Coming Soon: Interview With Helloween, Lamb Of God, Breaking Benjamin, Feared and much more
Coming Soon: Reviews Of Ol Drake, High On Fire, Thy Art Is Murder, Entrails and much more
Latest Posts

Friday, May 29, 2015

INTERVIEW: DEW SCENTED's Lief Jensen Discusses "Intermination", Songwriting & German Thrash Metal Scene

If you look for the word “brutal” on the dictionary, you will find the following meanings: “Extremely ruthless or cruel; Crude or unfeeling in manner of speech; Harsh; unrelenting; vicious; savage; inhuman; severe; beastly” I don’t think the people who writes the dictionary knows Dew-Scented, because if they did, they would include it as one of the first meanings of brutal. Looking at the band name, though, one could seriously doubt that this is a death/thrash metal band, as I’m sure you will agree with me that dew-scented isn’t exactly the most frightening of names and maybe it could be best portrayed by a doom or folk group.

With that being said, forget about the name. Dew-Scented is one of the most cold-blooded, ruthless acts of death/thrash metal out there. Hailing from Germany and formed by vocalist Leif Jensen, these thrashers have been putting out quality efforts since their inception in the early 90’s, and show no signs of slowing down. With new album "Intermination", they are back with a solid album with no fillers. It is not unique or even that different from the band’s other displays, but it has a good impact nevertheless. You should listen to this when you want to blow off some steam, or even canalize your anger into something. If you like powerful and aggressive displays of music, this is for you. If you prefer a more sophisticated approach, give this a try as well, as it contains a good measure of intrinsic and melodic passages without losing its brutal essence.

Gearing up for the release of the album, Metal Wani's Editor In Chief Owais 'Vitek' Nabi had a chat with founding member Lief Jensen. He discusses new album "Intermination", songwriting, musical direction, lyrical approach, German thrash metal scene, tours & much more.

Stream The Entire Interview Below:

NEWS: BILL WARD: Until My Dispute With OZZY Is Resolved, I Won't Participate In Any BLACK SABBATH Activities

BLACK SABBATH bassist Geezer Butler told NME at yesterday's Ivor Novello Awards in London, England that he had "absolutely no idea" if the band's rumored final tour would actually happen. He said: "I'd love to keep going, I'd desperately want to keep going before I kick the bucket." SABBATH guitarist Tony Iommi added: "It'd be lovely to do a last tour. It'd be really nice to do that."

Iommi and Butler appeared in public with estranged SABBATH drummer Bill Ward for the first time since late 2011 at yesterday's event. The members of the legendary metal act were on hand to accept a Lifetime Achievement Award.

Singer Ozzy Osbourne was not present at the ceremony, which has celebrated British songwriting and songwriters annually for 60 years.

Ward told NME: "I'm in a huge dispute with Ozzy, so that doesn't really help, and, as far as I'm concerned, until that dispute is finished, then I'm not gonna participate. They've already made an album without me [2013's '13'] so I'm sure they'd go on without me playing, and that's okay with me; I still love them just the same. I'd love to think I could [rejoin the band], but the things I'm asking for may be out of reach."

Ward added: "It feels really nice to be with these two," referring to Iommi and Butler. Iommi echoed the drummer's sentiments, telling NME: "That'll never go; we've been friends for a long time, you can't just lop someone off like that. We stay in touch with each other; we're always thinking of each other."

Thursday, May 28, 2015

PREMIERE: Stream GODLESS' Debut Single "Infest"

Godless is a Thrash/Death metal band formed in early 2015 and based in Hyderabad, India. The band includes members from Skrypt & Shock Therapy who have been a part of the local metal circuit for a few years now. 

Godless has started off as a 4 piece band without a permanent vocalist. The band is on the lookout for a vocalist to bring the music out live. They have recorded and you can get the taste of their debut single 'Infest' right here on Metal Wani. The vocals on this song have been recorded by Sean O'Kane Connolly (ex- In Dread Response).

Godless is currently working on their debut EP.

Listen To The Single Below:

NEWS: DUFF MCKAGAN Says Classic GUNS N' ROSES Reunion 'Could Happen'

Former GUNS N' ROSES bassist Duff McKagan was interviewed on a recent edition of "Hunter And Michaels", the morning show on North Central Florida's classic rock station WIND-FM. You can now listen to the chat below.

Asked about the possibility of a reunion of GUNS N' ROSES' classic lineup, Duff said: "It could happen. I mean, this thing could happen, and it could not. And I think it would be wonderful, one day, if we reconciled, first and foremost. That alone would be cool."

Pressed on why he thinks the classic GN'R lineup fell apart, Duff said: "I think every band is different, for sure. I can't really… With our band, it was a lot of things. We just got really big… Once we started getting big, we got really big really fast. And there's no 'how-to' instructional manual for that thing, what happens to your life. We'd just fall into every kind of stupid typical thing that we thought we'd never fall into."

NEWS: MÖTLEY CRÜE Announces Social Media Campaign For Last-Ever European Tour

Iconic rock legends Mötley Crüe have launched a social media campaign today that will allow fans to request which cities they should visit in Europe as part of their global "Final Tour".

No official announcement has been made about a European leg, but the band are offering fans the opportunity to request shows in their cities by casting a vote for their city at and by using the hashtag #demandthecrue across Facebook, Twitter and Instagram. Votes can be cast daily and fans can track the progress of the conversation through an interactive heatmap on the site.

After thirty-four years performing together, the 2015 leg of "The Final Tour" includes shows all across the globe. Mötley Crüe have just finished their final tours of Japan, Australia and New Zealand and will be saying farewell to the European festival circuit at Sweden Rock (Sweden), Download (UK) and Novarock (Austria) before taking their can’t-miss show back to the U.S., Canada, and Mexico.

