Recently singer songwriter John Thayer released new EP Face To Face, a handful of songs which instinctively captivate as warm and suggestive melodies unite with emotion fuelled lyrics and vocals. There is also an intimate drama to each song which often blossoms to broader heights even as Thayer keeps it personal with his introspective exploration and reflections. The result is a release which captures ears with swift success and only lights the imagination further with subsequent listens.
The brother of Tommy Thayer, the lead guitarist in Kiss, John creates a sound inspired by the likes of Yes, Emerson, Lake and Palmer, Steely Dan, The Beatles, Led Zeppelin, and The Who and based, as suggested by his latest offering, around ear seducing melodies. 2013 saw his indie/pop rock sound quickly grab ears and support through debut album Laurel Street, released as the new EP on EON Records.
Already stirring up eager attention, latest record Face to Face was co-produced by John and singer/songwriter producer Rob Daiker (Meredith Brooks, The Fame Riot) at Commune Studios in Portland Oregon and mixed by Greg Collins (U2, Matchbox Twenty, No Doubt). Straight away it seizes ears and imagination with its title track, the opener caressing both with gentle keys and ethereal harmonies initially. That earlier mentioned drama is just as swift in working its charm, coating the emerging orchestral bred keys and vocal expression of Thayer. Equally there is an instinctive catchiness which arises through the song, riffs and hooks mellow but potent as they add inescapable infectiousness to an affair which takes little time to seduce and involve the listener while providing an impressive start to the EP.
Not Afraid follows and quickly eclipses its predecessor as a thick wall of dramatic rhythmic and sonic energy hits ears. The song soon relaxes as Thayer’s vocals begin sharing melodic sighs and expression though the bass continues to bring dark shadows while prowling the calmer waters, lurking and waiting to join the frequent expulsions of that initial energy with erupt. It is gripping stuff reminding of British artist Johnny Wore Black, and with great unpredictability to its twists and dark hues to its emotion easily takes best song honours upon the EP.
In many ways the song sets a plateau the release never reaches again but enjoyment and creative imagination is still a potent proposal as firstly the melancholic stroll of Really Doesn’t Matter warms the senses to be followed by the evocative serenade of Angel. As the heart bred and felt tones of Thayer slip enjoyable through ears both songs are a flame of melodic enterprise within that ever dramatic air to richly satisfy.
The EP closes with Lonely Eyes and a tapestry of string bred shadows and guitar shaped intensity entangled with suggestive vocals and poetic melodies. There is something cinematic about the song too even as again Thayer ventures into the deepest emotions of the song’s heart. With a flame of a solo and the perpetual majesty of orchestral temptation, the track provides a striking end to an increasingly captivating release.
The Face To Face EP is our first moment shared with the songwriting and sound of John Thayer and like so many others we are sure, it will not be our last.
The Face To Face EP is out now via EON Records through most online stores.
If some new metal infused hard rock ‘n’ roll is on the agenda then checking out the debut album from Damn Dice would not be a bad move. Unleashing twelve tenacious slices of hard rock, a dozen slabs of fiery, adrenaline fuelled stomps, The Great Unknown easily suggests the London based rockers are a band to keep a close eye on. It starts with a bang, ends with another invigorating stretch of songs, and though for personal tastes its middle section ebbs and flows in persuasion a touch too much, the whole album leaves full enjoyment as its prime legacy.
Damn Dice began in 2011 and quickly made a potent impression and impact with a live presence which in no time had a UK and European tour supporting LA Guns on its CV. The next couple of years saw the band reinforce their strong emergence whilst luring increasing acclaim through impressing headline shows and the release of their Wild ‘N’ Ready EP in 2013. It soon had the likes of Classic Rock AOR, Powerplay, Black Velvet, and Music Week offering eager praise whilst the single/video from it, Take The Fight saw the band regulars on Scuzz TV and indeed radio. Now the band is ready to make a hefty nudge on broader attention with The Great Unknown, an encounter as rousing as it is skilfully crafted, as riotous as it is familiarly infectious.
Recently Damn Dice has grown to a quintet with the addition of Diego, but it is the foursome of vocalist Alex, guitarist Wallis, bassist Marco, and drummer Fransoa who has ears ringing with opener Power. From a controlled and sonically suggestive start, the track is soon living up to its name with a charge of bone splitting beats and hungry riffery. Aligned to the quickly impressing tones of Alex, he supported as strongly across the rest of the band, and featuring an already grouchy presence by the bass, band and song is soon a virulent anthemic temptation. Bands such as Skid Row, KISS, and Hardcore Superstar are suggested as references to the Damn Dice sound, and certainly essences of them and others are open hues in the character and energy of the song though it matters little within the rampant fun of the encounter.
The seriously enticing start to The Great Unknown continues with What Now? and its initial rhythmic coaxing which courtesy of the bass, borders bestial. Its growling is the spark to a great contrast of niggling hooks and infection spewing grooves with vocals and melodies just as magnetic in one of the band’s previous singles. It springs a web of addictive enticement and inventive enterprise though again there is something recognisable to the encounter which fair to say only add to its allure before Driven brings its antagonism lined classic hard rock resourcefulness to court ears. Not as immediate in its persuasion as the first two, the song eventually proves to be just as inescapable for body and voice, as too the following Down, both songs easy to lock on to anthems sure to inflame any hall or speaker over time. The fourth track has an even more old school colouring to its fresh romp but as enjoyable as it proves to be, it is from here that The Great Unknown struggles for a while to match its early prowess.
