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Tuesday, February 20, 2018

Live review: RAM, Portrait and Trial in Merleyn, Nijmegen, The Netherlands, February 13th, 2018

On the evening of Tuesday February 13th, the big square in Nijmegen is a busy place to be. On that square is a giant tent packed with dressed up people celebrating carnival. However, for people with a better taste in music, those who don't like carnival, or both, a little bit further is another party. There, in the nice venue of Merleyn, a nice collection of leather, denim jackets and heavy metal can be found. Three Swedish heavy metal band will enter the stage tonight. Their names: RAM, Portrait and Trial.


The opening band of tonight is Trial. When the first notes of Trial are heard there aren't many people inside the venue yet. Instrumentally this band is playing a very solid, tight show. Unfortunately, this couldn't be heard all the time because of the bad sound mixing. In particular guitarist Alexander Ellström shows a big dose of passion and shows some great solos on his guitar. The drums of drummer Martin Svensson sound very heavy and he even lets us hear some thrash metal drums at some points in the show. Vocalist Linus Johansson is a different story. Appearance-wise he looks a bit like a mix of Jim Morrison, David Coverdale and Steven Tyler. However, his vocal qualities aren't comparable with these three great vocalists. As I already mentioned the sound quality was pretty bad, which could also be heard for a big part of the vocals. Most times, Linus' vocals could hardly be heard in the audience. When his vocals could be heard, it unfortunately wasn't of very good quality.


The second band of tonight is Portrait. This band plays a bit faster. Apart from some interfering sounds at the beginning of Portrait's set, the sound quality is much better compared to Trial's set. The vocals of Per Lengstedt can be heard much better and his vocals are of a much better quality compared to those of Trial's Linus Johansson. The combination of all band members seems to be a good one and because of that relying on each other is no problem for these guys. For example, when vocalist Per Lengstedt accidentally stands on the cable of Rasmus Grahn's guitar, this results in Rasmus playing his guitar in a somewhat clumsy pose. However, this doesn't affect his playing. All in all, Portrait delivers a very solid, tight set.


After Trial and Portrait it is time for the headliner of tonight to enter the stage. Tonight, the headliner are the guys from RAM. They even play a little bit extra faster than Portrait did and play heavy metal as it used to be. Their fast, heavy and tight set contains a lot of energy. The big dose of energy coming from the stage also passes onto the audience. The audience got a bit looser and a lot of heads can be seen headbanging to RAM's music. RAM delivers a very powerful set and literally rams their music onto the audience. This is a crushing show in which RAM shows us why they are tonight's headliner. This clearly is the best, greatest and most impressive show of tonight.

Around half past ten the last sounds of RAM's set can be heard, which means tonight's shows are over. The necessary dose of heavy metal has been taken, with RAM's show as a clear highlight.

Written by Tim van Velthuysen

RAM Official Website
RAM Facebook
Portrait Official Website
Portrait Facebook
Trial Facebook

Friday, February 16, 2018

Interview: Deathwhite


After the two EP's Ethereal (2014) and Solitary Martyr (2015) the dark metallers of Deathwhite soon release their first full-length album called For A Black Tomorrow. It will be released on February 23th via Season Of Mist. DutchMetalManiac's Tim van Velthuysen spoke with Deathwhite about the album, their first live shows among other things.

How would you describe Deathwhite's sound to someone who hasn't heard it before?

That’s always a tough question since people hear music in different ways. To best encapsulate our sound, we have put Deathwhite in the “dark metal” bucket, which, if you think about it, is a pretty large one. Since we’re now at the point of having to give everything in metal (and music) a tag or descriptor, we felt this was the easiest, most convenient way to do so. Beyond that, we employ exclusively clean vocals, of which are often the focus of our songs. Behind them are largely melodic, minor-chord riffs and busy, but not complex drumming. Our concoction is by no means a new or revolutionary one, but we try to present something different and fresh to those interested in listening to us.

When you announced the release date for this album for the first time, it was February 24th 2017. Now, apart from one day a year later, on February 23th 2018 it will finally be released. One of the reasons for this was your signing to Season Of Mist records. What makes Season Of Mist the perfect record label for Deathwhite at this moment?