Mötley Crüe first announced plans for their two-year "Final Tour" by signing a Cessation Of Touring Agreement at a press conference in Los Angeles in January 2014, solidifying the end of their touring career with their last show ever on New Year's Eve at Staples Center in their hometown of Los Angeles. Since the announcement the band has been touring tirelessly to say goodbye to fans around the world.

The 2014 leg of "The Final Tour" was one of last year's top-grossing tours, selling close to a million tickets across 72 cities and grossing more than $45 million.

"Mötley Crüe's 'Final Tour' has been a massive global success and a true testament to the popularity of this legendary rock band," says Rick Franks, Live Nation's Regional President of North American Concerts. "New Year's Eve 2015 will mark the end of an era in rock history, but there's no doubt that Mötley Crüe's music will influence generations of artists for years to come."

Asked in an interview with For Bass Players Only if there is any chance of a reconsideration, Mötley Crüe bassist Nikki Sixx laughed and said: "For me, no, never. Every version of that question has been asked and there's all the trick questions: 'Would you do it for $100 million for five shows in Dubai?'"

He continued: "Y'know, let's just get to the core of it: Do you want us to renege on our word? We don't want to. I don't need to name the bands that have. It's obvious. It's okay if they want to do that, and it's okay if their fans accept it. For us, we didn't want to do that. Plus, I have less years in front of me than I have behind me, and it's the same for all my bandmembers. There's a track record of what we've done together, and I think we each individually want to go out and do some other stuff."

Sixx added: "If it was just about money, it would be different. But it's not about money. It's about credibility. And, you know, the next day after we take our final bow, I'm gonna look at my band members and say, 'Wow, dudes, everything we said the first day we got together, the very first band rehearsal, we did it.' And then I'm right back at it. I've got my fingers in many pies and I'm very excited about creating stuff and watching it blossom and bloom and harvest it and get on with the next thing. I think it's a very exciting thing to look forward to as well."

To coincide with the announcement of the last show, the band released a new video, "All Bad Things", which includes clips from throughout their career.

Wednesday, May 27, 2015

NEWS: FEAR FACTORY: 'Genexus' Artwork, Track Listing Revealed

Los Angeles-based cyber metallers Fear Factory will release their ninth studio album, "Genexus", on August 7 worldwide via Nuclear Blast Entertainment. The follow-up to 2012's "The Industrialist" was co-produced by longtime collaborator Rhys Fulber, along with guitarist Dino Cazares and vocalist Burton C. Bell and mixed by Andy Sneap. Artwork was once again handled by Anthony Clarkson. Drums on "Genexus" were performed by Mike Heller.

"The word 'Genexus' is a hybrid of two words: 'genesis' and 'nexus,'" explains vocalist Burton C. Bell. "This word describes the next transition in human evolution as man moves forward to a 'mechanical' state of being. Ray Kurzweil predicts that the singularity will occur around 2045. 'Genexus' is the term for that next evolutionary process. Where humans are machines, machines are human, and the differences are oblivious to the naked eye."

He continues: "This album is a record of thought patterns, psychology and struggles of the Genexus generation. The cognitive machine has arrived, and it wants autonomy from the industry that created it. This machine struggles, like every other human has throughout the course of history. This is the story of every one of us."

"Genexus" track listing:

01. Autonomous Combat System
02. Anodized
03. Dielectric
04. Soul Hacker
05. Protomech
06. Genexus
07. Church Of Execution
08. Regenerate
09. Battle For Utopia
10. Expiration Date

Limited digipak bonus tracks:

11. Mandatory Sacrifice (Genexus Remix)
12. Enhanced Reality

Says Cazares: "The sensation of finalizing our newest album is one of relief and joy, wrapped within a massive whirlwind of excitement.

"We really feel this is a very special Fear Factory album. While being careful not to replicate ourselves, this album still has a very classic Fear Factory vibe that we feel will appease both old and new fans. The aggressive, melodic and industrial elements are all intact and shine more than ever.

"Burt and I produced the album with Rhys Fulber co-producing. Damien Rainuad and Giuseppe Bassi handled most of the keys and pre-production. We also enlisted the masterful metallic skills of Andy Sneap for an amazing mixing job!

"We would like to thank everyone who has been a big part in the making of this record. We can't wait for everybody to hear it."

Speaking about what Fear Factory is trying to accomplish with its forthcoming album, the band's first since signing with Nuclear Blast, Cazares said: "It's still just to be who we are. We are 'cyber metal,' whatever you wanna call it, but it's still a lot of the killer riffs, killer double bass, Burt's beautiful, melodic vocals. Conceptually, it's always still futuristic, man-versus-machine type of thing, but, you know, we thought we're gonna keep it real, keep it what we are and who we are."

Asked about how it feels to be celebrating the 20th anniversary of Fear Factory's classic "Demanufacture" album in 2015 with only two members of the band's classic lineup remaining in the group, Dino said: "The two main members are in the band right now. The soul of the machine is still intact, and that's me and Burton. And I don't think anything has changed, really."

He continued: "Every album we do always has to have something a little different. From the beginning, from the first album, 'Soul Of A New Machine', it was very death metal inspired, [with] a little bit of industrial. The second album, 'Demanufacture', the classic album… Every record changes. 'Obsolete' was a big difference, you know what I mean?! But my right hand is still there, the passion is still there, Burt's killer melodic vocals are still there. So I think that's all that matters."