To be fair though with The Way To Go from a sizzling electro touch going on to offer a bouncing boisterous shuffle of riffs and rhythms whilst Caught In The Ride and Words uncage a snarling catchy canter and evocative flame of emotion respectively, satisfaction is left smiling and the body catching its breath in their wakes. The latter two songs also unveil a spicy sonic enterprise and melodic imagination which only lures ears before Bang Your Head hits the album’s earlier plateau again next, its full throttle charge equipped with commanding rhythms and rip-roaring riffs and enslaving vocals. Once more Damn Dice are not exactly tapping into the hard rock unknown but its weighty slavery of ears and thick tempting is unavoidable before it quickly moves over for the equally dramatic and incendiary rampage of No Fear. As a few songs on the album, its start is thrilling drama but whereas others at times never manage to live up to their entrance in the rest of their bodies, the song continues to build a theatre of craft and adventure, not forgetting an invigorating anthem that only leaves a hunger for more and more you get with the outstanding Take The Fight. Unafraid to throw in a dose of rock pop for its contagious chorus, it takes little time to see why the song raised such enthusiasm and focus when released previously, its potency just as fierce and forceful now.
The album is brought to a close by the sinew built, rhythm swinging Rock (Like You Mean It), a song which arguably feeds expectations a touch too much yet still grows to be a more flavoursome beast with every listen, and lastly the compelling croon and passion of the excellent Home, where musically and vocally Damn Dice just reinforce the diversity of their sound to give a last treat for ears.
The Great Unknown is nothing less than thorough enjoyment from start to finish with certain stretches where it really gets to grips with wants and tastes. Different songs will work for individual appetites but if hard rock and metal infused rock ‘n’ roll hits your sweet spot then Damn Dice and their album is well worthy of an hour of your time at the very least.
The Great Unknown is released August 24th through most stores.
A year ago Oregon metallers Blackwitch Pudding released debut album Taste The Pudding, a collection of tracks which the trio of Wizards ‘took back stole and diluted their invention’. The story goes for newcomers to the Portland band, is that for 600 years Blackwitch Pudding has been “conjuring evil riffs, casting spells and wreaking supernatural havoc upon this planet” only to have mortals steal their creativity for their own success. That is the short version of the tale behind the presence of the band and their striking releases which take existing songs and turn them into the beasts they feel they were meant to be. You cannot call their tongue in cheek exploits the work of a cover band because of the whole new character and twisted invention they evolve songs with as well as the new warped lyrical adventures each comes with. Simply they take an established canvas and build a new ravenous predation of doom speared with caustic stoner grooves, biting hooks, and narratives of sex, drugs, and witch bred salaciousness. Now the band has unearthed the Covered In Pudding Vol. 1EP and another quartet of singularly compelling and questionably sinful exploits.
Opening track Night Of The Blackwitch, stemming from Roky Erickson‘s Night of the Vampire, is a dank and pestilential crawl over the senses, riffs moving with erosive rapaciousness and rhythms with a military bearing which is as deceitful as the hypnotic seduction within their malevolent intent. Psychedelically enhanced and insidiously aired lyrically and sonically, the song makes for a black soaked night of incitement complete with the rawest vocals to be found still churning syllables in a graveyard. It is doom with a ridiculously enticing core which overpowers the mischievous intent to its sculpting and devilry.
The following and irresistible Toke’n Man is equally as lumbering in its primal filth clad predation as it ‘steals’ back the essence of Rush track Working Man. You can almost taste the fumes of its hazy breath and addled imagination as the track seeps relentlessly over senses and imagination. Riffs make for the darkest web whilst rhythms again have a controlled frame to their corruptive endeavour but it is the bass stalked grooves and vocal recruitment of the band which makes the strongest toxic persuasion.
Kiss lose their anthem God Of Thunder to the threesome next as they unleash Gods Of Grungus and its bar room brawl of liquor soaked ferocity and devilment. Whereas the first two songs had a laid back senses consuming gait, the third track sees the band break into what can best be called a limping swagger with is muscles swinging lethargically and an energy keen to riot yet not too far away from the next swig of alcoholic poison. It like its predecessors is a magnetic treat to make you forget the source of their birth, each track so far improving on the original canvases.
Bong Hits and Lust completes the EP with an eleven minute epic doom transformation of Diamonds And Rust of Joan Baez and Judas Priest fame. It is a rabid and vicious slab of slow ear entwining doom revelry which exposes more of the undoubted skill and craft of the band members and of course their cauldron of possessed diablerie.
To be honest it is hard to know how to take the EP and album before it. Certainly it is a thoroughly enjoyable and accomplished encounter to easily recommend indulging in, but something inside for all the work and enterprise the band puts into each track wants Blackwitch Pudding to confront with something completely of their own…though maybe they already do that in another guise?
