The Roads Of Life EP, from Russian band Full Throttle is a release which combines hard rock and heavy metal with other assisting flames, for an encounter which fires up the senses with ease, its high octane melodic fuel and forceful energy spilling over for an engaging and invigorating ride which would enhance any intensive road trip. It is a release which admittedly offers little new in barrier breaking but easily feeds any appetite for melodic metal bred by passion and invention.
Full Throttle was formed in 2004 in Kaluga and initially had a softer metal sound which with a change of personnel of the years evolved with a harder more aggressive breath. 2005 saw the band’s debut album Lie released to strong responses but was followed by a three year hiatus for the band from 2007 due to internal disagreements. The band returned in 2010 and soon was working towards a second album which due to difficulties was reduced to this EP and an impressive release it is too. Taking influences from the likes of Manowar, Nightwish, Metallica, Sonata Arctica as well as Russian bands Aria and Kipelov into its own invention, the three track release makes a powerful persuasion offering all the spices which could see the band find the widest awareness and with the band recently signing up with GlobMetal Promotions, it is hard not to feel that the band will soon be garnering strong interest and a wealth of eager new fans.
Full Throttle’s songs find seeds in the ideology of the biker’s movement: freedom, speed, the choice between life and death, not that we could tell as the songs are all sung in Russian, though not any issue of course. The opening title track revs up with sturdy riffs and crisp rhythms whilst keys and the melodic tease of the guitars enflame the air with sonic colour. It is an immediately appealing introduction which settles down into an energetic charge across the plane of the song with expressive winds from the keys and powerful female vocals astride a spine of heavy intensive riffing. Though lacking a groove or hook to make it strongly contagious the accomplished and fiery song has an infection about it which potently entices and recruits deep satisfaction. It is a richly pleasing and stylish cruise of intensity to start things off.
The following Crying Soul changes tact and stance of the release instantly, its emotive beauty and symphonic whispers an impacting elegance within the strong hungry melodic flames which skilfully shoot into the roof of the song. The keys are especially enchanting whilst the vocals have a bite to their again open beauty and harmonic grace, their presence epitomising the blend of light and intimidation seemingly prowling the track. It is a soulful and powerful song showing the diversity of the band and their adeptness at fusing gentle and vigorous embraces for one enriching confrontation.
The closing Night Fraternity is cored by the sound of bikes as they speed off into the horizon with the song gripping their tails with eager riffs and hungry rhythms. It is a simple but wholly effective attack which has a punk growl to its incessant drive and a metal aggression to its sinews. An excellent acidic groove makes its play mid song to complete the impressive temptation of what is the best song on the release.
When Full Throttle gets to make that second album there will be plenty eagerly waiting to climb on board with it thanks to the Roads Of Life EP, us for one.
Russian nu art metallers Crimson Blue is a band with a distinct and individual sound and one who released one of the more impressive and enthralling albums of last year in the splendid Innocence. Fusing nu-metal grooves with irresistible essences of symphonic metal and the unique character of art rock, the album was a thrilling and captivating engagement with a passionate imagination and invention. We had the pleasure of finding more out about a band, whose album was our first introduction to them, and their innovative sound and release by talking with vocalist and keyboard player Dominica “Dani” Hellstrom.
Hi, welcome to The Ringmaster Review and thank you for taking time to talk with us.
Firstly tell us about the members of Crimson Blue and how the band begun.
Hello everyone!
Well, let me introduce the band.
Dani — keys, vox, music, lyrics. Has been the part of Crimson Blue since the very beginning.
Alex — bass guitar and great stage presence.
Iggy — guitars, effects. Another veteran of the band operates an 8-string monster.
Jenn — drums and cool sympho arrangements.
Tim — guitars. Joined us recently
Back in 2009, we started as a progressive band and spent a lot of time looking for musicians with the same likes, King Crimson, Genesis, Yes, etc. We tried to compose some complicated polyrhythmical pieces of music, and the result sounded like really bored Tool. Time passed, we learned to like groove metal riffing and symphonic beauty — and our music changed. We went through a period of djent idolizing Meshuggah then came some nu metal madness, and our guitars sounded like the ones of Korn — and so on. Now we’ve finally came to what may be named «the original Crimson Blue style», and I hope our second album will at last sound like true Nu Art Metal.