In an interview with Silver Tiger Media, Bell stated about the new Fear Factory album: "It's classic Fear Factory sound, the sound that fans have always expected, but I think because we are taking our time, the songs are really well crafted. Without losing the edge or the angst. Without losing the essence of Fear Factory, but they are well-crafted songs."

Fear Factory recently parted ways with bassist Matt DeVries (previously of CHIMAIRA, where he played guitar, and SIX FEET UNDER and replaced him with Tony Campos (ex-SOULFLY, STATIC-X, PRONG, MINISTRY).

Fear Factory will hit the road this July with COAL CHAMBER.

Photo credit: Kevin Estrada

NEWS: SEBASTIAN BACH: I Haven't Given RACHEL BOLAN Any Reason To Dislike Me In Nineteen Years

Former SKID ROW singer Sebastian Bach was interviewed on the on the latest episode of Metal Injection 's podcast, "Metal Injection Livecast".
On whether it's true that the classic SKID ROW lineup was offered half a million dollars to reunite for an appearance at a European festival:

"That is a hundred percent accurate and true. It was the Sonisphere in the U.K., like, two or three years ago, and they even printed up posters prematurely, because who would turn that down for 45 minutes' work? [Laughs] But, yeah, it never happened. But those posters actually existed. It was on the Internet. It was crazy. It was KISS, SKID ROW and FAITH NO MORE. But when SKID ROW didn't take the gig, they booked my solo band the next year. I didn't make a half million bucks, but I kicked total ass. [Laughs]"

On why the SKID ROW guys hate him so much:

"I've talked to all of those guys except the bass player [Rachel Bolan], and he is the one that has it in for me. I can't answer that. I think… I mean, I'm writing my book now, and I touch upon this. I really think it's a classic case of… You know, some of these musicians like to use this term 'Lead Singer's Disease,' and I think that's a way of, kind of, dealing with the extra attention that the frontman gets. And it's not just SKID ROW — it's AEROSMITH and VAN HALEN and KISS… And all the bands… BLACK SABBATH. I guess Rachel is, like, the Bill Ward of SKID ROW. [Laughs] I think that's really what it is. Because I haven't given that guy any reason to dislike me in nineteen years. I haven't talked to him in nineteen years or been in the same room with him — in nineteen years. Let me repeat that: nineteen years. That's a long time. That's a long time. So whatever I did nineteen years ago has nothing to do with 2015, so I don't understand it either. Maybe it's because I've been successful since they kicked me out; I've never stopped working. And maybe he resents the fact that I'm, like, the face of his band, but I never tried to be that; I just kind of showed up… I didn't have some devious plot. I just was the singer of the band. And every singer of every band gets more attention that the fucking bass player. What are we talking about? [Laughs]"

On whether there was ever any talk of playing the Sonisphere gig without Rachel:

"Well, there's an issue with the ownership of that name. That's kind of a boring interview that I don't wanna go into. But that's, basically… Like, Axl [Rose] owns the name GUNS N' ROSES; that's why Slash isn't in GUNS N' ROSES. And Rachel owns the name [SKID ROW] with Snake [guitarist Dave Sabo]. And how that happened is another fucked up, bullshit story, but I don't wanna talk about it. I didn't realize those guys owned that name until after I was out of the band. That's how crazy that shit is."

On how the advent of the Internet and social media has changed the way he promotes his new music:

"There are so many ways I could answer that. All I can say to you is that I was signed to a label called Frontiers Records; I signed a contract in, like, 2003 or 2004… I can't remember… Ten years ago or something. And I have put out three full-length solo CDs, a double live CD. A lot of product. And now I'm not with them anymore, and I've gotta tell you, it's the greatest feeling to not be working on a record. [Laughs] Like, when Gene Simmons [KISS] says 'rock is dead,' that's not a literal statement. But as far as making an album and putting it out and there's nowhere to play it… It's, like, wow! It's really challenging. I mean, YouTube is cool. What's really frustrating to all of us bands… Nikki Sixx [MÖTLEY CRÜE] said it, Ian Astbury [THE CULT] said it, Gene Simmons… We all say it — that these radio stations play our music all day — they play 'I Remember You', '18 And Life' and on down the line forever. So it's almost, like, we feel as they kind of owe use. Play the new shit. You built your station on our music, and you still play it every day. So how is it you can't play the new tune? Logically, it doesn't make sense. 'Cause the fans wanna hear it live. I play just as much new stuff as old, and it fits right in. And the videos get millions of plays on YouTube. So it would just make sense. 'Here's 'I Remember You', and here's the new one.' That's the way it used to be. I don't see what the big deal is."

Tuesday, May 26, 2015


Ever since their inception in the early 1980s, American heavy metal maestros Armored Saint have presented masterly heavy metal throughout their 30-year career. The fact that the band has been playing across generations of heavy metal speaks volumes of their musical acumen. However, Armored Saint is one of those bands which have remained underrated despite their delivery of top-notch heavy metal and a brilliant line-up consisting of John Bush, known for his memorable work with Anthrax.

Armored Saint is all set to release their seventh studio album ‘Win Hands Down’ after a gap of five years on June 6th. It is yet another addition to the slew of excellent heavy metal records that the band has put out.

‘Win Hands Down’ is yet another example of superlative heavy metal with a good deal of versatility standing out amidst the glory of customary heavy metal. The album opens with the title track featuring straightforward, powerful and chugging riffs backed by fierce, neat drumming and Joey Vera’s beautiful work on the bass. The song is reminiscent of the grandeur of hard rock and heavy metal with some catchy, upbeat chord progressions, awe-inspiring vocals and a dash of unconventional variety in elements like the unique structure of the song. Following this, “Mess” unfurls a similar essence in the eccentric elements like the memorable sitar portions.