We’re long-time fans of Season of Mist, going back to the late ’90s and early ’00s when the label was starting to get its bearings. Today, it’s one of the go-to labels for underground metal. We actively sought them out due to their work with a myriad of bands, from Drudkh to Deathspell Omega, from Rotting Christ to Sylvaine, all the way to Abbath and Cynic. You’d be hard-pressed to find a label with such variety and top-notch bands, plus, we knew they would understand our approach. Luckily, they took an interest in us and we signed literally a week before For a Black Tomorrow was to be released independently. We subsequently had to pull the album and refund those who were kind enough to pre-order the album, but, it was worth it in the end. They’ve been an absolute pleasure to work with.

Since you already finished this album for a while back, did the feeling you have about the album change compared to when you just finished it? If yes, in what way?

Yes, somewhat, only because we’ve now had the necessary amount of reflection that is often required upon finishing an album. Only recently have we started to rehearse as a full band in preparation for our first live shows, so, this means none of us have actively played the songs off For a Black Tomorrow for roughly a year. In that respect, it means we haven’t had the time to get tired of the songs, but that doesn’t mean we haven’t listened to the album since it was completed — we have. Ultimately, we feel very confident in For a Black Tomorrow, not to mention, we are pleased with the results.

When you compare For A Black Tomorrow to your earlier released EP's, Ethereal (2014) and Solitary Martyr (2015), what is it you notice?

Ethereal was recorded with a different lineup and can be considered the entry point to our sound of today. We weren’t a fully-developed entity at that point in time, although we do stand behind the songs. It’s your typical first release – rough around the edges with a few promising moments thrown in for good measure. It was a band finding its feet, so to speak. We subsequently changed members right before entering the studio for Solitary Martyr, a risky endeavor in itself, but its dividends were remarkable. With the new members, the songs on Solitary Martyr took on a life of their own and the songs became more realized. The fact it turned out so well still surprises us since we barely rehearsed leading up to recording the EP and did several things “on the fly.” Solitary Martyr set the table of For a Black Tomorrow, which features a lot of the same elements, but a greater variety and maturity.

You got two guest musicians on For A Black Tomorrow, Joe Bonaddio and Shane Mayer (who is also the producer of For A Black Tomorrow). How did you met them?

We have known Joe for a considerable amount of time. He has been a great friend and supreme confidant for many years, not to mention one of the most talented guitar players we’ve had the pleasure of coming into contact with. He can literally play anything you give him, so when it became apparent we needed a solo on Death and the Master, Joe was the right man for the job. Coincidentally, it was Joe who introduced Shane to us. Shane is a rising star in our region and also happens to play guitar. We had a part missing on the album’s title track, so he offered to chip in a quick solo.

As mentioned above Shane Mayer also produced your new album, what made him the best for this job?

We were set to record with the same gentleman who produced Solitary Martyr, but for reasons not worth discussing, that fell through. We quickly got in touch with Shane, who was able to fit us in at a moment’s notice. It was a bit of a sticky situation, frankly, as we had planned the recording of For a Black Tomorrow well in advance, only to have things change on us at the last minute. Shane has proven rather capable at capturing all styles in metal, including death metal, hardcore and classic metal, so it made perfect sense to work with him. His patience, reliability and flexibility were greatly appreciated by the members of Deathwhite, not to forget his low-key personality and sense of humor. It made for a rather pleasant recording experience.

The artwork of For A Black Tomorrow is made by Jérôme "Pyrogas" Comentale. What is the story behind the cover and why was Jérôme "Pyrogas" Comentale the best match for this?

We worked with Jérôme on the Solitary Martyr cover and much like the recording of that EP, it was a situation where the final result exceeded our expectations. Jérôme is based in France, so we’ve yet to meet him in person, but we saw his work on a variety of art forums and came away impressed. Since the cover for Solitary Martyr turned out so well, we asked Jérôme to handle For a Black Tomorrow’s. He was given a blank slate, although we did provide some lyrics and song titles to guide him along. The cover, at least to us, is meant to represent a decaying and dying world, one that has been ravaged by humanity’s never-ending stupidity and carelessness. For all the great strides humanity has made, it seems like it’s always taking multiple steps back, therefore, “tomorrow,” to us, appears to be bleak. The cover depicts the last remnants of a dying and decaying world, a lone figure and tree at the top of a hill. It’s meant to display all that once was and what we have to look forward to if we continue on this rather baffling and disconcerting path.

What is the reason that you don't say who you are?

Deathwhite started as a basic studio project that was never intended to be serious. It was determined pretty early on that we would take a different approach and not reveal who we are primarily because we wanted the music to be the focus, not the bands we were previously associated with. Since we never intended to play live, we saw it as a unique angle to the band, but we are quite aware of the number of bands who have taken the same route. Nevertheless, we’d like to be judged on our music and nothing else, which is somewhat of a difficult thing in this day and age, but is something we hope to maintain. The music, above all else, is what is important. Nothing else.