Are the inspirations which brought the band to life still as strong and active now or have they evolved into a different intent?
In some way, yes. They remain somewhere deep inside, and sometimes we have to fight them not to make our new song too «prog» or too «nu».
Looking more in depth at your introduction, your music is described as Nu Art Metal, can you elaborate on the term for us and how would you say your music has evolved since its beginnings to the release of your debut album Innocence?
It’s quite easy to explain. Imagine classical art rock harmonies, the soundscapes, ambient, but living atmosphere — and mix it with nu metal grooves and noises.
Actually, that was the main change in our music since the very beginning of the band — the hardest thing was to learn not to write 7-minutes epics one after another. We’ve learned to express ourselves more laconically, but still not primitive
The line-up in the early days of the band was quite unstable, is that fair to say?
It’s fair to say that our line-up is a bit puzzle. The three more-or-less permanent members of the band are me, Iggy and Alex. We’ve changed few drummers and more than few guitarists. The trouble is the working process in Crimson Blue has always been a challenge. You have to devote quite a considerable part of your life to make progress. Concerts, rehearsals, shootings, recording sessions, all the things…you learn to do all the things — or you’ll be left behind, that’s what we’ve learned.
Was this situation something which you would say held the band back or simply shaped its focus?
I think our course became more clear and distinct, despite all the difficulties that we’ve faced. We’ve learned a lot of things about the bands life here, we’ve learned a lot about ourselves, and now we’re ready to go on rocking whatever happens!
Was this the period of your demo Iceland? Tell us about the release and what it brought and you learned which helped with Innocence?
The demo period was the first time we faced the studio! We’ve recorded a few tracks, but the mixing process stopped, we couldn’t find a sound engineer to do the work. So the release had to be delayed. Then I came up with some electronic tracks that we also wanted to share with our audience. Still nothing happened; we kept making songs and doing nothing to introduce them. Then one day we said — ok, that’s enough, let’s finally do this!
The main thing that we’ve learned was like that — everything, absolutely everything including cover art, promo, etc. — must be done in time. It helped us to present «Innocence» very much.
When did the musicians who now make up Crimson Blue come together and did this ‘new blood’ and stability naturally give an energy and new direction to the band and Innocence?
The current line up gathered in summer 2012, when Jenn joined us. He brought some beautiful orchestral soundscapes along! We started using phonograms on our gigs; our sound became more fresh and aesthetic.
Tim came to us this autumn; he’s got a charming smile and plays terrific noises!
Tell us about the inspiration to the songs and also the recording experience for Innocence.
The inspiration is everywhere. Partly in music that we listen to, partly in some experience we get from life and each other.
The recording was like a factory work! We’ve been spending twenty-four hours a day in studio for a month. I’ve recorded incredible amounts of vocals. The guitarist had to work in shifts. The keyboard parts were recorded in the last two days in almost surreal atmosphere of forthcoming finale.
How do songs come to life within the band, what is the writing process generally?
Usually our songs start with melodies. I think of one, then harmonize it, then think of its name. Then it is being taken to our rehearsing studio where we work on the arrangement
The music within Innocence is a varied creature. What and who have been the major influences for you as musicians and band?
Let me remember… Well, some of the names are Tool, Yes, Korn, Pain Of Salvation, Meshuggah
Our favourite track on the album is L.M.A.; a song we felt was a raptorial encounter which brought essences of Korn, Animal Alpha, and The Faceless into a new invention. Tell us more about the song and its seeds.
Well, L.M.A. is an example of how the music you’re listening to may generate a new track. It started with the chorus, and firstly there’s been a Russian version, translated just about «me, I’m rising from ashes, I’m rising from ashes». It was a period when female-fronted alternative in Russian was very popular, and we were really sick of it! So the song came as a protest. Then we thought, why not make it in English? And so we did. L.M.A. is one of the few songs born during the rehearsal.
Many bands with a renowned strength in their live performances, which you have, fail to translate that to their recordings. Do you feel you have managed that or see them as different faces to the band which need a different approach?