“An Exercise in Debauchery” is a brilliant combination of the essence of hard rock and heavy metal, evident in the traditional leads and some hard rock riffs in the verses. “Muscle Memory” stands out in the album with a rather melancholic intro affected by the guitars and an excellent buildup in the drums leading to the hard-hitting chorus. The glory of classic metal is upheld in “That Was Then, Way Back When”, which also features a splendid solo! “With a Full Head of Steam” follows with a nice groove accentuating the impact of the song while also including a duet with a female lead, while “In An Instant” begins with a rather laid-back tempo that creates a brooding atmosphere before the fierce build-up.

Probably the best song on the album is “Dive”, whose piano lines give it a ballad-y feel. “Dive” also features Pearl Aday on vocals, and the beautiful contrast of her voice with Bush’s works wonders and makes the song the most impactful on the record. The ballad-y essence is adequately upheld by the top-notch production that asserts the piano at the forefront.

‘Win Hands Down’ on the whole explores a plethora of possibilities and showcases plenty of catchy elements like chants, hooks, upbeat choruses, driving grooves and uncommon song structures with rather simple but memorable vocal melodies, making the record an enjoyable experience. The songwriting is further enriched by the lyrics laced around unexplored themes such as the Boston bombings in “In An Instant”, which succeed in establishing a strong thought process. “Up Yours” speaks of the lyrical versatility of the band by being on the lighter side of songwriting, while songs like “Muscle Memory” and “That Was Then, Way Back When” entwine the terrific elements of hard rock and classic metal with gripping lyrics.  

‘Win Hands Down’ is a magnificent experience of the majesty of hard rock and traditional heavy metal, blended with a few unconventional elements which boost the overall sound of the record.

Track listing:
1. Win Hands Down
2. Mess
3. An Exercise In Debauchery
4. Muscle Memory
5. That Was Then, Way Back When
6. With a Full Head of Steam
7. In an Instant
8. Dive
9. Up Yours

Rating: 8.5/10

Reviewed By,
Debarati Das

NEWS: PAUL STANLEY: KISS 'Can Move Forward Without New Music'

KISS frontman Paul Stanley says it's not "utterly necessary" for the band to release a new album to follow 2009's "Sonic Boom" and 2012's "Monster" and insists that KISS "can move forward without new music."

Stanley tells Classic Rock magazine: "There has to be a purpose to us doing an album.

"There was a time when we did albums because the contracts said so. But I only want to work now when it's justified."

He continued: "'Sonic Boom' was an album that very much needed to be done, and 'Monster' just felt like, 'Well, we did 'Sonic Boom' — let's see where we go from here.' Having accomplished that, I feel we can move forward without new music. There are enough things going on in KISS that right now it doesn't feel utterly necessary to make a new album."

Stanley does leave the door open to the possibility that he will change his mind. "Anything is possible," he says. "But at the moment I don't see it on the horizon. I'm not one to ever say 'never.'"


In a brand new interview with "The Jim Chinnici Radio Show" on, ex-SKID ROW drummer Rob Affuso was asked if he thinks the band's classic lineup — featuring Affuso on drums and Sebastian Bach on vocals — will ever reunite. He responded (hear audio below): "Well, I have tried, unsuccessfully, three times, kind of, full-court press — for any basketball fans out there — to get it back together, to try to get Rachel [Bolan, bass] and Sebastian in a room and talk. And, inevitably, either Sebastian would say something stupid two weeks prior and then piss Rachel off or whatever… I don't wanna say 'stupid'… but he'd say something to piss Rachel off. And then Rachel would be, like, 'Well, fuck you.' And that happened, like, literally three times. And the one time I thought it was about to happen, and it just fell apart. I don't see it happening; I really don't. I've tried. I think Rachel and Snake [guitarist Dave Sabo] just don't wanna do it. They're happy where they are, and they wanna move forward."

Affuso went on to admit that the fact that SKID ROW's classic lineup can't reunite "really kills [him] on many levels." He explained: "One, as a professional… As a kid growing up and dreaming of being a rock star and working your ass off to be somewhere and get somewhere and then you find this group [of people] that you grow with. So it's very disappointing, because you grow up and you reach this incredible level of success, and then you have [these] fights and drama. And okay, so then it ends, but you know what?! A few years, several years down the road, we're all still alive, we're all viable, we're all still playing our instruments. So it's just very… it's sad. It's sad that we had that [and we can't bring it back]. We were less than one percent of the people on earth — we had this special thing — and it's been taken away by… It's just that [Rachel and Snake have the attitude], 'No, we don't wanna do it. We're gonna do it our way.' Which is fine. I mean, Rachel and Snake own the name; they own the name SKID ROW and they are the main songwriters. So, in essence, they can do whatever they want with the name. They could put Winnie The Pooh and Mickey [Mouse] up there and call it SKID ROW. No offense to the guys, but I'm just saying… They own it. With that said, I really don't see it. I've tried, I've tried, I've tried… I don't see it, unfortunately."

Monday, May 25, 2015


Rodney Holder of Australia's Music Business Facts recently conducted an interview with legendary Swedish guitarist Yngwie Malmsteen. You can now listen to the chat using the audio player below. 
On his decision to discontinue selling physical CDs:

Yngwie: "I'll never forget when I stopped making CDs. The distribution company that we used was a big one, too; they distributed for everybody, [including] big labels. I had my own label, Rising Force Records, and made records, but had them distributed to the chains, to the retailers, but the retailers are gone — there's no physical sales anymore — so I'm not gonna make the CDs and have 'em put into trucks to go nowhere. That was just a choice that I made. And you should have seen… It was, like, they were running around with a… They were, like, on their knees, begging: 'Please, make a CD! Please.' Well, sorry. If there was a market, that's what I would do. But there isn't… In the United States, there is no record chains — there's no Tower Records, no Virgin Megastores, there's no Spec's, there's no Coconuts… Every record store and record chain has folded; they don't exist. They do not exist. And the only two outlets that would still sell CDs were Best Buy and Wal-Mart. They now have stopped selling it. There's nowhere you can go into a store and buy a CD in America. That's how it is."