In the past you didn't play live shows, you recently announced that you are working on your first ones. Does this mean we get to know who are the people behind Deathwhite or are you going to find a way to fix this?

We will play — in some form or another — with our identities concealed. It would be unnatural for us to play as a bunch of “regular guys,” but like all things in life, that is subject to change. For the immediate future, we have been working on the appropriate stage attire to maintain our anonymous image. A sneak preview, if you will, can be found on the video for Dreaming the Inverse, although we have been discussing ways to either change or enhance that particular image. Our onstage appearance could very well change from show-to-show.

What can people expect at a Deathwhite live show?

We are of the belief that we may sound heavier live than on record, which isn’t out of the ordinary. We will learn more about the band (and songs) during rehearsals. Since we have, for the first time, a complete lineup (we added a second guitar player and bass player for live purposes), we can now fully embellish, if not flesh-out the songs to their fullest potential. Aside from that, we have been discussing the idea of adding a visual element to the proceedings, whether via lights or projection. We hope to be playing live by the summer.

Also coming to The Netherlands?

It is one of our goals to venture over to Europe. It may take a few years, but it is certainly something we would like to do. It may take some time and some hard work on our part, but we are up for the challenge.

Since For A Black Tomorrow is already finished for a while, do you already have plans for any new material? If yes, can you already tell us something about it?

As of this writing, we have nine new songs already complete, such is the benefit of being primarily a studio band. Writing for our proposed second full-length began in early 2017 and carried on through that year, for, as For a Black Tomorrow was recorded in late 2016. The new songs — if we can view them objectively — are heavier with a more prominent doom influence, but with an ample amount of melody and vocal hooks. The idea is to take everything we felt we did properly on For a Black Tomorrow and simply magnify it, while adding new elements. We have yet to develop a timeframe for a return to the studio, but we hope it will be later this year or early next.

Thanks for your answers! Is there anything you would like to say to our readers?

Sincere thanks for the interview and interest in Deathwhite. It means the world to us.

Deathwhite Official Website
Deathwhite Facebook

Wednesday, February 14, 2018

Review: Ryder - For What It's Worth


For what it’s worth, this is priceless. Already a fan from their live show at The Rockpile Club in Toronto, ON, Canada (check our live review here) this is a brilliant piece with some of the old school sound we desperately need in the rock and metal world.

Recorded in Queens, in a smaller venue, you can get up close and personal and when they become more famous you will always be able to show people THAT selfie right at front stage. (Don’t make it a habit though, watch the show willya!).

Being a very picky live revue listener, this one ranks with some of my favourites in terms of production, recording and audience interaction. Well blended, raw, great spots of guitar feedback (can’t get enough of that, can you?) and very ‘live sounding’, this bit is great!

Do or Die was an instant hit with steady audience chants and a solid metal anthem if I ever heard one. Slave to Love and When it All Comes Down are awesome and LOA Club is probably my favourite, with a bluesy, plodding tempo reminiscent of Motörhead’s Lost Woman Blues or Whorehouse Blues excellently-enough!

SO LMAO at the audience banter at 03:43: “Is this fucking Guns n’ Roses after party?” Some great screams too but would have been made more effective if the audience was miked a bit more. Maybe there weren’t that many people either still, a great interaction.

These lads keep on rockin’ and are shooting for the stars, especially now being on the bill for Rocklahoma 2018! Well done, well deserved!

10/10

Written by Alessandro

Ryder Facebook

Tuesday, February 13, 2018

Review: Folkodia - Battle Of The Milvian Bridge


If ever the term ‘multinational’ could be applied on a band, it would be on Folkodia. The list of past and present members is impressive. Formed in 2007 by the late Ruslanas Danisevskis, Folkodia has seen contributions to their work by musicians from more than 10 different countries, including Canada, France, Lithuania and Monaco, making it a full-sized international project. Consistently releasing an album more or less every year, the list of releases is equally impressive, with a grand total of 6 full-lengths between 2008 and 2013. In 2013, right around the release of The Fall Of The Magog, Ruslanas sadly lost his battle against cancer and passed away, causing the band to take a break to reconsider the future of the band. Honoring Ruslanas wishes they decided to keep on going, with the intention to come back stronger and more heavy than ever. The result is called Battle Of The Milvian Bridge, which has been released back in November.

