full detailed interview with the band can be read don the next issue of Forgotten scroll zine, so keep an eye open for it!

Question Of Madness Interview

2011-09-18T15:13:00.000-07:00

Question Of Madness from Chicago, Illinois, USA, have released a magnificent debut album which is already stuck on the top of the list of the best Metal albums that I have heard lately. Well what about some Epic Doom Metal combined with some US Power Metal? This is the basic idea around the band, but a little more listening into their music would make you realize that this band carries something really special on their music. The obscurity of the Epic Metal of the 80s, the mystery of the classic Doom Metal albums we have loved and much much more... Their powerful songs, their passion and the great voice of Albert Rybka -Kategory V- would make you worship this release for sure. Well an interview with their bassist Alfonso Polo would bring int the foreground many interesting information about the band.

Well it seems that QOM are based on a family affair thing on members of your older band The Chasm. How is to work with the old folks again and please let me ask you why you left the Chasm back then?

It's always a pleasure working with my brothers from The Chasm. We've know each other for so long and, most importantly we all have similar backgrounds and come from the same school of metal. Needless to say this made the whole recording process really easy. Not quick... But easy! Ha ha ha...I didn't have to spend time explaining how I wanted "this or that" done. They knew what to do, since to an extent, we had the same vision of how THE DARK CORNERS OF THE MIND (T.D.C.O.T.M.) was supposed to sound.The environment at the studio was very relaxed. We're a big family. Now, the reasons why I left The Chasm was because I really wasn't enjoying myself anymore. Just to be clear, I don't mean that I wasn't enjoying being a part of The Chasm. Personally, I'd grown tired of the whole music business altogether. The practicing, recording, touring, had all began to wear me down. I've been doing this for a little over 25 years. I started my first band at the age of 13. So I guess I was fed up. Also, around that same time I started to develop mild depression and anxiety. So I guess all three of those things sort of hit me at the same time. The anxiety, depression and me getting fed up with everyone and everything. So instead of quitting the music business for good, I decided to take a break from the whole thing. From 2003 to 2009 I put music on hold and started a family. I continued to go to shows, buy music, I did some jamming every now and then but nothing serious. I also did a couple of shows with The Chasm and Ancient Gods but that was it. In my spare time I was already beginning to create riffs for my "future solo album" which at the time was still untitled.

I would be very happy if I got the mighty voice of Albert Rybka in my band, how you came in touch with him anyway?

I met Al at one of those few shows I did with The Chasm after I quit the band. The Chasm didn't have a steady bass player so they asked me to step in for a few shows.. We played with Possessed that night and one of the opening bands for that show was a power metal outfit called Bavmorda which was Al's band at the time. By the time we did that show I already had HOLLOW CAVES complete, and I had the LuxInframundis contract secured. In the beginning of the whole QOM project, I wanted to use Death Metal vocals for the album, but Daniel Corchado (who was working as QOM producer) convinced me of using a clean powerful voice instead. So I was pretty much scouting for singers in the Chicago area. When Al got on stage and I heard him sing, I knew he was the right guy for the job. At the end of the Bavmorda set I approached him and shook his hand and that was it! I never even mentioned QOM to him.. I just said "Good job" and that was it. About a year later I got in touch with him through Myspace and the rest is history...

And yes those two previous questions are slowly driving to the basic one? When, where and under what circumstances question Of Madness were formed?

Since the late 90's I had the idea of doing a solo album. At the time I was still playing with Angeles Del Infierno (ADI). But in between tours I wasn't doing anything musically. So one day I had the idea of doing a solo album, but I never took it too seriously. It was one of those "it would be cool" moments. Fast forward to 2008/2009. That's when I got the music bug back in my system. At first, I wanted to do a Death/Black Metal album. But I've always been aware of my limitations as a guitar player in general, so I dropped that idea very quickly. I'd always been a Doom metal fan so I thought, why not go slower and heavier instead of faster and chaotic? And thus, QOM was born.

You were in Angeles Del Infierno and The Chasm before, two total different bands in total different styles... you ended up to your own saga under Question Of Madness. So I guess that this Epic Doom Metal was always the style you wanted to play? and ok it wil be a good idea to share some info about your other bands as well, people want to know your saga before the QOM final (?) chapter"....

Metal has and always will be epic, in any style. That's what makes this music so distinguishable from other styles of music. Any time you play Metal you have to include elements that will give your audience goose bumps when they listen to it. Something that'll make you want to raise your fist in the air (or the horns) and say FUCK YEAH, THIS KILLS! While I was working on the songs for T.D.C.O.T.M. I just went with my gut feeling of how I wanted the music to sound. It's a little hard to explain but is something that comes with experience I guess. You don't sit down and say "I'm gonna' make this sound this or that way", you just do it. It just happens. In the end I wanted to create a handful of powerful songs that the audience could enjoy as much as I did, And of course get those goose bumps to rise. From the feedback I’ve received so far, I think I accomplished my goal...About ADI and The Chasm? That's a long story.... So, in a nutshell:I joined ADI in September of 1995 and played with that group until the summer of 2000. That's what I like to call my "Rockstar" period. There were a lot of good things that happened during my time with ADI. I had the opportunity to play some amazing arenas in front of thousands of people. I traveled A LOT and partied like crazy. It was a great experience, I learned a lot from those guys. The must important lesson I learned was that THIS after all, is a business. And you have to be very careful with the decisions that you make and the people around you. Towards the end, the relationship turned a little sour so I decided to pack my bags and move on. I don't regret any second of that experience and I'm very grateful to them for the amazing opportunity they gave me. I agreed with some of their decisions and also disagreed with other decisions but hey, I wish them the best. After ADI I joined The Chasm. Great experience also. I recorded on full length album, one EP and a couple of tribute albums. I also learned a lot from that experience. I Especially learned how to LISTEN to music and catch all of the DETAILS of what's going on. We're really brothers in arms. Like I said before, we are a big family. I was with them from 2000 to 2003.

Pretty clever idea for a name, which is the question Of Madness? Ok spread some light about the concept... and yes... who thought about it?

The idea of using the name Question Of Madness was mine. You know, nowadays it pretty hard to name your band ha ha ha! I took that name from a drawing I saw in a book as a child from a German artist called Fons Van Woerkom. The phrase "QUESTION OF MADNESS" sounded so powerful that it got stuck in my head for years. So when the time came to name the project I immediately went for Question Of Madness. And it worked out great with the whole lyrical concept, the concept of the album, etc.

When have you started to compose the stuff for the debut album? Which was the first song that QOM composed?

Hollow Caves. I wrote the songs in the same order as they are on the CD the last one being "The Waters Of Unreality".

You seemed to be quite fast, in a more normal basis a band would release a demo tape / cd-r or something; you drove your band straight into the eye of the storm releasing a full length as your very first release. Why? -ps. is there perhaps a demo release that we are not aware of? Lux Inframundis released the debut album, how you found them? Or have the found you.. or it was just something about that "family affair" relationship haha, spread some light....-

That's one of the advantages of knowing someone that owns a record label. Ha ha ha! No but seriously, I told Dan (Corchado) about the whole QOM project even before I began writing the music and he told me that he would have no problem releasing the CD as long as the music had quality. He's brutally honest when it comes to telling you if your stuff is, well, shit. You gotta' meet his standards which by the way are really high. And I guess it was the obvious thing to do since LuxInframundis is the official record label of The Chasm. And knowing Daniel for so long, why go somewhere else? So, after I did the demo of HOLLOW CAVES I gave it to him and he really liked it. A few weeks later I gave him a copy of Rhymes Of Madness and that closed the deal. After that, I finished the rest of the songs at home on my computer. I did the original demo without vocals which I gave to Al so that he could start working on the vocals. He then recorded vocals on top of the original demos and gave them back to me for approval. And that became the "unofficial" QOM demo with vocals. The demo is not that different from the actual CD. Only a few changes were made. The solos are different. Only two of the original solos made it to album. The last solo in Waves of Desperation and the first solo in Hollow Caves , which are mine. The rest are Julio's (Viterbo). The only other changes were the length of a couple of songs, the vocals which changed quite a bit and of course the albums overall sound after the mixing and mastering. I'd like to release that demo in the future, but it all depends on the label. At first I thought about releasing an EP but then I thought, FUCK IT let's take the bull by the horns...

Where was the debut recorded, in how many days, any funny studio stories?

T.D.C.O.T.M. was recorded throughout various periods of time between 2009 and 2010 at different locations. Mostly at LuxInframundis Studios (some small parts where done at my place). The drums were tracked and engineered by Geoff Montgomery at The Ensomberoom Studios in Forth Wayne, Indiana. Funny stories? Mmmmh, I remember there was a lot of drinking and donut eating. Ha ha ha! Well I'll tell you this much. I like to call T.D.C.O.T.M. the Hysteria of Doom Metal. For those of you reading this that are not familiar with the history of Def Leppard let me give you a quick history lesson. While recording Hysteria EVERYTHING seemed to happen to the Def Leppard guys. Drugs, alcohol, hepatitis, a drummer losing his arm, etc. Well, QOM got its share of bad luck too. Julio became ill, there were blizzards that stopped us from actually going to Indiana to record the drum tracks, musicians going out of town for weeks at the time, musicians having visiting relatives in town for weeks at a time, myself ending up at the hospital ER with a fucking kidney stone!!! Snow, snow and more SNOW. And delays, caused by various different factors. Some of them completely out of our control. It took a whole year to record the album because due to all of this. Plus everyone had different schedules which was one on the major headaches of the recording. Getting all this talent together to record leads, drums, vocals or to do the mixing and mastering. It was a nightmare. It was the usual, "let's record on Sunday... but wait! Antonio can't do it on Sunday. How 'bout next Saturday? Oh no! Antonio can do it on Saturday, but Julio can't." and so on and on. But in the end, all of the delays, problems and other stuff were well worth it.

Are you satisfied enough with the result of the debut? would you change anything if you could?

You're never happy with the end result. There's a few things that I wish we could've taken more time to do. Like the vocals. Al is not happy with them and I agree with him to an extent. I think with a little more time he would've been able to give 110% more. I mean what he did was REALLY good, but when time is against you, what can you do?Another thing about the vocals. I’ve gotten comments from people telling me that they like the album but they think it would've been even better with guttural vocals. That still bothers me. Ha ha ha! I mean, I'm not loosing sleep over it but maybe in the future it would be interesting to do a re-edition with Death Metal vocals. Only time will tell...

In your own words how would you describe the magnificent music trapped in this little masterpiece?

When I approached Dan with the QOM concept I made it very clear that I wasn't going to reinvent the light bulb or that "Alfonso Polo was going to create the new style that the world of Metal was waiting for". I made it clear that all I wanted to do was a "good, enjoyable, Doom Metal album". To be honest I was worried about the reactions I would get to the album. Especially since I was talking about "my solo album" for so long without actually doing it. And on top of that, well, having the The Chasm and Angeles Del Infierno history behind me, well you know, you have to keep the flag very high. I was worried that people were going to be like "This is it??? All this talking and all this time waiting was for this????" Fortunately the CD has been getting great reviews from the media and the fans. But hey, in the end, as long as I'm happy with it, that's all that matters.

"The dark Corners Of The Mind" is the title of the album. Is it a concept one or what? Which are those corners? Can you spread some light about the lyrics please?

As I mentioned earlier, a couple of years ago I started to develop mild depression and anxiety, nothing too serious but enough to search for professional help. After a few months of therapy I came to the conclusion that a good way to deal with my inner demons ("The Uninvited") was to put this stuff on paper or in this particular case on a CD.The human mind is extraordinary. It can take you either to the highest places, or the lowest point of a black abyss. And the bad thing about it is that you never know when your mind is going to, well...break! You could be on top of the world one day and then, without notice. Everything can turn around completely. We are so used to living our lives without any thought about how lucky are we to have sanity, to have "happiness", to live without fears, phobias. I mean, don't get me wrong, I never was in a sanitarium like I wrote in the lyrics for The Waters Of Unreality (“strapped to a bed in this room”). And I never experienced any "Voices" or "demons". People that are really close to me can read through the lyrics of T.D.C.O.T.M, and be able to tell which lyrics are about me personally and which lyrics are there just to make the song more "dramatic". If I was really in a very deep hole, trust me, I wouldn't be doing music at all...

Which bands can we point as your influences? Taking notice of a bands video rehearsing some Manilla road stuff (flaming Metal system wasn't it?) made me think: I am on the right band man!

Influences? Too many. There’s Root, Candlemass, Mercyful Fate, Solitude Aeternus, Mayhem, Iron Maiden, Trouble, Black Sabbath, My Dying Bride, Cathedral, Bolt Thrower, Fates Warning, Krux, Ancient Wisdom, Nemesis, Goblin, Manilla Road , Spiritus Mortis, Sigh, Winter, Mercy, Tiamat, Autopsy, Memento Mori, Daylight Dies, Swallow The Sun, Runemagick, Sorcerer, Reverend Bizarre, Concept Of God... But I also listen to other kinds of music. 99.9% of my CD collection is Metal. The rest, well, a little bit of everything as long as it has quality. From Zappa to the Beatles. From Punk to Jazz, classical music, classic rock. Shit! I grew up listening to what my parents used to listen to. I like stuff like Sinatra, Tony Bennett, Angelo Badalamenti, Giorgio Moroder, Cocteau Twins, Ministry, The Who, Yes, Pink Floyd, The Mars Volta, music from the 40's and 50's, funk, etc. All this music is part of what I do nowadays. I'm very proud of my influences and I never deny them. For all you guys in Greece , my mom used to play Demis Russos and the soundtrack of Zorba the Greek at home when I was a child; I love that stuff!

Do you guys live in the same area? How easy or difficult is for you to rehearse?

We all live in Chicago, some in the City some in the Suburbs. Since we started playing live it's been easier for us to practice. Antonio, Al, Luis and Clint live on Chicago ’s South side, I live on the North side but our rehearsal studio is in between..

And what about live shows. I know you have done some. share some thoughts, opinions and strange stories about them. Which ones will be the next?

The live shows have been great. I'm always concerned about the audience reaction, Especially since we've been playing with Speed and Thrash Metal bands. But people really get into it. Especially during the faster sections of the songs. I have a really good band with me too, Luis Ceja from Ancient Gods on rhytmn/lead guitar, Antonio León on drums, Albert on vocals and Clint Davis stepping in for Julio Viterbo on lead guitar. Unfortunately Julio hasn't been able to join us on stage for personal reasons, but maybe in the future it will happen (as far as I know he's up for the next QOM album). In the mean time Clint's been doing great. He's as really nice guy and a very talented musician which I met through Albert Rybka. Our next gig and final show of the year will be on September 30th at the two day long Ragnarokkr Festival which will be held at a venue called BadaBrew in Cresthill , Illinois . We'll be sharing the stage with bands like: Helstar, Cage, Sacred Oath, Skullview and many others. And like I said, it'll be our last show at least for a while. After this show, QOM goes into hibernation mode until the next album comes out unless we’re extended an offer to play on a really interesting show.

How is the Metal scene in Illinois? And if we shall focus to the Doom Metal scene what would you have to share with us? I still remember our talks about live shows with single number of people in the audience... is this the bitter reality or what?

The Metal scene in Chicago is pretty decent. Better that in some other states. We get all major acts coming to Chicago and the suburbs and most of the time there's a good turnout. It's still a little hard for small local bands to put shows together and have good attendance though... When it comes to Doom Metal it's even worse. Ha ha ha! Unless you're a band like Trouble or any other major act there's really not much of a following for it. In my personal opinion, Doom is more appealing to the European audience. That's why there are not as many bands that choose to play this style here in the States...

It seems that although in the US there are still many killer Metal bands, it seems that their real dedicated fans are belong to Europe so I guess that a band has to find a way -label / live / distro or whatever- to break up to the European territory. -Ok internet is helpful but people still need to get your CDs and catch you on stage, at least they would manage to hear your music form the web-... Do you agree?

Definitely! Playing live helps out big time. I’d love to visit Europe again. Especially with my band. Unfortunately it would be very difficult from a logistical perspective. Since I really don't have a permanent lineup. All of the musicians I am currently working with are session musicians and each one of them have their own bands and occupations. Antonio with The Chasm, Ancient Gods and a big handful of projects he's taking part of; Luis with Ancient Gods, Albert with Katagory V, Julio with Shub Niggurath and The Chasm and Clint with his many different projects. I wanted to put a band together since the beginning but I was unable to find anyone to take part in it because no one believed that a Doom Metal band had any sort of future. I had people laughing in my face, LAUGHING, and wishing me "good luck" when I asked them to join QOM . And the funny part is that now that the band has taken off some of those same guys are coming back to ask me if I have any plans for the future and to give them a call and blah, blah, blah! Sorry guys, you missed your chance. That's why the internet is so important for a band like QOM , Since we may not be able to tour, our followers can at least have 24 hour access to our videos on Youtube and stuff. I wont (and I can't) compare QOM with the masters such as Bathory, Dark Throne, etc. Bands that have never did a tour in their career but everyone knows about them. You know, a “CULT” band. When T.D.C.O.T.M. came out, the label only pressed and released 300 copies. LuxInframundis is more of a Death/Black Metal Label and QOM ’s style didn't quite fit in with their roster. So they decided to play it safe and release a small quantity of CD's. And now the CD is SOLD OUT!So from what I’ve heard there might be a 2nd edition release sometime early next year. We'll see. I'm keeping my fingers crossed. I'd love to include either the demo or outtakes from the recording.

What is the next step, a good paid witness told me that you have already thought about the title of the follower album, but what about music? Have you started to compose? Would it be a concept one or what? When shall we expect a release?

Yeah, I have a title and so far I have one song that is almost done. I'm looking forward to recording a new album although I think this one is going to be a real challenge for me since T.D.C.O.T.M. set the bar really high (at least for me of course). But in the end that's what it’s all about. You gotta' be able to go one step further with every recording. We'll see. I'm very self-critical about my music. That's another reason why it took me so long to come up with the music for the first album. I was running back and forward to the drawing board constantly. I have a very "weird" way of making music. There are days when I want to jump out the window because I have absolutely no ideas for songs. But then there are days when I get in "the zone" and I start working like crazy. Some of the songs off T.D.C.O.T.M. I wrote in just two or three days. At this point I think it's a little early to know what the album will be about even by having an album title ready. I don't think it will be another concept album. More likely it'll be separate songs each one with a different story or theme. One thing's for sure. The album title is really powerful (if I may say so myself) so obviously the music and lyrics will have to be really dramatic and epic...

Are you going to work with the same label?

More than likely yes. Daniel Corchado was a key piece in the whole creative process of T.D.C.O.T.M. He did a great job as a producer by giving me ideas of how to make the songs even better. He was doing what a producer is supposed to do. Julio also helped a lot with adding ideas and stuff. I guess such a great team only comes when using LuxInframundis Productions.

Are you listening to Metal nowadays? any bands that you may want to pick up and refer to?