On some artists' struggle with the fact that they are making money off their music, believing that it somehow diminishes its value:

Yngwie: "It's a very strange way of looking at it. Because, I mean, I don't know how [those artists] make records. But, to me, to make a record costs a lot of money — a lot of money. And a lot of blood and sweat and tears from me as well. And I have a family to feed. So I don't look at it like that. I look at it like, if I create something and somebody wants it, it's not free. Why would it be free? Free, what's that? Free. It's like going to a gas station and saying, 'Give me free gas for the car.' It's not even like that. It's different. I don't know what to compare it to. I mean, anybody that has this as their main… as their life, basically, and not working somewhere else and then making music for fun, would understand where I'm coming from. Because just the expenses to make an album is a lot of money — a lot of money. And that's just the monetary thing. And then you have all the effort and blood, sweat and tears, and soul — you're pouring your soul into this thing. [For any artists to struggle with the idea of making money off their art] is a little hypocritical, I think. Because the thing is that… If they go… Let's say they wanna go to dinner, or whatever. Are they gonna pay [for] it with their music?"

On whether there is still a place for record labels to help young bands market their music:

Yngwie: "I don't think in the traditional sense; there doesn't seem to be much use for it. But I think that now, with the YouTube thing and all that stuff, it's all a curse and a blessing [at the same time]. The blessing part of it is the fact that it's kind of a free scene, where it's not so rigid and formulated as it used to be. But the bad part is that, compared to the past when there would be, like, forty bands in town and two bands made it, and those two bands sold shitloads of records, and that, in turn, made the labels search for more bands, which, in turn, gave the incentive to kids to do what they wanna do, 'cause they wanna come to the forefront also. There was always a carrot in front of the donkey, so to speak, there all the time, and that's totally gone. Because, at the end of the day, 'Okay, I've got a video on YouTube.' So what? So do four billion other people. I remember when I was a kid, if you had your name on a piece of vinyl, man, you were, like, in the halls of Valhalla; all of sudden, you were hanging out with Odin and being at the table of the gods. You were the real deal; you weren't some guy struggling in a garage somewhere. Now it doesn't have that contrast anymore; it's just like all the same. And, to me, the magic is gone in that sense. I don't know if kids understand what I mean when I say that. But I remember when I was little, I dreamed about it. 'Cause you knew nothing about the bands, nothing about the artists [you liked], [you relied largely on] your imagination. Once you got big like that, like the [artists] you looked up to, that was a big thing. Now, I don't know if I see that…. Once again, I'm not saying there's no good bands, I'm not saying there's no good music. I know that Gene Simmons [KISS] — a friend of mine — he got misquoted not too long ago. They quoted him as saying everything sucks. That's not what he meant. He meant that the industry is gone, the money… the big wheels that were turning, with everybody putting their finger in the pie, that's gone, and that's not his opinion, it's a fact. [It's] gone."

On whether selling music digitally is a profitable business for him:

Yngwie: "It works to a point, you know. Unfortunately, that is the root of all evil right there. What happened was that when most people realized that they could get the file for no money, they said, 'I'm not gonna pay ten dollars for it.' And then those ten dollars multiplied by whatever… hundreds of thousands of titles… translated to the fact that all these people that I mentioned before that had their finger in the pie had nothing to take. And so that's why you don't see a new band every week on MTV or VH1; you don't see them there. There's no one signing bands because there's no… Nobody got signed because [the labels] wanted to be nice to them. No, they were signed because [the labels] wanted to make money from them. The labels wanted to make money. And so, when [the labels] realized that there was no revenue being [made] from [selling music anymore], they basically all folded. I mean, I still put records out on iTunes, and I think that iTunes is great. But the thing is that a lot of people would rather not [obtain music] the right way, and that hurts everything, unfortunately."

NEWS: WHITESNAKE's DAVID COVERDALE Says His Critics Are 'Wasting Their Hate'

WHITESNAKE singer David Coverdale has responded to fans who have critized his decision to release "The Purple Album", which revisits his time as the frontman for DEEP PURPLE's "Burn", "Stormbringer" and "Come Taste The Band" studio albums.

"The Purple Album" features reworked versions of songs from some 40 years ago, from 1973 to 1976, including the first single "Stormbringer", the title track from the 1974 album.

Asked by U.K.'s Classic Rock magazine if he has seen the "extreme reaction" the new version of "Stormbringer" received after it was posted on YouTube, Coverdale responded: "Yeah, of course. But have you seen the orders we have for this record? I've never made music for the haters. If somebody develops a cure for cancer, there will still be haters. I've no space in my life for haters or negaters. They're not gonna buy my record. They won't buy a ticket. Why the fuck should I give a fuck? They're probably sitting at home, running their WiFi off their mother's account. I owe those people nothing. Such opinions mean nothing to me. I'm talking to you from a fucking very, very beautiful residential studio. I have a home overlooking Lake Tahoe. I'm sixty-three years old, booking a world tour, the tickets are flying out the door… The odds are not in these people's favor. They are wasting their hate."