To be a cool band you need to perform cool and sound equally cool in the studio, I think. We are not scared of the album work and we’re going to do or best in gaining impressive and rich records.
You recently linked up with GlobMetal Promotions/management, how has that impacted on the band to date?
We’ve received a lot of reviews for «Innocence»; the promoter also helps us much with some gig arranges. This is our first experience in such kind of cooperation, and we like it. We hope GlobMetal will help us get our music all around the globe.
How is the metal scene in Russia right now in context to European metal which seems on a real high?
There are a lot of great metal bands here, although it’s really hard to get to the audience. The thing is the tradition of going to clubs for a live show is not quite Russian. So you have to think of something really dramatic to get your fans out of their flats!
What are your hopes and plans for Crimson Blue in 2013?
We’re going to release our 2nd studio album somewhere in the Autumn, make a few videos, maybe some electronic internet-singles. We hope to go on tour at last, we’ve been dreaming of travelling with our music since the very beginning of the band!
And of course we will keep on playing live and making our shows more and more impressive. It’s the best thing that you get from music — the response from your audience.
A big thank you for taking time to talk with us.
Any last thoughts you would like to leave us and the readers?
Thank you for the interview!
And to all of you readers — get art, stay metal, take care!
Lastly tell us where you dream of playing one day and the bands which would make it the perfect gig line-up.
One day you’ll see us performing at Wembley, joined by Meshuggah, Nightwish and Korn. That will be a good day!
Following the release of their acclaimed first album At Her Funeral, Russian gothic doom band I Miss My Death stepped into a wider recognition. With the news that they are planning to work on its follow-up next year, guest interviewer Kostya Aronberg of Globmetal Promotions, grabbed the opportunity to find out more about the proposed album and the band itself by talking to vocalists Elena and Serge.
Hello Elena and Serge, and welcome to The RingMaster Review. How are you, guys?
Serge: Hello, RingMaster. We are fine, thank you.
I must confess to you it is the first time I have had the chance to interview a married couple that sings together in the same band Can you please tell me firstly how you met and what led to you both deciding to form the band?
Serge: We met at the beginning of 2009. I Miss my Death had been already formed and was searching for a keyboarder. Elena first joined us in this post, and after, became also a vocalist. Creative relationship developed into a romance, and soon we became a couple and a managing face of I Miss my Death.
Let us talk about your music style. How would you describe your music and within which music genre in your opinion do you find a home?
Serge: At the beginning of the band existence, our genre matched mostly classic gothic doom metal; however, over time and the advent of new musicians, he has evolved into a gothic death doom. Recently, more and more manifest notes of gothic metal.
Elena: More broadly, our music is a philosophy of the beauty of love and death. “Family voice”, symbiosis of heavy guitar riffs and melodic keyboards – all this only emphasizes the whole dark atmosphere. Music of I Miss my Death is more than just soundset.
I Miss My Death, tell us about the name and why you chose it for the band?
Serge: We chose this name because of its compliance with our music. It symbolizes the ancient vampire who grasped eternity, survived his death, has known all of his life, eventually tired of it, and as something sublime and unique, misses about his death.
Through the years the band has changed a lot of members. Why have so many musicians left the band and how long does it take you to find new members?
Elena: In our country, playing metal music is unprofitable so many people prefer a good paying job to music. But it’s really easy to find a new musician – there are a lot of talented people in our country. From another side, it’s hard to find optimal person, who plays good, organized, communicated and likes the music he plays.
Serge: We have very good team at this moment, but this is result of hard searching work.
The band has announced that it is going to record a new album next year. What can you tell us about the writing process of it so far?
Serge: Yes, we are going to represent a new album next year. We were expecting for this moment for several years, and hope to surprise our listeners. The writing process has not begun yet, but we have already completed negotiations with the studio recording, produced material and in December will begin recording.
The new album is going to be in the same vein as your first album “At Her Funeral” or is anything going to change?
Elena: The new album differs from our old material. I think, it is better, of course. It will show amazing symbiosis of death doom and gothic metal. As for me, it’s something new for our market. The album is interesting also because of huge participation of other band members, whose influence made songs more fresh and completed.