The self –released Covered In Pudding Vol. 1 is available now digitally and on 200 limited-edition, wizard-conjured cassettes @ http://blackwitchpudding.bandcamp.com/
Though their self-titled debut does not offer anything to truly blow the imagination away, UK rockers Scream Arena vein their release with an essence which makes it a very appetising and easy to return to venture. Consisting of twelve tracks which breathe from a hard rock heart whilst infusing rich spices of melodic metal aligned to a swagger related to glam rock, the album is an honestly satisfying encounter; nothing to get the passions racing but plenty to have them hungry for more.
Scream Arena was formed in 2005 by vocalist/songwriter Andy Paul in response to how he felt the rock scene was floundering at the time. Moving through numerous personnel changes, the band eventually found its potency and stability with the line-up guitarists Alex Mullings and Phil O’Dea, bassist Lincoln J. Roth, and drummer Michael Maleckyj alongside Paul. It was the linking up with US rock producer/musician Paul Sabu (David Bowie, Madonna, KISS, Shania Twain, Silent Rage) for the album which has provided the final spark to grabbing a richer spotlight for their sound and presence, something the release shines with. There is a certain Cooper-esque feel to the sound soaking each track and flavours from the likes of Motley Crue, Kiss, and Extreme seem to soak into the band’s invention which makes for a familiar offering with a refreshing and heartily pleasing presence but also a lack of uniqueness which all evens out for an easily pleasing and enjoyable proposition.
Opening track Born Ready revs itself up from the first second, riffs and rhythms a solidly coaxing lure which the guitar design of the song explores with eagerness. Once into a purposeful stride with flailing sonic flumes wrapping notes and ears as the gruff tones of Paul eagerly travels the road of the song; it is a magnetic anthem awakening attention and appetite for the impending adventure, which the following engagement of The Price Of Love takes into another gear. Again there is nothing flash about the song, just straight forward and accomplished rock ‘n’ roll cored by infectious short grooves and an excellent rhythmic tempting. The bass also adds to the irrepressible bait of the song, its dark throaty tones a prowling shadow to the punkish twist of the song and the fluid addictive call of the band vocals across the chorus. The song easily confirms, alongside its predecessor, the strength and potency of Scream Arena’s sound and the strength of the album though levels do ebb and flow throughout its remainder.
Racing To The End Of Night is the first lull in the contagion of the album, its melodic balladry and sensitive sonic enterprise excellently crafted alongside the kiss of eighties bred keys but the spark which made the previous songs notable is a dull light. Nevertheless the song makes for an evocative companion before the sturdier slightly antagonistic House of Pain brings its muscular body and rhythmic caging to bear on thoughts and emotions. The song is an instantly accessible pleasure with bass and drums again stealing the limelight before the stylish skill and colour of guitar takes its fair share of the spoils. With a chorus quite incendiary on the passions the track makes for a gripping incitement which is hard to say is equalled by the cover of Heartbreak Hotel which comes straight after. The song is a mixed bag and leaves thoughts undecided. Certainly the fact that the band turns it into their own song rather than producing just a straight a cover is commendable and very pleasing but it feels like something is missing, a vital ingredient to pull all their ideas into the gem it threatens but fails ultimately to be.
Another Night in London makes for a very easy to immerse in stroll whilst the lively and boisterous Knave Of Hearts romps with feisty intent and gripping invention to steal best track honours with ease. It arguably marks a more adventurous turn in the album with the excellent Forever unleashing emotive guitar expression and skilful rhythmic enticement alongside a similarly potent vocal lure. Goodnight LA is a paler and predictable if admittedly very decent meat between the previous slice of quality and the following pair of Somewhere and the sultry Queen Of Dreams. The first of the two is a hazy breeze of evocative sonic hues and spicy melodies which cradles thoughts and emotions bewitchingly whilst the second of the two soaks the ears in a warm melodic embrace clad in a smouldering glaze of sonic temptation.
With bonus track Heart Of The Rock rigorously and enjoyably bringing the album to a close, Scream Arena has provided a weighty persuasion which marks out their potential in lively colour. It is not a powerfully dramatic introduction to the York based band but certainly leaves no doubts that they are upon a potent ascent.
The Scream Arena album is available now via Mighty Music.
The year may be young but it has already seen one of the most thrilling and inventively riveting heavy rock/metal albums likely to bless the year released. The Power of Three from Monte Pittman is a towering feast of adventure and multi-flavoured sinew driven rock fused to heavyweight metal. Renowned and acclaimed for his work with Madonna and the likes of Adam Lambert, Melanie C, and Sophie Ellis-Bextor, the Texan with the Metal Blade Records released album unleashes his always eager creative and passionate metallic tendencies. Given the pleasure and opportunity to find out more about the magnificent triumph, we talk with Monte Pittman and find out about his early days and inspirations as a budding musician, songwriting, Prong and much more…
Hello Monte and many thanks for taking time out to chat with us.
Before we get into the meat of your excellent new album The Power of Three, can we get some insight into the background of Monte Pittman before the musician and what was the first spark or moment when music drew you to its bosom?
I grew up in Longview, Texas. I’ve wanted to play music since I can remember. I was always fascinated by it. I was very lucky to be a little kid and have bands like Kiss to bands like Pantera as influences. I was one of those kids who would stand on the bed with the door closed pretending I was Ace Frehley to my sisters Kiss records. My cousin, Jimmy, had a few different bands in Dallas and I would see him rehearse as a kid. That’s what started it all.