Of course; I just can't function without Metal! Ghost is the shit! Inquisition, Voivod, Obscura, Devin Townsend Project, Burzum, Watain, Enslaved, Enforcer from Sweden . Wow, too many to mention. I'm not that much into that new wave of Thrash but some of the new bands are really good. Diamond Plate for example. But most of the time I listen to all those good old classics. Nothing like a good dose of Sodom , (early) Sepultura, Destruction, Atheist, Nuclear Assault, and of course Slayer or Maiden to get you in that headbanging mode.

Any other valuable bands form Illinois area to suggest us?

Diamond Plate are awesome! They are really young and their musicianship is incredible! I wish I could have played like that when I was their age. Nachtmystium is also a great band; Blake is a really talented musician. He's been doing a great job taking Black Metal to the next level. High Spirits, Super Christ, Ancient Gods, The Chasm of course, Dawnbringer...

I noticed someone on the band wearing a Marduk t-shirt on those rehearsal videos, if they ask you to tour with them would you go?

That was me wearing the t-shirt. Ha ha ha! Sure! Morgan is a really nice guy. I met him years ago in Mexico. Basically I'd love to go on tour with any major band, Be it Marduk, Morbid Angel, Candlemass or whatever. But again, I gotta' get me a steady lineup first.

How the hell you managed to put out such a great album? Have you sold your soul to the devil or WHAT?

Wow! That the $100,000 question. Ha ha ha! To be honest with you I don't know. Like I said before, I just played from the heart and I tried to “put on paper” what was in my head and what was going on in my life at the time. If the Devil has anything to do with it well, he did a Hell of a job! Ha ha ha!

Ok its over man. QOM rules! Cheers!

Thanks brother, thank you for your time and support to the band! Cheers!

Chris Papadakis

http://questionofmadness.com/

Alyson Avenue – Changes (Avenue Of Allies)

2011-09-18T11:57:00.000-07:00

"Changes" is the highly anticipated comeback of the female fronted Swedish Melodic Rockers Alyson Avenue. The album introduces powerhouse vocalist Arabella Vitanc. All tracks were co-produced and mixed by Chris Laney (Crazy Lixx, H.E.A.T., Brian Robertson). The songs include a duet with Michael Bormann (ex-Jaded Heart, BISS, Zeno) and guest appearances by Rob Marcello (Danger Danger, Marcello - Vestry), Anette Olzon (Nightwish, ex-Alyson Avenue), Fredrik Bergh (Street Talk, Bloodbound), Tommy Stråhle and Mike Andersson (Cloudscape, Planet Alliance). The gents in Alyson Avenue on Arabella's side are main song writer and keyboard player Niclas Olsson, Thomas Löyskä on bass and guitar, Fredrik Eriksson on drums and Tony Rohtla on guitar. The result is a really inspired Melodic Hard Rock album. The openning track “Liar” will get you straight into the point which -in the case of Alyson Avenue” is to remain in a extremely catchy mood as far as the melodies and the themes, to groove in a hard rocking way and to combine some Nightwishy elements -manly from the last period of the band but I discovered some small parts that reminded me the last album with Tarja anyway-. Ambella got a powerful and emotional voice, she can be the new trademark of Alyson Avenue and fortunately she has some really inspired compositions to fill with her voice and the most important of all an album under a good production to do justice on her voice because as you may remember production was the weak part on the previous stuff of Alyson Avenue. It seems that the new era of the female fronted bands finds them to be in a more Melodic Rock mood, in such a case we can point – because we know that you may ask- that the “new” post Tarja Nightwish has many similarities with Alyson Avenue that was one of the bands that actually delivered this style -female fronted, Melodic Rock- many many moons ago. It is good that they are now back with a new album that represents their musical talent.

Borrowed Time Interview on Forgotten Scroll

2011-09-12T04:26:00.001-07:00

Check out the interview of this great band from Detroit, Michigan, US.

WARLORD Tribute Night (Supported by: Forgotten Scroll)

2011-09-12T01:56:00.000-07:00

Crowhaven (US) - Emotional Adjustment (1986 - Hit A Note)

2011-09-08T04:41:00.000-07:00

There are some bands that their music is so difficult to be described... Ok we all know the power of the written words but sometimes if you do not listen to the music you would not be able to understand the Magic of this band. What I said? Magic? Indeed... Well take a look at the front cover of the one and only LP that this band from Danville, Kentucky, USA have released. Can you see the wizard? Of course yu can. Well let him guide you to his Magic... The Magic of Crowhaven.

Kentucky may be popular about its country music -and KFC that rules- but here is a little Hard Rock / Heavy Metal jewel pressed in vinyl format including 9 tracks, each one of them to complete the magical puzzle of Crowhaven. First of all I would like to give you a general picture of this masterpiece that is actually a mixture of Hard Rock and Heavy Metal, those terms may sound a little typical to you but believe me if you listen to the music of this band the word "typical" is the last one that would come into your mind. It is the way that this band builds each and every single part of the songs included in the album and of course the performance and the musical style of each Crowhaven member: the strange obscure melodies and guitar themes of Bucky Bryant and Brad Oaks, the characteristic and passionate vocals of Gary Duncil -he is also responsible for the bass lines and those magnificent keyboard themes- and last but not least the drumming of Brett Lane who is laying some almost Progressive rhythms on his drum kit making the Crowhaven stuff even mroe adventurous. I would say that the word obscure fits perfectly to the stuff included into this LP.

There is something majestic and mysterious spread around the songs. Close your eyes as the intro of the opening "Paradise" track is welcoming you in the album, listen to the narrative almost haunted but so melodic vocals of Garry... The heavier than hell main riff of Testify would soon fill the air... you have been warned... "Time & Time Again" follows and you will be able to here some bombastic guitar stuff in here as well. "Little Angel", "Don't Tell Me' and "Heavy Metal Darlin'" follows in the same melodic sitll strange -and beautiful-, unique musical style of Crowhaven.

One of my favorite tracks in here is called "Hero" perhaps the most epic composition included in the album with its pounding main riff, the drumming and the great lead guitars to make a little mysterious opus. Garry's vocals will once more fill the air with their strange melodies.. he is sure under the spell, no doubt about it. You will find yourself closing your eyes once again on the track that follows... Yes I am referring to "The Crow" and its enigmatic, melodic interlude., that will drive you deep into the song...

The grant finale belongs to "Changes" which is in my opinion the best song in the album. Garry gives a real vocal performance in here while the song's main melodies and the lead themes would stick into your mind forever even from the first listening. But there is something special about this song a mix of agony, passion, melancholy and anger that makes it so unique and special. Words are poor, you got to listen...

Well you would not really realize what is going on in this album from the very first listening... and to tell you truth I really needed sometime to get into the record but once I have been trapped into the spell of Crowhaven it was impossible to escape.

The band is sitll in aciton and prepares their second album. We really can not wait for it. 25 years later and the fire sitll burns, the passion is there and Crowhaven don't care about the time that have passed, they are ready to strike again. beware of the Wizard!

Angel Heart (GR)

2011-08-25T10:34:00.000-07:00

Λοιπόν θα ξεκινήσω λέγοντας πως είναι μεγάλη τιμή και χαρά για μένα να κάνω μια συνέντευξη με μια από τις μεγαλύτερες και πιο αδικοχαμένες Ελληνικές μπάντες. Τους θεούς Angel Heart. Έγινε μια συλλογική προσπάθεια τόσο από την πλευρά μου –αυτού που θέτει τις ερωτήσεις-, όσο και από την πλευρά του κιθαρίστα της μπάντας Γιώργου "Roxx" Μαυρόπουλου –αυτού που απαντάει- να γίνει μία όσο το δυνατόν πιο λεπτομερής καταγραφή της πορείας της μπάντας μέσα στο χρόνο. Το αποτέλεσμα αυτής είναι η παρακάτω συνέντευξη η οποία μας πηγαίνει πολύ πίσω στο χρόνο και που εν τέλη αποτυπώνει την ιστορία μίας από τις σημαντικότερες Metal μπάντες της χώρας μας.

(Σημείωση: Η -μεταφρασμένη- Αγγλική έκδοση της συνέντευξης θα δημοσιευθεί στο επερχόμενο Forgotten Scroll 5. Η συνέντευξη στα Ελληνικά δημοσιεύεται εδώ. Μου πήρε αρκετό χρόνο να φέρω την συνέντευξη σε αυτή την μορφή την οποία θα διαβάσετε, μιας και έγινε τμηματικά μέσω email με τον Γιώργο ο οποίος διασταύρωνε, επιβεβαίωνε και διόρθωνε κάθε πληροφορία που ερχόταν στο προσκήνιο μετά από λεπτομερή έρευνα μου για την πορεία της μπάντας. Ένα μεγάλο ευχαριστώ επίσης στον φίλο Γιώργο "The Omen" Θεοδορέλο για την βοήθεια του. Τέλος να σημειωθεί ότι το σύνολο του Angel Heat υλικού θα κυκλοφορήσει επίσημα σε CD, τέλη Οκτώβρη από την Ελληνική steel Gallery Records.

Θα ξεκινήσω λοιπόν λίγο ανάποδα.. Ασφαλώς θα γνωρίζετε ότι η μπάντα αυτή έχει πάρει διαστάσεις μύθου μεταξύ αυτών που ασχολούνται με την Ελληνική Metal σκηνή. Συζητήσεις επί συζητήσεων έχουν γίνει και ελπίζω αυτή η συνέντευξη να συμβάλει στην προσπάθεια ξεκαθαρίσματος της ιστορίας της. Πως νιώθεις για όλο αυτό μετά από τόσα χρόνια;

Πραγματικά εντυπωσιάστηκα όταν είδα ότι υπάρχουν άνθρωποι που ακόμα μας θυμούνται. Ήξερα ότι τα χρόνια που παίζαμε είχαμε κάνει κάποιο καλό όνομα αλλά δεν περίμενα το 2011 να μας θυμάται κανείς. Είναι πολλά τα χρόνια, είναι και ξεπερασμένο το μουσικό μας στυλ και πραγματικά όταν πρόσφατα ξανάκουσα το demo μας μέσω της fan σελίδας μας στο Facebook μου φάνηκε τόσο κακά παιγμένο και με τόσο κακή παραγωγή!!!!

Πάμε τώρα πίσω στο χρόνο. Πότε, πως και κάτω από ποιες συνθήκες ξεκίνησε η μπάντα; Από ποιους;

Η ιστορία έχει ως εξής: Το 1988 υπήρχε ένα συγκρότημα στους Αμπελόκηπους με το όνομα Iron Horse. Έψαχναν για κιθαρίστα και μέσω του μπασίστα τους που τον ήξερα πήραν εμένα. Εν συνεχεία, λόγω του ότι το όνομα θύμιζε πολύ Motorhead τους έψησα να το αλλάξουμε. Ψάχναμε καιρό μέχρι που είδα στην εφημερίδα την διαφήμιση για το νέο τότε έργο Angel Heart (Ο Δαιμονισμένος Άγγελος με το Mickey Roorke) και αυτό ήταν.. Είχαμε βρει όνομα.. Με αυτό το αρχικό σχήμα (Γιώργος Μαυρόπουλος – κιθάρα, Γιώργος Μαγκλάρας –κιθάρα, Δημήτρης Παπαδόπουλος – τύμπανα, Θοδωρής Παπαβασιλείου – μπάσο, φωνητικά - όλοι και κανείς!!!) πήραμε μέρος στην συλλογή Greece Attacks. Και μετά διαλυθήκαμε!!! (σ.σ βλέπε και στην φώτο παραπάνω:

Αθηνά (φωνή) πάνω πάνω, δεύτερη σειρά αριστερά ο Γιώργος "Roxx Μαυρόπουλος" - (κιθάρα), δεξιά ο Γιώργος Μαγκλάρας (κιθάρα). Κάτω σειράαριστερά ο Δημήτρης Παπαδόπουλος (τύμπανα) η φωτογραφία είναι από την πολύ αρχική σύνθεση της μπάντας).

Μετά από πάνω από ένα χρόνο και ενώ ο Γιώργος ο Μαγκλάρας και ο Δημήτρης ο Παπαδόπουλος ήταν ήδη μέλη των Gladiators μαζί με τον Φώτη Σωτηρόπουλο, βρεθήκαμε για να με ρωτήσουν αν μπορούν να πάρουν το όνομα Angel Heart μιας και δεν το χρησιμοποιούσε κανείς καθώς δεν τους πολυάρεσε το όνομα Gladiators. Από καθαρό εγωισμό τους απάντησα ψέματα ότι έχω μπάντα και έτοιμα τραγούδια και ότι το όνομα το χρησιμοποιούσα!! Έτσι, δέκα μέρες αργότερα ήρθαν και μου ανακοίνωσαν ότι μετά από μία εβδομάδα επρόκειτο να γίνει συναυλία των Gladiators στο ΑΝ Club και ότι ήθελαν εμάς ως support τους… Μόνο που δεν υπήρχανε ‘εμείς’!!! Η υποτιθέμενη μπάντα ήμουν μόνο εγώ!! Καθώς λοιπόν εκείνη την περίοδο πήγαινα στην ΚΟΡΕΛΚΟ και έπαιζα στην μπάντα της σχολής, πήγα την ίδια μέρα στον τραγουδιστή ου γκρουπ τον Αντρέα Τζανετάτο και τον κιθαρίστα τον Παύλο Αρβανίτη και τους παρακάλεσα να με βοηθήσουν. Ο Παύλος είπε ότι ξέρ
ει έναν ντράμερ στο Χαλάνδρι τον Νίκο τον Δέδε και έναν μπασίστα τον Μιχάλη τον Κοντό. Πήγαμε, τους βρήκαμε και μέσα σε μία εβδομάδα είχαμε έτοιμα 5 κομμάτια και παίξαμε στο ΑΝ με επιτυχία. That was the beginning!!!

Ποιο ήταν το πρώτο σταθερό και ολοκληρωμένο Line up;

Το πρώτο σταθερό και με τη μεγαλύτερη διάρκεια line up ήταν:

Αντρέας Τζανετάτος – φωνητικά

Γιώργος “ROX” Μαυρόπουλος – κιθάρα

Παύλος Αρβανίτης – κιθάρα, δεύτερα φωνητικά

Γιάννης Κουμέττης – μπάσο

Νίκος Δέδες –ντραμς

Και μετά από κάποιο διάστημα:

Λευτέρης Περήφανος - πλήκτρα

Ήταν από την αρχή στόχος σας να παίξετε αυτό το λυρικό Heavy Metal το οποίο άφησε το στίγμα της μπάντας αναλλοίωτο στο χρόνο ή μπορούμε να πούμε πως ο συγκεκριμένος ήχος κτίστηκε μέσα από πρόβες;

Εκείνη την περίοδο είχα τρέλα με τους Crimson Glory, Helloween, Queensryche, Heir Apparent, κτλ και προσπάθησα να το περάσω και στους άλλους. Ευτυχώς ήταν ένα είδος που τους άρεσε και συνυπολογίζοντας πως και η φωνή του Παύλου ο οποίος έγραφε τις πιο πολλές μελωδικές γραμμές ήταν λυρική-ψιλή αλλά και ότι η φωνή του Αντρέα ήταν κατάλληλη για αυτό το μουσικό στυλ, νομίζω ότι μας βγήκε εξ αρχής από μόνο του!!!!

Πριν φτάσουμε στα demo της μπάντας θα ήθελα πρώτα να σταθούμε στην συλλογή Greece Attacks καθώς εκεί συναντάμε τους Angel Heart με την πρώτη τους επίσημη ηχογράφηση πριν καν κυκλοφορήσουν κάποιο demo. Ο λόγος για την μπαλάντα The Reason I Survive η οποία σε αυτή την συγκεκριμένη εκτέλεση που υπάρχει στη συλλογή έχει γυναικεία φωνητικά. Θέλω λοιπόν λίγες παραπάνω πληρ

οφορίες για αυτή την ηχογράφηση. Ποιό ήταν το Line up της μπάντας τότε; Που

ηχογραφήθηκε το κομμάτι; Ποιά είναι η κοπέλα που κάνει τα φωνητικά και γιατί δεν συνέχισε με την μπάντα; Η συγκεκριμένη συμμετοχή στην συλλογή προηγείται του πρώτου demo των Angel Heart σωστά; Για ποιά χρονολογία μιλάμε;

Πολλά τα απάντησα ήδη παραπάνω αλλά για να απαντήσω σε όλες σου τις ερωτήσεις συμπληρώνω ότι: Το κομμάτι ηχογραφήθηκε στο studio του Κώστα Στρατηγόπουλου (όπως και ΟΛΑ τα demo που κάναμε ποτέ!!). Η κοπέλα είναι η Αθηνά Ασημιάδου, τότε κοπέλα μου που τραγούδησε λόγω του ότι η δική μου αγριοφωνάρα η οποία ήταν η καλύτερη όλων (!!!) δεν έβγαινε την ώρα της ηχογράφησης και έτσι την παρακαλέσαμε να τραγουδήσει εκείνη. Δεν ήταν ποτέ μέλος του γκρουπ. Η συγκεκριμένη συμμετοχή προηγείται όλων των υπόλοιπων ηχογραφήσεων γιατί όπως προείπα ήταν με τελείως διαφορετική μπάντα-σχήμα το οποίο αμέσως μετά διαλύθηκε!! Χρονολογικά ήταν το καλοκαίρι του 1988.

Με τι κριτήρια διαλέξατε το συγκεκριμένο κομμάτι για την συγκεκριμένη συλλογή;

Το κριτήριο επιλογής του κομματιού της συλλογής ήταν πολύ απλό… Δεν είχαμε άλλο κομμάτι ολοκληρωμένο!!!!!

Πάμε λοιπόν τώρα στα Demo της μπάντας με τα οποία επικρατεί μια πλήρη σύγχυση (σ.σ. κυκλοφορεί αρκετό υλικό βασισμένο σε κάποια συγκεκριμένα κομμάτια μα με λάθος γενικούς τίτλους, λάθος χρονολογίες στις ετικέτες, ελλιπή tracklist κτλ, ότι κυκλοφόρησε ή ηχογραφήθηκε επίσημα από την μπάντα αναφέρεται λεπτομερώς στις παρακάτω ερωτήσεις-απαντήσεις) . Πάμε να τα πιάσουμε ένα ένα να μας πεις και εσύ τι κυκλοφόρησε ακριβώς, με ποια σειρά και πότε.

Εδώ δε σου εγγυώμαι τίποτα. Η μνήμη μου δε με βοηθά και πολύ στο συγκεκριμένο.. θα προσπαθήσω όμως!!

Είμαστε λοιπόν στο 1990 και κυκλοφορεί το πρώτο Demo με τίτλο Gates Of Suicide. Περιέχει 3 κομμάτια: Intro-Voice Of Darkness, Journey To Nowhere και Gates Of Suicide. Έχει έγχρωμο εξώφυλλο. Σωστά;

Απ όσο θυμάμαι, σωστά.

Ηχογραφήθηκε στα Red House Studios. Θυμάσαι σε πόσες μέρες ή κάτι χαρακτηριστικό από την διαδικασία ηχογράφησης;

Το πρώτο μας demo το γράψαμε λίγο μετά την δεύτερη συναυλία. Δεν πρέπει να μας πήρα πάνω από 2 βδομάδες. Συνολικά πρέπει να μας πήρε 30 με 40 ώρες maximum.