The band sings in your Russian language but the album title was in English. Why did you decide to go with an English title?
Elena: Well, “…At Her Funeral” consists songs in Russian, in English and in Latin (Ave Maria). The title we album got from the name of one of the English songs from this album, which mostly compliance its atmosphere. The next album will consist of only English songs.
Serge: The title is English because we were looking to the future. The songs in Russian because most our listeners live in post-soviet countries.
Thanks for the interview. Any last words you want to pass to our readers and your fans?
Elena: We hope to visit your country with a concert in near future. Listen to good music that makes your heart beat faster. And, of course, follow us on.
Russian metallers Crimson Blue are tagged as nu art metal, another arguably unnecessary musical label which has popped up in recent times as bands try to find a unique corner of their very own from where they can be noticed. It is not the most inspiring of terms to be honest but if you dismiss the band because of it then you would be making one mighty mistake as the Moscow quintet has released one of the best releases of the past twelve months. Fusing the most essential nu-metal grooves with the dazzling splendour of symphonic metal and the bewitching majesty of art rock, the band has created an album where imagination and inventive originality is a raging passion. It is a sensational release which at times is a familiar heart borne friend and in other moments sheer innovation igniting aural rapture whilst leaving a stirring sonic balm over the senses.
As well just having released their album Innocence the band has signed a management deal with GlobMetal Promotions and you can only feel things are primed to explode into world recognition for a band which has its seeds back in around 2007. Formed by vocalist and keyboard player Dominica “Dani” Hellstrom and guitarist Iggy Hans the band started out under the name Tragic Raven. The band merged the musical interest and passions of the members to forge a new and adventurous style with early songs holding a Tool like sound to their presences. The first couple of years saw instability with many line-up changes until the spring on 2009 where the found that constant to their core and re-emerged as Crimson Blue. As interest in the band grew across the internet and from their strong live performances, the band set about working on debut album Innocence. As a self-released CDR and download, the album came out in the closing eyes of December last year leading the band to even greater interest not only from fans but labels too. Summer of 2012 gave the album a proper CD release as recognition fired up further and with the new management deal in place the band are set to turn 2013 their own shade of hue.
Taking sounds and styles across the seventies through to the nineties with plenty of modern energies and thoughtfulness, the five piece of Dani Hellstrom, Iggy Hans, Stan Lee (guitar), Andrew Barique (drums), and Alex Verge (bass), the band since the recording going through another line-up change, s created a release which echoes the likes of Korn, Devin Townsend, Audioslave, and Nightwish with strong whispers of classic art rock bands. It is a stunning sound which plays in the heart so much more powerfully and enjoyably than it looks in print.
As soon as the cold kisses of Iceland crystalize on the ear soon speared by a dramatic piano, attention is focused in only one direction and as soon as the melodic flames and immediately jaw dropping bass sound of Verge prowls within the brewing sonic weaves nothing comes between thoughts, emotion, and song. Settling into an emotive breath with the wonderful and potent vocals of Hellstrom covering the still formidable basslines and melodramatic keys, the track just mesmerises whilst caressing tenderly with symphonic beauty and warm melodic elegance. It is an exceptional entrance into what emerges as an unpredictable and eclectic release. The song at times makes muscular suggestions through rhythms and riffs to ensure an air of confrontation is never too far away setting one up perfectly for its successor, especially with its closing Halloween like tingle of keys and inciting acidic guitar rub.
L.M.A. is outstanding; a track which though challenged throughout holds ‘best of’ honours. Its initial scorched rock swagger is soon ripped up into a raptorial encounter of bruising riffs and a groove which gnaws at the senses like those classic ones Korn used to unleash. The vocal storm of expressive vocals and oppressive heavy chewing riffs and thumping rhythms plays like a mix of Animal Alpha and The Faceless for further irresistible flavour to the staggering recipe.
