Russian metallers Full Throttle is a band on the rise, their adrenaline fuelled classic metal sound capturing the attention and imagination of a growing greedy audience. Our big friend in Israel, Kostya Aronberg has stepped forward to find out more about the band and their music, concentrating on their new EP.
Good afternoon guys. How’s the band Full Throttle doing this days?
Good afternoon, we are fine. We continue to work in a heavy direction, preparing for the further implementation of the ideas.
With you solid playing classic heavy metal you have had some success: being signed by European promotion project GlobMetal Promotions for example. How did you do it?
With some degree of certainty it is a credit to each musician individually and the team as a whole. When forming the musical and textual components of songs, maybe we have invested part of the soul which is transmitted to listeners. We think, aspiration and persistence also played a significant role in achieving objectives.
Of musicians who was behind the Full Throttle? How to promote the creation of the band?
The group was founded in the city of Kaluga by guitarist А.Gunko in 2004. Initially the creation of the team was carried out in conditions of significant difficulties, was to find the priorities and directions, that also was a professional test for individual group members, and the formation of will to move forward. Originally the musical style best suits “soft rock”, but from 2006 with the arrival of new musicians we began to play in the style hard’n'heavy. Having played a few shows with a new repertoire, the band began preparing for an album, but unfortunately due to some disagreements, in January 2007 the group’s activities were suspended. We gathered again only in 2010. Right now we are working without a drummer, but hopefully will find one soon.
Perhaps this issue will affect one of the main secrets of the group – which is a planned full-length album? Will there be any special, breakthrough ideas that will further progress throughout the musical level of the team?
We are located deep in thought, will the next release be a long play or another? This will depend on a combination of meaning and music products to all songs which is an integral part of the whole, and without necessarily to link a single concept. A few songs from the new material are already written, some to determine in time. Necessarily to add a new sound to music lyrics are carefully checked, and trying to make every song memorable work, we think about every note, appreciate every word. We hope to convey to the audience the very important life components: the constant need for proper selection of vital categories; manifestation of will in overcoming any barriers and obstacles to the goal.
Where was the recently released EP “Roads of Life” recorded? What roads did fate take this record?
EP “Roads of Life” even six months ago, was not planned in this format. We wanted to produce a long play album. Recorded in Kaluga studio «Machine Band», for mixing and mastering the tracks were sent to Belarus. There were some difficulties, not enough free time during recording to edit some arrangements, sometimes had disagreements over individual understanding of participants. Because of this recording and mixing stretched about six months, but in general we think was good.
Will the Full Throttle shoot their first official video? How do you imagine it?
The idea of creating a video has been around for some time. Most likely, the shooting (already decided on what song) would start after the studio recording of the next release. In the video we want to fully express the inner atmosphere of the team and the semantic content of the conceptual ideology. We will not do, of course, without the special effects.
Heavy music old style is going through hard times, it is difficult to resist the new fangled trends. How are things on the stage of your hometown?
The general trend of heavy music fashion dictates the rules, and in the city of Kaluga this is no exception. In addition to representatives of the classical styles of metal, there is, of course, a large number of groups implementing new areas of heavy music. Even though the popularity has declined, heavy metal lives, that is periodically confirmed by participants at urban music concerts.
Whose music has an indirect impact on the work of Full Throttle? Whose level do you want to achieve? And in what ways do you plan to do this?
The formation and development of the group took place under the indirect influence of both local masters – “Aria”, “Kipelov” and foreign: Manowar, Nightwish, Metallica, Sonata Arctica.
However, the music of these artists is for us the example of the creation of creativity and performance, but in no way it is not plagiarism.
In terms of improving the limits for themselves, bands must constantly evolve. We hope to reach a minimum level of Dream Theater, everybody understands that it needs only two things: a strong desire, and “hell work”, which is always the most reliable ally. We will try to.
Thanks for your time, what would you wish to our readers?
To readers we want to wish good luck to the boundless, the implementation of plans and ideas, true friends in life. Nothing is impossible!
Interview copyright Kostya Aronberg
12/04/2013
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Initially a self-released album of last year, the self-titled album of US progressive rock band The Omega Experiment now has its re-release via Listenable Records and the chance to deservedly reach a much wider waiting audience. The album is a striking piece of work, an imaginative and inventive cyclone of progressive sound and metallic fire honed into a melodic wash of pop enterprise and heavy steeled ingenuity. Though the release does fluctuate in the strength of fire and impressed satisfaction it ignites within personal tastes it is impossible not to offer a full recommendation for its intensely creative and passionate craft.
