Archive for the ‘Från hästens mun’ Category

Exklusiv intervju – Grift: ”Skara stift skövlade den granskog som jag lekt i”

14 december, 2015

Synad.

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Ett av årets bästa album kommer från Grift. Jag råkade hitta ett tips om bandet på ett forum, och föll snabbt när jag hörde låten Svältorna. Jag föll så hårt, att jag absolut måste veta mer om musiken, och varför Grift hellre lyfter fram svältor och kalhyggen än mäktiga tallar a la Immortal. Erik Gärdefors, som ensam utgör Grift, svarade:

Du spelar och sjunger allt i Grift. Och du spelar och sjunger allt i Arfsynd. Och även alla instrument i Orcivus. Varför behöver du så många band att uttrycka dig i?

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Grandiosity, darkness and chaotic violence – Exclusive interview with Cruciamentum –

18 november, 2015

”…on a dark, cold night during a power cut I picked up a guitar.”

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Cruciamentum’s Charnel Passages has without any doubts been one the albums I’ve listened to the most this year. Such outstanding music makes me curious. DL [vocals, guitars], the mastermind behind Cruciamentum, gave barametal.se the answers. He is also the owner of Resonance Sound Studio, and has worked with a lot of metal bands, such as Corpsessed, Grave Miasma, Grave Ritual and Pallbearer, just to mention a few.

I understand that you prefer the art of expressing yourself in the studio, rather than doing it on a stage – why is it like that?

– There is no profound answer here, I simply find it more satisfying. That not to say I don’t want to play live, but often live performance means that the conditions of the gig are placed in someone else’s hands. Sounding great or sounding terrible is in the hands of the venue’s sound engineer and if they’ve done a poor job that really changes how we as a band can interact on stage together as a unit and in front of an audience. The sound to me can really make all the difference between a great experience and quite a depressing one.

Me and others would like to claim this: Charnel Passages is a masterpiece, one the best albums of 2015. How did you experience the ongoing work of making such a top level metal album?

– I’m sure people who heard it for the first time heard it in a very different way than I did. I was in the studio throughout the entire duration of recording the album, from setting up the drums to mastering it, so I heard it come together piece by piece rather than experiencing the finished thing.

– The whole process from writing to recording was extremely stressful and exhausting mentally and physically so my perception of it is quite unique. It’s hard to gauge and I don’t like to sound arrogant, I think we all felt extremely satisfied with the results of our work and we made the album we wanted to make.

And now… long time after the release. Have you sat down and just listened to it with new fresh ears?

– I haven’t played it a great deal other than to start learning the parts for live performances. it usually takes me a couple of years before I can listen more objectively to a recording. When I have listened to it though, I’ve felt extremely proud of it, but it isn’t up to me to declare it anything but a personal success.

Listening to Cruciamentum, I have the impression/feeling of being inside an enormous sacred hall, like something close to a sect’s place in a Hammer movie. What did you aim for when it came to the mood you wanted the listeners to experience?

– Whilst the lyrical themes attempt to tackle subjects on a grand scheme it only seems right that the music conveys that sense of grandiosity, darkness and chaotic violence as well. The most important thing though is to balance these elements, we are after all a death metal band and we should never lose sight of that. I like your interpretation of it though, and that was certainly something I wanted to try to project songs like Necrophagous Communion and Rites to the Abduction of Essence.

Could you please share one moment of creation of any particular riff or song?

– It’s quite hard to remember particular details since the album was written over such a long period of time and in so many different places. I do remember on a particularly dark, cold night during a power cut I picked up a guitar and just played the entire opening section of Dissolution of Mortal Perception without stopping. It was one of those rare moments of pure inspiration when the notes just flowed out of me. I quickly noted it down and very little of that section was changed when I brought it to the band.

About you being in the studio (as a day job) helping other metal bands – how do you cope as a composer with the inspiration, not talking about theft here, that you must get from all the music you listen to?

– When I’m working I tend to view the music for the particular job more analytically in terms of sound rather than musically. If something catches my attention I’ll usually return to listen to the finished product some months later with the fresh approach of a fan rather than an engineer. Even the best bands borrow and reinterpret to a degree from their influences, look at Led Zeppelin or Deep Purple for example, after all it’s hard to be entirely original in the tight confines of death metal without running the risk of becoming some kind of Cynic or Gorguts type band that isn’t really death metal any more.