Θυμάσαι σε πόσες κόπιες βγήκε το συγκεκριμένο Demo;

Δεν θυμάμαι. Απλά θυμάμαι ότι είχαμε πουλήσει ΠΟΛΛΑ κομμάτια για την εποχή!

Σχεδόν αμέσως μετά (1990) κυκλοφορεί το demo March Of Death το οπ
οίο ουσιαστικά είναι μια περιορισμένη επανακυκλοφορία του πρώτου Demo με ένα επιπλέον κομμάτι και ασπρόμαυρο εξώφυλλο με το λογότυπο της μπάντας. Το Demo ξεκινά με το καινούριο -γι
α τότε- March Of Death, ενώ στην συνέχεια υπάρχουν τα κομμάτια από το Gates Of Suicide demo: Voice Of Darkness, Journey To Nowhere και Gates Of Suicide. Μόνο που εδώ τους έχει γίνει επεξεργασία και έχουν καλύτερο και διαφορετικό ήχο σε σχέση με το Gates Of Suicide. Έχω σωστές πληροφορίες;

Σωστά. Απλά ηχογραφήσαμε το καινούργιο τότε March of Death και για να «γεμίσει» το demo κάναμε και ένα πιο καλό remix των παλιών κομματιών.

Για ποιο λόγο έγινε αυτή η επανακυκλοφορία σχεδόν αμέσως μετά το πρώτο Demo;

Αν θυμάμαι καλά, το March of Death είχε ηχογραφηθεί για να μπει σε κάποια συλλογή (δίσκο) χωρίς όμως να θυμάμαι σε ποιά, κάτι που ποτέ όμως δεν έγινε και έτσι αποφασίσαμε να το κυκλοφορήσουμε μόνοι μας..

Η συνέχεια βρίσκει την μπάντα να ηχογραφεί ξανά. 4 κομμάτια -Lost Angels, March Of Death, The Reason I Survive και Broken Tears-. Κατά τη γνώμη μου αυτές οι εκτελέσεις είναι και οι καλύτερες σας. Ποιος ήταν ο λόγος που έγινε αυτή η ηχογράφηση κυρίως ήδη υπαρχόντων κομματιών και όχι κάποιων καινούριων -αν εξαιρέσουμε το Broken Tears και Lost Angels-. Υπήρχαν μήπως αλλαγές στην σύνθεση;

Είχαμε αρχίσει να τα ηχογραφούμε με σκοπό να τα κυκλοφορήσουμε στο επερχόμενο μας demo. Κάπου εκεί όμως προέκυψε η υποτιθέμενη συνεργασία με την Μολών Λαβέ και έτσι αποφασίσαμε να χρησιμοποιήσουμε αυτά τα κομμάτια για το άλμπουμ μαζί με κάποια καινούργια που υποτίθεται ότι θα ηχογραφούσαμε, κάτι το οποίο όμως δεν έγινε καθώς οι ηχογραφήσεις με την Μολών Λαβέ δεν άρχισαν ποτέ (σ.σ. αναφέρεται στο περιβόητο Mini LP στην Ελληνική δισκογραφική Μολών Λαβέ που ποτέ δεν είδε το φως της μέρας). Τελικά απλά ριμιξαρίστηκε το παλιό υλικό (βασικά αυτά τα 4 κομμάτια που αρχικά πήγαιναν για demo όπως προείπα). Μην ξεχνάς όμως πως ανάμεσα σε αυτά τα 4 κομμάτια υπάρχει και η πρώτη ηχογράφηση του The Reason I Survive με αυτό το σχήμα του γκρουπ. Οι πρώτες δύο ηχογραφήσεις αυτού του κομματιού ήταν με τους «παλιούς» Angel Heart!!!!- Αλλαγές στην σύνθεση δεν υπήρχαν.

Όπως αναφέρεις παραπάνω υπήρχαν 2 ηχογραφήσεις του Reason I Survive με τους πρώτους -“παλιούς” όπως τους λες- Angel Heart. Παρόλα αυτά γνωστή είναι μονάχα η εκτέλεση της Συλλογής Greece Attacks. Για δώσε τα φώτα σου.

Λοιπόν θα σου πω κάτι που δεν το ξέρει κανείς. Με τους πρώτους Angel Heart, το πρώτο demo που κάναμε ποτέ ήταν το The Reason I Survive (εντελώς διαφορετικά παιγμένο από αυτό που μπήκε στην συλλογή Greece Attacks) με εμένα στα φωνητικά, αφού από τότε δεν είχαμε κανονικό τραγουδιστή. Όπως καταλαβαίνεις δεν κυκλοφόρησε ποτέ λόγω της υπέροχης φωνής μου, χαχαχα!

Ξανά πίσω στα 4 κομμάτια που ηχογραφήθηκαν μετά το demo. Αυτές οι ηχογραφήσεις λοιπόν -μέρος των οποίων έχει διαρρεύσει με το πέρασμα του χρόνου σαν 2nd Demo 1990- είχαν κυκλοφορήσει τελικά από την μπάντα επίσημα σε μορφή κασέτας -μιας και το Mini-LP δεν βγήκε ποτέ- ή απλά διέρρευσαν από χέρι σε χέρι;

Το master που γράφτηκε για το Mini LP που θα έβγαζε η Μολών Λαβέ Records δεν κυκλοφόρησε ΠΟΤΕ επίσημα στο κοινό. Πιθανότατα κυκλοφόρησε χέρι με χέρι από φίλους που το είχαν στην κατοχή τους.

Ο τίτλος “Black Traveller” σου λέει κάτι;

Το Black Traveller ήταν ίσως το πρώτο τραγούδι που γράψαμε αλλά που όμως ποτέ δεν θεωρήσαμε τόσο καλό ώστε να το συμπεριλάβουμε σε κάποιο demo και από ένα σημείο και μετά δεν το παίζαμε ούτε καν στα live..

Υπήρχαν αλλαγές στη σύνθεση με το πέρασμα του χρόνου; Και αν ναι, ποιες ήταν αυτές;

Η σύνθεση με την οποία ηχογραφήθηκαν όλα τα demo είναι η ίδια κλασική σύνθεση, δηλαδή:

- Αντρέας Τζανετάτος – φωνητικά

- Γιώργος “Roxx” Μαυρόπουλος – κιθάρα

- Παύλος Αρβανίτης – κιθάρα, δεύτερα φωνητικά

- Γιάννης Κουμέττης – μπάσο

- Νίκος Δέδες – ντραμς

- Λευτέρης Περήφανος - πλήκτρα

Αν θέλεις όμως τις εν γένει αλλαγές της σύνθεσης, στις αναλύω παρακάτω:

Πρώτο live στο ΑΝ με Gladiators:

- Αντρέας Τζανετάτος – φωνητικά

- Γιώργος “Roxx” Μαυρόπουλος – κιθάρα

- Παύλος Αρβανίτης – κιθάρα, δεύτερα φωνητικά

- Μιχάλης Κοντός – μπάσο

- Νίκος Δέδες – ντραμς

Αμέσως μετά το πρώτο live πήραμε σαν κανονικό μπασίστα των Γιάννη Κουμέττη μέλος μέχρι τότε των Addicted από το Χολαργό.

Μετά από μερικά live πήραμε και τον Λευτέρη Περήφανο στα πλήκτρα σαν μόνιμο μέλος.

Μετά την συναυλία στο ΜΑΞΙΜ και την αποχώρηση του Αντρέα Τζανετάτου πήραμε στα φωνητικά τον Μιχάλη Κασιδάκη. Σε εκείνο το live (ΜΑΞΙΜ) έπαιξε μπάσο (λόγω του ότι ο Κουμέττης έδινε πανελλαδικές εκείνη την περίοδο) ο Δημήτρης ο Κανελλόπουλος τότε μέλος της thrash μπάντας Deadly Core και τώρα πια γνωστός ως ιδρυτής και τραγουδιστής των Greek rockers Domenica και πλήκτρα ο Μάκης Ραζής, φίλος από την τότε παρέα μας στο Χαλάνδρι!!!

Μετά το αποτυχημένο live του δεκαημέρου -σ.σ. Αναφέρεται στο δεκαήμερο φεστιβάλ της Μολών Λαβέ Records με συμμετοχές από πλήθος Ελληνικών σχημάτων- και το διώξιμο κάποιων μελών το σχήμα έγινε ως εξής:

- Νίκος Ρουσσάκης – session φωνητικά

- Γιώργος “ROX” Μαυρόπουλος – κιθάρα

- Βαγγέλης Λάππας – κιθάρα

- Γιάννης Κουμέττης – μπάσο

- Νίκος Δέδες – ντραμς

Αυτό το σχήμα έμελλε να είναι και το τελευταίο!!!

Με τον Νίκο Ρουσσάκη στα φωνητικά έχει υπάρξει κάποια ηχογράφηση;

Ο Νίκος ο Ρουσσάκης των Guardian Angel είχε συμμετάσχει σε δυο live μας και ότι ηχογραφήσεις υπήρχαν με αυτόν ήταν ανεπίσημες. Δεν έγινε ποτέ demo ή επίσημη ηχογράφηση μαζί του!!

Έκανες μια αναφορά παραπάνω για το Mini LP από την Μολών Λαβέ Records που δεν κυκλοφόρησε ποτέ. Μπορείς να μου πεις τους λόγους που δεν βγήκε τελικά; Να υποθέσω ότι είχε να κάνει με το ξαφνικό κλείσιμο της Μολών Λαβέ Records του George Osmaak γεγονός που άφησε ξεκρέμαστες πολλές μπάντες;

Σωστά. Το άλμπουμ δεν κυκλοφόρησε ακριβώς για τους λόγους που ανέφερες.

Από όσο γνωρίζω έγινε και δεύτερη προσπάθεια για κυκλοφορία δίσκου. Θέλεις να ρίξεις λίγο φως;

Το δεύτερο άλμπουμ το οποίο ήταν να βγει, ήταν μέσω του Backstage Studios στον Χολαργό στο οποίο κάναμε πρόβες και το οποίο μας είχε φέρει σε επαφή με την Γαλλική δισκογραφική εταιρία Black Dragon. Λόγω όμως της διάλυσης της μπάντας ποτέ δεν έγινε πραγματικότητα!

Τι υλικό θα υπήρχε σε αυτή τη δεύτερη δισκογραφική κυκλοφορία; Έχει δει το φως της μέρας αυτό το υλικό τελικά;

Το υλικό ήταν τα ήδη γνωστά κομμάτια αλλά με πολύ καλύτερη ενορχήστρωση συν άλλα δύο ή τρία (το ένα instrumental) τα οποία ποτέ δεν ηχογραφήθηκαν όμως ποτέ.

Έχετε στα συρτάρια σας υλικό που είναι ακόμα ακυκλοφόρητο;

Δυστυχώς όχι.. Μόνο κάποια βίντεο με κάποια ακυκλοφόρητα κομμάτια.

Πως ήταν η ανταπόκριση του κόσμου στις κυκλοφορίες σας; Τι κριτικές εισπράξετε από οπαδούς και απ’ τον ειδικό τύπο;

Οι αντιδράσεις τότε ήταν απίστευτες.. Για να μιλήσω για μένα προσωπικά, κάθε φορά που κάποιος μου έλεγε πόσο του αρέσουμε, όταν διάβαζα τις κριτικές σε περιοδικά και fanzines, με κάθε demo που πουλάγαμε, εντυπωσιαζόμουν και αναρωτιόμουνα πως είναι δυνατόν να μας θεωρούν τόσο καλούς…… Ποτέ δε μπόρεσα να καταλάβω προς τι αυτή η τόση πώρωση.. Χαχα!!! Θυμάμαι επίσης ότι τότε είχε κυκλοφορήσει και το πρώτο demo των Ολλανδών Elegy το οποίο το είχαμε ακούσει και είχαμε πάθει πλάκα. Μέσω κάποιου γνωστού που τους είχε στείλει το demo μας, είχαν απαντήσει ότι πολύ θα ήθελαν να κάνουμε κάποια live μαζί σε Ολλανδία και Ελλάδα. Μόνο που θα έπρεπε να τους φιλοξενήσουμε στα σπίτια μας όπως και εκείνοι στα δικά τους, κάτι που οι γονείς μας δεν δέχτηκαν (ήμασταν μικρά παιδιά τότε)!!! Και είδες τι γκρουπάρα έγιναν και τι ευκαιρίες είχαν μετά οι Elegy!!!

Με τις ζωντανές εμφανίσεις τι γίνονταν; Πόσο εύκολο ήταν να αποδοθεί το απαιτητικό υλικό σας ζωντανά;

Πιστεύω ότι στα πιο πολλά μας live ήμασταν καλοί (εκτός του δεκαημέρου που ήταν και ο λόγος της αρχής του τέλους).. Η μουσική μας δεν ήταν δα και η πιο πολύπλοκη και είχαμε καλή ομοιογένεια οπότε γενικά τα πηγαίναμε πολύ καλά στα live.

Υπάρχει κάποιο video με διασκευή σας στο I Want Out των Helloween. Από ποιο live είναι θυμάσαι; Γενικά υπάρχει άλλο Video υλικό με τραγούδια των Angel Heart;

Είναι από ένα live στο Ρόδον το 1990. Έχω στην κατοχή μου κασέτες με τουλάχιστον πέντε έξι live μας (ΑΝ, Ρόδον, Μαξίμ) αλλά σε μορφή VHS.

Νομίζω πως δεν υπήρχε άλλη μπάντα στην Ελλάδα που έπαιξε με το τόσο μα τόσο λυρισμό όσο εσείς. Αναρωτιέμαι ποιες ήταν οι επιρροές σας.... Και πέρα από αυτό από ποιά πιθανά εξωτερικά ή εσωτερικά ερεθίσματα παίρνατε έμπνευση;

Οι επιρροές όπως προείπα ήταν κυρίως συγκροτήματα όπως οι Helloween, Crimson Glory, Queensryche και βέβαια και πιο παλιά όπως οι Iron maiden, Judas Priest, κτλ. Υπήρχε βέβαια πάντα, ιδιαίτερα στον Παύλο, και μια λανθάνουσα αγάπη για συγκροτήματα όπως οι Sisters of Mercy, Cure, Mission που ίσως στο παρασκήνιο να πέρναγε στη μουσική μας. Απτή απόδειξη η διασκευή σε Metal εκτέλεση που κάναμε σε κάποια live του Kyoto song των Cure!!

Μια απόπειρα προσέγγισης των στίχων; Ποιο είναι το αγαπημένο σου τραγούδι της μπάντας;

Χα!!! Η στίχοι ήταν καθαρά και μόνο δικό μου θέμα.. Είχα τρέλα με τον Midnight (Crimson Glory - R.I.P.) και τον θεωρούσα τον καλύτερο στιχουργό. Θεωρούσα ότι όλοι του οι στίχοι απλά άφηναν μια μαγική γεύση σε όποιον τους διάβαζε.. Και ήθελα να γίνω Midnight! Προσπαθούσα να γράψω σαν αυτόν… Δυστυχώς όχι πολύ επιτυχημένα.. Το αγαπημένο μου στιχουργικά τραγούδι είναι το Broken Tears το οποίο ήταν γραμμένο για την τότε μεγάλη μου αγάπη και μουσικά αυτό και το Lost Angels.

Αν και το ανέφερες παραπάνω πριν σε ρωτήσω απλά το επιβεβαιώνουμε εδώ: Το Red House Studio ήταν το "σπίτι σας", εκεί γράψατε όλο σας το υλικό σωστά;

Σωστά, Κώστας Στρατηγόπουλος ΠΑΝΤΑ!!

Από ότι έχω καταλάβει η σύντομη πορεία της μπάντας κράτησε λίγο μετά το 1990. Γιατί και κάτω από ποιες συνθήκες διαλύσατε;

Η μπάντα διαλύθηκε επίσημα το 1992 όταν πήγα εγώ φαντάρος. Από τη συναυλία του δεκαημέρου είχαν αρχίσει τα προβλήματα όπου μετά από αυτήν είχαμε διώξει τον Παύλο Αρβανίτη, τον Λευτέρη Περήφανο και τον τότε τραγουδιστή Μιχάλη Κασιδάκη. Τον επόμενο χρόνο κάναμε καλή δουλειά έχοντας πάρει στην κιθάρα τον Βαγγέλη Λάππα (ηχολήπτη του Αλκίνοου Ιωαννίδη) και session τραγουδιστή τον Νίκο Ρουσσάκη των Guardian Angel όπου με αυτό το σχήμα κάναμε δύο, το πολύ τρία πολύ επιτυχημένα live και ήμασταν έτοιμοι να υπογράψουμε συμβόλαιο με την Black Dragon. Όταν όμως πήγα φαντάρος άρχισαν τα προβλήματα. Ο Νίκος ο Ρουσσάκης δεν ήταν κανονικό μέλος του γκρουπ, ο Βαγγέλης δεν είχε ποτέ δεθεί πραγματικά με το γκρουπ και έτσι η κατάσταση άρχισε να ‘χαλαρώνει’ μέχρι που μετά την δεύτερη μου άδεια είπαμε ότι καλύτερα θα ήταν να τα παρατήσουμε.

Έχετε σκεφτεί ποτέ την απόπειρα επαναδραστηριοποίησης της μπάντας ή έστω κάποια κίνηση για μια σωστή επανακυκλοφορία όλου του υλικού σας;

Δεν το είχα σκεφτεί ποτέ μέχρι τώρα αλλά με τα σημερινά δεδομένα έχω αρχίσει να το σκέφτομαι.. Αν και πραγματικά δεν ξέρω από πού να αρχίσω!!!

Είσαι σε επαφή με κάποιο από τα μέλη της μπάντας; Ξέρεις τι κάνουν τώρα; Φωνές σαν αυτή του Ανδρέα Τζανετάτου ήταν πραγματικά λίγες....

Είμαι σε επαφή με όλα τα μέλη εκτός του Παύλου Αρβανίτη ο οποίος όμως πρόσφατα με βρήκε μέσω Facebook και είχαμε μία σύντομη τηλεφωνική συνομιλία χωρίς όμως να τον έχω συναντήσει ακόμα από κοντά (σ.σ. Ο Παύλος μετά τους Angel Heart πήγε ως κιθαρίστας / τραγουδιστής / μπασίστας / πληκτράς στους Wisdom του κιθαρίστα Δημήτρη Λάρου και στο demo αναφέρεται στο line up ως Paul Arby, σ.σ. με τους Wisdom θα ασχοληθούμε στο μέλλον μιας και υπάρχει στο αρχείο μας αναλυτική συνέντευξη με πολλές πληροφορίες). Ο Αντρέας Τζανετάτος έχει μια εταιρία με computer software και δεν ασχολείται πια με τη μουσική. Εγώ δουλεύω στον Ε.Ο.Τ., ασχολούμαι με τα ξενοδοχεία και δεν ασχολούμαι πολύ με το να παίζω μουσική. Ο Νίκος ο Δέδες δουλεύει σε μια εταιρία αυτοκινήτων αλλά παίζει ερασιτεχνικά με διάφορες μπάντες (Illusion Fades, Domenica, κτλ). Ο Γιάννης ο Κουμέττης είναι δικηγόρος αλλά παίζει μουσική με τους 1550 και τους Hannibal. Ο Λευτέρης ο Περήφανος είναι στη Σκιάθο, έχει κάνει δική του δουλειά και δεν ασχολείται με τη μουσική πια.