What have been the major inspirations on you musically and especially in regard to your guitar craft?
That’s something that always changes. The first song I ever learned how to play on the guitar was “One” by Metallica. “…And Justice For All” had just come out. That was an exciting time to get your first guitar! My guitar influences now are Jeff Beck and Freddie King. I’m also heavily influenced by John Coltrane and Thelonius Monk, but they’re not guitar players. As far as bands, a lot of fellow Metal Blade bands…Uncle Acid and the Deadbeats, and Amon Amarth…also Holy Grail. Great guitar players! Great songs! Great bands!
Aged 24 you moved from Longview to LA; why, was it purely for music reasons?
My cousin, Natalie, lived there and I went to go visit her. As soon as I got there, it felt like home. When I went back to Texas I immediately started making plans to move there as soon as I could knowing the longer I took, the better the chance of talking myself out of it. I moved to LA to work as a professional musician one way or another.
You were already in the relatively successful, certainly locally, band Myra Mains at the time, what were the opportunities you felt could be lying in wait in LA which encouraged you to leave band and family etc. behind?
It was hard leaving but I knew I could always go back if it didn’t work out. I didn’t know what to expect.
Jumping forward a bit and you became guitarist for Madonna; we covered it in our review of your album but can you fill in further for the readers how this came about?
I worked at Guitar Center in Hollywood. I quit and started teaching guitar lessons. One of my first students was Guy Ritchie. He was dating Madonna. Then I started giving her guitar lessons. From there, she asked me to play guitar for her.
You obviously are a heavy weight rocker at heart and creatively so were there any doubts about linking up with the Queen of Pop or was it a no-brainer decision?
No because we already knew each other and she was cool. I love all kinds of music and in her shows we play several styles of music.
As well as all the positives from working, playing, and writing with the lady has there been any, not exactly negatives but may be doubts from people towards your solo work before actually hearing it because of that creative union, their expectations making assumptions about your sound maybe?
I’m sure there would be some people who would be on the fence with just that information but hopefully the music speaks for itself.
As we mentioned earlier you have just released The Power of Three, a contagious rock ‘n’ roll beast of a record, what were your feelings about it and its possible reception compared to your previous solo releases?
I wanted to make an ultimate metal album with all the things I loved. I reached a point with my song writing where everything came together…the old with the new. People like different things. Hopefully that leaves something for everybody down the line. The new material has had the best response for sure.
The album is a multi-flavoured and genre varied inventive temptation which draws plenty of essences from your eclectic work and numerous collaborations over the past years; do you feel that yourself and was it intentional or just an organic evolution?
Most of it was an organic evolution. Sometimes you have to just forget everything and start over
I read somewhere that the album was originally going to be a three part release with acoustic, blues, and metal tracks? If so what changed in your thinking taking it into being an all-out metal and muscular rock adventure?
I had written acoustic songs. I had written heavy songs. I had written blues songs. I made an acoustic EP with Flemming Rasmussen. We made plans to record the heavy songs and the heavy songs kept coming. The flood gates were open. I played what we recorded for Brian Slagel and he signed me to Metal Blade.
You also linked up with Danish producer Flemming Rasmussen for the album, a repeat from your earlier acoustic EP as you just mentioned; how did you first meet and what sparked your creative union?
I met Flemming on a day off when I was on tour in Copenhagen. We stayed in contact and eventually made plans to work together. We did the acoustic EP on another day off when I was back in Copenhagen again.
What is it in particular about the man that helps him connect so potently with your ideas and music to help guide it to the right final place?
He knows when to push you. He knows when to be invisible. He puts you in the right frame of mind for what he’s trying to get out of you. He becomes that next band member that’s there recording you.
Is there a general process you go through when writing your songs and music?
I’ll come up with some guitar riffs and then a melody will stick in my head. Then I find words to fit the melody. I can change one word and it changes the meaning of the song so it’s like you are writing a story.
How would you say your music has evolved over the years and specifically between last album Pain, Love & Destiny and The Power of Three?
I looked at what I needed for my live show. I needed faster and harder songs. That was in the back of my mind for everything I was writing at the time. It all started out with me playing solo acoustic shows on my own and that’s grown to what it is now.
Is there a particular moment or essence within the album which gives you an extra tingle?
Somewhere around “Away From Here”, you can really hear us get comfortable. The album was recorded in the order you hear it. The first song was the first thing we recorded. We all recorded at the same time in the same room. You can feel the excitement throughout the album.
Are you an artist who goes into the studio with finished songs or prefers them to either be born in that situation or certainly evolve into the finished article there?
There should be a little of both. I made a general demo of the whole album but we left room to do whatever we felt like doing right there and then in the studio.
Listening to certain tracks on The Power of Three you get the feeling there is a more carnivorous and heavier sound waiting patiently to break out. Do you feel that yourself and is it a future exploration maybe?
This definitely paves the way to get heavier.
Will this upcoming year be a concentrated time supporting the album live and writing or are there already collaborations and varied projects lined up too?
Getting the word out about this album will take up all my time. (hopefully!) We’re playing the Whisky-A-Go-Go in LA February 22 and we’re about to start adding more.
One of our all-time favourite bands here is Prong who you have played, toured, and written with extensively these past years. How did you link up with the guys and is this an on-going thing including their upcoming tour?