Tracks like the sinew twisting Flax and the masterful Nagual with its progressive enterprise wrapping around the persistently pulsating growl of the song transport one into further thrilling and unpredictable diverse fiery engagements. Each and every song can be acclaimed with those same qualities, the blend of melodic imagination and creative invention breath taking at times and always enthralling. Further pinnacles come with the sinister and hypnotic H.U. Lab, a track bringing the key essences of Meshuggah, Opeth, and Karnivool together for thoroughly compelling rewards, and the epic emotive force that is Haesitatio. Every song deserves a mention though, each rippling with immense craft, inventive songwriting, and pure skill from the surging and glorious vocals of Hellstrom and her senses wrapping keys, the continually adventurous guitars, and the guiding rhythms of drums and that permanently delicious bass.
Innocence is aural excellence and Crimson Blue only deserving of the fullest acclaim. The recommendation that all should go and discover this triumphant release cannot be shouted loud enough.
A sonic canker as contaminating as it is toweringly impressive, the Time Of Solution EP from Russian deathcore band Lost In Alaska is a magnificent and rewarding assault on the senses. It devours and consumes with enterprise and skilled invention to leave one gasping for breath but basking in the intrusive experience.
Formed in 2008, Lost In Alaska consists of five musicians who ‘took up one of the heaviest directions in music to express what they actually feel – that was the pain of disappointment and pain of salvation.’ They immediately set about creating music which would demand and earn strong attention and responses, their debut EP Words Full Of Ice of 2009 a well received piece of brutality from fans and fellow local bands alike. Similarly their debut album of last year Zodiac lifted their stock to build on their enhanced and elevated reputation across the years from their immense shows and performances alongside the likes of Norma Jean, Caliban, Napalm Death, Arsonists Get All The Girls, Sonic Syndicate, and Tasters Choice. Recently the band signed a management deal with GlobMetal Promotions and whilst listening to Time Of Solution you can only feel this is the time of and big step into the widest recognition, certainly the key to its lock. Consisting of three colossal tracks of power and invention, the release out via Headxplode Records, is a devastating and rewarding slab of nasty, vindictive, and satisfying intensity.
The Inevitable Changes is the first to bruise the ears and beyond, its incendiary energy and abrasive guitar flames instantly mesmeric and eager to continue their charm from within the soon to envelop and blister thunderous rhythms and annihilatory riffs. The emerging groove is irresistible and still whispers in the ear when it makes way for the offensive beats and sonic intrusions. Though a full abrasion and dripping malice, the song shares a great melodic solo which is as cutting as the forceful weight of the assault surrounding it is oppressive, the song greedy to engage and intimidate. Ivan Nikolaev growls and scowls with anger and spite, his vocals dripping bile from each syllable to match and drive further the aggression and vindictive nature of the track.
It is a taunting and barbarous beginning easily supported by the title track. It is another insatiable absorption of light and safety, the carnivorous bass and vicious rhythms gnawing and resonating bone whilst the guitars of Maxim Zadorin and Vladislav Suharev scar and set flame to the senses with their sonic fires and imaginative unpredictable ingenuity. Like the release as a whole, the song twists and turns without warning but ensures the onslaught never loses its impact or might. Like the first it is unrelenting and leaves thoughts and senses mere husks beneath its violent tempest.
The closing Pursuit Of Happiness is no different, its effect and immense strength a continuation of previous songs though its body is distinct in its structure and gait with a breath as inventively depraved and wonderfully corrupt as before. The pulsating air of the song burns like acid within the molten fire of energy and aggression to bring further variety and imagination to the release. As across the EP the drums of Antony Poddyachiy show no mercy or lack of invention whilst bassist Alex Kurochkin is a hungry beast snarling and biting from within the collision of hateful intensity and unbridled aggression.
The Time Of Solution EP is an outstanding release showing that Lost In Alaska is one of the more accomplished and impressive deathcore bands around, there time is nigh.
Ever wanted to know more about Israeli metal music and learn who are the best upcoming bands in the country? Then your luck has just ridden up on a muscular charger called From Israhell With Love. The album is a treat for all metal fans, its thirteen stirring tracks heralding bands steeped in the sounds of death metal, hard rock, classic metal, gothic metal, and thrash to name a few. There is something for everybody and more besides with what one has to say is a pretty strong and consistent quality line-up of artists no matter your personal preferences.