Hailing from Muskegon, Michigan, the duo of Dan Wieten and Ryan Aldridge show an instinctive and intricate skill in blending soaring euphoric synths, hungry and intrusive yet intriguing guitar exploits, and lush magnetic vocals into songs which either squall with tempest energy or seduce with the warm siren charms of the sun, at times merging both for the fullest invigorating examination of experimental invention. Their debut EP Karma found rich praise with Devin Townsend as well as a great many and it is hard to see their debut failing to bloom the same and stronger responses this time around.
If the aforementioned artist and the likes of Journey, Yes, Porcupine Tree, and Coheed And Cambria inspire great anticipation than The Omega Experiment will easily satisfy but with plenty of ideas and ingenuity which you will not have envisaged. Of course if the genre they impressively frequent is not of your taste buds than the album will not change your mind but still offers plenty to inspire further attention as they progress, certainly for us here. There is nothing about the album you can pull apart and criticise, only acclaim its craft and imagination but if something does not exactly light your fire then that is something generally beyond persuasion though with this album it is ironically very enjoyable to try and change that instinctive stance.
Opening track Gift instantly sends a blaze of hot guitar beauty across the senses, its heated atmosphere tightly wrapping around the sonic splendour coaxing the ear. Into its stride three things strike home the most and remain that way throughout the release, the precise sculpting of the guitars to carve evocative shapes within the second potent thing, the expansive and rich depth of the keys which equally evoke emotions and thoughts to go along with the lyrical narrative. The third is the impressive vocals, either singularly or in harmonic union, a mutual conspirator to the contagious beauty raised elsewhere. The song ripples and pulsates with ideas, never standing on one footing but shifting its weight and guise continually to intrigue and magnetise thoughts and senses. Arguably there may be too much going on to absorb but there is little to throw barbed faults upon the immensely strong starter.
Tracks like Stimulus and Tranquility continue the prog rock dream which fans of the genre with drool over for sure. Both songs as examples, splice the air with a devious striking skill of musicianship, the bewitching craft of the pair dazzling the view of songs whilst enhancing their overall breath. Though neither track truly sparks up a furnace of passion they undoubtedly increased the lure of the album with the second of the two gently mesmerising as it leads into the heart and strongest part of the album. The entrancing track seamlessly swaps places with the destructive might and antagonism of Furor, a muscular rampage with as much metalcore like venom as it has progressive seduction. It is a bear of a track which chews on the senses with crushing rhythms and will bending riffs whilst the glorious clean vocals bring an angelic rapture to the primal intensity. Easily the best track on the album and one which feeds our preferences much more than any other. The album has the armoury to feed all desires but the depth of your rewards depends on what aspect breeds your musical heart the most.
The following Bliss, a brief fusion of agitated ambience and probing invention, continues the inciting pinnacle sparked by its predecessor and as the album heads towards its finale it offers an even more potent and enriching presence. Both Karma and Terminus raise the temperature, the first especially another triumph on the album, its Opeth/Dream Theater strength and melodic incursion into the soul of the song irresistible, whilst closing track Paramount leaves a lasting stroll of sun soaked melodic elegance with pop rock infectiousness.
Produced by Acle Kahney of Tesseract, The Omega Experiment is simply a dynamic and vibrant slice of progressive rock which fans of the genre will devour greedily whilst for those less sure there is plenty also to find pleasure from though more with the muscular rampages of a Furor. All in all though an impressive debut from one promising band.
Hailing from Guwahati, India, progressive metal band Ticks Talk has been earning some strong attention and responses in their neck of the world and with the release of their debut single Drug Dimension now make the first impressive step in widening that enthused awareness.
Formed in mid-2012, the quintet of vocalist Bhargav Talukdar, guitarist Yoon Narzary, bassist Sun Sin Singha, drummer Tanfiz Hussain, and Pretom Boro on keys, soon made their mark by winning Techxetra Metanoia 2012,an annual beat contest at Tezpur University, and performing at the 2nd Guwahati International Music Festival 2012. The members of the band have featured in many local bands before Ticks Talk, and their experience and developed craft is an open vein within the first single from the band.
