Archive for the ‘Journalistik’ 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?

(more…)

Annonser

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.”

Cruciamentum-Gates

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.

Vi måste snacka Eagles of death metal

16 november, 2015

Tio saker du måste veta om Eagles of Death metal.

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Eagles of Death Metal hamnade i fredags i nyheterna på ett sätt inget band vill uppleva – genom en terroristattack. Bandet skapades av Jesse Hughes och Josh Homme i Kalifornien 1998. Och vill du höra hur bandet låter – gå till Spotify och lyssna på topplistan. Hyfsat mysig rock’n roll. Så alltså – här är en handfull saker du bör veta om bandet.

1. ”En hårdrockskonsert?”

Nej, Eagles of Death Metal spelar inte death metal. Bandet spelar inte ens hårdrock. När SVTs nyhetsankare spekulerar och försöker förstå vad som har hänt i Paris dyker frågan om bandet upp – en hårdrockskonsert, är det det som terroristerna vill markera mot? Men alltså, Eagles of Death Metal har lika mycket med metal att göra som Paul McCartney har med hårdrock.

2. Men death metal då?!

Enligt Wikipedia ska bandnamnet ha uppstått när Josh Homme blev introducerad till musikstilen death metal, det lär ha varit polska bandet Vader han fick lyssna på, och där och då kallat Vader för ”the eagles of death metal.” Ungefär som Elvis kallades the king of rock’n roll. Men lite mer fantasifullt.

3. Stuck in the Middle with You

Eagles of Death Metal gör på sitt första album en cover på Stealers Wheels låt Stuck in the Middle with You, men har döpt om den till Stuck in the Metal, vilket bättre passar bandets namn så klart.

Den här låten kan även höras på Netflixserien Grace and Frankie, men det är varken Eagles of Death Metals eller Stealers Wheels version.

4. Beef med Axl Rose

”Pigeons of shit metal.” Så kallade Axl Rose bandet när de spelade förband till hans version av Guns’n Roses. Axl utgick från att publiken inte gillade förbandet, och dissade dem på det sättet. Det var klurigt av honom, på många plan, eftersom duvor skiter, duvor är fåglar precis som örnar, och shit metal är ingen metalstil någon vill förknippas med. Han gav dem dessutom sparken från turnén.

5. Eagles of Death Metals svar till Axl Rose:

”At first the audience refused to welcome us to the jungle, but by the time we took our final bow, it had become paradise city. Although Axl tried to November rain on our parade, no sweet child o’ mine can derail the EODM night train. We say live and let die.”

6. Kyuss

Kyuss, skapat av Josh Homme, är ett legendariskt stoner metalband, vilket de flesta som läser Bara Metal känner till. Mustasch var till exempel sjukt inspirerade av Kyuss när bandet drog igång. Detta faktum gör att allt Josh Homme tar i får stor uppmärksamhet även från hårdrocksfans – vilket alltså bland annat syftar på Eagles of Death Metal, Them Crooked Vultures och Queens of the Stone Age.

7. Mastodon

Josh Homme har gästsjungit på Mastodons låt Colony of Birchmen. En otroligt bra låt!

8. Devil’s horn

Eagles of Death Metal har inte bara humoristiskt döpt sig efter en musikstil de inte har att göra med, utan har också adopterat ”hårdrockstecknet” eller ”devil’s horn” eller vad tecknet nu kallas: lillfinger och pekfinger upp i luften. Det har så klart att göra med samma ironi och samma humor som präglat bandet sedan dag ett.

Tecknet kan ses på omslaget till första albumet Peace, Love, Death Metal så väl som på andra och fjärde (senaste, släpptes i år) albumet. Det är humor, folks. Till en viss del en drift med metal-kulturen. Ungefär som när poprockarna Weezer döper sitt album till Death to False Metal.

9. ”They only have a wikipedia article because they were bombed in Paris.”

Så stod det på Wikipedias engelska webbsida om Eagles of Death Metal på måndag runt lunch, tre dagar efter terrorattentatet. Det är så klart fel, och något som Wikipedia snabbt åtgärdade. Bandet åker knappast till Europa och turnerar om de är okända och kassa. Tvärtom, det är bra rock’n roll. Låtar som är svåra att inte gilla är Miss Alissa, I Got a Feelin (Just Nineteen) och Speaking in Tongues.

10. Josh Homme var inte med i Paris

Eagles of Death Metal är visserligen ett duo-band officiellt, Jesse Hughes och Josh Homme, men den senare spelar egentligen sällan live med bandet. Och han var, om man ska tro Internets samlade kunskap, inte med bandet på den här Europaturnén.

Oppression, harrasment and escape – An inside story of metal in Syria

22 oktober, 2015

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Firas Ghrawi is just like you and me. He enjoys metal music. He goes to death metal concerts regul… no wait! He comes from Syria, and back home, even long before the war, heavy metal fans were being harrassed by police and sort of shunned by society. It was, and is, really an underground thing. Really. I mean really. A music culture that most people do not know anything about.

So Firas fled the country. And then came the war, and his countrymen followed his example. For other reasons. This is an interview I’ve wanted to do since maybe a year back. Firas Ghrawi runs the Facebook group Syrian MetalHeads in Istanbul, and this is his story:

I have heard that, because of the anti-religious lyrics, black metal and death metal is not allowed in Syria – is that true? Please explain!

– Actually it’s not because of the anti-religious lyrics. When the Syrian regime started to arrest people they didn’t know the difference between heavy metal or black metal or even pop music. Like, even if you wear a t-shirt for Metallica that is a good reason to be a satanic guy and worship Satan according to them.

– I had many friends that was arrested in Syria in 2001 because of wearing black t-shirts and because of having long hair. They simply force them to admit that they worship Satan and to tell them how they do it.