As the titles of the albums suggest, Folkodia plays viking/folk metal, quite an overcrowded genre which makes it hard to distinguish yourself and avoid being too predictable. Well, as far as predictable goes, Folkodia initially ticks all the expected boxes. Be it the myth-related lyrics, the alternately harsh and clean vocals, the female vocals and the traditional instruments, every single feature related to folk and/or viking metal is to be found on Battle Of The Milvian Bridge. Furthermore multinational seems to be a recurring theme here. Where the members come from all over the world, the lyrics take us throughout Europe, from the battle of the Milvian bridge in Italy, via Greece through France with Joan of Arc to Masada, Israel.

Opener Battle Of The Milvian Bridge sets the tone, also ticking the expected folk and viking metal boxes, leaving no doubt as to where this is heading genre-wise: Rough-around-the-edges, folk-oriented viking metal. And that is exactly what you get, reasonably varied, up-tempo, energetic metal songs with room for various bells and whistles. Sounds like we have a great release on our hands then, right, especially since this is release number 7?

Wrong.

You guessed it, there is a huge ‘but’ coming here. In essence the idea behind the music of Battle Of The Milvian Bridge is good. The basic composition of most of the songs really offers enough perspective and potential to make it a great album, however there are so many flaws in the execution and production that it’s very hard to keep that in mind when you battle your way through it. A shame really, because I am convinced that these guys and girls are capable of delivering great music. The ideas are truly interesting, but the rest needs work. A lot of work.

Let’s start with the most striking flaw: the vocals. There’s an abundance of vocalists contributing to Battle…, but none of them scores above average, some of them even well below. Tone, clarity and, most of all, pronunciation are at times painfully off. I can live with an accent, in fact, in folk metal it can have its functionality in my opinion, but there are definite limits to that as far as I’m concerned. Limits that are more than once exceeded here. And if that isn’t enough the double or triple vocals are not augmenting at all, mainly due to their just-off tone and timbre. They simply don’t seem to fit next to each other. The fact the vocal lines regularly are out of sync in the production doesn’t help either. Try listening to Masada Burns or Red Rubicon for example. And speaking of out of sync in the production, that too seems to be a recurring theme. Not only the vocals have that problem at times, the same can be said from, among others, the violin (in Falcons Over Svevia) and the flute (in Hussar Angels). To top things off the drum lines appear to be designed to nail a coffin shut and, in case that doesn’t make the coffin airtight yet, are too loud in the mix, drowning the compositions at times.

All in all I was left pretty disappointed after hearing this. When the final tones died out after the initial spin I really had no intention to try it some more, but since I cannot and will not review an album after only one spin I more or less forced myself. In hindsight I’m glad I did, and Folkodia might be as well, because that gave me the opportunity to see through the obvious, incomprehensible and, in all honesty, sometimes unacceptable flaws and see the hidden beauty. And beauty there definitely is, it just doesn’t show enough. Not even close. The musicians are, as far as I can determine, more than capable. The composition and rhythm of the songs is without a doubt good, even though you might not hear it right away. The addition of violin, flute, accordion and whatnot certainly increases the overall quality and the intended variety of vocal types does the exact same thing. If they are willing and able to work on the earlier mentioned shortcomings in both execution and production I believe Folkodia might grow into a viking/folk metal force to be reckoned with. If not, well, then I don’t see them play a significant role in the folk/viking metal scene. And for now I would consider that a loss. I will definitely keep an eye out for them to see if and how they progress or, maybe more accurate, work on their flaws.

Written by Henric van Essen

Folkodia Facebook
Folkodia Twitter

Monday, February 12, 2018

Interview: Vinegar Hill


In December Austrian melodic death metallers Vinegar Hill released their new album called Ghost Flowers. DutchMetalManiac's Henric van Essen reviewed it here. Now you read his interview with Vinegar Hill's drummer Tom below.

Servus, wie geht es dir?

Servus!! Danke, sehr gut! Und selbst?

Mein Deutsch ist leider begrenzt, deshalb mache ich jetzt weiter auf Englisch. Whom do I have the pleasure of speaking with?

Ist doch gar nicht so schlecht, da gibt es wahrscheinlich Österreicher die schlechter Hochdeutsch können! ;) Just kidding...alright, I´m Tom, the drummer of Vinegar Hill!