– Personally I understand that there is a limited number of combinations of notes in a twelve tone scale and some similarities are going to occur after time, what’s important is that a band puts their own spin on those notes and uses them in their own context rather than being a shameless clone.

Would you agree on this statement from Tore Stjerna in Necromorbus Studio: ”There’s so much being released that maybe shouldn’t have. So diamonds tend to drown in a sea of mud”?

– To a point I do, but on the other hand I believe that bands should be given the chance to play, record and grow. I think the problem lies more in the fact there are so many labels now and they are all in a rush to release any new band that plays a popular style before they’re ready. Not that these bands don’t deserve a chance, but they should be given the time to grow and develop into their own entity over the course of some demos, or to fade into obscurity if they’re unworthy.

– I feel that the standard for metal and music in general has lowered since the internet has made it more accessible. People seem more concerned with having releases from all the latest bands rather than really absorbing all elements of the really exceptional ones.

 

Cruciamentum

With members from quiet popular and equally great Grave Miasma, I think some people partly regards Cruciamentum as a ”side project”, and some partly regard Cruciamentum as not having a stable line up – D.B-H. and R.C. could leave any minute when Grave Miasma gets bigger and bigger – please comment on this!

– Cruciamentum was an active band before we shared members with Grave Miasma and would continue to be if they were to leave. Of course elements of our sound would change, but we don’t want to put the same album out twice anyway.

By the way, just curious, what is it with this use of initials, that many bands have nowadays?

– It wasn’t so common when we started the band. We wanted the band to have an element of mystery, and it just seemed to fit, whereas calling ourselves things like ”Necrogoat Perversor” didn’t. There is also a degree of wanting to distance our activities in the bands with our personal lives, of course sites like Metal Archives who have no grasp or respect for the concept of privacy or perspective will do everything they can to remove the veil. We are after all four guys who work full time jobs as a living, not Lemmy.

How about the future for you as a composer – will Charnel Passages and the praises it gets leave you blocked about creating something that is as great as this?

– Not at all, resting on our laurels spells certain creative death. Cruciamentum will change and adapt with time, we’ve no interest in repeating ourselves. Our next release will be the next logical step from Charnel Passages, it may take some time to realise it but it won’t be a repeat performance of what came before.

Don’t you ever think like that – that you could dry up on songs?

– I’ll never stop being inspired, the gaps between completing work may become longer, and perhaps the style will change, but I think you know as a creative person that that well will never dry up. I’ve even tried to give up a couple of times and after a week or two I’ve not been able to avoid picking up a guitar or keyboard.

Finally – do you ever compare ” facebook likes” with other bands?

– I’m not interested in competing with other bands, what matters is if they do something I like and respect, not who has the most fans. Facebook is a good tool to spread the word about gigs and new releases and that is all.

Bombus om årets promobild: ”Vi var alla rätt skraja”

28 oktober, 2015

Dat promobild.

Bombus

Först lite om hästar. Har du någonsin varit i ett stall? Och tittat på hästarna och ponnyerna? Det är mäktiga djur. Stora. Tunga. Inget djur du bör stå bakom. I historien har eliten och kungligheter suttit på hästar. Det symboliserar makt. Typ.

Och nu lite om Bombus. Bandet, som verkligen lägger nedomsorg på sina bandbilder, har precis släppt årets bästa promobild till kommande albumet, sjukt snygg. Bombus åkte till Stall Lundahagen och hade med sig fotografen Emma Williamsson. Och man undrar ju genast. Hur gick det där till? Feffe [gitarr, sång] stillar Bara Metals nyfikenhet.

Hur kom ni fram till den idén?

– Vi är ju i upptakten till ny platta och då surrar man ju en del om promofoton och annat som hör där till. Vi har alltid haft en fäbless för foton som är något mer än bara standard promofoton. Vissa idéer gör vi verklighet av och andra är bara för idiotiska för att genomföras. Bra och roliga bilder är ofta till synes helt distanslösa och inte uppenbart ironiska. Vi gillar subtil humor i bilder istället för alltför överdriven och sökt.

Hur gick själva fotograferingen?

– Nja, men det var över på två-tre timmar. Hästarna och bandet skulle ryktas och göras läckra och det gör man inte i en handvändning något av det. Hästarna hade heller ingen större lust att stå stilla och bli fotograferade och stalltjejerna fick vara till hands och ställa dem i ordning mellan varje foto.