Drug Dimension is the tale of a scientist who in frustration at the evils in the world around him steps into the future in search of peace and happiness. There he finds a much darker place, a brutal punishing dimension where you have to kill to live. It opens with lone piano drama underscored by sawing niggly coarse riffs but soon expands into a bedlamic almost psychotic weave of progressive dysfunction surrounding abrasive riffs and firm rhythms. Into its restrained stride the track continues chugging its way through the ear with strong vocals adding the narrative whilst a dazzle of sonic and synth bewilderment distracts and intrigues. It is a startling brew which teases chaos but instead is an irresistible captivation. As it pushes its boundaries the song pulls in many directions whilst leading to the same point and across its imaginative visual soundscape brings essences of seventies psychedelia/classic metal, groove, and progressive metal for a Motherjane meets Dream Theater meets Faith No More encounter.
Initially the track lights up the ear and senses easily encouraging more returns but with each encounter evolves into something magnificent which has the tightest hold on the passions. Seductive and abrasive, gentle and aggressive, Drug Dimension is irrepressibly magnetic and innovative, a fresh wind of diverse styles and invention fused into a release which will set the band in the spotlight of acclaim and attention from here on in.
If you read that Apache Gunship is a thrash metal band then take it with a pinch of salt. Well to be fair they do have an aggressive core to their sound which is pure thrash but with an insatiable progressive heart to their music as well as an apparent exploratory hunger, the band and their debut single Unleash, only leaves one thoroughly impressed.
The quartet from Larne in Northern Ireland, take their influences from the likes of Metallica, Slayer, Anthrax, Testament, Exodus, Dream Theater, and Children of Bodom, to name a few. A band for only six months and making their debut live appearance on August 17th, Unleash makes an instant declaration of a band with enormous potential and promise. The fact that just one song can inspire such strong feeling shows just how impressive it really is.
Unleash announces its arrival with celestial harmonies and a melodic stroking of the guitar before exploding into an inferno of destructive riffs and guttural growls. It is immediately mouth watering, guitarist Aaron Gowdy churning treacle thick riffs over with an intensity which is near crippling whilst bassist Jamie Mills ravenously chews on the ear with deep predatory basslines. It is powerful and concussive especially with the rhythms of drummer Scott Rodd knocking ten bells out of the senses with precision and venom. If this was all the song had to offer one would be satisfied but the band do not deal in the same stock as most other thrash bands and soon vocalist Warren Boyd from his rabid growls produces an excellent clean delivery to temper the persistent onslaught. It is unpredicted and welcomingly enterprising as is the seamless turn into a progressive aspect. With guitar and bass skilfully expressive and teasing every facet out of their notes it is a jaw dropping and inciteful twist, enhanced by the vocals of Boyd finding yet another distinct approach to impress with as do the great harmonies behind. The track emerges into its rampaging corruption again to add a climax as immense as its introduction to the ear. Once the final concussive note has smashed against flesh, feeling breathless and glowing with respect is the order of the hour.
The intent from the band is to try and release a one track a month until they assemble an album which makes the anticipation already feverish and impatient for their next imaginative assault. With a band like Apache Gunship there is no option or decision to take other than to go check them out and with Unleash being a free download the only surprise is you are still here.
Regular readers will know we do not have much enthusiasm for guitar led instrumental music, the eager slips into indulgence that are nearly always rife eternally unwelcome. Earlier in the year though we came across guitarist Jay Parmar who whichever music he presents, instrumental or with full vocals has a craft and discipline that has no need for inane fiddling. Now we have come across another in Californian Peter Tinari. His latest album Embrace The Darkness is not brand new out but fresh to us and it is an inspiring and inventive piece of work that lights up all the right fires with style and discipline.
From Burbank Tinari has created a release of seven pieces of music which leave one inspired and deep in thought. Yes admittedly at times he veers towards the excesses that bring shivers of disdain to our senses but without fail he always reins it in to offer compositions that find an eager sanctuary within the ear. Tinari brings the entire guitar and bass sounds which light up the sonic skies though the opening song This Chosen Ground also features Matt Contino, and is aided throughout by the atmospheric and emotive keys of Derek Sherinian (Dream Theater, Planet X, Yngwie Malmsteen, Billy Idol, Black Country Communion) and the formidable drum work of Enzo DiPaolo (Black Dawn). Together they bring forth a mighty collection of tracks that will thrill and ignite the hearts of all rock fans.
Musically the album has it all from classic and hard rock through to metal and progressive rock and from the initial atmospheric beckoning of This Chosen Ground the album seizes firm attention. The track reveals its muscle and mesmeric charm within moments and surges through the ear whilst caressing with melodic grandeur. In combination with the equally expansive and imaginative key sounds the song elevates to rain down scorched interplay and classy sonics. With essences of symphonic metal sweeping through the progressive weave the song has one on the edge of their seat. It is an impressive beginning but before long left in the shade by what follows.