I can only assume Vinegar Hill refers to the hill where the famous battle in Ireland against the British took place. Does that place hold a special significance for you and can you tell us a little about Vinegar Hill and its history?

Yeah, that´s correct. But there´s no special connection to that place. Back to the first days in 2007, as we founded this band, we where searching for a bandname, as every band does someday. Mike brought “Vinegar Hill” because he was reading a book about this famous battle and we all liked it from the first moment on! It´s kind of a unusual bandname, especially for a metalband, and you don´t know what to expect. Many people asking us about it and are interested where it came from, so I think we did a good job with electing this one!

I heard a female voice on Ghost Flowers, yet your line-up consists of only men. Who is the mystery lady and can we expect more of her work in the future?

It´s not that big mystery, we promoted it before the release of the album! The beautiful female guest voice is our good friend Margie Gerlitz from the german metalcore-legends Deadlock. We´re really proud of this cooperation and really thankful for her input and help on this record. She also did the female voices of the choir on Void, by the way!

I’d like to congratulate you with Ghost Flowers. I liked it so much it made it into my top 10 of best releases of 2017 (here). Can you tell us about the creative processes around this release?

Thank you very much, we really appreciate that! The songwriting to Ghost Flowers began in late summer 2016 I guess. Mike is the musical mastermind of the band, he writes the most of the songs or, in the first step, song-constructs. And we finalize them together, doing the arrangements, everbody brings some input and ideas. That´s how we work, we got a pretty cool homestudio at Mikes Place and this is the place where all happens. We´re doing the whole recording process in this studio. From preproduction to mastering. This is such a comfortable way to work and we take the time we need for every single step to get the best out of it! I think it worked pretty good on the last record, we are really happy with the result!

One of the most striking features is the huge amount of different influences that have been woven into your music. What, if any, is the reason for that?

We all have different roots as musicians and have different preferences in music, and we are pretty open-minded to all kinds of music, not only metal and rock. We were never afraid of trying different styles or mixing different parts together and experiment with song structures. I think we found a good mixture for the songs on Ghost Flowers!

What is your vision on the music you make and what is your inspiration?

For me it´s very important that there is a message behind the songs and our music. Meanwhile we reach many people with our music and we need to use this opportunity to tell the people what´s our point of view on the things that happen or, more importantly, on the things that went wrong in our society. So this is also the reasons why we became a official Sea Shepherd Supporter Band and we are really proud to be part of this great and important association and to support the great work they do every single day!! For the oceans!

What song best represents that vision?

I think, every song is a small part of this vision.

I found it hard to choose a favorite song, which is not a bad thing of course. If you had to choose one single song from Ghost Flowers to perform live, which one would that be?

It´s pretty hard to choose just one single song, there are so many songs that are fun to play live. But I think, if I really had to choose just one, it would be The Shift Of Reasons. Great song on the album and also a killer live song!

Speaking of performing live, do you have any touring plans? And if so, where can we expect to see you play?

Of course, we´ll perform at Metal over Malta in March and are going on tour with Dark Tranquillity and Equilibrium from April 1st to April 7th with shows in Austria, Hungary, Slovenia, Croatia and Germany. Find details on our homepage!

Danke für ihre Zeit und alles Gute für die Zukunft. Is there anything else you would like to say to our readers?

Vielen Dank für das Interview, hat Spaß gemacht!
Support your local scene – no YouTube-video or Spotify-playlist can give you that feeling a live show does! Talk to the musicians, have a beer together, support them with buying a CD or a shirt or something like that...it´s so important for young bands to receive this support. Even the big ones started in a small club or something like that. And let´s be honest, a beer at the club is way better than the canned beer on your couch, isn´t it?!

Vinegar Hill Official Website
Vinegar Hill Facebook
Vinegar Hill Twitter

Thursday, February 8, 2018

Interview: Violent Divine


The Swedish metal band Violent Divine released four albums since their formation in 2005. On November 10th, 2017 they released their fifth album, called Louder Than Love. Recently, DutchMetalManiac's Tim van Velthuysen interviewed vocalist Mike of Violent Divine.

Hey, congratulations with your new album Louder Than Love. It's very nice!

Thank you! We are obviously happy about it, so glad you like it.

When you compare this album to its predecessor, Hyperactivity Disorder from 2016, what is it you notice?