When I first moved to LA, Ivan DePrume introduced me and Tommy Victor. From then on, I would wind up going back and forth between Madonna and Prong. Prong has a killer line up right now and Tommy is working on a new album. They are one of my favorite bands too. I’m happy I got to work with them and I’m always there to help if needed.
A big thank you Monte for taking time out to talk with us, any last thoughts you would like to leave us with?
Thanks for talking with me! Great questions! We did a video for “Before The Mourning Son”. Check that out if you haven’t seen it yet. There are some videos of some of our NAMM performances on YouTube at MontePittmanMusic. Keep checking in at www.montepittman.com
Lastly what are the five most important albums in your inspiration over the years?
One of the albums which certainly made a strong and lingering impression this year has been Mortui Vivos Docent from The Pete Flesh Deathtrip, and it should be said that since we posted are review of it a few weeks ago the release has continued to persuade and seduce with its darkest fearful creative journey and surpass what we originally said about it. The solo project of Pete Flesh (ex- Deceiver, Thrown, Maze of Torment), The Pete Flesh Deathtrip is a project which brings fresh venom and breath to death cored extreme metal. Taking the opportunity to find out much more about the album and the man himself, Pete explained about how he creates his music, what drives his thoughts, and how he is doubtful he could return to being just part of a band.
Hi Pete and thank you for taking time out to talk with us.
No problem, grateful for the support.
Before we look at and talk about your new album Mortui Vivos Docent can we ask about your background? What sparked firstly your interest in music, inspirations etc. and in metal in particular?
I remember the first time I heard and saw pics of WASP. I had heard and listened to bands like Deep Purple, Kiss etc. But this was something different, I fell for the rawness. The same goes with the first time I heard Bathory or Tormentor. To be creative has always been in my nature since I was a kid. Then when I tried the guitar I have simply not stopped doing songs since. And that has been more important to me, to find new ways to do songs than actually trying to be the next Yngvie Malmsteen; just trying to find different atmospheres and expressions towards different experiences through life.
Did you take music lessons when young or was it a sudden discovery of a passion to play that emerged and led you to developing alone?
I took 3 lessons then I quit, just because I thought it was more satisfying doing my own stuff. Something I regret today. But I have my own style which you can hear directly when I play.
Is there a particular instrument and style you have a greater passion for and enjoy exploring the most?
Well, I must say the guitar as I write most of the songs on that instrument, even if I don´t see myself as a pure guitar player. I also like to play other instruments to explore different ways to create a song. On every album I try at least to have some songs that have the roots from other instruments, like bass or piano. I also like to explore and develop in the rhythm sections for every album, some details here and there.
You played in Maze of Torment, Embryo, Thrown, and Deceiver before starting up solo project Flesh. What was the spark or trigger that led you to go down that road creatively emotionally?
I think it was the fact that I always think in terms of song-writing, that I get the whole picture and not just some riffs here and there. Sometimes it would get frustrating to have this whole idea to a song, but the out-come would maybe be 70%. Some would maybe say that I´m an egotist, but I see myself like someone with strong ideas, ideas where all dedication is needed to get the songs rightful form… And my ideas mostly have no thinking at all towards any success, genre or what other people would think, and that often fails when you are in a band. I´m really proud of my past, and there is a lot of great stuff released, like the debut album of Maze of Torment or the last one with Deceiver.
Was it a bigger step in reality to have a whole project in your hands and imagination than you envisaged or a natural and fluid evolution for your music?
It was hard to make a decision to leave Maze of Torment, the band was my dedication for 12 years. That was the first step towards where I am today. Then I had some years where I tried out different stuff, did the project Thrown etc. But all that was needed in the evolution. There was no bigger problem for me regarding emotions to put down Deceiver and Thrown, I did most of the music and work anyway. It was harder for me to come to the conclusion that I should only focus on one thing and that all of my ideas and expressions can be gathered at one place, like in The Pete Flesh Deathtrip. Today now it´s done and I think back I only see everything as natural steps.
Is there a big personal aspect to your own music lyrically and musically, your songs a reflection of your inside thoughts on things and you see and come across?
Yes, it is. Everything I do must have full dedication towards all reflections and expressions I create through songs. Sometimes it has failed because of studio, members or producer choices, that the ideas not always have been understood. But you go through all that, everyone does to get experiences. The experiences then either make you give up or simply get you stronger in what you believe in and what you want to do.
What inspires your lyrical side predominantly?
The dead and death in general; its surroundings and the topics that have been created because of it. Just like the music, this comes natural for me.
You renamed the band to The Pete Flesh Deathtrip from simply Flesh, was this forced upon you as I read somewhere or down to a deliberate intent?
No, not forced but “recommended”. But the main reason was that I only was going to create music for this now and I wanted something more personal. If I had wanted to continue just under the name Flesh, I think there would not have been any bigger problem. Flesh and The Pete Flesh Deathtrip is the same thing for me, the idea is still the same and I even use the old Flesh logo in the inner-sleeve of the new album, just to show people.
As we mentioned earlier Mortui Vivos Docent is your new very recently album, your fourth. How has your music and imagination on the album evolved from those early days of Flesh and across all releases?