Τι πιστεύεις ότι ήταν αυτό που πήγε στραβά και η μπάντα τέλειωσε τόσο σύντομα την πορεία της; Πιστεύεις ότι υπήρχαν πράγματα που θα μπορούσαν να είχαν γίνει με έναν σωστότερο ή διαφορετικό τρόπο;

Το μεγαλύτερο σφάλμα μας ήταν που μετά από μια διαμάχη σε μια συναυλία στο ΜΑΞΙΜ μεταξύ του Παύλου Αρβανίτη και του Αντρέα Τζανετάτου, ‘’αφήσαμε” τον Αντρέα να αποχωρήσει. Μετά από αυτό και με νέο τραγουδιστή τον Μιχάλη Κασιδάκη εμφανιστήκαμε στο δεκαήμερο ανέτοιμοι με αποτέλεσμα την κακή μας εμφάνιση. Εκεί κατηγορήσαμε τον Παύλο και το Λευτέρη για την αποχώρηση του Αντρέα που είχε ως συνέπεια την κακή εμφάνιση και τους διώξαμε μαζί με τον Μιχάλη. Από εκεί και πέρα ενώ πήραμε καλύτερους μουσικούς, χάθηκε για πάντα η ομοιογένεια και η αγάπη για τη μπάντα. Και με την πρώτη δυσκολία (η στρατιωτική μου θητεία), απλά τα παρατήσαμε.

Από μπάντες της εποχής που παίξατε μαζί έχεις να θυμηθείς κάποια;

Είχαμε παίξει με πολλές μπάντες. Κάποιες που μου έχουν μείνει στην μνήμη είναι οι Guardian Angel, Odyssey, Stargazer, Leviathan αλλά και κάποιες που ποτέ δεν παίξαμε μαζί αλλά που θυμάμαι ότι τότε μου άρεσαν όπως οι Deceptor, Sarissa, Spitfire..

Ασχολείσαι με την μουσική τώρα; Παίζεις σε κάποια μπάντα;

Δυστυχώς τα έχω παρατήσει πολλά χρόνια τώρα αλλά τον τελευταίο καιρό αποφάσισα να ξαναρχίσω να μελετάω κιθάρα για να ξαναμπώ λίγο λίγο στον χώρο.. Κάτι σαν τελευταία ευκαιρία!!!

Παρακολουθείς την σημερινή πραγματικότητα; Ξεχωρίζεις μπάντες ή ρεύματα;

Την παρακολουθώ αρκετά. Παρότι ακούω ακόμα πολλές από τις μπάντες των παιδικών μου χρόνων και πάω και στα live τους (Dream Theater, Fates Warning, Metallica, Megadeth, κτλ), μπορώ να πω ότι από καινούργιες μπάντες αυτού του κλασικού power- progressive metal δεν έχω πια ιδέα!! Το μουσικό μου γούστο έχει αλλάξει πια και ακούω διαφορετικά στυλ. Ακούω System of a Down, The 69 Eyes, Charon, Bullet for my Valentine, Nightwish, Within Temptation, After Forever, Paradise Lost, Entwine, Rotting Christ και πολλά άλλα…

Ακούς άλλες μουσικές εκτός από Metal;

Μπορώ να ακούσω τα πάντα μέχρι και σκυλάδικα αλλά το μοναδικό είδος που παρακολουθώ, αγοράζω CD και ακούω σπίτι μου είναι το metal!!

Κάπου εδώ φτάνουμε στο τέλος. Σε ευχαριστώ Γιώργο για αυτό το όμορφο ταξίδι στο χρόνο και για την ευκαιρία που μου έδωσες να επικοινωνήσω με μια από τις αγαπημένες μου Ελληνικές Metal μπάντες.

Εγώ ευχαριστώ και θα επαναλάβω πόσο πολύ εντυπωσιάστηκα που υπάρχουν ακόμα άνθρωποι που μας θυμούνται!!! Να είσαι καλά φίλε μου…

Χρήστος Παπαδάκης

R.U.S.T. (CYP) - Forged In The Fire Of Metal (Private Pressing)

2011-08-24T21:54:00.000-07:00

During the last decade there has been a wide movement of newly formed bands in the underground that one way or another they re present Heavy Metal they way it was delivered back in the 80s. Enforced by all the musical and visual elements that can be mentioned as the basic stuff of Heavy Metal music such bands offered records that were the butter in the bread of someone that seriously could not enjoy a modern or extreme approaching on Metal music.

There is a thin line between the "trend" that wants bands with 20-25 year old average aged members to worship the past on spandex and high pitched vocals just because they have noticed the -temporary- success of some fellow musicians in fellow bands and for those bands giving their entire passion to the music they love delivering each and every single tune like it would be the last.

R.U.S.T. from Nicosia, Cyprus surely belong to the second category and I can assure you that their private debut album "Forged In The Fire Of Metal" -distributed by the most important record label in Cyprus Pitch Black Records- is one of the top HEAVY METAL albums -and will remain in that spot for many years- that have been released the last years. I put this release among releases by bigger and older bands because it simply has been a long time since I heard a band delivering their Steel in SUCH passion and power. Moreover if have to stick in the category of "the young band of 00s that pays tribute to the Classic Heavy Metal genre" then simply the band form Nicosia has released the BEST album you can hear leaving all the other bands of their age and period -00s- to eat their dust.

I have been following the band since their 2007 debut demo and I always was in the mood that those Metal wolves from Nicosia are crazy enough for their Steel but even I was NOT prepared enough for the shock that was waiting for me after the hearing of their debut album. Ok the most of the times we all come across good Metal records that satisfy us but with this one I simply wanted to destroy the whole place, I wanted to listen to each and every song in high loud volume, I caught myself singing the melodies of the choruses, fuck it is the very similar feeling like a 16 year old teenager listens for the first time a Judas Priest record. The enthusiasm, the power and the magic of Metal are filling the air...

"The Thunder Rolls" is the opening track of the album and for the first tunes of the song you will notice the old school production that is a big trademark of the entire album, this is the sound we love -and yes the bass can be heard loud and clear like the first Iron Maiden and Angel Witch records-.

"Metal Child" follows -this was the first single of the album that the band has done back in 2010-. Yes I know you would hear it as well: The vocals, the vocals, THE VOCALS and the passion they deliver! In their high pitched moments, in the way that each and every lyric is sang -listen to the singer putting those "alright", "ah" and "let's go" emphatic parts on the song's very beginning, to the scream in the intro and to the way that he gets into the song singing "The Night Now Is Falling..." and you will shiver. Tasos Kaornias is his name and he sings every single lyric like there will be no tomorrow. Guys put out a 12'' single with a black and white cover showing a child hanging a sword. This is your hymn.

R.U.S.T. will remind us the best possible way that Metal is a music that takes out in the streets, "We Are Rock n Roll" and "In The Street Of Rock n Roll" will give you your NWOBHM fix, bass lines rules in the second one. But it is a fact that you would enjoy the band on their approaching of those fantasy Metal topics -that I worship the most-. "Phoenix In The Night" and "Lady Of The Lake" are perfect examples. Fuck, you got to listen the way that the singer sings "Lady Of The Lake", with the polyphonic chorus enforced with all those "you'd better watch out", endings and the high pitched second voices. This is my favorite track of the album.

On "Straight To The Top" the band pays for one more time a tribute to the NWOBHM stuff that is wisely mixed with some mid 80s European Steel. A mix of Midnight Darkness, Heavy Load and Tokyo Blade is on your stereo speakers, not bad at all. "Queen Of The Amazons" would bring back the epic and fantasy atmosphere and a melodic interlude -like the one on the "Lade Of The Lake" will introduce you to this pounding song. "In A Time Long Ago, In A Land far Away From Home...".

The album epilogue belongs to "The Beginning / Forged In The Fire Of Metal" a bombastic anthem of Steel, powerful yet melodic and epic. Yes this songs presents the better way the three elements that give birth to the spirit of the mighty R.U.S.T.: Power, Melody and Epicness. What can a poor man like me write? Listen to the songs final part when all the band sings together "forged In The Fire Of Metal" enforced by the high pitched vocals of Tasos. You would get a point of what is all about and before you take your final breath the sound of the hammer upon the anvil would close the record offering you a LAST chance to understand its message.

I am thrilled. I am thrilled by the passion of this band. I am thrilled by every small elemts on each song of this album that delivers into my mind the "secret codes" that are understandable only when transformed form a metalhead to a metalhead. I can not even remember how many times I caught myself smiling listening to the solos and the riffs of Adamos Adamou and Panagiotis Xanthou, the bass lines of George Xanthou that fills the air, the drumming of Giannis Xanthou who emphasizes each and every second of the songs beat by beat and finally the vocals of Tasos Karonias with all their theatrical -the Metal way- approach, the little screams in the end of the the lyrics, the small breaking and stopping in the final choruses -like he does in the "Straight To The Top" where he and the band emphasizing in the word "Straight" making a small breaking on the final chorus-, his "get ready", "watch out" and "let's go" fillings, his crystal clear voice and his brilliant voice melodies.

Iron Maiden, Angelwitch, Tokyo Blade, Jaguar, Diamond Head, Midnight Darkness, Heavy Load, and Taramis are the band's that came into my mind during the hearing of the best Heavy Metal record of the year. Go and get it now and get two copies one to listen and a second one to decorate your room with because the album has a magnificent front cover.

http://www.myspace.com/rustcyprus

Exxplorer - Vengeance Rides An Angry Horse (Pure Steel)

2011-08-23T14:13:00.000-07:00

Well this is one of the best US Metal albums for the 2011, it is included already in the list of the top albums of the year and it is really a difficult task for me to put the album out of my CD player. It is the returning album of the mighty US Metallers Exxplorer. Their return to action is marked with the album "Vengeance Rides An Angry Horse". Well it is a fact that the band They haven’t lost anything of their magic sound from the old days: The whole 55 minutes on this brand new album represent the band's melodic, US-styled Power Metal. Well you got to listen to songs like the catchy opener “Gypsy”, the groovy-straight track “Freight Train To Hell” or “Chasing The High” which is one of the best songs of the record, to understand that the band still got the Power to deliver great Steel.

The reunion in the old line-up also brings the spirit of band's glory days back. In this album, heaviness and melodic is building a strong union! Well I was in an absolute need for some guitars like the one found on "The Vengeance" song, and yes yes we should not forget the vocals.... for those who do not know Lennie Rizzo is back in the band... and he gives some of his best performance full of passion (listen to "As The Crow Flies").

Some more guitar attack is waiting for you at the "S.N.O.E." song and it seems that the band have kept some of their best new riffs for the "Valley Of Doom Song". What follows is the up tempo "Spirits Of The Wind" and the album closes with the "Freight train To Hell" another little anthem that gits the magic touch of the past, one of my favorite pick ups form the record. "Return Of The Cycle" is the bonus track of the European Edition of the record. Some more killer lead themes in here, an absolute killer Exxplorer tune.

I mostly enjoyed this returning album mainly due to the fact that it captures this magic fire that drives the listener back to the glory days of the past (mainly 80s), Exxplorer are screaming loud that they raise the flag of Metal high remaining to the standards that they have set for their own music. The production does justice to the album making sounding a little bit "old school".

Exxplorer are back, all Hail to the New Jersey warriors, their new album is a must buy!

http://www.myspace.com/exxplorerband

http://www.puresteel-records.com/

Warlord Interview (2001)

2011-08-21T08:44:00.000-07:00

Ten years ago (!) on Summer of 2001, I did an interview with the -back then- reunited Warlord. It was originally published on the webzine I was writting bakc then called Metal Disorder. The site is no more and the interview was somehow lost in time. Thanks to Bill Tsamis I got it again in my hands so I am re publishing it again.

An Interview with William J Tsamis, Mark Zonder, and Joacim Cans by CountRaven - Summer 2001

MD: Great to have Warlord again active in the metal world. How would you guys feel if you were simple fans of a group and one day you suddenly learn that this group is active again (especially if this group was one of your favourites?).

William: Thanks Chris for the interview. With regard to your question, remember, this Warlord situation is a "project," not a "reunion." This is important. When I say "project," I mean that this is esentially a collaboration of artists in the music world who know "exactly" what Warlord is supposed to sound like. The core of that collaboration is Mark and I, of course -- and with Joacim, we all know the essence and potential of the Warlord sound. So, however "Warlord" has been idealized by the fans -- the dark, power epic metal -- this is what we will try to accomplish through this project . . . the "ultimate Warlord."

Joacim: As a huge fan of Warlord, and of William and Mark as musicians, it's a dream come true to see Warlord rising from the ashes. I've been playing around with the thought for a long time how Warlord would sound today, if they still were around. I guess I'll get my answer soon enough. To be a part of Warlord was not something I could imagine, not even in my wildest dreams. I'm honoured to be "one of them" now, and I will do everything that I'm capable of to deliver vocals worthy of a Warlord release.

Mark: I always thought Warlord did not have its just due. We never had the proper chance to really show what the band is capable of. Now we will be able to show the fans the true potential of Warlord.

MD: All those years a real myth has been built through the name of Warlord. Your few songs (just 12), and the hard to find vinyl versions of your albums, and the rumours about the reasons of your breaking up back in the middle 80s. All this stuff has kept the myth alive all those years. Do you think that this myth will stop after the reunion; do you think that people will start to refer to Warlord as "another reunited band?"

William: Probably. People are nostalgic. And that's fine. But I'm sure there are plenty of people out there who would like to hear what the "ultimate Warlord" will sound like.

Mark: I think that after this many years, it is very exciting that it will be back together. I do not know many other bands that have done this. I am quite excited.

MD: Okay, I am sure that most of the people who had spent some time searching about the history of Warlord, would have been informed of the reasons that Warlord finished their conquest and broke up after the release of [Cannons of Destruction]. But in case there is someone younger reading this interview, can you mention in a few words the reasons that you broke up?

William: Well, Mark and I always knew the potential of Warlord. Other people in the metal world knew the potential of Warlord. And it was all the more frustrating not being able to find a vocalist who had the talent and attitude flowing through his veins. When you know that you have something phenomenal, but you can't express it properly, it becomes frustrating and discouraging, and ultimately tensions arise, etc. I don't really think it's a unique story or anything. I think a lot of talented bands had a similar situation.

Mark: I think Bill sizes it up pretty good.

MD: Finding suitable members for the band was always a big problem - am I right? Is that the reason why Warlord never gave any live shows? Why didn't you manage to give any live shows even during the period that you were a full band? After all, "Cannons of Destruction" was recorded live. So, what happened?

William: Warlord was never really a full band at any one given time. The reason we didn't go out and do shows after the video is because our vocalist, Rick Cunningham, was inconsistent in carrying the songs live. The last thing we wanted is to go out and sound like hell. Rick couldn't cut it. It would have been better for us to play live without a singer. [Note: This is something that the band actually considered at one point.] In fact, one thing that made our "music" more interesting is that we almost always practiced without a singer. So in order to spice up the songs a bit, we would do things that made the songs more interesting.

Mark: To go out live, you need to be prepared musically and the singer we had could not carry it off. We did not want to embarass the name of Warlord.

MD: Let's go a little bit further into your past in order to learn some things that many people many would want to know. I have learned that the whole story of your reunion started after a proposal of a record label to release you very first demo tape on vinyl. Do you remember anything from those early days that you can share with us?

William: Yes, we have a very early demo tape, and this guy from OPM Records [Note: James Cranford] wanted to print the songs from that tape on vinyl. The songs on that tape are "Winds of Thor," "Black Mass," "Child of the Damned," "Soliloquy," "The Rainbow," and the "City Walls of Troy." It's pretty wild stuff. I remember that after we recorded those songs, we must have listened to the tape a thousand times, asking ourselves the question, "Do we really sound that good?" It was amazing, that is, having a demo tape back then.

Mark: We had many demos that we can't find. I can remember about 10 songs that are not on tape. We do have some very raw stuff.

MD: Did you record the demo with the same line up as the one on "Deliver Us From Evil?"
William: Yes.

MD: So will this demo finally be released on vinyl?

William: Well, I talked to OPM and the problem is that nobody can find any type of original master tape. Everyone has either a second, third, or fourth generation copy. So I don't think it will be released.

MD: In the original version of your debut album "Deliver Us From Evil," there are only the lyrics of the title track. Why you have not included the lyrics of the other songs? (I still remember myself very clearly, hanging a paper and a pen trying to write down the rest of the lyrics as I was listening to the rest of the songs again and again!)

William: Well, Mark and I come out of the late 70s metal scene - and if you remember, back then, remember, it was not uniform for bands to put their lyrics on the album. I think I must have listened to Judas Priest's "Exciter" a thousand times before I could figure out what Halford was saying. What's really funny is the Japanese version of "Deliver Us From Evil." They took it upon themselves to try and interpret the lyrics to every song from our album and put "all" the lyrics on the insert, and there were so many mistakes. The lyrics sheet for the Japanese "Deliver Us" is a classic.

MD: The years have passed. In 1996 we all were very happy when we noticed a great cover of Warlord's classic "Child of the Damned" on the debut album of the yet unknown Swedish band HammerFall. Joacim, why did HammerFall decide to cover this particular song?

Joacim: When I joined HammerFall back in 1996, I found out pretty soon that that both Oscar and I had the same influences when it came to metal bands from the 80s. One of those was, of course, Warlord. We sat down and spoke about a possibility to include a cover on the debut album and agreed on either a Warlord classic or a Stormwitch song. After listening through loads of different songs we decided that "Child of the Damned" was a song that fit perfectly to the HammerFall sound. Another aspect is that we wanted to do a song by a band more or less unknown for the new generation of metal fans that never experienced the 80s nor had a clue about what bands were rulers of the underground at that time. The most important thing for us, when picking cover songs, is that we can perform the song in a professional way and in a respectful way. A way to pay homage to bands that meant a lot to us. There are too many cover versions of various songs out there today that are no more than slaughtered versions. Always show respect to the composer!

MD: Joacim - Have you ever imagined that some glorious day you will be the official singer of the reunion of Warlord?

Joacim: Maybe I played around with the thought when I was a teenager how it would be to be there on stage with Destroyer and Thunder Child. I guess we all had similar dreams going through the rough and confusing teenage years. Maybe I wasn't that confused after all :-))

MD: William, when you first heard the cover of "Child of the Damned" by HammerFall, did you ever think of the possibility that someday, in a possible reunion, this guy could catch the microphone and drive the Warlord back to the battle?