The wonderful Now I Lay Me Down is the first track to bring a full immersion its breath flooding the mind with imagery and emotions. Starting with a simple toy box sirenesque beckon wrapped in ambient keys and heaven staring harmonies a sense of warm solitude pervades. Before long though the guitars stride in causing the ambient temperature to rise dramatically and the escapade is afoot. Like the dreams and imagination of the young where there are quests and adventures at every corner and in each shadow the track offers a soundscape of soaring skies, breathless ebbs and flows, and reflective provocation.
The drama and depths of Emphatic Universe provide a different journey upon a wave of continually evolving sounds and feelings, its drive firm and unpredictable, its heart enveloping and shadowed. The track leaves one full from its feast of invention and ingenuity but it is merely the appetiser for the brightest jewel on the album in Celestial Shadows. The title says it all; the piece has its home in the skies, the stars the source of its soul and irresistible warmth, but beneath and throughout there is a dark and tempering energy to leave an uncertainty and black energy in the air. There is a sense of chaos and conflict in the clouds but one that has always been and forever will be, its presence underlying the light and sun of the world the music is borne from.
Closing on the epic feel of Death By Proxy the album is a rewarding and thoroughly eventful piece of composition. The journey it takes is vast and surprising, never a dull moment or expected turn in sight. Peter Tinari is a masterful player and songwriter complemented by others with equal talent and vision to create in Embrace The Darkness a pleasure that ensures the deepest enjoyment. Whether you are a fan of Dream Theater, Yngwie Malmsteen, Paradise Lost, Dimmu Borgir….the list goes on, you will find immense satisfaction with Peter Tinari.
A Constant Struggle the debut album from US rock band S.I.Q., is one of the most intriguing releases to appear in recent months. It is a stirring and thoroughly enjoyable release which ignites the senses and emotions whilst provoking thoughts and questions. If you are looking for a release to bring you striking rock sounds, adventurous invention, and satisfying slices of metal as well as leaving you with food for thought than A Constant Struggle is the release that you should check out.
Formed in the Summer of 2009, the Charlotte N. Carolina band took no time in grabbing attention with their imaginative progressive sound and were soon playing the top local venues, winning two battle-of-the-bands events, as well as making their first demo. Line-up changes ended in the current quintet of founders, vocalist Ashton Johnston, guitarists James Nelson and Philip Rich, bassist Cole Millward, being joined by drummer Paul Wood. Together the five piece entered Knothole studios at the twilight end of 2011 to record A Constant Struggle, bringing all their very individual and distinctive talent and ideas together to create a fully collaborative album which is infectious, captivating and provocative.
S.I.Q. (Society in Question) are a band which obviously from the evidence of the album puts full thought into every aspect of the album from music, to lyrical content and the presence that fuels it. The songs within the album feels closely linked, part of a journey or theme though it is not openly obvious or it is simply being missed. It might just be the passion and heart of the band pouring through into each track but there is a definite bond between the songs which is as intriguing as the sounds and ideas within them.
The opening track Riddle Of You gives an instant indication of the progressive nature of the release with its initial bubbling melodic beckoning towards the ear. The song soon expands into a striking creature as the track slowly rises to its feet. Muscular riffs start flexing and leading the cause as the fine vocals of Johnston starts unveiling the heart of the song. The riffs continue to niggle and badger the ear as the melodic invention infuses within the powerful intensity. Lit up by the magnetic pull of the melodic enterprise that pours from the song as it progresses, the senses are captivated and eager to drive further into the album though the lengthy ten minute opener ensures the wait is very satisfying and the following Slightly Out of Breath ensuring it was worthy while.
The second song litters the ear with a blistering insistent shower of metallic artillery of riffs, picking and spotting the senses like hailstones until a lull leads into a feisty and formidable display of towering riffs and sharp melodic manipulations. As the track paces and slightly intimidates the senses the rhythms of Wood announce fully their strong and inventive prowess, the drummer bringing an adventurous spine to the songs which never breaks lose from his intelligent and skilful control.