Finns det någon i Bombus som har hästvana?

– Absolut ingen! Jag sattes barbacka på en ponny när jag var liten för att de vuxna tyckte det kändes kul och ramlade av rätt kvickt. That’s pretty much it. Vi var alla rätt skraja för kusarna i början och ganska ängsliga över hel grejen.

– Peter [trummor] försökte att övertala oss in i det sista att det kunde se lika bra ut om han stod bredvid och höll i sin häst. Men efter en stund i sadeln så blev vi alla jävligt tuffa och självsäkra och kände att vi knöt livslånga band med krakarna.

På vilket sätt är häst metal?

– Tja, nu kan ju inte jag tala för alla hästar där ute men de är ju som sagt mäktiga djur. Manowar har fotats på hästrygg. Robert Plant likaså. Vet inte om hästar är metal men de är som sagt jävligt mäktiga och har hjärnor stora som valnötter. Det kanske stämmer med genren? Haha!

Ultimate interview – Jay Jay French: ”I laughed and enjoyed telling them to fuck off”

6 oktober, 2015

”I thought Metallica were a very gimmicky band.”

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This summer Twisted Sister played in Sweden for the last time ever. Of course, swedish blog barametal.se had to do the ultimate interview with guitarist Jay Jay French. It concerns stuff like Metallica, how they sneaked their own songs into the early sets and the fact that Love is for Suckers actually sucks. Here’s Jay Jay:

Please tell us about the early history and the name change.

– I auditioned for a band called Silver Star in late December 1972. I was offered the job at that audition. I thought the named sucked and told that to the drummer, who incidentally, hired me. He thought of the name Silver Star and was offended that I didn’t like it. I convinced the band to change the name. The band changed its name to Twisted Sister two months later, around mid February 1973.

And why Twisted SISTER? Why not Twisted Crew or Twisted Brother?

– Twisted Sister because we were a transvestitie rock band! An early nightclub promotion went something like: ”Twisted Sister, They ain’t no ladies, mister!”

Aha. I guess it is true then, that the make up all of you had proved that you were once a glam band.

– The original band was trying to be like the NY Dolls. 1972-73 was a very glam period in rock. We evolved over time to a less feminine and a more shocking, within quotation marks, form of make up.

You were once touring together with Metallica. When was this, and how do you regard this fact today – with Metallica being the biggest metal band on earth?

– I don’t think much about it. They opened up for us at a very big club in New Jersey a year before we toured with them. They didn’t go over very well. I thought they were a very gimmicky band and yes, I realize that that may sound strange coming from a band that looks like us.

– When we toured with them a year later I watched them every night and thought that they were better then when we first played with them. I also did notice that they were developing a very loyal following and I was more impressed as to the lifestyle effect that they had with their fans.

– In 1999 they headlined Woodstock ’99 and I watched the whole show as I was managing Sevendust at the time, who was also on the bill. I was very impressed as to how professional they had become. They certainly have proved themselves to be worthy of world wide fame. Since there is no band that has played more live performances then us, I can be very critical about every aspect of a band’s performance. I was impressed as to how classy Metallica has become as a live act. They get my highest respect along with AC/DC, Judas Priest and Motörhead.

Going back in time again. When did Dee Snider join the band, and how came that about?

– Eddie Ojeda joined officially on October 31st 1975. Dee joined in February 1976 after our booking agent convinced me that we could only make big money if we could do Led Zep covers. Dee had a great voice and he could sing Zep songs so I hired him.

So you played covers at that time? And when did you begin composing your own songs?

– The focus of a bar band or copy band in those days was to play all the most popular music of the time and particular style that a club would want to advertise. The club would advertise in the local rock paper and say things like: ”This Thursday we have Twisted Sister doing the best of Bowie, The Stones, Led Zep, Lou Reed”.

– Notice that it never says ”doing their own songs” that’s because no club owner wanted to risk people not coming because the thought that a band could write a good song was generally accepted to be a big negative.

– Dee presented his first song Come Back to the band shortly after we moved into a sort of band house in September of 1976. We learned it and started to play it by sneaking it into one of our sets without saying it was an original. Over time we kept adding original songs. The next song was Under the Blade which, as most fans know, not only was the title of the first album but is still performed at almost every show.