William: Well, honestly, when I first heard HammerFall's "Child of the Damned," it wasn't the first time that a band had covered "Child of the Damned" -- of course, I thought the HammerFall version was awesome, and I thought the vocalist was phenomenal. But what really surprised me about HammerFall were their other songs like "The Dragon Lies Bleeding," "Metal Age," HammerFall," etc. The whole CD blew me away. In fact, it reminded me very much of the time when I first heard Yngwie. I "knew" immediately that HammerFall would be big. They have all the components necessary for the ultimate power metal band, and they demonstrate this on their album "Renegade," which is one of my favourite albums of all time. They combine so many influences, yet they have their own identifiable sound. The Warlord project is not designed to conflict with either HammerFall or Fates Warning.

MD: William and Mark - You are now together again. Have you missed the old days of Warlord all this period that you were doing such different things?

William: Well, personally, I would say that those were some of the best days of my life. Although those were tough times - tough for anybody who wants to be a musician - they were great times. There are great stories to tell. One thing, though, I would say, is that whenever we focused just on the music, everything was just right. We were focused. We used to play songs in rehearsal, and it was like we were taken away to another place. I wouldn't trade that experience for the world. All I can say is that, "You had to be there." It was a very interesting time.

Mark: There was a very united feeling back then. I met with Bill, three months ago, and it was the first time we saw each other for about 17 years. And it was like no time had passed. The same feelings were back. A very powerful, tight, united energy focused toward the band. I look back at the old days with some of the happiest and greatest feelings of my whole life.

MD: William, if someone told you, let's say 5 years ago, that Warlord may reunite someday, would you believe it?

William: Probably not. Although there had always been a sense of doing another project, the timing was never right for it -- I just couldn't see it happening. Plus, I figured that Mark was way too busy with Fates Warning to do anything like this. And I generally have a fairly pessimistic outlook on things anyway . . . so I would look at the circumstances and simply say, "Impossibile."

MD: Although you have been far away from the fire all these years, I know the fire was still burning inside. I remember that Mark had said in an old interview in the magazine "Metal Invader" that if Warlord will ever get together again, the music will be 100% "Warlord" - nothing more and nothing less. Is this what we should expect from the new Warlord project?

William: Yes, you are absolutely right! The recordings so far sound incredible like "Warlord" - but sophisticated and well produced. This is how we always wanted it to sound, but we just never had the opportunity or the money. But yes, this project will be dark, power epic metal, exactly like Warlord, but I would say, even "more" like Warlord. It's the "ultimate Warlord." It's the "idealized Warlord." The Warlord fans will love it . . . and I'll let Mark answer the rest of your question.

Mark: This will be 100% "Warlord." It will not be Fates Warning meets Warlord with a touch of HammerFall. With Bill at the helm, you know "exactly" what you are going to get. Then add the rest of the line-up, a great singer, and some serious tight production, and it should be miles from the old recordings. The first three songs are simply amazing. Tight, in your face, and driving. Very, very much "Warlord."

MD: William, you have made another marvellous group called Lordian Guard, together with your wife. What has happened to this project?

William: Well, my wife Vidonne has sadly gone through incredible torment after three failed spinal surgeries. She has not been in good health at all, although she had another spinal reconstruction in October 2000. One more surgery and she's supposed to be back to good health, but we'll see. [Note: Three leading neurosurgeons in the Southeastern United States have confirmed that certain nerve routes leading to critical abdominal muscles are, in fact, paralyzed and irreparable - Vidonne's 11 year struggle against spinal degeneration appears to be over, although microsurgery and nerve grafts have been posited -- however, she is too weary to pursue such experimental procedures which can open another Pandora's Box. Aug 10, 2001.] As far as Lordian Guard, that's just a name. It's just "me." I'll always compose and play music - under what name, I do not know. We'll see . . .

MD: In the songs of Lordian Guard, the music is very common to the music of "Warlord," although you had used a drum machine. Shall we take it as a result of the fact that you never managed to find a drummer like Mark?

William: Not really. I never bothered looking for a drummer. First, it wasn't a live project. Second, I knew that it would be practically impossible to find a drummer like Mark. And third, even if I did find a drummer like Mark, people would say the "the drummer" isn't as good as Mark. So, the critics can go ahead and blame a machine instead of a human being. Lordian Guard is just a studio project where I have a chance to play all all instruments. [Note: Apart from the exceptional drum work and voice work, William is playing guitars, bass, and keyboards for the new Warlord project]

MD: Mark and Joacim - Will you manage to work with Warlord alongside your other bands?

Joacim: I don't see a problem from my point of view. It's all about how you manage your time. At the moment we are just doing some festivals around europe and I can work full time with the Warlord project, without interfering with my main priority - HammerFall.

Mark: There will not be any conflicts. There is a lot of time in the day to do music. I do it all day long and have a couple of other projects going on as well. It is just a matter of managing time. No problem.

MD: Now that Warlord is back, will there be any re-releases of your earlier albums? I don't know if you know that, but the original vinyl copies of a record with the name of "Warlord" on it very expensive.

William: Yes, I know. I've seen Warlord vinyl go for over $100 numerous times. As far as releases of the old material, I really don't know since that would be up to Metal Blade Records.

Joacim: I paid over $20 for "Deliver Us" . . . back in the 80's :-) Worth every penny!

Mark: There could be a release of "Deliver Us" on CD with some possible extra tracks, as it was never done on CD. Also, with the "new" Warlord project, there will probably be some interest in it. More to come later.

MD: What is your opinion about the tribute album to Warlord by Underground Symphony Records? If someone says to you to take part in a tribute album, in which artist/band tribute would you choose to take part?

William: I really like the Warlord Tribute album [Note: "Glory to the King"] a lot. It's interesting to hear bands interpret your songs in different ways. When I first heard Projecto's version of "Deliver Us From Evil" I got chills -- I like the whole thing, all the songs. As far as "me" hypothetically beig part of a tribute album, I mean, I could do it -- but I wouldn't aggressively pursue something like that. I'm not really interested in doing tributes.

Mark: I was flattered that someone thought enough of Warlord to do a tribute.

MD: I do not know if you know it, but Warlord is a very favorite band here in Greece. Any special message for the fans in Greece that kept the flame burning all those years?

William: We have always appreciated the strong support from the Greek fans. Personally, I have a strong connection to the fans in Greece since I am Greek, and I am proud of my heritage. One thing I do know, however, after hearing the initial recordings for this project, is that the Greeks will be struck down when they hear this album. It is the "ultimate Warlord." It is dark, mysterious, epic, powerful, intricate, yet with the great melodic themes that were so typical of Warlord. And with the great production quality, I'm certain that "no one" will be disappointed.

Mark: Warlord has always had a special place in our hearts for the Greek fans. Thank you for your support.

MD: Okay, I do not have anything more to ask. I wish you good luck to the new conquest. I wish that we may see Warlord live here in Greece someday, and I wish the best for the new album.

William: Well, thank you Chris for the interview, and all the best with your endeavors. To the fans, thank you for being so generous and kind with your letters all these years.

Joacim: I just want to thank William and Mark for putting their trust in me as the new vocalist. To the fans, it's tought to write something when I am one of you. Keep the flame burning for the Heavy Metal Revolution . . . it's "stronger than all."

Mark: Thank you again for your help. The record should be out soon, as we are working very hard, and we are dying to have the Warlord fans get a hold it it. Thanks.

Harder Than Steel Series: Warlord - Deliver Us (1983 - Metal Blade)

2011-08-20T19:32:00.000-07:00

This is a re presentation of some articles I have written back in 2006-2009 for the Greek Metal Magazine MetalMare under the moniker Harder Than Steel. The main goal was the presentation and the analysis of some classic Metal diamonds. As the original text was in Greek and the articles are published in here for historical reasons, the language will remain Greek. The first part of Harder Than Steel series in the magazine was this article / review about Deliver Us by the band Warlord from Los Angeles, California, USA. The text was originally written back in 2002 -I can not remember where it was supposed to be published-, but was finally published on 2006 with some editing / additions.

Harder Than Steel

Από αυτή την στήλη -που δανείζεται το όνομα της από το ομώνυμο έπος των Jag Panzer- θα βρίσκετε κάθε μήνα την παρουσίαση ενός κλασσικού στο χώρο του Heavy Metal άλμπουμ. Δίσκοι που έχουν σφραγίσει με την μοναδικότητα τους αυτό που ονομάζουμε Heavy Metal θα βρίσκονται εδώ. Κάθε μήνα θα παρουσιάζεται και κάτι διαφορετικό από κάθε παρακλάδι της αγαπημένης μας μουσικής. Σε μια εποχή που κυριολεκτικά χαρακτηρίζεται από βομβαρδισμό κυκλοφοριών και ρευμάτων μέσα στο Heavy Metal, κρίνεται επιβεβλημένη η αναφορά σε κάποια άλμπουμ τα οποία με τον τρόπο τους έθεσαν σε κίνηση τους τροχούς της Metal ιστορίας. Μια βουτιά στο παρελθόν λοιπόν για να μαθαίνουν οι νεότεροι και να ξεσκονίζουν το αρχείο τους οι παλιότεροι.

Για το ξεκίνημα της στήλης επέλεξα έναν δίσκο από το χώρο του επικού Metal ο οποίος ξεχωρίζει για την μοναδικότητα του μιας και καταφέρνει να συνδυάσει το λυρισμό, το συναίσθημα και τον δυναμισμό σε ένα μουσικό αποτέλεσμα που σπάνια έως ποτέ συναντάται σε παρόμοιες κυκλοφορίες. Ο δίσκος μνημονεύεται από όλα τα σχήματα του χώρου -και όχι μόνο- ως βασική επιρροή και σίγουρα αν είστε λάτρες του Epic Metal είμαι σίγουρος ότι γνωρίζετε πολύ καλά την αξία του. Αν πάλι δεν γνωρίζετε το συγκεκριμένο άλμπουμ σίγουρα θα εκπλαγείτε μόλις τον ακούσετε. Εξάλλου ένας από τους βασικούς σκοπούς της στήλης είναι να σας κάνει να έρθετε σε επαφή και με τους δίσκους που παρουσιάζει και όχι απλά να μετατρέψετε το περιεχόμενο της σε στείρα πληροφορία. Για την ιστορία να αναφέρω ότι και για τον γράφοντα το άλμπουμ αυτό υπήρξε ο ακρογωνιαίος λίθος της προσωπικής του πορείας ως ακροατή του Heavy Metal και πως το περιεχόμενο του διαμόρφωσε κατά πολύ τα στάνταρ για τα οποία έψαχνε σε μετέπειτα ακροάσεις άλλων δίσκων που έπεφταν στα χέρια του. Το κείμενο δε που ακολουθεί έχει γραφτεί πριν τέσσερα χρόνια περίπου, οι απόψεις μου όμως για το συγκεκριμένο άλμπουμ φυσικά και δεν έχουν αλλάξει οπότε το κείμενο δημοσιεύεται αυτούσιο πλην μερικών διορθωτικών παρεμβάσεων. Κλείνω με μια παρατήρηση: Κάποτε ένα πολύ προσφιλές μου άτομο υποστήριξε ότι η επαναλαμβανόμενη ενασχόληση και ακρόαση Heavy Metal μουσικής κάνει τον ακροατή / δέκτη να αντιμετωπίζει την ζωή με μια αρνητικότητα άσκοπη πολλές φορές και αυτό συμβαίνει -σύμφωνα με τη συγκεκριμένη θεωρία- λόγο της αντίστοιχης αρνητικότητας που βγάζουν τα ανάλογα ακούσματα. Αυτός ο δίσκος -συνώνυμο της ομορφιάς της ίδιας- μαζί με τη συμβουλή της ακρόασης του είναι ίσως η καλύτερη απάντηση που μπορείτε να δώσετε σε όσους υποστηρίζουν ανάλογες άδειες και χωρίς νόημα θεωρίες.

Warlod - Deliver Us

(Metal Blade - 1983)

Όταν η αξία ενός έργου παραμένει αναλλοίωτη στο χρόνο, όταν το συγκεκριμένο έργο παραμένει σταθερό σημείο αναφοράς ακόμα και αρκετά χρόνια μετά την πρώτη παρουσίαση του (κυκλοφορία του), όταν το συγκεκριμένο έργο αναφέρεται σαν βασική επιρροή για δεκάδες που ακολούθησαν μετά από αυτό και όταν μετά από τόσα χρόνια και μετά από τόσα διαφορετικά ακούσματα γεννιούνται τα ίδια έντονα συναισθήματα μετά την ακρόαση -μια και στην περίπτωση μας μιλάμε για έναν δίσκο- του συγκεκριμένου έργου, τότε ναι χωρίς φόβο και πάθος μπορούμε να μιλάμε για κάτι κλασσικό.

Ο συγκεκριμένος δίσκος ήταν η πρώτη επίσημη κυκλοφορία των Αμερικανών Warlord ενός σχήματος που φτιάχτηκε το φθινόπωρο του 1981 από τον Ελληνικής καταγωγής κιθαρίστα William Tsamis (Destroyer) και τον drummer Mark Zonder (Thunder Child). Η πρώτη δισκογραφική παρουσία του σχήματος ήταν στο δεύτερο μέρος της θρυλικής πλέον συλλογής της Metal Blade, Metal Massacre με το τραγούδι "Lucifer's Hammer". Το επόμενο βήμα μετά την συμμετοχή στην Metal Massacre 2 ήταν το δισκογραφικό συμβόλαιο με την Metal Blade το οποίο είχε σαν αποτέλεσμα την κυκλοφορία του Deliver Us to 1983. 6 συνθέσεις όλες και όλες, (7 στην Ιαπωνική έκδοση του δίσκου), συνθέσεις που έχουν αφήσει το στίγμα τους ανεξίτηλο στην ιστορία του Metal μέχρι και σήμερα.

Ο δίσκος ξεκινά με το τραγούδι Deliver Us From Evil. Η εισαγωγή του κομματιού χαρακτηριστική σε κάνει να αναρωτιέσαι πως γίνεται μια ακουστική κιθάρα να χρησιμοποιείται με τόσο επιβλητικό τρόπο, το θέμα της μας οδηγεί στο κυρίως κομμάτι όπου τα τύμπανα του Zonder με τον εμβατηριακό χαρακτήρα τους ανεβάζουν τα κιθαριστικά θέματα του Tsamis στα ουράνια. Ένα επιβλητικότατο έπος που σφραγίζεται ανεξίτηλα με τη φωνή του Damien King (Jack Rucker) -τραγουδιστή του σχήματος στο συγκεκριμένο δίσκο-. Ειδική αναφορά πρέπει να γίνει στη χροιά της φωνής αυτού του ανθρώπου, που πραγματικά κρύβει κάτι το παραμυθένιο μέσα της. Εκφραστικός, λυρικός, μα ταυτόχρονα δυναμικός με μια απίστευτη χροιά στη φωνή του ο συγκεκριμένος τραγουδιστής σφράγισε με τη φωνή του όλες τις συνθέσεις του δίσκου. Στο Winter Tears που ακολουθεί, οι Warlord αφήνουν το λυρισμό τους να ξεχειλίσει. Προσέξτε ιδιαίτερα την ερμηνεία του Damien King στο συγκεκριμένο τραγούδι. Η πρώτη πλευρά του δίσκου το Child Of The Damned μια σύνθεση στην οποία το συγκρότημα δείχνει όλο του τον δυναμισμό, η κιθάρα του Tsamis έχει τον πρώτο λόγο και ο Damien King ερμηνεύει με ένα απίστευτο πάθος τους στοίχους.

Η δεύτερη πλευρά ξεκινάει με τo Penny For A Poor Man που θεωρείται από τον γράφων ως ένα από τα ποιο συναισθηματικά φορτισμένα κομμάτια στην ιστορία του Metal, οι εναλλαγές του προκαλούν δέος στον ακροατή με τον Damien King να δίνει -για μια ακόμα φορά- ρεσιτάλ ερμηνείας. Το Black Mass που έρχεται μετά, είναι χωρίς αμφιβολία, από τις πιο επιβλητικές συνθέσεις του συγκροτήματος. Ο δίσκος κλίνει με το Lucifer's Hammer που μαζί με το Child Of The Damned είναι τα ποιο γρήγορα σε ταχύτητες κομμάτια του που έχουν γράψει οι Warlord. O Zonder απογειώνει το κομμάτι με το παίξιμο του, όπως άλλωστε συμβαίνει και σε όλα τα κομμάτια Η Ιαπωνική έκδοση του δίσκου κλίνει με το Mrs. Victoria το οποίο δεν είναι τίποτα άλλο από μια ακόμα επιβλητική, Warlord σύνθεση και ίσως η ποιο σκοτεινή που έχουν γράψει.

Αυτό που πρέπει να γίνει αντιληπτό από τον καθένα είναι ότι ο βασικός παράγοντας που έπαιξε καθοριστικό ρόλο για τη δημιουργία του αριστουργήματος στο οποίο αναφέρομαι, ήταν η χημεία μεταξύ των μελών του σχήματος στην συγκεκριμένη χρονική περίοδο. Ο William Tsamis βρήκε σταθερή βάση στο ιδιοφυές παίξιμο του Mark Zonder ο οποίος απαλλαγμένος από οποιαδήποτε ναρκισσιστική τάση αυτοπροβολής και γεμάτος ουσία έκανε χρίση του θείου χαρίσματος του στο παίξιμο των τύμπανων. Το παίξιμο του όχι μόνο εξασφάλιζε ένα βασικό και ακλόνητο στήριγμα για τις μελωδίες του Tsamis αλλά έδινε και έμφαση σε κάθε σημείο των τραγουδιών ξεχωριστά, σπρώχνοντας μάλιστα τις συνθέσεις σε σαφώς υψηλότερα επίπεδα. Όχι άδικα αυτός ο άνθρωπος έχει χαρακτηριστεί από πολλούς ως ο καλύτερος drummer στο Heavy Μetal. Με τέτοια βάση λοιπόν ο William Tsamis μπόρεσε να ξεδιπλώσει τις κιθαριστικές του ικανότητες και να φτάσει την μουσική του όσο μακριά εκείνος ήθελε. Μην μπορώντας να κρύψει την αγάπη του για τις αναγεννησιακές μελωδίες, έδωσε στα κομμάτια των Warlord μια ξεχωριστή χροιά. Συνδύασε το συναίσθημα με την τεχνική, την ευγένεια και την ποιότητα των αναγεννησιακών μουσικών του επιρροών με τον δυναμισμό που έχει το Metal σαν μουσικό ιδίωμα, συνδύασε με λίγα λόγια το ατσάλι με το μετάξι. Αν όμως δεν ήταν και η φωνή του Damien King δεν ξέρω αν το αποτέλεσμα θα ήταν το ίδιο, ο άνθρωπος τραγουδούσε με την ψυχή και όχι με το λαρύγγι. Η ερμηνεία του είναι τόσο μα τόσο μεγαλειώδεις χωρίς όμως ούτε μια στιγμή να πέσει στην παγίδα της υπερβολής.