The progressive Dream Theater like Stasis and the acoustically driven ballad Silver Lining keep our attention and enjoyment firmly in the grasp of the band though both tracks do not quite spark the reactions the previous duo of tracks inspired. The album takes a defined rise though from Nightmare Lullaby on to its conclusion revealing further proof that S.I.Q. are a band that is destined for great things. Few of their songs make fleeting appearances but Nightmare Lullaby takes us on a ten minute plus journey of warm melodies and exhilarating songwriting. The track is irresistible, an invention offering evocative guitars and melodic interplay alongside harmonies which excite and touch the emotions in the way seventies band Horslips were skilled at. Arguably the track is a little overlong but there is never a moment it out stays it’s welcome.
The losing trio of tracks under the umbrella title of ‘Till Life Do Us Part continue the deep enjoyment. Parallel Worlds starts the trilogy bringing more of the unique and impressive sounds already graining the album whilst the closing Until the End takes one on a thirteen minute blissful journey of pure progressive pleasure, but it is the linking middle hypnotic instrumental Alive or Dead which hits the loftiest heights. It is immense and the declaration of this being a band that can induce rapture by music alone.
A Constant Struggle was an unexpected and deeply rewarding introduction to S.I.Q., a band that surely is destined for great things. Their list of influences include the likes of Protest the Hero, Symphony X, Dream Theater, As I Lay Dying, Devin Townsend, Periphery, and Alice in Chains, if any of these make you rise up in eagerness you will love S.I.Q.
Returning with their fourth release the impressive project OSI of duo Jim Matheos (Fates Warning, Arch/Matheos) and Kevin Moore (Chroma Key, former Dream Theater keyboardist), have produced an album that eagerly sweeps one up within its inspired arms. Fire Make Thunder is a wonderful series of soundscapes made up of distinctly expressive and varied ingenuity that treats the senses to adventures offering calm caresses right through to high energy escapades. Thoughtful and beautifully crafted the release without making startlingly new declarations of barrier cracking enterprise is a gracefully enveloping and emotionally energising series of compositions from two of the most creative musicians and song writers in progressive rock and metal.
Formed in 2002 OSI is a musical relationship between the two members that produces fine creative music from long distance. Fire Make Thunder itself written and recorded individually by Matheos and Moore in their respective studios with ideas and the songs being sent back and forth. The album also features the returning band session drummer Gavin Harrison of Porcupine Tree who brought his contributions to the release, including co-writing one track, from his personal studio too. The album was created throughout 2011 with final mixing completed alongside engineer Matt Sepanic at Sound Farm Studio and Recording Environment and mastering handled by renowned engineer Roger Siebel. It is hard to imagine the difficulties of recording apart but as with their previous releases, Fire Make Thunder shows no sign of it being a problem, the album a seamless and perfectly flowing musical lake for the ear and senses to immerse deeply within.
Released via Metal Blade Records the album starts with its best two songs in ‘Cold Call’ and ‘Guards’. The opener starts with a sampled news report which comes in throughout the track from an EBS news report in the 70’s where reports of a nuclear attack were announced before finding out it was a false alarm. With the industrial toned consuming sounds surrounding it and the starkness and chilled ambience that builds the beginning plays like an aural version of the movie Right At Your Door. Though this was not the intention of OSI and the sample used just because it sounded good, this ominous feel is a powerful wave. Eventually it explodes into forceful riffs and intense power though throughout the song retains a restraint and glowing beauty within this bulging heavier sound, the smooth distinct vocals of Moore as expressive and gently persuasive as the melodies surrounding him. The pair has an intelligent use and touch with intense sounds and flowing ambience, merging them perfectly with neither threatening to overpower the other.
‘Guards’ has an electro feel throbbing within its walls, a pulsating vein that resonates between the striking guitars, hypnotic rhythms, and mesmeric vocals. The meaty riffs swagger with a confident attitude whilst the electronic spots and tender touches bedazzle like a sonic kaleidoscope throughout the song’s boastful dance with the ear. Both these songs are OSI at their height and instantly pull one into the album allowing the following songs to be more adventurous and intimate if less accessible from the off. With music that is progressive rock, metal, and simply pure rock ‘n’ roll fused into a stunning maelstrom of atmosphere and sound, Fire Make Thunder is never less than engaging and for the whole totally infectious.
Though as stated the album starts with its best songs the remaining tracks are no less impressive or satisfying. From the ambient warmth of ‘Indian Curse’ and the excellent robust metal instrumental ‘Enemy Prayer’ through to the electronic driven industrial toned strength of ‘Big Chief II’, sounding Nine Inch Nails/Deftones like and the majestic crystal radiance of ‘Invisible Men’, the album is a fully enveloping masterpiece.