– We never just wanted to be a popular cover band. It was a long term plan to write our own music and get out of the bar scene. The bar scene, as big as it was, could not go on forever. if you didn’t plan an escape, you would never get to the next level. Over time, as we became even more popular, we started to announce that we wrote these songs until, eventually, we just played all of our own songs.

Dee Snider has said that he did not share the royalties because no one else contributed with the composing – is that how it was?

– I don’t write so it really doesn’t apply to me. Their may be others in the band who would disagree but that seems to always be an issue with bands. Also, for a time in the 80’s, Dee did share a portion of his song royalties with me.

Have you yourself ever tried to write your own songs?

– I write very quirky songs, not metal, although lately I have a writing partner in Nashville and we have written some country songs that I’m very proud of.

With all due respect – When I listen to Love is for Suckers I find nothing of the energy and the heavy hooks that made Stay Hungry such a great album – please share with us your thoughts upon this album, that you did not even play on if I understand correctly?

– I believe that a drum machine was used for all the songs. I also know that other guitarists were brought in to play. I did record guitar for the album but have no idea as to what wound up on the actual record.

You never joined any other band after the break up. Is this true? Why?

– By the winter of 1988, I had been going nonstop for 15 years. The band was heading toward the end of that chapter. Their were lawsuits looming, financial collapse and I was heading into a divorce. I needed to take stock of where I had been and where I was going. I needed to walk away for at least a year to sort out all my personal and professional issues.

Lawsuits looming – between who?

– Not between the band members. Lawsuits are part of the music business and 30 years ago we made certain deals with some companies that didn’t like the way we just ended and thought that they could intimidate me. These people know who they are and they have come crawling back over the years to apologize and to ask me to do business with them because we came all the back from oblivion. I laughed when I was contacted and enjoyed telling them to fuck off.

Okay. So you took time off. Then what?

– After a year I realized that I had no desire to perform or even pick up my guitar. I don’t think I even touched a guitar for five years after I went into retirement. I remarried, had a child and was quite content to never do this again. About ten years passed and I started to dream about what it would be like to play again. The band ended before the collapse of 80’s metal so we were not tainted by that period.

Why did drummer AJ Pero leave Twisted Sister in the mid 80’s?

– AJ left because he thought our songs were to simple. He was a very technical drummer. He told our manager that he was bored playing our music.

But you all decided to return?

– We returned, fully intact, like a time warp and the world went crazy and welcomed us back with open arms. All the shows we played and work that we put in paid off in ways that were completely surprising to us. We are now considered by many as the greatest live metal act on earth. It is an honor to have that reputation and we play to the best of our ability every night.

Personally, what is one of your best moments with Twisted Sister?

– There are many small historic moments and a couple of very big ones like the night that Phil Carson actually said that he was signing us to Atlantic Records. It seemed like the end of a very long road when it was actually just the beginning.

Vanhelgds Mattias Frisk listar fem otroliga albumomslag

3 augusti, 2015

Svanar, Seagrave och medicin.

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Mattias Frisk, sångare och gitarrist i Vanhelgd, är som de flesta läsare av Bara Metal vet även konstnär, illustratör och grafisk designer. Han skapar omslag åt både Vanhlegd och andra metalband.

I den rollen bad bloggen honom lista fem omslag som (och vi citerar vår egen fråga) ”skildrar skräck och döden på ett bra sätt, som får dig att känna – ’Shit, det omslaget skulle jag ha velat göra’?”

Han antog utmaningen, och här är hela listan:

Slayer: Reign in Blood – ”Utmärkt måleriskt och en form och färganvändning som ger en otäck stämning. Ett omslag jag egentligen inte tittat närmare på förrän på senare tid. Tycker väldigt mycket om Seasons in the Abyss med. Jag tror det är ett kollage, men påminner till viss del om vissa av Picassos verk.”

Death: Human – ”Medicinsk objektivitet blandat med expressionistiska spontanitet. Blir lite skrämmande tack vare de expressionistiska elementen.”

My Dying Bride: Turn Loose the Swans – ”Gåtfullt och spirituellt, dramatisk och undanflyende. Titeln tillsammans med bilden får mig att tänka på döden. I samband med att skivan släpptes lyssnade jag på en intervju med dem i P3, jag kommer väl ihåg hur de sade sig vilja skilja döden som något vackert eller på ett vackert sätt.”