He continued: "I won't release something unless I believe in it. I've come to a time in my life, after a very successful career, where I will do exactly what I like. Online the other day some clown wrote: 'Coverdale's well must have run dry.' Well, what you have done in your life? Over forty years I've sold more than a hundred million records and written countless fucking rock 'n' roll anthems. How fucking dare you criticize me, dude? Fuck off to your bedroom."

Asked if he feels the classic DEEP PURPLE songs are untouchable in their original form, Coverdale said: "When WHITESNAKE played 'Burn' for the first time, in 2004, the web site lit up. And, amazingly, ninety percent of those people hadn't heard the song before. And it's forty fucking years old, but, as daft as it sounds, these songs are new to some people. I'm getting tweets from people saying they've bought the original songs for the first time after seeing the album's track listing. So PURPLE's making money too."


New, lewd, and just as raw, King Parrot from Melbourne are back with their latest release ‘Dead Set’. Everyone’s favorite thrash-grind band from the land down under is steadfast in their endeavor to get as much grind into the world as possible. After touring relentlessly for the better part of 2014, the band finally sat down and out came ‘Dead Set’. For this go around, the band brought in their touring drummer Todd to take the throne in the studio. The release of ‘Dead Set’ has brought about a few new changes in the band’s sounds, but nothing the fans won’t like. The production is tighter and better than on ‘Bite Your Head Off’, but their sound is still as raw and gritty as a proper grind band should be.

Easily the best part of King Parrot’s music is its sheer intensity. From the grinding guitar riffs to the harsh, visceral vocals, every aspect of this band is on full blast at every moment. One of the reasons I love this band so much is how they can find a way to incorporate groove-laden riffs with the relentless grind sound. On the track “Need No Savior”, you can see some of the old-school, Pantera-esque influence poking through between the blast beats and banshee vocals. The track “Tomorrow Turns To Blood” is a great example of the newer, more death-metal type sound the band is bringing to the table. Youngy’s lows on this album are almost out-of-place next to his unique, ridiculously fast vocals. They’re pretty dead-on as far as death metal vocals go, adding a new element to the mix.

As far as grind records go, ‘Dead Set’ definitely pushes towards the top of the pile and sets King Parrot up for what could be a very promising career. So far, they’ve released two phenomenal records that give the listener an insatiable urge to start smashing shit and start moshing. Each track in ‘Dead Set’ offers a different flavor punch to your auditory cortex that sparks the primal urge to punch people in the face. This is probably one of the best albums to come out as of late, and I’m really excited to see where the band goes from here.

The lads in King Parrot are some of the hardest-working people in the industry and I for one think it’s high time they see the fruits of all that labor. If you haven’t seen the band live yet, you should be ashamed of yourself and look to fix that problem as soon as possible. They put on what is easily one of the best live shows I’ve ever seen in my life. All that raw energy that pours out of their music translates ten-fold into their live performances, and it’s truly a spectacular amount of chaotic movement that somehow orchestrates itself into a coordinated fit of madness.

So do yourself a favor: pick up ‘Dead Set’ as soon as possible, memorize all the tracks, then find the closest show possible and witness the insanity for yourself.

Rating: 9/10

Reviewed By,
Dallas Luckey

Sunday, May 24, 2015

INTERVIEW: GEORGE KOLLIAS On Upcoming NILE Album - "It’s Heavy As Hell, Mature & A Super Fast Record"

George Kollias is a name that is synonymous with the best of extreme drumming. He is most popularly known for his intense drumming with the death metal band Nile. Apart from being an extreme drummer he is also a multi-instrumentalist and vocalist. George Kollias currently based at Athens, Greece where he started the department of Extreme Drumming at the Modern School of Music. His work and associations with various bands in the past has established him as one of the greatest drummers alive today. George Kollias is currently endorsed by Sabian, Vic Firth, Evans, Axis, Pearl, Serial Drummer Clothing and D’addario. His signature products include his Axis George Kollias Special Edition Pedals and Vic Firth SGK Signature Sticks. 

Metal Wani’s writer Roshan Machayya got an opportunity to interview George Kollias where he discusses his debut solo album Invictus and its creation, the upcoming Nile album, his experience as a musician and much more.

Greetings George, it is pleasure to have you here on Metal Wani. Considering your very tight schedules, I will not take your time on niceties. Can we start straight away by you telling your fans anything that you would like to say?

Hello to everyone, it’s a pleasure to talk to the metal fans in India which I’ve been a few years back and i had an absolutely great time! My first solo album is finally out and i would like to ask everyone to check it out, please give it a listen and i guarantee you it will worth your time, i spent days and months on this, it’s an album made with a lot of love and passion! 

That is interesting and I understand your long journey in the world of extreme metal. All the way since Extremity Obsession to Nightfall and currently Nile. Can we have something from you on this journey and what was the click moment that lead to the creation of your debut solo album ‘Invictus’? 

Each one of my main bands played a big role on anything i did/do in my career of course, but i would say the main one that is responsible for Invictus is my first band, Extremity Obsession. With Extremity we used to cover songs but also write our own music and we did 2 very successful demos, one which had 9 songs. I was the youngest in the band, i was only 12 when we started, and i could also play guitar too so i was contributing some riffs from the beginning. Later on the rest of the guys got busy with studies at the university so i was the only one with plenty of free time and i got pretty much all the writing part on my shoulders, as well as the lyrics since i was the drummer and the singer of the band as well. So that was the thing with me starting to write music, play multiple instruments or sometimes track them in the studio, and being creative in general outside of my main instrument which was the drums of course. For the rest of my bands, Nightfall/Sickening Horror and Nile i wanted to focus more on the drumkit than get involved with writting just cause i wanted to raise the bar for me, that was the most important thing for me back then and it still is. 