Fire Make Thunder is a real and thoroughly fulfilling joy. It is unassuming yet at the same time seeks and fills every corner of the senses with stirring and pleasing sounds. OSO have set a marker for not only progressive metal but many genres with their new album, time will tell if anyone is up to the challenge.
Ringmaster 26/03/2012
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This month saw the return and release of the impressive new album from German symphonic metal band Xandria. After a long wait between previous album Salomé – The Seventh Veilin 2007 to new album Neverworld’s End, which saw the departure of previous singer Lisa Middelhauve to be replaced by the wonderful voice of Manuela Kraller, Xandria has burst back with a new intensity, creativity and collection of songs which treat the senses to a feast of majestically soaring metal veined sounds. With a great deal of pleasure we had the opportunity to talk to band founder guitarist/keyboardist Marco Heubaum about the new album, new singer Manuela and other aspects of Xandria.
Hello and welcome to The RingMaster Review, thank you for talking with us.
Marco: You are welcome, it´s a pleasure for us! J
First simple question is could you please describe the band in your words and introduce its members?
Marco: We are a German metal band that plays a symphonic, atmospheric and cinematic sound! We consist of five members: Gerit Lamm on the Drums, Nils Middelhauve on deep strings, Philip Restemeier and me on guitars and our new singer Manuela Kraller.
The band has been a vibrant force for a few years now but what was early Xandria like compared to now?
Marco: In the beginning Xandria was heavily influenced by nineties atmospheric, dark metal bands like Tiamat, Paradise Lost and other, and our debut Kill the Sun sounded like late nineties Tiamat only with female vocals. Much less bombastic than we are now and also more simple.
Has the evolution in sound and as musicians been completely organic or have there been times you have made a deliberate change in direction?
Marco: If you are calling picking up new influences and checking out what you can do with them organic, then it is this way. After the debut, influences like movie soundtracks and folk music emerged and our music became sounding bigger and more varied.
Relating to the last question your excellent new album Neverworld’s End has a more defined steel and harder edge to it than ever before was this deliberate or as I asked before a simply natural progression?
Marco: This time we had a clear picture of what the new album should sound like. We wanted to reach another level and to bring forward everyone´s favourite tastes more than before and thus we wanted the next album to be heavier, darker, and more complex.
What are your emotions on the eve of its release, trepidation, fear or confidence or …..?
Marco: We are very confident of what we have done on this album. Whatever the reaction will be, they will not change this, because this album is what we liked to do! But of course we are excited to hear people´s opinions, because it would also be great if our fans like it!
It has been roughly five years between Neverworld’s End and previous release Salomé – The Seventh Veil, why the time? Was it down to simply time taken writing the follow-up, the line-up change which we will talk about later or a mixture of factors?
Marco: Yes, the ones you mentioned have been the main reasons.
Though not openly active over that period to the outside the band must have been continuing in aspects of Xandria but how frustrating and hard is it to deal with things when all you want to do is play music to people live and for them to take home and immerse into?
Marco: We played our first South American tour in this time, and some more shows, all of them belong to the most successful live shows in our history, so there indeed has been something going on. But you are right; being not able to present a new album to the public because we had no permanent singer for the future was frustrating. Especially when you already know what you are about to create, that this is much more what you want to present than only the old songs over and over again. That´s why we already played at least one or two of the songs that have already been written live in this time.
As we touched on, the period between albums saw the addition to the band of vocalist Manuela Kraller, where and how did you all initially link up and meet with her leading to her eventually joining the band?
Marco: Because we started a public call for a new singer, we got lots of applications, and she has been the one we have been searching for! She sent us a very nice email with stunning samples of her voice and then we had invited her to our place to get to know her.
Replacing Lisa Middelhauve, Manuela has brought a new and impressive dynamic to the band but how much of an impact does a new singer have on the older already established songs and how a band plays them from that point on?
Marco: On stage it´s all about the chemistry between the musicians, and that is the most crucial thing. As this chemistry is absolutely great now with Manuela, this is what drives the songs, whether old or new, to new heights. It´s amazing to see how she can bring power to some of the old songs so they get a totally new dimension!
How daunting was it for Manuela to come into the band and bring alive these existing songs with her own ‘breath’.
Marco: I think she wasn´t too scared of this. She knows that we chose her because we believe in her voice and that she is the right one for us, so I think that gives her confidence. But I know that she – as we all do – has great respect for the older carnations of the songs as sung by Lisa, but we do not look back too much. We are the Xandria of now altogether and that´s how we see it when playing the songs.