Η ιστορία των Warlord δεν τελειώνει εδώ. Ελπίζω σε ένα μελλοντικό αφιέρωμα να μου δοθεί η ευκαιρία να αναφερθώ αναλυτικά. Εμείς παραμένουμε στη συγκεκριμένη κυκλοφορία τους που είναι απλά ένα κόσμημα για τη μουσική. Τι σημασία έχει αν λέγεται Metal ή κάπως αλλιώς; Ο δίσκος περιέχει μουσική με Μ κεφαλαίο και αν υπάρξει κάποιος που δεν μπορεί να το διαπιστώσει αυτό, τότε η σχέση του με την μουσική είναι απλά επιδερμική.

Χρήστος "CountRaven" Παπαδάκης

Σημ: Η αυθεντική έκδοση του βινιλίου από την Metal Blade βρίσκεται κάπως δύσκολα και με υψηλό αντίτιμο. Τα κομμάτια όμως του δίσκου υπάρχουν όλα και μάλιστα με τη σειρά παρουσίας τους στο αυθεντικό βινίλιο στο CD Best Of Warlord, το οποίο κυκλοφορεί κανονικά -σε δύο εκδόσεις με την δεύτερη να είναι ποιο εύκολο να βρεθεί-. Επίσης ο συγκεκριμένος δίσκος επανακυκλοφόρησε σε Picture LP, καθώς και σε digipack CD μια πολύ σοφή κίνηση για να μπορέσουν και οι νεότεροι οπαδοί να τον αποκτήσουν.

Διαθέσιμες εκδόσεις του δίσκου:

Βινύλιο, Αμερικάνικη έκδοση - 1983 - Metal Blade USA - MBR 1005

Κασέτα, Αμερικάνικη έκδοση - 1983 - Metal Blade USA

Βινύλιο, Ιαπωνική έκδοση - 1983 - FEMS JAPAΝ - SP25-5098

Picture βινύλιο, Ελληνική έκδοση - 2003 Supreme Music Creations GREECE - SMCLP002

Digipack CD, Ελληνική έκδοση - 2003 - Sound & Vision GREECE - S&V 008

Το Deliver Us υπάρχει επίσης σαν bonus CD στο DVD του 2003 Book I που κυκλοφόρησε από την Metal Blade και περιέχει όλο το Video του σχήματος â€¦And The Canons Of Destruction Have Began.

Manilla Road - The Deluge (Shadow Kingdom Records) Re-issue

2011-08-18T18:53:00.000-07:00

First of all I would like to start this review pointing how important is the fact that Shadow Kingdom Records from USA re releases a series of Metal albums that may have been out of print in their original forms but still remain classic and important pieces of Metal history. From the HellHound Records back catalog, to the Cassle or Old Yron re issues and now this re pressing of the absolute Manilla Road classic, the label gives the chance to a new wave of Metal fans to discover bands and albums that could mark their Metal journey forever. The newcomers got the chance to grab those classics on official re issues, packed with tones of info and photos with the music brought to the listener under the best sound quality. So when we have such advantages in a re issue there is no use for crappy bootlegs or mp3 downloads. A re presentation of Metal history the way it deserves to be... Well how else can someone refer to "The Deluge" album by the Epic Metallers from Wichita, Kansas, USA if not as a -very important- piece of Metal history?

Mark "The Shark" Shelton, the mailman of Manilla Road points in the inner notes of the re issue -that have been written by himself- that "The Deluge" is one of the most important albums that Manilla Road did in the 80s. He got a point. "Crystal Logic" may be the album that would eternally mark the Manilla Road 80s era as it is simply the favorite of the fans, but if we focus closer to the album -both on music and lyrics-, we will find out that there are a lot of treasures hidden in this masterpiece, treasures that are waiting to be discovered in each and every listening. So "The Deluge" has to be pointed for sure as one of the best Manilla Road albums, one of the best albums in the vein of Epic Metal and probably the first album that presents a more technical and complex approaching of the music by the band members.

I would try to recall my own first feelings when I first heard the album, it would be a somehow difficult task as I got to go fifteen years back, but I will make a try. I remembered that the album totally overtook me by storm even from the very first listening, the bombastic Epic Metal sound of Manilla Road was there even more powerful. But after I started to listen to the album again and again I discovered that the music trapped inside there was much more than a bunch of skull crushing Epic Metal songs. Starting to compare the stuff with the previous four Manilla Road albums I found myself discovering that the songs included in "the Deluge" was the most challenging ones that the band has written so far, with every new listening a new musical surprise was waiting for me.

It is a fact that the line up of this record can be mentioned as the golden line up of Manilla Road. A strange Muse delivers absolute inspiration to The Shark that composes the ultimate Manilla Road classics, songs like "Divine Victim", "Isle Of The Dead", "Hammer Of The Witches", "Isle Of The Dead" and "The Deluge", his guitar and voice was -and will be forever- the ultimate Manilla Road trademarks, but the main secret weapon in this album is the chemistry around the band, a band that sound so fucking sold and heavy like a fist Scott (Scooter) Park and his bass lines and of course the mighty drumming of Randy (Thrasher) Foxe are the absolute pieces of the final magic.

Literature, history and fantasy are the sources of the Epic Saga inside each and every lyric of Mr Mark Shelton. Open the booklet and read them carefully while you are travelling through the music...

Ok now I got to find suitable words to describe the music of one of the greatest Epic Metal records of all time. difficult task... This obscure, epic, dark, pounding and in battle-mode music has not be composed to be described with common words, it has been composed to be listened LOUD. So if you are not aware of this album it MUST be the next one for you to hear, if you are already aware of the magic, you understand what I mean, right?

The raw, "back to basics" productions does enough justice to the songs and when you hear each and every one of the tunes included in this album you got the feeling that the band is right in front of you performing live. It is very difficult to discover many Metal records that are spreading SO MUCH energy on every listening and this is what I want to express when I mention that to hear this album is like to witness a band's live performance, they have managed to trap all their power and their passion to the recorded music.

Ok time to sum things up. "The Deluge" by Manilla Road: An absolute classic. Nothing more should be written for this album. For 25 years now it shines like a real diamond. If you do not have it, you are missing a very important part of Metal History.

http://shadowkingdomrecords.com/

http://www.myspace.com/manillaroadofficial

R.U.S.T. - Legends (Pure Underground)

2011-08-18T07:58:00.000-07:00

Not to be confused with the Cyprus Metal Warriors, R.U.S.T. (short for: Rock Under The Sign Of Thunder) is a Romanian Heavy Metal-band, which was founded in 2004 in the capitol Bucharest. They have already released a demo (“The Beginning...”, 2007) and an EP (“Warriors Of Heaven”, 2009). On the last release there were featured already some of the album-tracks like “Sign Of The King” and “Fire Storm”. The band deliver excellent traditional Heavy Metal in mid and faster tempos based on solid riffing and excellent riffing. This is Teutonic Steel sure not for the weak ones. Listening to their stuff the early Manowar came into my mind and this is something more than a positive comment... do you agree? You can also add the epic acoustic parts, the obscure interludes, the great vocal performance -full of passion- and the powerful rhythm section as great elements of this records Some emphatic parts with violin are making the final results even more interesting.Well I will put it the simply way: every headbanger, who is interested in East-European Metal-bands and such exotic origins like that, should really check them out!

http://www.-puresteel-records.com

Axel Rudi Pell - The Ballads IV (SPV / SteamHammer)

2011-08-17T07:36:00.000-07:00

Axel is back with the new volume on the "The Ballads" series.It’s been seven years since the last Axel Rudi Pell compilation “The Ballads III” saw the light of day. Lots of things happened, most importantly the tragic death of the iconic Ronnie James Dio (Rainbow/Black Sabbath) in the May of 2010. Axel not only lost one of his inspirations, he also lost a friend, touring with Dio in the summer of 2009 for the last time in Germany. That lead to a tribute which stands out among the many already been done all over the world: Dio’s classic tune, the title track of his first solo release, “Holy Diver”, finds a new magic in Pell’s performance, an orchestral and very emotional version where Gioeli sings his ass off. Well you got to listen to this tune to understand, to realize, to feel its magic.

But we have more great stuff trapped in this compilation. The newest song that Axel composed “Where The Wild Waters Flow”, is simply one of his finest ballads. A mid tempo, shinning anthems that you will enjoy for sure. It has been wisely selected as the opening track of the album.

A heart-breaking version of Leonard Cohen’s classic “Hallelujah” is also one of the top moments of the album. Gioeli is joined by a children’s choir here! Well yes once more you still got to hear this great tune to feel the magic but I would put simple: it is great.

There are 9 more songs, of course, pretty much known from his previous albums (e.g. Kiss’

“Love Gun” and Phil Collins’ “In The Air Tonight”), all this stuff is combined together making another a perfect compilation CD full of magical music.

www.axel-rudi-pell.de

Psychotic Waltz - Mekong Delta - Pagan's Mind in GREECE (Athens - Thessaloniki)

2011-08-07T14:57:00.000-07:00

PSYCHOTIC WALTZ (U.S.A., Featuring DEVON GRAVES / BUDDY LACKEY, DAN ROCK, BRIAN McALPIN, WARD EVANS, NORMAN LEGGIO)

MEKONG DELTA (Germany, Featuring ALEX LANDENBURG (ex-ANNIHILATOR, ex-STRATOVARIUS, AT VANCE, AXXIS, SYMFONIA)

PAGAN"S MIND (Norway, NILS K. RUE (EIDOLON, X-WORLD 5), STIAN LINDAAS KRISTOFFERSEN (ex JORN LANDE, FIREWIND, DIMENSION F3H, KINRICK))

Saturday 28 April 2012 - Athens - Fuzz Live Music Club

Starts: 19:30

Ticket: 33 Ευρώ

-----------------------------------------

Sunday 29 April 2012

BLOCK33 (www.block33.gr), Thessaloniki

Starts: 20.00

Ticket: 25 euro

Crimson Glory @ Up The Hammers Special Edition Part 1 - 23/10/11

2011-08-07T13:48:00.000-07:00

Crimson Glory @ Up The Hammers Special Edition Part 1 - 23/10/11

SPECIAL EDITION TO CELEBRATE UP THE HAMMERS DVD RELEASE!
YOU WILL BE ABLE TO GET FIRST THE UP THE HAMMERS DVD ON SPECIAL PRICE!
STOCK DAY FOR UP THE HAMMERS MERCHANDISE FROM PAST YEARS!
LOTS OF SURPRISES!

TICKET PRICE 30 EURO.PRESALE STARTS AUGUST 9. LIMITED TO 500 TICKETS!

CRIMSON GLORY (USA)
DEXTER WARD (GR/IT)
MIDNIGHT PRIEST (POR)
+MORE BANDS TBA

Skullfist are back...

2011-07-29T06:49:00.000-07:00

"Head Öf The Pack" the new album by the Canadian Metal masters Skullfist will be out on 28/8 by NoiseArt Records. Well here is the tracklisting:

"Head Öf The Pack"
"Ride The Beast"
"Commanding The Night"
"Get Fisted"
"Cold Night"
"Tear Down The Wall"
"Commit To Rock"
"Ride On"
"Like A Fox"
"Attack Attack"
"No False Metal"

Go here and check some tunes from the new album.

Hermoupolis Indie Rock Festival 5

2011-07-29T06:44:00.000-07:00

http://syrosrocks.blogspot.com

Fortress Under Siege - Night Caress (Live - Unplugged)

2011-07-29T06:34:00.000-07:00

Fortress Under Siege release party for their latest album "The Mortal Flesh Of Love" that took place at Rainbow Club, Athens and was sponsored -among others- by: Forgotten Scroll, was a huge success. On the following video you can see FUS performing live and unplugged their "Night Caress" song, so you can take a small taste if you have finally missed that brilliant prog night.

Opeth new song & album

2011-07-29T06:23:00.000-07:00

I am really excited with the Opeth's new song and I can not stop listening to it, in a total 70s mood and a fantastic, trippy progressive touch!

We have already started to countdown until the 16th of September when the new album "Heritage" will be out. Meanwhile you can click here to order the Collectors Deluxe Edition of the album including a double LP and a lithography of the front cover.

Bon Jovi - Its My Life (Live In Athens 20-7-2011)

2011-07-20T19:02:00.000-07:00

Video by: mirei1983

Symphony X - Fall 2011 - Tourdates (Greece Included)

2011-07-20T18:51:00.000-07:00

SEPTEMBER 2011

Wed 28 - HAMBURG - KNUST

Thu 29 - BOCHUM - ZECHE

Fri 30 - ZOETERMEER, NL - BOERDERIJ

OCTOBER 2011

Sat 01 - BAARLO, NL - SJ SJIWA [ProgPower Festival]

Sun 02 - BERLIN - C-CLUB

Tue 04 - ASCHAFFENBURG - COLOS-SAAL

Wed 05 - MUNICH - BACKSTAGE HALLE

Fri 07 - MILAN - LIVE CLUB

Sat 08 - RIMINI - VELVET

Sun 09 - ROME - ALPHEUS

Wed 12 - BARCELONA - SALAMANDRA

Fri 14 - LISBON - INCRIVEL ALMADENSE

Sat 15 - PORTO - HARD CLUB

Sun 16 - SANTIAGO DE COMPOSTELA - CAPITOL

Tue 18 - BORDEAUX - THEATRE BARBEY

Wed 19 - LYON - KINKASI KAO

Thu 20 - PRATTELN - Z7

Sun 23 - VOSSELAAR - BIEBOB

Tue 25 - MANCHESTER - ACADEMY 3

Wed 26 - LONDON - ISLINGTON 02 ACADEMY

Fri 28 - ATHENS - GAGARIN 205

Astronomikon Online

2011-07-08T07:15:00.000-07:00

The Metal Gods from Cyprus have created their own web page! There you can listen the forthcoming album version of their song "Rocka Rolla Sword" recorded on Maranis Studios in Germany. Check:

http://www.astronomikon.com/

Check their FaceBook page as well:

http://www.facebook.com/media/set/?set=a.239708232719672.68028.239708046053024

R.U.S.T. releases debut album

2011-07-08T00:41:00.000-07:00

R.U.S.T. RELEASES DEBUT ALBUM
80s style rockers are “Forged in the Fire of Metal”

Cyprus-based heavy metal rockers R.U.S.T. announce their self-released debut album, “Forged in the Fire of Metal”, out on August 5th.

In true old school underground manner the album is a complete DIY production with the band undertaking all recording and mixing tasks in their own home-made recording studio. Although not one of its releases, Pitch Black Records is proudly supporting it as part of its continuing efforts to support and promote the local scene of Cyprus.

Admittedly the sound might be rough and not polished to perfection but considering the band’s DIY approach this is a must. Clearly evident throughout their music however are two fundamental elements of rock music; spirit and passion! The same two elements that the band has become known to portray during their live shows along with their infinite energy. R.U.S.T.’s music is full of melodies and an immense amount of energy and passion with the end result screaming out loud “ROCK N’ F’IN ROLL!”

With bands such as SAVATAGE, WARLORD, ACCEPT, SAXON, among others, listed as their influence, R.U.S.T. were formed in 2003 and in 2007 released a 4-track EP. An extremely active member of the local scene in Cyprus they have performed live numerous times and they are also the main organisers of the annual 2 day metal festival Power of the Night which this year will take place on July 16th and 17th in Nicosia. A limited number of copies of R.U.S.T.’s album will be available at the festival for purchase.

Consisting of nine tracks and a 16-page booklet containing hand-drawn artwork, “Forged in the Fire of Metal” will be available worldwide through Pitch Black Records and its distribution partners as well as directly from the band. It will also be available as a digital download through major mp3 stores.

Tracklisting:
1. The Thunder Rolls
2. Metal Child
3. We are Rock ‘n’ Roll
4. Phoenix in the Night
5. In the Streets of Rock ‘n’ Roll
6. Lady of the Lake
7. Straight to the Top
8. Queen of the Amazons
9. The Beginning
10. Forged in the Fire of Metal

Tracks from the album are already available on the band’s myspace at http://www.myspace.com/rustcyprus.

Review: Manilla Road - Playground Of he Damned (High Roller Records)

2011-07-05T00:51:00.000-07:00

The new Manilla Road albums includes eight tracks and this is a fact that made me attend the first little positive view about the album before even its first listen hahaa. Yes an album that includes eight tracks like the good old days... you know it is a fact that many bands nowadays are putting many songs on their releases and many of those tunes are nothing more and nothing else than fillers. Anyway I am sure you are getting the point: viewing the trademark Manilla Road on the front covering, and taking a look at the 8 and not 12 or 13- tracks included, I was automatically put in my time machine and here we go.

It is a fact that the music of Manilla Road take us back to the glory days of Metal, even back then Manilla Road were carrying their very own special sound. You know what I mean this kind of Epic, Dark and Obscure Steel that made us worship the band through the years and the big question is: Have they managed to keep the spirit of this very special sound on their latest album?

The opening melody of the first "Jackhammer" track that will soon be followed by a classic Manilla Road riff, would give us the first answer, classic Manilla riffing and lead themes, the voice of The Shark to give that very special touch in the song and yes everything is in the correct order, "Jackhammer" has been wisely selected as an opening track for the album, it can be for sure included in the list of the best songs of this album and yes it has became a personal favorite as well.

The mysterious melody of "Into The Malestorm" will soon guide us to a new storm of Manilla riffs and lead themes and yes those lead parts are one of the strongest features of this nice mid tempo tune, the vocals of Patrick sound dark and obsucre and yes the guitar melodies on the final part of the song are really really great.

The song that gave its titled of the album "Playground Of he Damned" will soon follow, a mysterious and narrative Epic song with some interesting riffing, you can also focus to the lead parts once more, they rule carrying an exotic mysterious touch.

"Grindhouse" follows and it is for sure one of the darkest and gloomy tracks included in the record, actually "Grindhouse" is name of a movie released by Quentin Tarantino in 2007. Mark explains: "It relates to the genre and the movies that Tarantino and Rodriguez have been doing such as 'Death Proof', 'Planet Terror' and 'Machete'. I grew up going to Grindhouse theaters and I think it's really cool that the genre is still alive. Just writing about stuff that trips my trigger so to speak.".

What follows is the song "Abbatoir De La Morte" which in its first part is based on absalutely great riffing in the skull-crushing way that Manilla Road have invented. Mr Cory (Hardcore) Christner does some great drumming in here and the bass lines of Mr E.C. Hellwell are the real big deal in here. Well in the second more dark, epic and melodic part of the song I caught myself trasveling back to the early Manilla Road days -debut album?-, soon a new riff would fill the air and the song will get into tis battle mode again, the song's final part would be still marked by the obsucre vocal melodies of Shark and one of the greatest guitar solos included on the record.

The melodic interludes were always one of my favorite features in Manilla Road's music and "Fire Of Ashurbanipal" has one of them, soon it will be followed by another classic Manilla Road riff and Mr Shelton have kept some of his greatest melodies for this slow, dark, narrative and epic anthem, a track blessed by the classic Manilla Road spirit for sure.

The next track is called "Brethren Of The Hammer", you will be able to hear both the war riffing of RoaD plus their melodies of mystery -especially in the chorus-. There battle touch of Manilla Road marks the the song this is a fact, Bryan (Hellroadie) Patrick does a good job in vocals same goes to the bas-line of Vince Golman that play bass in here.