Sepultura: Beneath the remains – ”Väldigt enkelt men slagkraftigt.”

Entombed: Clandestine – ”Det är nog mitt favoritomslag av Seagrave, hänger bra ihop med skivtiteln på något sätt. Att skivan är en av de bästa dödsplattorna som gjorts påverkar såklart även min upplevelse av bilden.”

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Ett Mötley Crüe-fan berättar: ”Jag vågade inte visa medlemskortet för särskilt många”

17 juni, 2015

Totalt dedikerad.

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Som ung och nybliven hårdrockare var Mötley Crüe ett av mina favoritband. De hade precis släppt Shout at the Devil, och det lät tufft och hårt. Och bandet såg så fräckt ut.

Men att gå med i deras fan club – så långt tänkte jag aldrig. Eller så tänkte jag det, men tog aldrig steget ut. En som gjorde det var dock poeten och musikjournalisten Niklas Simonsson. Han la nyligen upp bilden ovan i sitt flöde på Facebook, med prylar från mitten av åttiotalet: Emblem och medlemskort (missa inte heller bilden nedan, från pojkrummet på åttiotalet). Bara Metal var tvungen att ställa lite frågor.

Var lyckades du hitta adressen till Mötley Crües fan club?

– Jag ansökte om medlemskap 1986, som då tolvårig stolt hårdrockare. Jag osäker på var jag hittade fanclubens adress, men eftersom Okej och Rocket utgjorde lejonparten av mitt läsande då gissar jag att det var där nånstans.

Var det något skivbolaget höll i?

– Det borde varit i privat regi, med tanke på hur usla medlemsmagasinen var. En gång i kvartalet damp det ner ett åttasidigt häfte som såg ut att ha gått genom en kopieringsmaskin åtta-nio gånger innan det skickades ut. Som för att verkligen befästa DIY-andan. Sensationellt dålig formgivning, men rejäla försök till innehåll, för vid något tillfälle tror jag det var en kortare intervju med Nikki Sixx med, så vederbörande som låg bakom fancluben försökte åtminstone.

Berätta om dagen när du fick ditt medlemskap?

– Som tolvårig nybliven medlem visste stoltheten inga gränser. Det är svårt att beskriva med ord, i den åldern står fortfarande receptorerna vidöppna på alla plan och känslorna strömmar som en vårflod.

–  Jag vågade inte visa medlemskortet för särskilt många. Bara en utvald skara likasinnade. På åttiotalet var det nätt och jämnt tillåtet att som töntig kille med glasögon ens gilla hårdrock. Saken må låta bisarr idag, men dåtidens musiklyssnande var väldigt polariserat. Antingen var man hårdrockare eller syntare.

– Och vi töntiga killar fick nästan stryk av hårdingarna med tjeckisk hockeyfrilla, jeansjacka, bristande intimhygien, katastrofala skolbetyg och begränsad vokabulär. Men vem är det som skrattar högst nu, sa Bill..?

Idag är recensenterna ganska hårda mot Mötley Crüe och deras SRF-spelningar. Har du några känslor kvar för bandet?

– Jag kan förstå kritikernas hårda tongångar. Inte för att jag själv var på plats och såg debaclet på Sweden Rock, men dristar mig till en vågad gissning att sågningarna varit korrekta.

– Jag tillhör den stolta skaran som såg Mötley Crüe redan första vändorna. 27 oktober 1989 har för alltid karvat in sig i hjärtat. Då spelade Mötley i Scandinavium. Skid Row var förband. Min första riktigt stora konsert. Bandet var ute på Doctor Feelgood-turnén, även om Tommy Lees trumsolo under Europa-turnén var det från Girls Girls Girls-turnén. Och det var riktigt jävla svinbra.

Kan du sammanfatta bandet i nutid?

– Häromåret hittade jag en live-dvd med Mötley i en hylla på Stadsmissionen. Från Buenos Aires 06-07, ungefär. Och det lät verkligen helt förskräckligt! Vince Neil kan ju inte ta en ton ordentligt längre. Han låter ständigt lika andfådd som om han sprungit uppför en skyskrapa i New York.