The new album Neverworld’s End is a stunning release with as mentioned a new edge to the band’s sound, where did this new direction find inspiration and is this the future of Xandria?
Marco: The inspiration came from the things we liked most in our previous music, the atmospheric, bombastic and heavy moments, but we wanted to take this even further. There also have been influences by classical metal bands we always loved, like Iron Maiden, Pantera, Dream Theater, Emperor, Judas Priest, Metallica and also movie soundtracks. Of course there are also the likes of such fantastic symphonic bands like Nightwish that inspired us to go some steps further and unleash everything that was only sleeping in us until now.
The impressive blend of metal forged intensity and the soaring vocal command of Manuela is a seamless and creative mix but has songwriting for the album been as it has been on previous releases, how you go about crafting songs?
Marco: Well, as the main songwriter, I first gather ideas and work on them for myself, in my own fantasy I try to make the best out of them, and when I think they have become good songs, I show them to the other guys and then we are working on them together, everyone bringing in ideas to the arrangement. This main scheme has been working best since the very beginning of the band, when I founded it back in the late nineties to bring my musical visions to life. But also sometimes the other guys come up with ideas for songs and then we are working on them the same way.
Many bands stiffening up their attack with darker metal edges might have brought in additional coarser male vocals to play across from Manuelas tones, was this ever a thought approached and dismissed?
Marco: We thought about a male singer´s guest appearance on one song, but not as a permanent addition to our sound. And it didn´t happen in the end. Well at least you can hear me doing some spoken stuff, backing vocals and also some screams in the finale of Soulcrusher – listening to Children Of Bodom while driving the long distances between the recording studios inspired to do something like that (laughs). But it´s nothing too obvious and we are not really thinking about hiring a permanent male singer…
I must be honest my favourite tracks on a album of nothing but highlights is the meatier likes of Euphoria, Soulcrusher , and Cursed but are there any tracks or just elements of parts that you are most proud of or even surprised you at how well they have emerged?
Marco: I am most proud of the more complex, heavy and long songs, because this is something I never done before but absolutely wanted to.
This is your fifth album, how has the bands approach to recording and the studio changed over the years?
Marco: This time the production has been lying in our hands and we also recorded most guitars and bass at my home studio, this is something new for us. It gave us a lot of freedom but also big responsibility. If something would have run terribly wrong, we couldn´t blame someone else for it (laughs). But we had a lot of great people working with us, the Principal studio´s boss Jörg Umbreit who recorded the drums and did the mix, Corni Bartels with whom we recorded the vocals in his Weltraum Studios in Munich, and also the amazing talents of our orchestral arranger Joost van den Broek and the musicians who played authentic Celtic and Arabic instruments. These brilliant artists accompanied us very well and so we always had faith in what we were doing. Also we have been well prepared after this long time of rehearsing the songs and letting them mature.
Do you now have a more defined destination each time you enter a studio that you do not need or welcome outside ideas or has it worked the other way and you are more open to suggestions than ever before?
Marco: Both. We had a strong picture of the album and its sound in mind when we started with the actual recordings, but ideas from our orchestral arranger or other involved parties had been always welcome, though this didn´t affect the big picture as a whole.
Your retrospective album Now & Forever – The Best Of Xandria that came out in 2008 was a kind of summary and rounding up the band to that point, should we have seen it as that and was it a kind of that was us then release and now for something new?
Marco: Exactly. At the point of planning this best of it was an idea of our old label, a natural thing when contracts have been fulfilled, I think we already knew that our former singer would leave and that we would be heading for new directions. The title was not only referring to our song of the same name, but was meant as a hint that we would carry on with the band for sure.
Though generally it is a compliment do you get frustrated at the early Nightwish comparisons even with the new album which we feel definitely holds a distinct sound of your own far removed from theirs?
Marco: It´s right, Nightwish sounds different today, at least because they don´t have a classical sounding singer anymore (laughs), but for sure there are parallels in the overall musical vision, I think we share a lot there. As they are a real great band and have been one of the launchers of this kind of metal, it is a compliment when someone says “I think you are as great as…”. But of course we don´t like if someone says we are copying them. This is not our intention, we want to go our own way, we just share a lot of the destinations.
Is there to be extensive touring to promote Neverworld’s End?
Marco: We hope so, but we are just in the middle of planning things. So keep checking our tour dates in the next time, there will be news!