On Hyperactivity Disorder and the other earlier albums it's was more like we were doing every song at maximum speed, top volume and push in as much energy as possible. With Louder Than Love we had a different approach. We made it a bit more dynamic, try to change the sound to be a bit warmer. Maybe we are flirting with the way rock 'n' roll/metal albums sounded like thirty years ago before we had this ridiculous loudness competition. We try to take a step back and go back to the roots, hardrock. We'll also experimented with the writing process. We didn't write a lot of songs before we went to the studio, we made most of the songs as we recorded them. Which is a bit risky of course, because you don't know how it will turn out. Eventually we ended up with 17 or 18 songs and we settled for 13 songs. I think it went quite good actually.

So, you got a lot of inspiration in the studio?

I am not sure it was like an epiphany to have so much inspiration. It's a tight space, you spend a lot of time there, get on each other's nerves. So it was more like a craftsmanship, we tried to make the best of our competences in rock music. It was more like that approach than waiting for divine inspiration or something. It's more like a production approach. Most people often think about musicians, songwriters and bands that we are super-creative beings who get inspiration from nothing. In real life, inspiration comes when you rehearse a lot, play a lot and you practice with your instruments, then you come up with ideas. It's more a hard working process than something that falls on you from out of nowhere.

You released this album in November last year, within a year after Hyperactivity Disorder. Why were they released in a pretty short time?

I don't think it's really that fast. I was checking out The Beatles and Kiss on Spotify the other day and those guys released two albums a year. In my opinion you should produce new music all the time and release at least one album every year. On the other hand you had five years between Hyperactivity Disorder and the album before it, Release The Hounds. We also had a lineup change at that time which took a lot of time. I think the process of releasing albums should be like a bit quicker like back in the days.

For nowadays it's quite fast, right?

Yeah, it is. In some way bands like Kiss, who did extensive touring in the '70s. They still had time to record another 10-song album while constantly touring. I don't know how they did that, but I like the idea that you should release albums frequently. However I know that the business doesn't work that way nowadays.

How are the reactions on Louder Than Love you get on it so far?

Well, from the fans and the audience it's been great. We had some great reviews. We also had some very strange reviews. One guy didn't review the album or the songs but only said that we were one of those bands that aren't good enough to get a record deal, just because we released everything ourselves. That was weird. Another reviewer I think was expecting us to sound like we did on the previous album, but what is the point of that? If you are just going to produce your previous albums again with different titles, it wouldn't make sense to me. You have to try something new in songwriting and ideas. In general the reception has been great.

What is your favorite track on it? Why?

Luckily I have some distance to songs, because it was a long process. In the end I sort of hated them all but today I have to admit that I like when a pop musician does something with metal riffs and big drums, so songs like I Believe or In Your Bedroom are obviously my cup of tea. I also like the harder songs like opener Crawl, when I scream from the top of my lungs, that's therapy. It's sort of growing back to me again, because I had some time off after the recordings.

On your Facebook page you state that your music is influenced by music from the '70s, '80s as well from nowadays. How do you find the perfect balance in this?

Well, it's basically because I am 53 years old and I grew up listening to chewing gum pop like The Sweet and Slade, then turned to Led Zeppelin, Kiss, Black Sabbath. So, there are lots of influences, but I also like new modern metal music like Hellyeah or Five Finger Death Punch and bands like that. It's a mix and I think it makes an interesting combination. You can think in the old ways of making music where you put your melodies and harmonies first while you can also allow yourself to be influenced by modern metal music, which is more about aggressive attitude or metallic riffs like Rammstein and stuff like that. It's a combination and I also like to add some punk rock attitude, because I was a big fan of The Sex Pistols and The Ramones back in the days. Some people even claim that I sometimes sound like Johnny Rotten from The Sex Pistols. I don't know about that, but he's a great singer. At least he got an attitude.

It's a compliment, right?

Yeah, I think so. A good frontman or a lead singer in a band is so much more than being able to sing perfectly in key. It's also some sort of communication and you have to have attitude. I like lots of great singers like Steve Perry and John Henry, these guys are perfect. I also like Johnny Rotten and Phil Lewis from L.A. Guns because they communicate in emotion but they are not a perfect picture all the time. It doesn't have to be.

Some kind of raw edge?

Yeah, exactly. I mean I saw my '80s heroes Ratt last summer and Stephen Pearcy is definitely one of my favorite singers of all time. He never delivers any vocal stuff live that is really acceptable, but he has got an attitude about it and he is communicating. In some ways that is so much more worth to me as a singer.

In your music I hear some rock'n'roll, some metal influences but sometimes it also has its more catchy parts, in a good way. How would you describe your music to someone who hasn't heard it yet?