The CD and free download compilation is the combined work of GlobMetal Promotions (Israel) and V.A.-R.G. Compilations (Russia). GlobMetal founder Kostya Aronberg said when talking about the release “It is a new beginning. I really believe in music, and I think it can fix, what politicians use to break. The relationship between Russia and Israel are not so warm, and I think this compilation, that released in Russia can show all the world, that it doesn’t matter, what religion are you, or what everybody think on you, In the end we all humans, and music unite us.” Whether music can truly bridge that especially from just one extreme aspect of its expansive wardrobe can be debated but as purely a declaration of quality and varied metal it is a treat for who and where ever you are.
The album opens on for us the best track on the album though it is seriously rivalled once or twice as the album unveils its bounty. Onoma is an alternative metal band from Tel Aviv with influences from the likes of Alice In Chains, Korn and Meshuggah among others, and the perpetrators of an impressive and wonderfully stirring start to the album with their track Bug. The track is a bruising thrill borne of feisty riffs, contemptuous rhythms, and heated melodic intention. It takes no time in riling up the senses with incendiary guitar teases and predatory riffs under the direction of excellent vocals from Elad Koren. Fully infectious with provocative and thoughtful sounds it is a mighty creature which incited the need to find out more about the quartet before moving on.
From such a formidable start the fears that the album could expectedly have fallen into a lull were quickly quashed by the following tracks from melodic death metal band Arsenide and a hard rock band we already knew well and loved Metal ScenT. The first of the pair contributes their raging beast of a single Broken Angel, a track which without tearing down walls of the genre to open up new pastures stands tall amongst fellow genre bands whilst Hold On, a song from their album Homemade, easily shows why Metal ScenT is gaining strong plaudits since its release.
Alone In The Dark from power metal band Spiteful was a track which initially did not quite find a connection but within a few plays one found themselves with it lingering in the head after its departure, which is never a bad sign and it was always going to be hard to resist the great Debbie Harry like vocals of Maria Raven Burdelov anyway.
There was a couple of times where the album did not hold the attention but it was down to personal taste of the genre the bands walked, heavy and classic metal bands Switchblade and Loud N’ Clear falling foul of taste rather than from their sounds. On a compilation as varied as this that will always happen but the release offers such a cross section and crossover feel it is no issue overall.
The likes of impressive metalcore bands Bounded By Chains and Design Flaw keeps things raging with the first of the two another top pick of the tracks but the one song to equal the opening triumph of the album is Knife In A Gun Fight from metallers Shredhead . It a storm of ferocious punk driven thrash metal to ignite all combative tendencies. A track to induce whiplash it is a violation no one could or wish to deny.
Not all bands have been mentioned but that is due to space not quality and we have left them as treats for your discovery. From Israhell With Love is an excellent album bringing an introduction of possible new favourites for many whilst delivering great and satisfying sounds for all, and as it is free really you have no other option than to go spoil yourself.
Through meeting a new friend in Kostya Aronberg of Globmetal Promotions we have been introduced to some real treats and pleasures in the shape of bands and music from around the globe. One of the biggest enjoyments came in the debut album Star Of Delusive Hopes from Israeli metal band Desert. The album was not particularly demanding or challenging but was one of the best examples of honest and irresistible impressive metal. Given the chance to find out more about the band we took no time in bombarding keyboardist Oleg Aryutkin with questions.
Hello and thank you for talking with us at The Ringmaster Review
Please introduce the band.
Hi, and thanks for the opportunity.
We are Desert, a band of six guys who just enjoy playing a decent metal song!
The music we play is a blend of good old heavy metal and something we hope is unique.
With Desert you get epic feel for the lyrics and sing-along choruses from power metal Stratovarius, Dragonforce,, but also punchy beats and riffs from heavy metal, and crapload of keyboards to give it a more theatrical vibe.
How and when did Desert begin?
Sure. Let’s see… Our lead guitarist, Max, started a band back when he was in the military service, just to play some cover tunes he enjoyed. It was Stratovarius, Dragonforce, stuff like that, fast melodic power metal. People joined, people left. Around 2004 stuff got more organized, Max played a gig or two, I’m sure you know these really obscure gigs in basements with soundmen selling pot at the entrance
Is there any relevance to the band name?