What did the arrest include?

– They cut their hair and went to each one’s room and broke their CDs so they will stop listening to music. Then, by time, they got some metal heads who can help the police to determine the difference between each genre to help out when questioning people.

As a kid, brought up in Syria, how did you discover metal? By friends? The Internet?

– Well, for me I started listening to metal from my older brother in like 1998 maybe or later. He used to bring records of Iron Maiden and Metallica and I remember listening to the black album by Metallica, and Fear of the Dark by Iron Maiden and my best experience was Dead winter dead by Savatage. I remember buying my first original CD, it was Orphaned Land – El Nora Elila in 2001.

How did your family react?

– Sure I had many problems with my family due to them already having the same mentality that metal means worshiping Satan and they used to tell me that I worship Satan and so on.

– I tried to tell them the differences between genres but it did not work out.

– By time I started listening to black metal bands such as Dimmu Borgir and Satyricon because as you know also in black metal there are many genres so I prefer symphonic more that just black. It’s not my favorite.

– Now my current metal genre is doom/death and my favorite band is the Swedish band Draconian and Finnish band Swallow the sun.

How was a concert arranged, including how did the bands attract audience?

– I used to attend concerts in Syria in cinemas. Like ”local bands play covers”. The audience was like let’s say a 500 attendees because of the small area that was as I remember it. This was like back in 2005.

– Two times after concerts police took names and arrested people. Then I haven’t heard about concerts in Syria for a while and then when I came to Turkey I attended real festivals and concerts by real bands which was in 2009. It was a dream to attend a real festival

Before the war, did you travel to Istanbul for concerts with bigger bands?

– Yes, but not only to attend concerts. My first visit was in 2009 and my first concert was in 2010.

– I traveled to Istanbul because I couldn’t go to Germany or England so Turkey was the easiest option because I felt for a long time I don’t belong to Syrian society because in general people think metal in Syria means worshiping satan and people ignore us.

How did you end up in Istanbul?

– I wanted to escape Syria anywhere since 2005 I tried to go to Germany and England but that didn’t work out so I planned to go to Turkey in 2009 and I learned Turkish.

– I didn’t imagine the civil war would happen, if I knew I would rather go to Sweden or Norway. Nowadays we are facing racism in Turkey due to Syrian refugee cases.

Could you develop this? Many Syrians in Sweden face racism as well from some swedes, but on the other hand, many swedes welcome the refugees and help them.

– Well I can’t say that the Turkish are complete racist against us. And of course there is really good people who helped me. I hate to generalize any matter, but like generally it’s like this:

– When someone knows I am Syrian they start talking about how there are four million refugees in Turkey which I have nothing to do with, they show me a beggar and tell me that he comes from my country. And the problem is that they refer to you to politics in Turkey so if you don’t support Assad so you must be supporting Erdogan or what ever. And I don’t want to involve myself into Turkish politics but I can’t find a link between merging Syrian and Turkish politics, each one has its own separate issues .

– When I want to rent a home, or find a job – which is not easy to find and even if I found a job it’s at least 30 % less that a normal salary.

Where are you going? Will you stay in Turkey? Do you have a job?

– Well if I may go to any other country it will be Germany or Sweden, ”the land of Doom metal”. I am now working with renting daily apartment since two years.

Torbjörn Hallgren

Mohammad Al Balout

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.

Heavydeath sammanfattar Mörkaste Småland – och släpper ny EP

5 oktober, 2015

Nytt och mörkt.

unnamedFoto: E Rudolfsson. Mörkaste Småland backstage. Fr v: Nicklas och Daniel (Heavydeath) samt ”Dyngan” (Sacramentum).

Heavydeath har släppt nytt album, Dark Phoeninx Rising. Från början bara tänkt att vara två låtar, men kreativitetens vindar och lusten att förnya något gammalt gjorde att albumet växte. Lyssna här. Ni borde verkligen, för det låter lika bra som vanligt.

Bandet har också spelat live för första gången någonsin, under Mörkaste Småland. Nicklas Rudolfsson [sång, gitarr] berättar för Bara Metals läsare hur den upplevelsen var:

– Efter omständigheterna gick det faktiskt riktigt bra och gav mersmak att göra fler gigs. Vi hade bara repat ihop en helg i mitten av augusti så jag kan inte påstå att vi var direkt väl förberedda men på det stora hela gick det som sagt bra.

– Vi hade ingen aning om eller förväntningar på hur publiken skulle motta vårt material live. Samt att det kändes som vår något svårdefinierade musik stack ut lite från merparten av de andra banden. Men det var flera personer i publiken som kom fram efteråt och gav oss beröm och det är självklart trevligt att någon faktiskt tycker om det vi själva har skapat och gillar att spela.

– Vi sålde slut på de kassetter vi hade sparat undan för att ha med på festivalen förutom senaste släppet då som vi har kvar ett fåtal av. Vi träffade mycket gamla polare så det blev mycket tjöt och öl och kanske inte så mycket titta på andra band som tänkt. Sitta i backstage, dricka öl och spela lufttrummor till ”In the sign of evil” är inte fel. Firespawn och Vanhelgd rensade på bra. I övrigt så var festivalen riktigt bra arrangerad så ett stort beröm till arrangörerna!

 

Twisted Sister tar med sig avlidne AJ Pero till Sverige

30 juni, 2015

Back from the dead.

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Den 20 mars 2015 hittades Twisted Sisters trummis AJ Pero död. På torsdag kommer han tillbaka till publiken i Töreboda, när Twisted Sister spelar på Törebodafestivalen – om bandet kör samma liveshow som de gjort hittills på sin farvälturné. I livesetet ingår nämligen ett videofilmat trumsolo av AJ Pero i låten Burn in Hell.

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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