Final song "Art Of War" begins with another melodic interlude the Manilla Road way but this introduction melody is the main basis of the song, it will soon be enforced not only by Shark's vocals but by some really great lead guitar themes. The song will go in mid tempo and thorugh its basic melody there will be some real magnificent -both rythm and lead- guitar parts to be generated until the very final part of the song. This one could be marked as the "Dreams Of Eschaton" of 2011 although it does not have a breaking in upper tempo. No mater the fact that the song remain in the same tempo from the beginning to the end it is driven to an explosive crescendo and final breaking and this makes this song to be the ideal epilogue of the album. For me this is the best tune of the whole album. It includes some of the best lead guitar themes, the basslines of Vince Golman rule and same goes to the drumming of Cory, Shark does his classic narrative, obscene and Epic singing and everything in this song in totally in the Manilla Road mood.

So to go back in the question that I have set in the beginning: "Have Manilla Road managed to keep the spirit of this very special sound on their latest album?". The answer is yes. Manilla Road still got the force, the talent and the big inspiration deliver the Steel in their own special way. The album includes at least three absolutely great songs that have all the background to become Manilla classics: "Jackhammer", "Fire Of Ashurbanipal", "Art Of War", there are also some great tunes that keeps the record in high levels -"Abbatoir De La Morte", "Brethren Of The Hammer", "Into The Malestorm".

A very positive fact is that there is "more singing and less growling" included in the record. Hellroadie does well in his melodic parts but his growls do not fit in the Manilla Road music. It is a fact that Shark's voice is THE trademark in Manilla Road and I can accept the fact that an additional singer could provide the band with some more power but he got to follow the Manilla spirit, so I was happy enough noticing Hellroadie singing and not growling in here.

I would also -for one more time- would like to point on the really great lead guitar themes and solos that are one of the real strong albums in this album. Mark "the Shark" Shelton has done a magnificent job for one more time.

The production does justice to the songs representing the stuff on a sound that travels us back in time. It is a fact that the band have chosen this obscure type of production for their albums: you know what I mean... this special old school sounding that carries a "live" touch that reminds productions made back in the 70s or 80s.

Well to sum things up it seems that The road have manage to release a very good album. Focus on it, listen it carefully, you will discover its treasures for sure.

http://www.myspace.com/manillaroadofficial

http://www.hrrecords.de/

Fortress Under Siege Releasy Party - 15-07-2011 @ Rainbow

2011-06-29T20:25:00.000-07:00

Review: Funeral - To Mourn Is A Virtue

2011-06-24T19:28:00.000-07:00

I guess that Funeral from Norway do not need any special introduction to all those that have even a basic relationship with the Doom Metal stuff. They have been around the scene since 1991 and especially the releases of their first period -I am referring to their "Tristesse" 1993 demo and "Tristesse" Mini CD (1994), their 1994 "Beyond All Sunsets" demo and their 1995 "Tragedies" Mini CD- are now marked as absolute classics. Well we can sure mention Funeral as one of the very first bands that have played Doom / Death Metal and Funeral Doom Metal. The unique atmosphere of their songs, their very slow almost tombstone riffing, the acoustic interludes and bridges, the growling and the female vocals are musical elements that have marked somehow the specific genres.

"To Mourn Is A Virtue" is actually the missing link between the classic albums ´Tragedies"(1995) and "In Fields Of Pestilent Grief" (2002). This album is based on unreleased demo-recordings ,and contains nine previously unreleased tracks recorded between 1996 and 2004, remastered in 2010, almost 15 years after the moment they were initially recorded in the studio.

For the story we must point that the band have used the title "To Mourn Is A Virtue" for their 1997 Demo, they actually went to England and recorded ten tracks at Academy Studios without vocals (because of lack of a vocalist), soon the band recruited Sarah Eick as their female vocalist and finished five of the ten tracks, resulting in "To Mourn Is a Virtue" . Well on the Solitude Production album release of 2011 we can find two remastered tracks from this era ("Wrapped All In Woe" in the original version but now remastered and "Your Pain Is Mine" in a new version). Focusing more into the album we will be able to discover some more Funeral material that first shows the light of the day through this 2011 release.

There are for sure some great and outstanding songs included in this release for example the opening track "Hunger", the follower "God?" and of course the magnificent "Poison" song which is one of the best pieces of music included in this album together with the epic and melancholic "Father".

Musically the stuff included in this release fits greatly in the musical path that Funeral have followed mainly from their 2002 album and later -no matter the fact that here we got some earlier stuff re presented- . If you are familiar with the clean male vocals, the atmospheric keyboard fillings, the melodic interludes and the Doomy riffing that are now big trademarks of Funeral then you would love this 2011 release and you would realize that the band was working on the musical style that have marked their entire -2002 and above- second period, even from the mid 90s.

You would feel like home if you have introduced to the Funeral's music by the "From These Wounds" album of 2006 which is the best album in the band's second period. You would be able to meet all the dark and melancholic majesty of this great band presented in the nine songs of "to Mourn Is A Virtue" release.

Although that I was somehow prepared to hear more stuff in the vein of the band's first period -more old school Funeral Doom or Doom Death Metal sound with some good female vocals as this is my personal favorite era of funeral, I can point that I was very satisfied with this stuff as well. A good idea would be the entire re release of all the 1994 ("Beyond All Sunsets"), the 1997 ("To Mourn Is A Virtue") and 1999 ("The Passion Play") tapes featuring the original track listing and a possible remaster, perhaps the band and Solitude Productions can think about this.

http://www.funeralband.no/

http://solitude-prod.com/

Review: Alkana - Welcome To My Paradie (Baby Bird Records - 1978)

2011-06-19T13:01:00.000-07:00

"Welcome To My Paradise" is the debut -and the only- release by the Progressive Hard Rock band Alkana from San Bernardino, CA. Seven guitar driven tracks are included in the album and they are pretty enough for someone to realize the band's inspiration and high musical status. Guided by the musical spirit of Mr Danney Alkana that offers the real big trademark on the album both with his compositions and his unique guitar playing style, Alkana created a magnificent album. There are times when the band is focused into a real catchy Hard Rock style -like on the opening "California Rock 'n' Roll Queen" track or on the the third "On Our Own" tune. They can even get heavier focusing on solid riffing and excellent lead guitar themes like the ones on "Montezuma's Sweet Revenge" second track of the album and they are comfortable enough to let the first side of their debut to close with a real Hard Rock anthem entitled "Freedom Lady".

The opening shining riff of the "California Rock 'n' Roll Queen" would soon give its slot to a main melodic theme before the catchy chorus, before you even realize that you want to listen the main melodic theme again it is right again straight on your speakers, it is not just the guitar melody, that would attract you, it is the crystal clear voice and the sweet vocal melodies of Mr Jack Rucker whose voice is the second big trademark of the whole release. Focusing more into the song you would for sure pay some attention into its great lead guitar parts, you will be able to listen many of those in the while album. Follower "Montezuma's Sweet Revenge" is one of the Heavier tracks of the record presenting some real solid and heavy riffing, an out of this world vocal performance by Jack and some more marvelous lead guitar parts. The fast and catchy "On Our Own" that follows is fast song enforced with glorious guitars, turn the volume louder to enjoy it and get ready for the first real musical shock of this album which is no other than the closing track of the album's first side entitled "Freedom Lady". It may sound funny to you but when I first heard this tuned I thought "god damned they do not make them like this today". Well here we got a magical song carrying all the magical Hard Rock shinning of the 70s. From where I can start? From the double guitar attack of the first-intro part of the song? From its main fucking heavy riff? From the angelic vocal melody on this very same part?... I do not know what to write... The chorus of the song is another musical explosion before the brilliant guitar solo. The song would end on a great crescendo and this is the end of the first side of the record.

On the second side of the album the band would present three more compositions. In many parts of them Alkana are approaching a more Progressive still guitar driven Hard Rock style, the first example is the "Paradise" song that opens the second side. On follower "The Tower" the band will reach to the top of performance and inspiration, while they keep a loud Hard Rocking tune called "Head Games".

"Paradise" is the second side's opener. Listen to its complex and mysterious guitar themes, to the excellent rhythm section -great bass and drumming- and to the song's full of agony great chorus and you would understand my point. Kudos to the lead parts in here as well.

What follows is the album's best song and one of the best Rock songs I personally have listened. I am referring to "The Tower", an Epic, lyrical, romantic, Hard and Heavy anthem enforced by baroque and neoclassical touches on guitar, real powerful Hard Rock riffs, outstanding and melodic lead guitar parts by Danney Alkana and a Jack Rucker that gives one of his best vocal performances. My words are really poor to describe... You got to listen to the melodic interlude and the musically narrative first part of the song and the beautiful piano melodies that fills it, you got to listen to the trippy small guitar bridge that drives to the first strong breaking which is the main explosive riff of the second part, you got to listen the magnificent leads and of course the voice. This is a REAL ANTHEM.

Final "Head Games" song got some really guitar themes. A powerful song that closes the record in an explosive way. The band have saved some excellent riffing and some cool lead guitar parts -that reminded me somehow a little of the Deep Purple style :)- for the bombastic final song of the album.

The production is fantastic and does total justice t the song. We can hear such producitons on the big arena Hard Rock bands on that time and believe me that Alkana had all the talent and strength to be such a band, they were in the correct way but sometimes things are ot coming the way they are planned. After Alkana split mainman, guitarist and composer Danney Alkana continues his musical journey with Excalibur and other projects and the singer Jack Rucker went on to sing on probably the best record recorded in the Metal history, the "Deliver Us" mini LP by Warlord from Los Angeles, CA.

Make yourself a favor and listen to the "Welcome To My Paradise" masterpiece, there will be a Rock Paradise straight open for you.

Review - Fortress Under Siege - The Mortal Flesh Of Love (Metal Mad Music)

2011-06-16T10:26:00.000-07:00

Greek Power / Progsters Fortress Under Siege have finally released their second long awaited album on Metal Mad Music. For those who are not aware by the band I got to point that they are now back in action after 15 years of silence. There same title Mini CD release back in 1996 is for sure a magnificent piece of Power / Progressive art and I can assure you that in their next release they are following those very same steps. Fotis Sotiropoulos - Guitars, Michael Smeros - Vocals, Georgios Georgiou - Keyboards, Vaggelis Hatziandreou - Bass, John Dimoulas – Drums is the current line up of the band, the album is entitled "The Mortal Flesh Of Love" and what follows is a track by track review of it.

“Deeds Of All Disgrace” has been wisely selected as the opening track of this full length. Its melodic and emotional interlude would remind to those that already aware of FUS that melody and emotion was always their bigger trademarks, so I guess that things are going on from where they have stopped. As the track goes on the listener would come across to inspired, complex still very memorable Power / Prog Steel at its best. In melancholic -nostalgic someone would say- mood the track overtakes the listener into a very special journey. Take a more careful listen and discover the hidden melodies almost everywhere, focus into the keyboards that provide a special touch in here, repeat the listening to let the beautiful guitar themes and melodies flow into your mind once more. Mr Smeros voice seem to be into great form and someone can realize it form the very first parts of the song. Excellent vocal melodies, passion and great performance. For sure this is one of the most outstanding tracks of the album.

Based mainly in Power Metal forms -the European way- and a solid main riff the next "Last Temptation" track would soon turned into a fine, mysterious Prog Metal tune. I really enjoyed the bridges based on the beautiful keyboard leads and the mysterious vocal melodies. It is wonderful how the piano melodies -that are also a strong feature of the song- are mixed with the solid riffing. The fast breakings will keep the listening interest in high levels and those exotic, eastern melodies and themes are on the end of the day the real strong part of the tune.

"Holly Communion" comes next is a real beautiful piece of FUS music, it mainly works as an interlude to the follower "My Foulest Sin" track. Here the band re presents its more Power Metal side offering a heavier and even faster track base din killer guitar riffs, hammering drums and the great vox of Mr Smernos. This is the heavier tune of the three included in the full length. Well it is more than a big surprise to realize that a band able to compose melodic Prog stuff can also bring to the front some high class Power Metal as well. Well this band is called Fortress Under Siege.

The next "Gods Of War" track is also in fast tempos, I guess that part of this song is one more expression of the band's love to good Power Metal riffs. -just listen the opening riff and the riff of the first vocal part and you would get my point-. Listening more carefully you soon realize the transformation of the song, rhythm changes, even more lead parts and so on... Well I got to point that the two big trademarks of the song are the great symphonic touches and the magnificent guitar themes. Keyboards are used in in a very wise way in all the three songs, emphasizing and filling with melody but in this very specific track they can for sure pointed a one of the best feature together with guitar leads that especially in the second half of the song they are offering a mysterious and almost exotic touch in the song -I guess that FUS love the strange, beautiful and exotic melodies-. Listen the lead part before the final chorus in the second part and you would understand my point – yes the point was about the complex still wise rhythm part that transforms the whole song.

"Night Caress" follows. Beautiful, romantic, piece of Progressive music marked by sweet guitar themes and -for one more time- those great vocal melodies. The piano would sweetly fill parts of the song once again. Just close your eyes and enjoy the song. What follows is the song that gives its name to the album as well: "The Mortal Flesh Of Love". All the features that made FUS such a wonderful band are expanded in this tune. Once again you would able to hear some magnificent keyboard melodies, the guitars both in the melodic interlude, the main -solid as usual- riffing and of course into the lead parts, are simply fantastic. Please add the storm taking Power Metal breaking and probably the most memorable chorus of the whole album and you would have the musical picture of this song. But it is more you can hear yes yes, much much more, this melodic bridge in the middle of the song (on the 5:03 part) and the full of agony breaking that follows would sure make go and listen this part again and again. A beautiful dark piano melody would soon fill the ear before the next part of the song, what you will listen just right after this piano part is another powerful musical bridge, that will be followed by a little melodic crescendo which is filled with epic melodies, well all these combined together in a wise musical way, soon he song would soon return to this great chorus before its final epilogue.

The intro lead guitar theme of "Alexander" is introducing the listener to another bombastic Power / Prog tune. The song is mainly marked by the lead themes both in guitar and keys and by the exotic melodies that are once again used in this song. The polyphonic vocal parts will make it sound even more epic and here I got to point that such parts are used in many songs of the album for emphatic reasons. "Blind Faith" comes next one of the most "catchy" songs of the album that have been chosen as the first video for the album. Thanks to its melodic main part, and to the chorus that would -once again- stick into your mind and to the good balance between Power Metal and Prog Metal elements this is an ideal track to introduce someone to the band's music. Did I tell you that I love the keyboard lead in this one? Mentioning keyboards I must also point that the epilogue of the album called "Faithless" is totally based in keyboards beeing a nice instrumental little piece of music closing the album in a ideal way.

The production is good and clear doing justice to each and every tune of the album. You can add as a good plus the artwork of the album and if you take as a sure fact that the music in here is magnificent you got a great package offered to you with heart and soul by a talented band that have return back in action. FUS have done their part well now it is turn for each and every fun of good Metal music to support this band by buying -and not downloading- the album, going to the band's show and showing all the possible support, the band and the album deserves it. Mentioning the live shows I am really curious to catch the band of stage to see by myself how the hell they manage to re present all the special atmosphere of this record on stage.

I have already put the album into a very high slot on my list of the best albums for the year 2011, it is seriously a magnificent example of Power / Prog Metal full of inspiration and passion. Listen to the record and find by yourselves if I am right or wrong to my point, but I am sure you will enjoy the album as well.

www.myspace.com/fortressundersiege

Album will be out on 1/7/2011 you can pre order it here.

Dream Theater Announce New Album/Release Date

2011-06-14T01:17:00.000-07:00

Source: RoadRunner

Progressive titans Dream Theater have announced the title/release date of their new album. Check out the press release!

(New York, NY): The recent announcement that Mike Mangini would be joining Dream Theater, replacing departed drummer Mike Portnoy caused such fanfare that Mangini was a trending topic on Twitter, second only to England's Royal Wedding. Now, the band is revealing more information about their upcoming album. The new album is titled A Dramatic Turn of Events. The much-anticipated platter, which marks Mangini's recorded debut, will be released via Roadrunner Records on September 13th and will be supported by a massive world tour.

"I'm incredibly psyched with the way this album came out and can't wait to share it with everybody," guitarist John Petrucci, who also serves as the producer for A Dramatic Turn of Events, said. "We are currently in the mix stage with the great Andy Wallace and it's all sounding amazing!"

"We have poured our hearts and minds into the creation of this album," keyboardist Jordan Rudess offered. "All the life changing events that surrounded us before, as well as during the whole process, fueled our desire to dig deep within ourselves and create the best music we possibly could."

Vocalist James LaBrie said, "In the grand scheme of Dream Theater's career, the last several months have been such an incredibly positive, fulfilling and rewarding experience. The new songs and sound has never been so spirited or rejuvenating. I cannot wait for every one of our fans to sink their audio senses into this batch of tunes."

The track listing for A Dramatic Turn of Events is as follows:

1. On the Backs of Angels

2. Build Me Up, Break Me Down

3. Lost Not Forgotten

4. This is the Life

5. The Shaman’s Trance

6. Outcry

7. Far From Heaven

8. Breaking All Illusions

9. Beneath The Surface

ANVIL CHORUS Begins Recording New Album

2011-06-14T00:59:00.000-07:00

Source: Blabbermouth.net

Influential '80s progressive NWOSFHM (New Wave of San Francisco Heavy Metal) band ANVIL CHORUS has entered F8 Studios in San Francisco, California with engineer Nate Harlow to begin laying down drum tracks for its new album. The as-yet-untitled CD, which is being produced by guitarist Thaen Rasmussen and vocalist/ bassist Aaron Zimpel, follows the Rockadrome Records release "The Killing Sun", featuring re-recorded versions of many of the classic early-Eighties demo songs widely traded in the metal underground.

The new ANVIL CHORUS album will include the following songs:

* Deadland * Fall for Anything * Solar Flux * Blood Memory * Burn Forever * Senses Alive * Colossus * 20 Second Century * Moonstroke

HellaMetal Jenn of BayAreaRocks.com conducted an interview with ANVIL CHORUS when the group played the 2010 edition of the Tidal Wave free outdoor metal festival at John McLaren Park's Jerry Garcia Amphitheater in San Francisco, California on July 25. You can now watch the chat below. Also available is performance footage from the event.

"The Killing Sun" came out in September 2009 via Rockadrome Records. The CD featured a 16-page color booklet with liner notes written by San Francisco metal legend Ron Quintana (KUSF radio, Metal Mania fanzine) and cover art by Mark Devito (MOTÖRHEAD), packed with lyrics, photos and memories.