– Tommy Lee är fortfarande en strålande trummis. Nikki Sixx verkar på alla sätt vara skarp i skallen nu när droganvändandet ligger långt bak i backspegeln. Stackars Mick Mars är ju stelopererad och bräcklig som en mosaikvägg, men kan trots allt gnissla med guran. Allt detta faller dock platt om vokalisten låter som ett kok sämre stryk på Kville-torget halv fem en söndag morgon. Jag hoppas för alla inblandade att detta verkligen är deras avskedsturné. Det skulle gagna hela människosläktet.

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Exclusive interview – Mantar: ”You don’t need a bass player to play heavy”

15 juni, 2015

Did you miss this band? Here’s a second chance.

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One of the best albums of 2014. A lot of metal blog exposure and already three times in the US. Mantar is a two men strong german metal band that you should take time to listen to. You will not be disappointed. Bara Metal had to know more about the metal magicians, Hanno [guitar, vocals] brought the answers.

Three times in the US already? That is so impressing! Who sets it up? You or the record company?

– We all did it ourselves. We just got in touch with different booking agencies.

Are you as popular there as in Europe?

– Not as popular yet, but we are getting there. USA seems to be a strong market for Mantar. The record is licensed there by Brutal Panda Records and came out this may.

You mangage without a bassplayer – is a bass player ever needed?

– Well. Nothing really is needed in creating art or playing music. It just depends on what you want. We wanted to play heavy and intense. You don’t need a bass player to do that. Even though most bands do have one.

– If you know your gear and have a straight vision you can raise some serious hell and fuck shit up just with a guitar and drums. Noone ever complained of us not beeing heavy enough. And to be honest noone wanted to join Mantar on the bass in the early days. So we were left alone with the two of us.

So the advantages are quite clear – you split 50/50 and earn more if we talk business, you travel easily and less expensive, you gather the band toghether more easily – are there more apparent advantages? And what disadvantages have you noticed?

– I guess you quite nailed it. Another good thing is that there are no comprimises as there is either a ”yes” or a ”no”. And if someone of us disagrees on anything it just simply wont happen. One big disadvantage for sure is the amount of equipment we have to carry ourselves. We play as much as a five piece band and unfortunately it’s on us alone to carry that shit around, set it up on stage and load it in the van afterwards again. That sucks. Plus it can be quite annoying to tour with just the two of us as it’s tough to spend 24 hours a day together. There is no chance to escape.

– I wont lie to you and wont make any romance out of it. Its like a relationship sometimes and we all know that can suck big time from time to time. Nevertheless there is noone else I could think of doing this with.

So is it written in stone that Mantar is a two piece band, even live?

– Mantar is a two piece, yes. It’s not a dogma thing, but I doubt we will just add a bass player or so. Time will tell. And being a three piece definitely wouldn’t make us more efficient or creative. It’s the oposite. The less options you have the more you have to make something special out of your limitations. A good riff or a good beat or best case scenario both, is all we can and will work with.

How do you solve it live? With that raw sound for example. A lot of pedals? 

– We play exactly the same equipment on stage that we use in the studio to record the album.

And when you play live like at a huge festival and you have to leave the sound to someone else, do you plug in everything yourself or how is it solved?

– Well, we just set up our stage equipment, give some advising words to the sound guy and hope that it works out. Sometimes we bring our own sound guy.

Googling Mantar, I get a lot of mushroom images – what does the name mean and why did you choose it?

– It’s a turkish word meaning mushroom/fungus as the drummer is turkish. We just wanted a simple one word kinda name that sounds powerful and is easy to draw as a logo. Old school, you know?! I guess the name sounds pure and strong. Just good for a band with the same characteristics.

Your song writing process – how does a song like Astral Kannibal come about?

– We mostly jam along. Songwriting for us is a very rough process. Actually Astral Kannibal is the only song where I already had the riffing, or at least part of it, before we played it in the rehearsal room. Most of the songs we finished the night before recording them. Some weren’t even ready then.

I believe you are in the middle of a snow ball right now, rolling and getting bigger. I found you through a blog, fell directly for the clean yet raw songs you create, and have myself told the Bara Metal blog readers to listen to Mantar – you are in the center, how much have you noticed this buzz around you?

– You can tell that people are aware of the band. We played almost twenty countries within the last ten months. We just started touring in general last april and already played one of our first shows ever on Roadburn. So I guess people like the band.

– But Mantar still is and underground thing and that’s just alright with us, even though we want to play for as many people as possible of course. We take this as a gift. As long as it lasts. It’s already more then we ever could have dreamed of. So, no expectations.