As a drummer, you have showcased your versatility well. But as the choice of genre for a solo album, why choose death metal? You are already known for your extreme drumming with the bands that you have created music with like Nile and Nightfall. Why not express yourself with another inherently technical and experimental genre like jazz or progressive metal? 

You are right, but you see, i didn’t want to prove anything….i just wanted to write some good music. Nobody heard me writing some songs that could be out on a cd, except years back with demos. I never wrote music for Nile or Sickening Horror and Nightfall, never wanted to do it, so i have a lot of music inside me that i just wanted to get it out. And as you can tell by listening to Invictus, what comes out from me is just totally different than any of my bands. It’s a different story, i think i sound like “George”, completely. Another reason is that, Extreme Death Metal is the music i serve for years, that is who i am as a player and writter so this is what comes out from me and enjoy to play more than anything. 

I understand what you say about getting involved with a different genre to grow a bigger crowd, fans in Death Metal knows who i am. But here’s my question, how many of those know i could play all the instruments on an album? Or how many knew i could sign in there too? Or write the music i wrote. All i am saying is that this project is already something very unique, you have an extreme metal drummer coming out with his own music, signing, performing all instruments and delivering a full album. You don’t see this often, right? 

‘Invictus’ showcases not only your brilliance on drums but also your exceptional skills on other instruments. How did you manage to not make ‘Invictus’ overly about just drumming and create a balance between the instrumental arrangements and themes? 

You know, the very first idea about making this album was to write some music and go nuts on the drums, hahaha. But after each song was started to get it’s shape, music is always what wins and you forget about your “shining” moments on your instrument. It is all about the songs, nothing else. If the song is great and drumming is simple then that’s ok! If the song sucks and drumming is the best then we got a problem. Of course, you can combine both, and drumming in Invictus is very challening itself, it’s not easy stuff to play at all! But i want to hope it is what was right for each song, i really tried to see this album as a guitar player too, or a bass player/singer as well as listener, i really tried to see this on any different side and make sure i am not all about drums! 

There are a few songs that drumming is absolutely insane but there are some heavier songs too that forced the drums to stay more simple, like “Voices” for example or “Buried Under the Flames”. And there is a song in there that forced the drums to stay out of it completely, “Apocalypse” is an acoustic song that contains only some big percussion, but not drums. And i gotta tell you, people are getting in touch with me saying how much they love this song and i am very happy about that. It’s a great feeling to get compliments on your music when you are not even playing drums in there but people know you as a drummer, it’s funny and i like it. 

‘Invictus’ sounds really hard hitting and yet intricate. Please tell us how you went about the song writing process, recording, and production on the album? Given the fact that various artists were involved with the guest work on the album from different parts of the world, how did you coordinate all of this? 

The writting process is always the easiest one for me, i have a lot of fun writting in my home studio and going through a pre-production process for all my music. I can listen to the songs in my head, but nothing is more impotant than actually get to listen to the final thing before you even start with the recordings. So writting and then going through a pre-production, and finally started recoding the album at Soundtrap Studio Athens. The album was mixed by George Dovolos at Esoteron Studio and mastered by George Bokos at Grindhouse Studio Athens. 

As far as the guests, i wanted to have a few guests to contribute a guitar solo in there, i thought would be a lot of fun to have some of my favourite guitar players and friends to play a solo for my songs. I did a couple solos but the rest was guests like Karl and Dallas from Nile, Yiannis Papadopoulos, Rusty Cooley, George Emmanouel, Theodore Ziras and Mike Papadopoulos. I also had Bob Katsions and Andreas Trapalis contributing a synth and violin solo, as well as Efthimis Karadimas doing vocals on a Bonus Track and Mike Breazeale doing the speech on the intro of the album. All they had to do is track a solo and send it over so then we could get it on the song, it was really easy and took them no time at all, but definitely made a huge difference on how the album sounds! It was more than a great honour to have all these guys playing on my first album! 

Is ‘Invictus’ a concept album? How would you define the lyrical themes behind ‘Invictus’? What makes ‘Invictus’ different from all your work in the past? 

If the fact that you have an extreme metal drummer delivering a full album by writting/playing everything and singing is not enough, then i don’t know what is different, hahaha. Well obviously this is what makes Invictus so different and important to me, and to the fans too, they are talking about it for weeks now or months since i uploaded the first teaser of the album, before we even get into the mastering process. 

The album is not a concept album, lyrics are stories that i created in my head, some sort of short movies that always follow the title, the title is what i get first before i get into the lyrics. The lyrical theme varies a lot, i don’t like to be talking about one thing, it’s like you are watching the same movie every time. So they are way different to each other and each one touches a different subject or have something different to say. 

Apart from your professional experiences in music, would you say that your personal experiences in life has somehow helped shape ‘Invictus’? If so, how would you say that those experiences are expressed in the album? 

No, i wouldn’t say that. I have nothing really to tell you about that, nothing apart from music helped me to get this album done. This is only about music and my experience as a studio and touring musician that brought me here. 

I feel that the instruments give a flavour to the lyrics of the songs. Was it deliberate? Also, how do you think the album cover gives a feel to the already strong album? 

Yes every instrument adds something, i feel the percussion was a big part of invictus as well, gave another dimension to the music and helped that epic vibe i wanted to get out. As far as the cover goes, my good friend Manthos Stergiou from Manster Design took it all on his shoulders, i gave him a couple songs to listen and some lyrics and he came up with this amazing cover, which i am 100% happy about. As soon as i saw it i told him that’s the one, we didn’t change a single thing, it’s all his work. Same goes with the booklet which again he did a fantastic job! I really love the layout for Invictus, from the colours we used to the designing of the booklet, i think it looks great and it is very well organised. 