If you compare to the first one, “Dödsångest”, I would say that it still has the same formulas, but developed. I had for example never, and I mean never, done vocals before that one. And you can hear it, but it has the same kind of dedication like today. “Temple of Whores” and “Worship the Soul of Disgust” I see as progression albums. Lots of stuff going on in my personal life and other music stuff. If you would take the best of those 2 albums and record it in the same studio as the new one it would become a killer album. Sometimes I play with that thought.
Do you deliberately explore certain aspects and ideas or each release or an artist that lets the music naturally evolve itself and thus each release?
I would say that the seeds to my creations come from the same place, only that I try to develop and explore different stuff in different views from each release. I try to do songs that capture the essence from what I feel at that right moment. I can´t erase my past and influences that have built up the person I am, I will always have stuff that marks my way of playing and how I do songs. But I will always try to find those small details that keep it interesting for me, to create and explore new territories.
There was a five year gap between Mortui Vivos Docent and its predecessor Worship the Soul of Disgust. Any particular reason for that extended gap, and how much of that time was involved in the creation of the new album?
Lots of personal stuff that was going on in my life, elements that had to be sorted out. I was still doing music, but I was in this state of mind that everything had to have its time. I had at that point created music, manic, for over 20 years. I had to take that time to find again that “innocent” feeling, when everything was new and you had not recorded any album yet. This has only been good for me; I have a better way today to see the structures in things. The next album will for sure not take this long; the inspiration is there, more than ever.
As with your previous albums you used session musicians on the album, notably Micke Broberg for some of the vocals and Andreas Jonsson (Tyrant, The Black, Vinertand) for drums. Was this approach always the intention from day one and if you ever expanded the band line-up do you think it would unbalance or in some way diminish the current potency of your music?
No, the idea to use them was not there from the beginning, it was a progress that grew through the process. First my idea was to play the drums myself. When I put that news out on MySpace I got a mail from Andreas directly -“I like Flesh too much to let you play the drums, you are not good enough. At least I can´t be worse”. And he was more than right. I was just trying to isolate myself totally from any impact from any other. Flingan that had played on the previous albums had stopped playing and it felt hopeless finding a new session drummer. That Andreas came into the picture was the best thing that could happen for me. He understood the concept of everything and when he recorded the drums in the studio it was pure energy. Micke came into the picture when more or less all songs were done. I had this idea that it would be good with some contrasts in the vocals as there was a lot of it in the music. You know, I only have this kind of vocal style, and sometimes I hear stuff in my head when I do the songs that I can´t really manage vocally. First it was only going to be on one track, then there were two, and suddenly it was half of the album. All this came naturally through the progress of writing lyrics and what I wanted out of the songs. He also wrote some lyrics. Both Andreas and Micke did brilliant work, and to tell the truth, I never thought that there were people out there that I could work this good with, I´m grateful. There will never be any other full-time members in T.P.F.D.T than myself. The reason is simple. This is a solo project and I want to always have the doors open for new ideas. Maybe Andreas and Micke are on the next album as well, maybe not. All depends on how songs etc. progress under the process. Also, even if they are included on the next recording I maybe have this idea that is totally out of their taste, like using an Opera singer as just an example. As a band and full time members you could refuse that. So, this will continue as a solo project.
How do you approach your songwriting generally and how has that changed over the years if at all?
I wait till the inspiration comes to me. Sometimes I tease myself and wait longer then it just explodes. Anyone that can play little guitar are able to fix that fat sound and just do riffs. The riffing part is not hard for me, the hard part is to find the riffs, ideas, structures etc. that in the end will express something and that you can feel dedicated to, simply to create a good song. Also when I start the process in writing a whole album it´s not just about doing single songs, I try slowly to get a picture of a whole album, the expression and atmospheres to it all. I want to have a dynamic to it all. I would say that I in the early days was a bit more stressful in the writing process of a whole album, there are good songs and the structure is there, but to hold it through a whole album has failed sometimes. To put it simple, I know better what I want and how I want to express it today.
When you bring in musicians to help bring your songs to life in the studio are they finished and sealed compositions before them or is there still a little room for ideas to be offered and considered?
All the songs are already there, but that doesn´t take away the room for ideas. For example, Andreas did a lot of drum parts that maybe were not was my idea from the beginning, all cred to that. Also on the trax where Micke had done the lyrics he had a lot of say. I had said the parts where the verse, chorus etc. would be, but the expressions in the words, the type of vocals is his and all cred to that. I notice pretty fast that these guys understood the concept to it all, so to collaborate through different ideas was no problem for me. I would never take away their great impact on this album and say that it´s all mine. The only important thing for me is making the album I had in my head and make it good, and they contributed to that. And I must mention the producer Peter Bjärgö (Arcana, Crypt of Kerberos, Tyrant), his role has been as important. I had tons of ideas that he was able to fulfil, like piano stuff, samples etc. so all cred to him as well.
Do you think having spent the past decade writing and creating alone that returning to a band set up would be a struggle for you creatively, losing the sole control etc.?
I have thought about it sometimes, to form something and rehearse like a band. But after 10 seconds of thinking I realize who I am and know that I will be manic about it; I can´t play in a band just for the fun of it. The closest to a band I ever will get, at least it feels like it right now, is if I put T.P.F.D.T into a live situation, but first I must find a second guitarist.