401105I know your album cover for Death by Burning is a Aron Wiesenfeld painting. Where did you see that, and how on earth did you manage to get his permission – for free?

– We knew that the record would be called Death By Burning before we had that cover. When I found that image I was blown away and I knew I need to have that for the debut album.

– We figured out who did it, dropped Aron a line and explained the situation. That we are musicians withour any money and are in love with his work. We kindly asked to use it and he understood. A very cool guy and awesome artist.

And how did you find this painting? In a book by chance? 

– A friend of mine found that pic on the internet ans showed it to me.

BaraMetal.se

Exclusive interview – Danny Lilker: ”That song Vengeance was not about Anthrax”

8 juni, 2015

The legend speaks.

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Nuclear Assault’s final tour has just begun. The thrash metal legends played Sweden Rock Festival recently, and this tuesday Danny Lilker will spend in Stockholm signing his biography Perpetual Conversion at Sound Pollution, Stora Nygatan 18 in Stockholm, sponsored by Close-Up Magazine.

Bara Metal recently had an interview with the one and only – bass player Danny Lilker.

Back in 1984-85. Did you ever sit down writing revenge lyrics toward Anthrax for firing you? If so – did those words ever turn into a song?

– Haha! No. Never did. That song Vengeance was not about Anthrax, it was John’s lyrics and he was just telling a made-up story. The best ”revenge” was forming a ground-breaking crossover thrash metal band!

Obviously. And then you recorded the SOD-album with Scott Ian and Benante, after that break up from Anthrax. No hard feelings at that time?

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Germ Bomb släpper nytt album: ”Vi kommer förgöra oss själva”

25 maj, 2015

Germ Bomb släpper snart nytt album, och har därför precis släppt en video till nya låten 1000 Suns. Behöver jag tala om att det är väldigt, väldigt bra?  

Allt är filmat i områden runt och i Göteborg under mars/april i år och videon är producerad av Die on the kitchenfloor productions. Så här säger Pierre Ohlsson [trummor] i Germ Bomb:

– Eftersom vi är rätt trötta på alla dessa videor där man ser band som står och spelar rakt upp och ner så ville vi göra nånting annorlunda, och anledningen till att vi valde just 1000 Suns beror på att den helt enkelt passade bäst till känslan vi var ute efter. Texten till låten behandlar människors girighet och att vi mer eller mindre kommer förgöra oss själva.

Danko Jones förband återuppstår för album och spelning

21 maj, 2015

Bor du i Malmö finns det god chans att du uppfattat existensen av stonerbandet Omar. Det har åtminstone jag. Bandet fanns, försvann, och finns nu igen typ. Det är den korta versionen.

Det bästa med detta – att bandet finns igen – är att Omars musik nu äntligen ges ut, och ännu bättre – Omar återuppstår tillfälligt för en kombinerad spelning/releasefest på Köpenhamnsklubben High Voltage nu på fredag 22:e maj.

 Bara Metal har frågat trummisen Tomas Antonsson om detaljer kring bandet.

– Långt innan stonern återvände från 90-talet spelade jag i Omar. Vi fanns i dryga tio år och hann i slutet av karriären lägga ner rätt mycket tid på att spela in en skiva i en studio som Bad Taste Records ägde. Studiotiden fick vi av BTR som varit kära bekanta under hela karriären. Vi körde gig på Malmöfestivalen, förband till Danko Jones, Brant Bjork och spelade relativt flitigt i närområdet. Efter att med hjälp av BTR, utan framgång, försökt pitcha in skivan till ett antal bolag gick luften ur oss och vi lade ner 2008.

 Men nu ska ni ha releasefest i alla fall?

– Ja, för nu, sju år senare, har ett litet bolag i Köpenhamn, Accelerator Records, valt att ge ut skivan på vinyl och digitalt, och vi kommer tillfälligt återuppstå på köpenhamnsklubben High Voltage nu på fredag.

Och hur fick skivbolaget tag i musiken?

– Det drivs av en kille som också spelar bas med det danska bandet Hjortene, vilka vi spelat tillsammans med en faslig massa gånger. Han tyckte helt enkelt skivan var för bra för att inte släppas.

FOTNOT: Albumet ”I am heavy metal, who are you?” släpps på fredag.