This is the eternal question of how to define your music in genres. Well if you like melodic rock music I think you would love Violent Divine. If you like guitar riff-based metal music, you would also love Violent Divine. I think we are on some kind of mission. We want the ordinary top 40 fan to go away from the general top 40 music and start listening metal and rock music. That is what we offer, we are a getaway to a much better taste in music in some way.

Your fanbase must have many different kinds of people then?

Yes, they are. We have some fans we communicate with on Twitter and Facebook from different parts of the world obviously. It could be people in their sixties or it could be teenagers, there is a really large span of music fans. I think it is because of Violent Divine's music is accessible for everyone, but yet I still haven't heard anyone say the word sellout. Most of the times there are elements in our music that most people can accept, like and appreciate.

Can we expect a Violent Divine tour in 2018?

Unfortunately not, actually because of my health issues. We have to stay indoors for a while, but that doesn't mean we are not working. We are already writing songs for the next album, so we just have to sit still for a bit and wait for the storm to pass.

Do you want to say something about your health issues or not?

It's a Japanese disease called Hashimoto's. That's Japanese for your body isn't working like you think it should be. You get tired, you have to sleep many hours, stuff like that. It's a bit tricky. The thing is it takes a lot of time to adjust your medication, because it's a strange disease. But eventually we'll get there.

Hope you get well soon!

Yeah, I hope so. I'd love to go on tour and do lots of shows, but unfortunately this is not the time.

You already mentioned that you are writing new material. Can you already tell us something about it or not?

Well, there is a plan actually. We talked about old school hard rock and metal music and we would like to expand the concept of mixing classic rock music with modern metal music. If you get the idea of what would Thin Lizzy sound like if they released something today, what would that be like? Stuff like that is what we are experimenting with right now. I think it's exciting. I don't know if that will be the case when we actually start recording the album, but it is an idea we are working on right now. It's exciting, because you have to sort of motivate yourself to start new ideas. Next album will be number six and like I already said there is no point in repeating actually what you did on the last album. Onwards and upwards.

Any other future plans you can already tell us something about?

I think all things said will pretty much sum it up for now. It will be a new album hopefully in 2019. That's the goal we are working towards.

Thanks for your answers! Is there anything you want to say to our readers?

Stop listening to top 40 music and get on with listening to metal. It will get you through your working week, so stick with it.

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Tuesday, February 6, 2018

Interview: Damn Pigeon


In November 2017, DutchMetalManiac's Alessandro saw Damn Pigeon perform alongside A Rebel Few of which he wrote this live review. He also reviewed Damn Pigeon's Whisky Sinners album here. Now you can read his interview with Damn Pigeon below.

Guys, I’m very honoured to be granted this interview! I want to say again, I love your album and your live show with A Rebel Few (read our live review here) rocked the house down! Hailing from the city of St. Thomas, ON Canada, I am glad to have met you all : Joe Edmiston - guitars and vocals, production, recording and engineering, Doug Weir - guitars and lead vocals, Steve Proctor – guitars, Jason Latimer – drums , Steve Proud (Proudy) - bass guitar. You epitomize the image of the friendly Canadian and honoured us with your visits, swag and good gentle humour.

Thank you - we’re honoured.

How and where’d you meet? Can you tell us about your lineup a little?

Three of us (Edmiston, Proud and Proctor) have known each other since high school. We worked in various local bands until Damn Pigeon was formed in 1991. We had a three-year run, playing covers and ten or so original songs. The band was mothballed for 13 years until we got back together in 2009, ostensibly to make an album of the songs from the nineties. During pre-production work, our dear friend - original singer Steve Phillips - was diagnosed with terminal cancer. We raced to finish the record and Steve passed away a couple of days after its release. While Steve was still with us, we all decided on the need to keep the band going. Steve actually mentioned Doug Weir as a possible replacement, so after we took some time off to grieve and re-group, we basically cold-called Doug to see if he would come out to jam with us. He did, and here we are. In the drummer’s slot, we had a couple of changes following the first album - from Bill Higgs to Dave Wyles. When Dave got too busy with his many musical projects, he recommended Jason Latimer. We called him up, gelled with him immediately - and started right into work on the Re-Coop album.

OK, I need to ask about your band name…hilarious! Where did this come from? Would you concern yourself with potential animal rights activists? (Laughs)

The name actually came from one of those foam-backed trucker hats one of us had seen at a truckstop. Not too worried about animal-rights activists - I mean, it’s not like we’re torturing pigeons on stage or biting off their heads, Ozzy-style. We quite like Pigeons...