Did you have a core idea or intent when writing Mortui Vivos Docent?
That this would be the most honest and personal album that I had done; to get back to that feeling when I wrote for the first Maze of Torment album. A mixture between that and when I did “The Suicide Kings Occult” with Thrown (one album project where I also plays drums). Simply finding the core to the reason why I crave and are addicted to making music. It all sounds bloody boring and ambitious, it´s only fucking Metal…..well, not to me.
Written over the long period mentioned how much did songs change and evolve from their original conception on the album or are you a person who can leave things alone once a song is ‘finished’?
No song is done until the mastering is finished. For me a song is a breathing thing, it´s a creation, something that follows me during the whole day and night. Most of my social life is gone because I choose this way of life instead, to write. But when the drums are done the big frame, structure is of course done. But then you are able to “colour” the songs in so many ways. I try to go in with small details if I feel like a song will fail. One of the tracks on the new album “The Suicide End”, that a lot seems to like, was a struggle for me. The idea was clear in my head, I heard what I wanted, but it wasn’t there. Everyone had played everything right, the vocals was right and had the right expression and atmosphere, but there was something missing. When Peter and I mixed the album I was fucking furious. For me this song was destroyed, maybe not for someone else, but for me, that millimetre detail that would put the song in its rightful place was not there, and the song was bloody important to me. Then I just tried to turn up the vocals one small step after trying to mix the guitars, drums etc. different, and there it was. For me it was like day and night in differences. Maybe it sounds stupid and obvious for someone else, that it should not have been too hard to notice it directly. But everyone that has a whole writing process in the head also knows that it’s easy to get a bit blind during the mixing process. Tons of things to keep track of to find that special thing that makes the song.
Is there a part of moment of the album which gives you the biggest tingle or thrill inside, something which is the purest part of Pete Flesh?
Yes, the thing that I just mentioned. Can´t describe that feeling when it turned out exactly as I wanted. Of course a lot of other stuff did as well, but with fewer struggles; the chorus of “Recycle my Death”, the verses in “Burning Darkness”. This is just to mention something, because there is a lot of stuff that I worked really hard with trying to capture. But those two things and the verse in “God of the Crawling Whore”, that is pure Pete Flesh. Other things that give me the thrill, Micke’s and Ia´s brilliant vocals in “Bleed” and his chorus lines in “The Eternal Dawn”. Just brilliant.
Will you be taking the new release into the live arena and if so do you have a regular group of musicians to call on to help?
Nothing is settled yet, there is a lot of work making it happen. But if it would happen I of course want Micke and Andreas to follow. Micke is a skilled musician, so he can also handle the bass. Then I only need to find a second guitar player to work with. This is a process, like an album, that I want to think everything through carefully.
Once more thank you for allowing us to explore your music and creativity.
No problem at all. Thank you for questions that prove your interest for my music.
Any last thoughts you would like to share?
Silvester Anfang
Check out the review for Mortui Vivos Docent@ https://ringmasterreviewintroduces.wordpress.com/2013/07/25/the-pete-flesh-deathtrip-mortui-vivos-docent/
Pete RingMaster
The RingMaster Review 28/08/2013
Copyright RingMaster: MyFreeCopyright
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Containing a fury of passion, aggression, and sheer unbridled power, Horizon the new album from Canadian metallers Until Dawn, is a thrilling riotous introduction of a band with certain craft and unbridled creative energy. Not that the band itself is new on certainly their home metal scene, their debut self-titled album capturing the imagination of a great many in their homeland upon release in 2011, but for most of us on the outside their second full length is the first time the quintet has stepped upon the radar. Going by the quality and strength of the album it will not be the last time either and as they develop into a more distinctly unique presence ahead, you can only feel that Until Dawn will become a potent force of the future.
Hailing from Fort McMurray, Alberta, the line-up of brothers Deke (guitar) and Luke Worrell (drums), AdamMacleod (vocals), Steve White (guitar), and Darren Ehler (bass), forge a tight and hungry mix of melodic and intensive metal with the flames of heavy rock, the result an often bruising and always thoroughly compelling brawl of a sound with fiery depths which has led the band to be compared to the likes of Killswitch Engage, In Flames, and Trivium. The years since forming has seen the band shares stages impressively alongside the likes of Kiss, Korn, Volbeat, Billy Talent, Kiss, A Day To Remember, Hell Yeah, All Else Fails, Fozzy, Ill Scarlett, 3 Inches of Blood and many more, but as their new album steps into view with a flare and confident swagger which oozes promise and maturity you sense the widest recognition is beginning to stir. Their sound, one suspects, is still in evolution as they look to create a distinct space within metal and though the release has not achieved that it suggests it is on the way.
The self-released album stands face to face with the ear from its opening seconds as Roamers And Lurkers prods the senses into alertness with scythes of resonating guitar punches cutting across a niggling beckoning of riffs. With bass and drums casting their sinew woven net around the invitation the track charges into an attention grabbing blaze of energy and feisty sound, the excellent vocals of Macleod which fall somewhere between gravelly and clean, offering an expressive rage of narrative and urgency to the equally energetic sound now in full flow. Though those references earlier mentioned are understandable the bands that immediately make an suggestive comparison are Bloodsimple and UK band I-Def-I, the expertly blended mix of styles and imposing intensity a familiar and potent weapon between all three impressive artists.