Heh, you be the judge of that. Back in 2004 we all used to literally live in a desert, with camels and what not. So when it came to choosing a name, the guitarist simply looked out a window and went “oh well..”
Just like that.
How has the band evolved over its decade of existence?
It sure did. First, we all learned to play our instruments a bit better. We also managed to find our voice, and not simply copy the music of famous power metal bands like we used to.
Max used to be the sole songwriter, over the years he found the way to come up with these weird riffs I didn’t hear before.
After some time I too started writing, and my approach is completely different.
You have had a few line-up changes during your time as a band too, have these had major impacts on the way your sound has grown?
hmm. we did go through few drummers and bass players. I guess every time it just sounded better and better!
A big upgrade was when we invited a second guitarist, about two years ago, right before the album release, it really gave our live sound more punch, and more aggressive direction to the songs.
For those new to the band how would you describe your sound?
hh, like I said, simple sing-along choruses, low baritone vocals, phat guitars, and well, it’s heavy on keyboards
We like to keep it technically simple, so no weird breakdowns, but instead we go for almost theatrical vibe, each song is a story.
You bring many elements to your heavy metal sound, what are your major influences that have inspired this?
Talking about our rock ‘n’roll heroes, we grew up listening to Grave Digger, Freedom Call, Helloween, Ozzy, stuff like that.
I look for influences. I really try to absorb everything I hear, be it the new Behemoth CD or a dubstep track I heard on Youtube.
I guess closest to my heart is 80’s music, both metal and popular.
But in the end it all goes through a filter, so no, we’re not black metal meets A-ha
Star Of Delusive Hopes is your debut album released via Greek label Sleaszy Rider. How long was it in the creating?
Wow, a long time. It was a first major work, we worked the hell out of each tune.
The lyrics went through numerous revisions, the solos were practiced and thought through.
I’d say it took some 3 years to complete the writing. Then, a month of pre-productions, and three weeks in the excellent Nick Savio’s studio.
The album was recorded with Nick Savio (White Skull, Cyber Cross) who you just mentioned, and subsequently mastered by Andy LaRocque, the -nominated guitarist of King Diamond, both doing a great job with your excellent songs. How did you get them on board?
I think we found Nick on-line, and we really liked his work as a producer, so we went for it. Was a right decision, Nick really knows his stuff. And a great guy, too! Spent three weeks in his studio in Vicenza, Italy, so cool!
hm, Andy was an on-line acquaintance, too. He mixed by himself, we did not want to humiliate ourselves by suggesting stupid ideas. We just trusted him to do what he does! It’s funny how he sent us a first mp3 file, going “here guys, it’s like a pre-pre-pre-beta version, suggest something”, and we were like “yeah, don’t touch anything, it sounds golden!”
Can you tell us about the theme and stories that storyboard the songs within Star Of Delusive Hopes?
It’s kinda concept album, or maybe an idea album. All the songs share the same direction. It’s about the struggle for freedom. Most of the songs deal with and tell stories of historic personalities and events, like the title track, which is about the French revolution and the fate of Napoleon, or Victim of the Light, which is about Joan of Arc. We are really into history, and try to take our view on events and why we see them important.
Some songs are more ‘abstract’, like Whispers – it’s about an inner struggle within a person, I created the spoken intro to help understand the song. And there’s even a pirate song, Letter of Marque, which was kinda meant as light-weight, lyrics-wise, but came out pretty ‘honest’, and I’m really proud of it.
It’s not called Star of Delusive Hopes for nothing. The stories told are all with a touch of bitterness, we tell about betrayal, delusion, failure, but also hope – the whole deal. We try to describe real life, not a fairy tale.
The ideas and song inspirations are quite intense but your music also carries a surprisingly light and exuberant feel within its powerful sound. Was this a determined aspect or something that simply emerged whilst writing the album?
Hmm, never thought of this. I guess it’s just something we did, the way we write. I like a punchy riff, and a good uplifting chorus!
But we always pay attention to unity of music and lyrics, they should deliver the same message, fortify each other! There are tracks like Letter of Marque, with epic feel and a cheerful vibe, but there are also tracks like Whispers, which is darker, since its lyrics are nothing happy…
There is a sense of theatre to your music too would that be fair to say?