Are you all actually friends or is it just business?

Friends for sure!

Is the world a better place with all this new technology for spreading the gift of music or was it better to copy LP’s to cassettes and spread it around?

It’s easier now, but much harder to make a living at it.

Your music is powerful and heavy and sometimes, Top 40’ish, comical yet introspective; how do you achieve this eclectic mix and tell us when and where your best times for inspiration are.

We live in a no rules world when it comes to writing. For years we were all pigeon-holed (excuse the pun) in our past bands to conform to certain genres or were given musical parameters via record companies, with DP we decided to stretch our wings, so to speak. It’s amazing to be able to just come up with what we feel is a good idea and be able to pursue it without feeling like we have to make the song fit our “image”.

Without being disrespectful to your band’s originality, I always like to cite some influences that my ear picks out or I think picks out; do you guys do this when you’re working out your arrangements? Who are some of your influences! Who’s everyone’s favourite band?

We don’t actually spend too much time worrying about who we might sound like - that can stifle creativity through over-analyzing - but yeah, our influences inevitably show through our work. I mean, hey - it’s only rock and roll. An arbitrarily short list of artists we dig and who have influenced us would have to include David Bowie, Rammstein, Disturbed, Slayer, Dream Theatre, Rush, Max Webster, Joe Satriani, Big Wreck, Alice In Chains, Soundgarden, Judas Priest, Queen, Iron Maiden, Kiss, Styx, Cheap Trick, Pink Floyd, Frank Zappa and Jeff Beck. Lots of others, too.

You’re not on a tour schedule as of yet; are there dates lined up for this year?

Not yet - except for a charity show slot in May for The Children’s Wish Foundation - we’re working on a new album. We'd love to get out on some of the summer festival shows this summer though!

I am hearing rumblings of a new record in the future! Can you elaborate?

We’re in the middle of writing and arranging right now, will hopefully begin the recording process soon. Joe has some new toys for the studio that we’re excited about. It looks like we'll probably have about 10 to 12 songs. In keeping with our nature the songs are coming out in ways we would never have anticipated and this album will be "eclectic" for sure. There's already a few seriously kicking heavier tunes, which is exciting, as well as some pieces that have defied classification. One of the tunes has provided us with a good potential title too!

I want to thank you so much for taking the time for us!
As we go, give us “Damn Pigeon’s Damnations” for 2018:
1. WW III or Peace on Earth? (The Big Red Button Saga)


We hope the only wars we see this year are between the band members over our beer of choice consumed in the recording of our new album - so, peace! We’re Cold-War Kids - we’ve been through all this before...

2. Aliens Land – Aliens Keep On Going?

We’ve received a few requests from Alpha Centauri for some download PINs for Whisky Sinners so we think they’ll definitely stop by and catch a Pigeon show at least. We’ll say hi for you! It would be interesting to hear what alien music might sound like, it could be really cool...

3. Music Industry Better – Music Industry Worse?

Hopefully better. It would be nice to see the industry figure out an agreeable way to monetize the sale of music and other arts that is fair to both artist and consumer.

4. USA Beer Better – Canadian Beer Better (or Whiskey?) (Sinners, that is)

Canadian beer for sure! There are some great US beers - but if we're comparing their best to ours - Canadian beers. We do like the US bourbons though...

5. Currently reading….which books?

Gray’s Anatomy (Henry Gray, Henry Van Dyke Carter), M Train (Patti Smith), The Dark Tower Series (Stephen King), War (Gwynne Dyer), The Meaning Of Quantum Physics (Jim Baggot), Voltaire’s Bastards (John Ralston Saul), The Prince Of Nothing Series (R. Scott Bakker) and other books by A. Reynolds, Richard Morgan and James A. Corey.

6. 10 Minutes Left (The Hawaiian Missile Crisis); what would you do?

Crank some tunes, open a beer with a Scotch chaser!

Thank you again for taking important wax making time to talk to me. Do you have any last words for DutchMetalManiac’s readers? Absolute best you all!

A huge thank-you to DutchMetalManiac and staff for the continued support - including yourself, Alessandro - thanks so much! Also, thank you to our supporters all over the world. We are truly humbled by your willingness to lend us your time and attention by listening to, sharing and purchasing our music. And for reading our mind-addled thoughts in great publications such as this. Thanks Tons!

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