The following Strings Of The Dammed is less stressful in its attack though no less fierce of heart and presence, the guitars carving out a provocative sonic strewed wash of enterprise aligned to the again tempting varied vocal enticement. It is a formidable slice of inventive persuasion, a virulent contagion to its adventure and cultivated skill to its presentation securing the hunger of the passions early on and only gripping tighter across the expanse of the track, the same attribute you can lie at the feet of both The Red Sun Rises This Day and Third Knee, two lethally addictive tracks which only add greater irresistible toxicity to the release as their compelling barbed offerings continue their creative persistence. It is fair to say that there is a surface similarity which has its say at times, especially between the first two of this trio, but it is never a strong issue though maybe in the future the band will be picked up on it.
The towering This Fallen Fortress ignites further depths of pleasure next; the opening bass crawl over pungent imagination a spark to the unleashing of the most savage premise of the album yet, though equally it merges it with a smouldering melodic entrapment rife with allurement and intrigue. This certain pinnacle of the album seemingly plays like a trigger as Horizon unveils a new wealth of striking and explosively evocative songs to match its opening. The fervent passion of A Conjurer Of Cheap Tricks and the exceptional predatory Time Tested Fortune snatch greater hunger and lust from the body whilst The Trial continues the rapacious greed with another stirring expulsion of uncompromising creative sway and bait to cement the album’s place in the passions, even if amongst them DNR is a weak link in the inspired aural slavery.
Completed by Polar Parallels and its title track, two more fertile canvases for thoughts and passions to immerse within, plus the bonus tracks WM3 and Richard, the first of the two another self-asserting treat on the release, Horizon is a thrilling and imperious assault from a band with a tremendous future. It may not be the most original album this year but with its fire and distinct craft it is undoubtedly one of the most enjoyable and refreshing.
Not Afraid follows and quickly eclipses its predecessor as a thick wall of dramatic rhythmic and sonic energy hits ears. The song soon relaxes as Thayer’s vocals begin sharing melodic sighs and expression though the bass continues to bring dark shadows while prowling the calmer waters, lurking and waiting to join the frequent expulsions of that initial energy with erupt. It is gripping stuff reminding of British artist Johnny Wore Black, and with great unpredictability to its twists and dark hues to its emotion easily takes best song honours upon the EP.
The seriously enticing start to The Great Unknown continues with What Now? and its initial rhythmic coaxing which courtesy of the bass, borders bestial. Its growling is the spark to a great contrast of niggling hooks and infection spewing grooves with vocals and melodies just as magnetic in one of the band’s previous singles. It springs a web of addictive enticement and inventive enterprise though again there is something recognisable to the encounter which fair to say only add to its allure before Driven brings its antagonism lined classic hard rock resourcefulness to court ears. Not as immediate in its persuasion as the first two, the song eventually proves to be just as inescapable for body and voice, as too the following Down, both songs easy to lock on to anthems sure to inflame any hall or speaker over time. The fourth track has an even more old school colouring to its fresh romp but as enjoyable as it proves to be, it is from here that The Great Unknown struggles for a while to match its early prowess.
the track seeps relentlessly over senses and imagination. Riffs make for the darkest web whilst rhythms again have a controlled frame to their corruptive endeavour but it is the bass stalked grooves and vocal recruitment of the band which makes the strongest toxic persuasion.
song explores with eagerness. Once into a purposeful stride with flailing sonic flumes wrapping notes and ears as the gruff tones of Paul eagerly travels the road of the song; it is a magnetic anthem awakening attention and appetite for the impending adventure, which the following engagement of The Price Of Love takes into another gear. Again there is nothing flash about the song, just straight forward and accomplished rock ‘n’ roll cored by infectious short grooves and an excellent rhythmic tempting. The bass also adds to the irrepressible bait of the song, its dark throaty tones a prowling shadow to the punkish twist of the song and the fluid addictive call of the band vocals across the chorus. The song easily confirms, alongside its predecessor, the strength and potency of Scream Arena’s sound and the strength of the album though levels do ebb and flow throughout its remainder.
I had written acoustic songs. I had written heavy songs. I had written blues songs. I made an acoustic EP with Flemming Rasmussen. We made plans to record the heavy songs and the heavy songs kept coming. The flood gates were open. I played what we recorded for Brian Slagel and he signed me to Metal Blade.
patiently to break out. Do you feel that yourself and is it a future exploration maybe?
When you bring in musicians to help bring your songs to life in the studio are they finished and sealed compositions before them or is there still a little room for ideas to be offered and considered?
alertness with scythes of resonating guitar punches cutting across a niggling beckoning of riffs. With bass and drums casting their sinew woven net around the invitation the track charges into an attention grabbing blaze of energy and feisty sound, the excellent vocals of Macleod which fall somewhere between gravelly and clean, offering an expressive rage of narrative and urgency to the equally energetic sound now in full flow. Though those references earlier mentioned are understandable the bands that immediately make an suggestive comparison are Bloodsimple and UK band I-Def-I, the expertly blended mix of styles and imposing intensity a familiar and potent weapon between all three impressive artists.