I’m really glad you’re mentioning it. There is, I think… Not as theatrical as some progressive or gothic bands, who create almost full-scale theatre plays, like Silentium.
We weren’t set to create a theater music project. It just came out that way. I realized that our songs have a lot of this after Whispers was written. It actually has spoken parts, monologues of sorts, and these weird sound effects that I created, to increase the sense of madness going on.
One track one the album which also became a single was Lament for Soldier’s Glory, It also featured a guest performance from Joakim Broden of Sabaton. How did that come about?
We met Joakim back in 2008 I think when we opened for Sabaton in Tel-Aviv, Israel. Joakim and the guys turned out to be a great bunch, full of life and super-friendly. So we chatted, drank some beers, but no business talk at all.
Some months later, we were working on the album, and this particular song demanded a male duet, at least in my head. So we started thinking who’d be right for the part. The song being about the WWII, Joakim’s name came out first. I was like, ‘yeah, right’. This guy never collaborated with anyone before, and actually refused some serious offers. But we gave it a shot, asked him. And he agreed to take part!
The track came out just perfect in my opinion. Joakim’s vocals fit the tune like a glove, it’s like we wrote it for him. Perfect.
Since then we’ve met quite a lot, Joakim flew in for our album release party, and later performed with us live in Israel, Sweden, and Cyprus. I hope its right to say we’re good friends now.
Desert is renowned for its live shows with you having shared stages with the likes of like Sabaton, Draconian, Nightmare, and Tim “Ripper” Owens. Live shows are a very important aspect of the band for you?
Heh, you forgot Helloween and Stratovarius I loved these particular shows! Oh, and Van Canto, they kill!
But let’s get back to us, he-he.
The most important. Desert is all about live shows. We put a lot of effort into rehearsing, thinking through the set, preparing all kinds of interactive experiences with the audience.
And we sure go crazy on stage. We run and we jump, and scream, like there’s no tomorrow!
The moment when I finally got my hands on a keytar (google it!) was a game changing one for me. Finally I can jump off the amp stacks, run into the audience, climb the lights, whatever, while still playing! I just LOVE playing live shows.
Do you see live performances and shows have in a time where people do not seem to be buying music now as more important than making recordings?
As I said, I value live music a lot, and try to attend as many live shows as possible.
But making records is still necessary, you gotta document your creations, and people enjoy the live performance more if they already heard the song, and read the lyrics.
How do you find things as a metal band in Israel, is there a strong scene for you and others there?
It’s tough, like everywhere else.
In Israel metal is not mainstream, it’s in the underground. But the scene, while not that big, is really strong in the sense of connection between people – bands, fans, writers, photographers, journalists. People are warm, and there are some great bands, too!
We have plenty of shows here, and many bands from all over the world come visit, and they are always amazed by how people here make them welcome!
How effectively has the internet taken you beyond your homeland borders into the wider world?
We have great friends all over the world we wouldn’t have a chance to meet if not for the web.
We have great friends and fans in countries like Poland, Bulgaria, Italy, Mexico, Canada – people write us and buy records.
So yeah, internet is super. Still, there’s no substitute for a good live show! Hold on, we’ll get to play everywhere eventually, and meet all these great people in person!
What has the rest of 2012 got in store for you or rather you for it?
hhh, I like the play of words. Well, we kinda took few months off to finish the next album, that’s what we’re after now – releasing a great album. I hope it’ll be ready by the end of the year.
Still playing some live shows, because its great fun and we don’t wanna get rusty!
Do you set yourselves any targets or aims during a year or just let things evolve?
We do set goals. Otherwise things just don’t move. When recording or rehearsing there’s a real schedule, a plan. We take music-making real serious.
Writing, on the other hand, is out of control. We can’t say, ‘ok, we’ll write two songs by next Friday’. Doesn’t work like that, unfortunately.
Again thank you for talking with us.
Would you like to leave with any last words for your fans old and new?
Thanks for the chance to chat about the band!
We are Desert, we love what we do, we believe in what we do, and we’ll make your head go Bang!
Stay true, stay metal, and go see a good live band next chance you get!
Can you please tell me firstly how you met and what led to you both deciding to form the band?