ANVIL CHORUS is: Aaron Zimpel - Vocals, Bass, Synth Thaen Rasmussen - Guitar, Vocals Carlos Hernandez - Guitar Steve Kilgore - Drums

Destructor / Vindicator / Question Of Madness LIVE

2011-06-12T17:54:00.000-07:00

Review: Question Of Madness - The Dark Corners Of The Mind (Lux Inframundis)

2011-06-12T16:08:00.000-07:00

Question of Madness from Chicago, Illinois, USA, is the spiritual child idea of former The Chasm bassist Alfonso Polo (you may also remember him as rhythm guitarist and then bassist of the legendary Metallers from Spain, Angels Del Inferno), some more The Chasm members are featured in Question Of Madness: Antonio Leon is on drums and Julio Viterbo plays lead guitar. On vocals we shall meet the mighty Albert Rybka -from Kategory V-, so as you have already noticed there is a lot of Metal in the Questio Of Madness formula, so many members from so many great groups.

Reading the first paragraph that introduced the band to you you may have thought that Question Of Madness would play Metal music inspired by The Chasm, Kategory V or Angels Del Inferno. Well actually not. Question Of Madness is a toal different story, they are delivering Metal inspired by bands like Candlemass, Solitude Aeturnus and Well Of Souls (from Huston, TX, USA).

Well to put it straight and simple would point that their debut "Dark Corners of the Mind' album -that was released on Chasm mainman's Daniel Corchado’s Lux Inframundis Productions label- is one of the best Doom Metal albums of the year 2011 if not the best. In the album you will hear highly inspired and excellent performed Epic Doom Metal, emotional, mysterious and powerful the way it should be.

The first thing you need to adjust to with Question Of Madness is the vocals of Albert Rybka. It is not only his incredible vocal range. It is mainly the way he sings and the vocal melodies he has put into each and every song, He actually combines the US Power Metal basis of his voice adding the needed emotion for Doom Metal stuff and enforcing the whole vocal pack using his range and vocal melodies. I believe that the vocals are one of the strongest features of this band. I have talked with some friends that commented that his voice may fit better to a Power / Prog band but I think that it is simply THIS voice that takes Question Of Madness to the next level. I have to repeat again my point of view that Doom Metal was always a Metal genre marked by wonderful voices and this situation should appear again because in many Traditional or Epic Doom Metal releases of the last years, someone could notice voices that may eb good but not that special. Well Question Of Madness is probably the newest Doom Metal band that presents their music under a really special voice.

Leaving the vocals behind and focusing to the music I must scream a big and lout "AT LAST", yes at last here is a Doom Metal release based on rich song structures full of riffs, full of lead guitar themes and rhythm changes all these re presented to the listener in a complex way that keeps the interest high. I have somehow started to get tired with the hundreds of bands that in their try to sound pure or "traditional" they are building songs based in just one or two riffs, well there is special talent needed to play simply and minimalistic but not boring. after all. Fortunately in the case of Question Of Madness the music is complex, rich and technical. I do not know if it matters somehow that Antonio Leon, Julio Viterbo and of course Alfonso Polo come from a Death Metal band -yeap indeed Death Metal is a genre that is often presented in a technical way-, but the music of question Of Madness is something much, much more than a bunch of slow and heavy riffs combined together, so not your typical everyday Doom Metal stuff.

Another thing that I would like to point in this band is how the mix their influences in their songs. It is a fact that their is a lot of the Candlemass and Solitude Aeturnus spirit in their music, and when I point Candlemass as an influence I basically mean the band's golden ear until Chapter VI -the band members must have heard especially this album very much-. As far as the Solitude Aeturnus touch it seems that their first two albums have mainly offered influence and inspiration to Question Of Madness. Faates Warning and especially their John Arch period (three first albums)can be also discovered in question And Madness. All those influences by all those bands are mixed together very smoothly and not just photocopied or whatever. I like the fact that beside their solid and heavy riffing, the epic vocals and their heavy hammering everything section the band add some magnificent Progressive Metal touches letting their songs to be expanded, approaching the 7 or 8 minutes length, do not let the numbers fool you, during those minutes you would hear a band that has really something interesting to present and not just musicians re presenting their performance skills into boring song parts.

I will not mention any specific song at all as the whole album is in top rate. It is Epic and majestic Doom Metal presented in a very special way and if you really miss something like this, then this is the record for you. As I already pointed for me the album is one of the best Doom Metal releases of the year -if not the best- and in very high slot on my list for the best albums os 2011 in general. Hope that you would enjoy it as much as I did.

http://questionofmadness.com/

Question Of Madness @ Last.Fm

Review: Anvil - Juggernaut Of Justice (SPV)

2011-06-12T09:34:00.000-07:00

Canadian Metal masters have returned. I doubt that anyone of you seriously around into Metal would expect nothing more or nothing less by Anvil than a straight into the face, powerful album full with the best Classic Heavy Metal around. Yes dudes tis is exactly what they are offering into their latest release entitled "Juggernauts Of Justice".

The big deal with Anvil is that as the years go by the band seems to deliver even more powerful steel remaining stuck into their guns eeh guitars I mean, you will realize it by the very first listening of the new album.

It starts with the most powerful tracks of the whole record that have been wisely put as openers. "Juggernaut Of Justice" is a riff based Metal dynamite that will take you by storm as far as the second one "when All Hells Break Loose" can be simply marked as "the ultimate song to bang your fucking head for the year 2011", well this is absolutely my favorite one form the album and you would understand its power for real when you listen it really loud -if you have a beer on the hand it will be cool-, this song will really stick in your mind, no doubt about this.

There are many more real good tunes on the album: mid tempo "New Orleans Voodoo" a mid tempo, dark and Heavy as hell tune, "On Fire" that will make you simply ask the barman for another beer and will blown you away with its amazing guitars, "Turn It Up" which is another fast and bombing tune and "Conspiracy" which is another mid tempo Heavy Metal anthem by Anvil, kudos for the lyrics in this one. "Paranormal" is also a song that caught my attention for the reason that it is one of the darkest -and heaviest- songs the band has written, it has a Doom Metal touch... you know slow and heavy stuff, although it will finish in a fast and powerful metal explosion, check it out. Ah yes I almost forgot to say that the record has one of the greatest musical epilogues that I have heard the last years. The band is performing a swing tune filling it with guitar themes, full forced drumming and some excellent solos, "Swing Thing" is the name of the track and it rules.

If you expect some really good Heavy Metal riffs, some excellent lead themes and solos and a party atmosphere you are in the right place, the right time. The new Anvil album is here.

Another great album by Anvil. Another great chapter in their history, another reason for us to love and respect them. This album is another proof of their dedication to Heavy Metal. No matter the ears that have passed, no matter the difficulties that this band have passed they are still here kicking some serious asses and giving lessons to the newer ones. Respect.

http://www.anvilmetal.com/

Check the opening same titled track here:

Psychotic Waltz - 2012 - Return to Europe

2011-06-07T10:01:00.000-07:00

Psychotic Waltz Return to Europe in 2012 for 2 headliner shows

Keep It True Festival - Friday April 27 2012
Lauda-Koenigshofen Germany

FUZZ Live Music Club - ATHENS GREECE
Saturday April 28 2012
Headliner show

http://www.psychoticwaltz.com

Review: Symphony X - Iconoclast (Nuclear Blast)

2011-06-06T15:31:00.000-07:00

With their latest "Iconoclast" release one of the most important Progressive Metal bands of our times return back in the pantheon of Prog Metal to take one of the leading slots. Four years after the "Paradise Lost" album and through a new label -Nuclear Blast that has done this grand opening on their roster by signing bands like While Heaven Wept or Symphony X, bands that you would not expect in the label's catalog some years ago-, the progsters return with a powerful and technically excellent album.

The -eleven minutes lasting- same titled track has been wisely chosen as the opening track of the album, listeener would get into the song from the very first parts of its bombastic intro and for the minutes to follow each and every part of the song would compose a magnificent Progressive sound puzzle, melodic parts, aggressive touches, great guitar leads and keyboards. It is for sure one of the album's best compositions. iI is followed by "the End Of Innocence" a track that has given to all of us a taste of the new album all those months that we have been waiting for it and now listening to it together with the rest of the album stuff, it is confirmed that it is one of the best songs of the record as well.

For one more time the listener will realize very clearly that this band does not have musicians who are giving an excellent technical performance playing their instruments but they are delivering pure inspiration to their music giving birth to very good songs, songs that are balancing between melody and aggression and it is a fact that band manages to keep a perfect harmony between their aggressive and melodic parts and believe me this is not a simple task to be done. I simply have the feeling that the aggression is probably the big focus in this album and songs like "Dehumanized" and "Bastards Of The Machine" are good examples.

"Heretic" has some of the greatest lead parts that Mike Romeo has played in the whole album, it is a good Prog tune with some modern touches here and there. "Children Of The Faceless God" is another perfect mix of aggression and melody, starting with another "modern" basic riff it will soon turn to a mysterious track full of agony with the voice of Mr Allen to be a clear tribute to the one and only Ronnie James Dio. Mentioning the vocals its almost needless to say that Ruswell Allen has done an excellent job and that is voice is one of the big trademarks of Symphony X, together with Mike Romeo and his brilliant guitar work.

"Electric Messiah" is one of the most storm-taking songs of the album, check the keyboards in this one, they are great, although that I got to point that the new album is mostly guitar driven with less keyboard parts compared with the previous Symphony X releases. Follower "Prometheus (I am Alive)" is one of the most adventurous songs of the album, it starts in mid tempo, it will soon get faster it has an excellent rhythm section based on the bass line of Mike LePond -who is the secret force in this band and has put his magical touch to the final Symphony X sonic puzzle- and the drumming of Mr Jasson Rullo -indeed he have delivered some excellent drumming in the whole album more aggressive than ever-, the dark chorus -again in mid tempo- of the song will stick into your mind and it is just in this part that Allen gives another great performance getting the song into a higher level.

The beautiful and melancholic "When All Is Lost" -my favorite together with "Iconoclast" and "The End Of Innocence" tracks- closes the album in an excellent way reminding me how this band sound when they chose the most melodic side of their music and well this is my big point in here: the aggressive touches of the previous "Paradise Lost" release have now turned to be the half of the basis in Symphony X music. This would not be something negative for the fans of today's Progressive Metal that is very often re presented in such a way -modern riffing, aggressive guitar parts and vocals and stuff like this-, but for me that I have put Symphony X on the my top 5 of melodic, Prog bands this is a musical evolution (?) that I can not totally catch. To put it more simply it seems that now the band is expressing its music both in melodic and aggressive ways, I am in the melodic part and this is just a personal opinion. I liked the way they handled some aggressive touches in the previous album using them mostly in an emphatic way. In this one there are some times when I really miss the melodic part of the band.

To sum things up I would repeat myself pointing that the album includes very good songs, the listener's interest will stay in high levels during the whole album, an album that is extremely technical, guitar driven much more aggressive than the previous ones but with a good balance between aggression and melody. This is Symphony X of 2011: one of the most excellent bands of our times, there is no doubt about this.

http://www.symphonyx.com/

Review: Argus - Boldly Stride the Doomed (Cruz Del Sur)

2011-06-04T22:08:00.000-07:00

I still remember when I first heard the debut demo by this Pensylvania based Heavy / Doom Metal band. From the very first tune they carried a special vibe that really rolled me. I was sure that they wold get the attention they deserved -at least from the underground scene- and I was right. Their same titled 2009 debut on Shadow Kingdom have driven the band's music to the ears of more fans that still looking for some good Metal. Now they are making a step forward signing to Cruz Del Sur and releasing their second full length.

If you are already familiar with the band you will feel like home, as in the new album they combine the classic Heavy Metal with the Doom Metal in their own very special riff based way. Straight into the face compositions in faster -and mid to slower- tempos full of killer riffs that would stick you straight on the wall. If you would not listen this record loud, you would miss half of the point.

Yes I have been indeed stuck to the pounding riffing of "Durendal" and "Wolves Of Dusk", while "A Curse On The World" reminded me the first three albums of (The Lord Weird) Slough Feg, mainly in tis first part, and this let me realize that Slough Feg are a general big influence of this band, a small Black Sabbath touch is also given in the tune and this is a positive fact. I would go back to "42-7-29" to get some more atmosphere, doom and darkness. this piano haunts me.

I guess that Argus are in their most inspired period and this album is the big proof. Save some of your listening time both for the specific album and the band in general.

http://www.myspace.com/theargus

Review: Cassle - Cassle (Shadow Kingdom)

2011-06-04T20:19:00.000-07:00

Here we got something really special. Special because this band has an extremely high musical interest, special because this band gives total meaning to the word obscure, special because it is justice that has been finally done to the material of this band that faces the light of the day under this Shadow Kingdom Records release.

Formed in 1979 on California, US the band under the Miraaj moniker made their first demo recording which was not other than their most famous track called Midnight Fantasy. It was on 1983 when the band -under the Cassle moniker- recorded four songs -including Midnight Fantasy- Azra records made a limited release of Midnight Fantasy as a picture disc single, an EP including the recorded four songs was to follow but this never happened. 14 years later on 1997 this EP show the light of the day under a bootleg pressing of 100 copies, this release which is now authorized by the band, brought the name of Cassle to attention of all those who was haunting obscure Metal both musically -discovering bands that has something really special and difficult to be described in their sound- and collectively -by picking up rare records like this EP-.

Thanks to Shadow Kingdom Records an official same title CD release re presents not only the songs of the Azra single and bootleg EP but the whole back catalog of Cassle recordings never before released to the massed including rare studio and live tracks and even the first Miraaj demo (yes the first version of Midnight Fantasy).

An obscure mix of Deep Purple, Rush, early Merciful Fate and early Judas Priest is the musical basis of the bands, a deeper dive into their music would probably bring some more Prog Rock stuff into the foreground but again under an obscure and totally unique way. Also those who also have a serious addiction with the first two Manilla Road albums and with the occult late 60s, early 70s, Psych / Prog Rock acts -Coven, Black Widow- should give Cassle an absolute try.

Booklet comes with full band story, photos and good artwork although I would prefer the black and white cover of the 1997 EP to be represented in here, but ok this is just a personal opinion.

http://www.casslemusic.com/

http://shadowkingdomrecords.com/

Lethal Saint (CYP) Special

2011-06-04T19:22:00.000-07:00

Lethal Saint from Nicosia, Cyprus have just released their new single. We are making a special release by release tribute to those young Metal warriors that have really blown us away with their -played with heart and soul- Steel. This way we are giving the chance to their new fans and friends to discover Lethal Saint!

Lethal Saint - Demo 2007
Lethal Saint - Full Length 2010
Saint Strikes Back - Single 2011

Review: Lethal Saint - Lethal Saint - Demo 2007

2011-06-04T19:06:00.000-07:00

This review was originally posted on Forgotten Scroll.

I went to a local gig in Nicosia (Cyprus) about a month ago, and heard Q5’s “Steel the light” kicking off as I walked in the venue. Imagine my surprise when I saw that the band performing was a bunch of 16 year olds! That band was Lethal Saint, and the time has come for them to release their first demo!

These guys are really amazing! The demo is pure New Wave of British Heavy Metal, sounding as if it was recorded somewhere in ’82 Birmingham! The musicianship is very solid, especially on the frequent guitar leads. I was also surprised to hear the guys produced the demo themselves, because the sound is really good (for demo standards). All four songs are very nice traditional metal compositions, but especially the title track is a FUCKIN’ OPUS! Ultra catchy main riff and chorus, coupled with some killer guitar lead parts!

The future belongs to Lethal Saint! Work hard, iron out the rough parts and minor imperfections and go get ‘em boys! Lately I’m not sure if I’m living in Cyprus, or 80’s London! First Rust and now this! CYPRUS METAL REIGNS SUPREME!

Lethal_Saint@hotmail.com

Review by: Asgardlord

http://www.myspace.com/lethalsaintmetal

Review: Lethal Saint - Lethal Saint - Full Length 2010 (Pitch Black Records)

2011-06-04T18:41:00.000-07:00

Their 2007 demo was a real shock. I mean it. In their same titled 2010 debut the shock will be repeated. The band from Nicosia, Cyprus goes on their Metal journey delivering a solid and powerful fist of classic Heavy Metal mainly focused on the NWOBHM style. riffs full of Power, catchy guitar leads, a hammering rhythm section and a melodic, angry, powerful and attractive voice that would stick in your mind. It is difficult to select a specific track from the album but the opening "Chains Of the Devil", the thunderous "Thunder Strikes", the bombastic "Metal Knights" and my favorite "Midnight Warriors" are for sure songs not to be missed by this storm-taking debut. If you really miss the old good Tokyo Blade this album is for you. Hail To The Saint!

http://www.myspace.com/lethalsaintmetal

Review: Lethal Saint - Saint Strikes Back - Single 2011 (Private)

2011-06-04T17:50:00.000-07:00

The new single by the Metal Knights from Cyprus bring straight into our ears what we would expect by this band. Classic Heavy Metal at its best. It is this very specific type of music that is delivered by passionate musicians and that would always make us to turn the volume of our stereo higher to enjoy the Steel. Three tracks in the classic Metal vein is what the band offers in their same titled single, I would say that the love of the band for the US Metal can not be hidden. So together with their Iron Maiden and Judas Priest influences the band expands the passion for US Steel in the new stuff, early Hittman and Liege Lord can be also added as the band's influences in the new stuff and we simply worship them for this. If you still looking for the NWOBHM touches of the debut yes they are still there -I have already mentioned Iron Maiden-, but it seems that the band is now more focused into the US side of the sword! The same titled track is the one that simply keeps our head banging! Hail to the Saint! Write to them asap and grab your copy as this is a private release done by the band and it is going to be sold out soon.

http://www.myspace.com/lethalsaintmetal

THE SILENT WEDDING - SKULLCRUSHER LIVE - 3/6/2011

2011-05-31T05:34:00.000-07:00

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RAINBOW ROCK BAR
DEKELEWN 40 GKAZI

ENTRANCE :FREE
STARTS : 22:00

SPONSORED BY:

UNDERGROUND MUSIC STUDIOS
ORKESTRALL PRODUKTIONS
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StrikeLight - Tidal Dreams LIVE - 20/5

2011-05-12T07:00:00.000-07:00

REVIEW: Condenados - A Painful Journey Into Nihil (Shadow Kingdom Records)

2011-05-12T06:24:00.000-07:00

After various demo and EP releases, this great doom Metal band from Chile delivers a great -long awaited- full length album. (Well thanks to Procession the growing Doom Metal scene of this country is getting some more attention). Their music is a mix of Traditional and Epic Doom Metal. Epic, dark and always melodic voice-lines that fills the tombstone riffs of the song, lead guitar themes and solos that add more power to the songs and all these under the basis of a real powerful rhythm section.

On their faster parts they would also deliver some killer Heavy Metal riffs that would make your head bang for sure. There is also a 70s-era Black Sabbath touch on some of their songs parts and this is something that can be mentioned as a very positive fact after all.

In general the band approaches their Doom Metal in an old school way -how else can it be after all- but instead of just copying standard riffs and formulas they are focusing in inspired songwriting, offering songs that would keep the listener's interest high. Their lyrics are both in Spanish and English -two songs in Spanish, four song sin English in this release-, Spanish language is a great one and it sounds perfect in Doom Metal as well. So I enjoyed very much their Spanish tunes.

The production of the album is fucking heavy and does justice to the songs of the band. Well to sum things up we got a great release that will satisfy all the fans of good Doom Metal. Do not miss this band.