It is always too soon to ask really what is next for Xandria, but we will all the same.
Marco: Playing live as much as we can!
Thank you so much for sharing time to talk to us, good luck with the album though one doubts you will need it.
Would you like to leave us with a final thought or comment regarding anything?
Marco: Thanks for this statement, but good luck is always needed, we just hope people haven´t forgotten us and give us a chance with our new singer and the new album!
Neverworld’s End is available now via Napalm Records
This review starts off with a mystery, a question that is deeply concerning within the dark corners and hidden depths of The RR, and that is how a band as impressive and creative as 3 has until now escaped our once thought vigilant ears. Thankfully the release of the band’s sixth album The Ghost You Gave Me has amended this oversight with a deeply penetrating and stunning collection of progressive rock/metal tracks that revel in enticing and engaging the ear and beyond with their kaleidoscope of melodies, intricacies, and sounds.
The New York based quartet has already caught the attention , well elsewhere, and established their dynamic credentials for making music that is expressive, inspired and restrained progressively, and melodic with bristling veins of intensity, making the biggest mark with their 2007 album The End Is Begun. The album was sandwiched between tours with Porcupine Tree in spring 2007 and with the Scorpions in 2008, followed by the Progressive Nation Tour with Between the Buried and Me, Opeth, and Dream Theater. With each show 3 left audiences, which at times were initially sceptical, baying for more something The Ghost You Gave Me released via Metal Blade Records will repeat with their fans ears. The album is one that as soon as it ends it is impossible to resist taking its journey repeatedly.
3’s sound is a mesmeric blend of alternative and progressive rock delivered through waves of expansive melodies and harmonies combined in soundscapes that are felt as well as heard. The Ghost You Gave Me is rife and alive with this inventive and unique mixture, every song never failing to find a connection with their beckoning and absorbing sounds. They invite and take the listener into their depths to bask in the waves of senses caressing sound. Within this well of calm and touching joy there are also steely and darker ribs of metal that often peep out or in others stride into full view adding to the satisfying and impressive variation the band have to their music.
The album starts on the brief but glorious acoustic melodic passion of ‘Sirenum Scopuli’ to bring in the glittering majesty of ‘React’. The song sweeps up the listener into its loving harmonious arms as it leaps eagerly and longingly into the ear. It is one of those tracks that know you love it before you do and has an instant ‘recognition’. By its end the addictive chorus that is just one step away from a sing-a-long moment has lifted feelings and lightened the day. It is a fine pop rock sound, just one aspect of the band’s writing that they can more than efficiently bring forth and a style later repeated with ‘Afterglow’. During these tracks the band reminds of bands like Sick Puppies with their addict making hooks and choruses but with a more involved construction to their journeys.
The voice of guitarist Joey Eppard is immense throughout the album bringing harmonies and soothing sounds equal to the music, his soft and absorbingly clean vocals spreading out within each song to raise the emotive feel from start to finish. Fellow guitarist Billy Riker alongside Eppard, unveil within the album thoughtful and unpredictable displays and ideas that never dip in to the expected or ordinary, nor do they go too far the other way and go down the slippery progressive road of over indulgence or cleverness without substance. Their play lies perfectly between simple and over worked becoming a perfect complement to the vocals with instinctive harmonies.
The bass of Daniel Grimsland and especially the tremendous drums from Chris Gartmann bring a strong power and from Gartmann often a beat and attack that is as hypnotic as it is controlled aggression. He is unrelenting without over powering the sounds around and makes a pulse to the album that registers deeper than the ear as in the excellent title track. In the highly charged ‘The Ghost You Gave Me’ Gartmann incessantly probes the ear with persuasive energy and dynamics whilst the rest of the band explore with equally animated majesty.
Each track is irresistible and hard not to mention in depth but with the title track two others take the album to even greater heights. The first ‘It’s Alive’ is a perfect creation from the union of muscular metal based riffs and soaring harmonies musically and vocally. The blend of Eppard’s and at times an added female voice is heaven sent and for that alone the song is staggering. The track plays its progressive hand in an At The Drive In type way but with more grace and poise and is the best track on the album. ‘Numbers’ completes the threesome of excessive quality, its riveting gentle pulse never relenting behind explosive riffs and driven guitars, another triumph to devour.
There have already been many candidates for album of the year and with The Ghost You Gave Me there is another extremely strong contender, the album is without doubt one of the year’s classics, and the relief 3 has come into view here a gift to be thankful for.
RingMaster 06/10/2011
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