You tour a lot and have your drum clinics and classes. In between all this, you composed and recorded ‘Invictus’. Can you tell us some of the challenges you faced in regard to making ‘Invictus’? And, what made you decide to release the album for free on your website? 

The biggest challenge was to find time to record it, i didn’t have a full recording time so i had to break it in parts and do each thing on a separate time of the year. But i knew this would be the case, i am a very busy drummer and it is my choice to be busy, so i created this chaos hahaha. And the problem was, when you get into the recording mood you don’t want to stop, it takes a while to go away and get back in it, you don’t feel it right away so each thing had it’s “warm up” session too so i get full back into it. 

Now concerning my decission to give it for free, here’s how it happened. When i first decided to write this album it was a thing i wanted to do for the fans, they were pushing me to do an album and i already had a band so i thought to recording it by myself and just share it with them. After the first teaser went online, everybody was keep emailing me and asking for physical copies, like a nice Digipak or a Vinyl, which of course i wanted to do but i had no time to do this myself. So i decided to find a label and release it through them, so everybody can easily buy their physical copy or special edition and merchandise, in a few words, i decided to have a professional to do this. And Season of Mist became my new home, they are doing an amazing job and we are working great together. 

The “giving it away for free” thing it was something i already told the fans, months before i decide to move to a label so it was something that i couldn’t get back of course, i talked to the label about it and they helped me with this too. So this album has a free option too as MP3 version, so i kept my word to the fans. Which i don’t think it’s bad at all, i think it’s a step further than the streaming of the album, that’s all. I knew people will download it illegally anyways, like everything else, so why not upload it myself and get more people to listen to the album? Then whoever wants to buy the real copy they can do that through the label. I always think that the fans that are into buying albums they will do anyways, and the ones who download them they will also, you can’t change that, but at least you can get some benefits out of it by getting more people to give a chance to the album. 

We are aware of your new Nile album and we have considerable expectations. Tell us something about it. Would it sound different from the previous Nile albums? As a drummer, what was the hardest part that you faced in the process of creating the album? 

Yes we are done with the recordings and we are mixing right now. Can’t tell you much about the title or release date yet cause it is not officially announced, but i can tell you that it is a very fresh Nile album with all the good elements we have as a band plus new elements that will get the band to the next level. We always do that anyways, we are adding things and we experiment as much as we can, but it always sounds like Nile. So i am pretty sure the fans will love this new album, it is heavy as hell and super fast too, more mature writing you ever heard from us too! 

About the hardest thing i did in there, if you asked me that question back on the pre-production time i would say too many things, but unfortunately most of these ideas got thrown away when we were finalizing the album. So drum-wise now, it’s not an easy album to play but it’s not the step up i was going for. But the album is not about drums, it’s about the music. If the music calls for more simplicity then you have to go with this and that is what makes an album great! 

With the metal aspect of your life aside, what are the other projects that you are working on? Is it hard for you to switch between playing genres considering that you also have a jazz/funk project on the other hand? 

I have a new project coming up soon which i can’t tell you much but it is going to be very different, it will be on the other side of what people know me doing today. And that is a fun project with a few firends, something just to have fun jamming and push ourselves to the next level playing wise. Also my funk project, which i am not dedicating as much time as i would wish so far but i hope this year we will make some good things happen and we will be performing soon. You know, for me it’s really important to play music on different directions, it gets more challenging and interesting and keeps you alive, plus you grow as a musician. Whatever you hear from me in Nile or my solo project, or any of my session recordings which are too many these days, has elements from any type of music i listen to or play. Music is one thing, all you have to do is walk through it and discover new paths so you can spice up your playing and your writting. 

Are you envisaging a follow up album for ‘Invictus’ and would it sound different? Also, would we ever see you and a band playing the songs of ‘Invictus’ live sometime in the near future? 

I don’t know about the band, there is a “maybe” and i have some thoughts in my mind but it will take a little bit of time, just cause i wanna do it right. So we will see about that soon. I will be definitely doing some clinic tours for Invictus though, that is for sure. I wanna get out there and play this album for the fans and soon! 

Concering the second album, i don’t thing will be different than Invictus. I already have 3 songs which sound great and they are on the same vibe of Invictus. What i really wanna do on the second one though is to experiment with more vocals and more sounds, so keeping the same fast/aggressive/epic feel but make it a little more dark and interesting to listen to. I want to add new instruements too, some of which will kick my ass cause i will have to sit down and practice to them. And of course it will be again a one-man project, only cause like i said many time this is my thing, what i do for my personal joy so i want to keep it for myself! 

You started the department of Extreme Drumming at the Modern Music School, Athens, Greece. As a teacher of music, what do you look forward to the most - both personally and professionally? 

I love teaching, it’s a part of what i always wanted to do and will keep doing it for as long as i can aside from playing. I have the extreme department at LAB Music Education in Athens/Greece and Modern Music School in Germany and USA. The goal for this was to make a class that people will have the opportunity to go a little further than just rock drumming. Rock and Jazz is the main thing for schools and of course is the right way to go, but all those kids that wanted to play Slpiknot or blast beats for example were the idea behind what we were thinking. So we do what we need to do but we added some extreme drumming to help them do what they want without have to spend years and discover things themselves. Like i did for example when i was a kid and was learning how to play. 

Most teachers are happy to see their students become well known musicians, and i get it, i understand it but it’s not what i am looking for from my teaching or my students. What i really want is try make my students have fun with what they do. Not all of them want to become professionals anyways, so i just wanna make them learn how to play the right way and see drumming as something that they can’t wait to do, something fun! So that’s what i try to pass, i wanna see them having fun and if someone wants to push it and become a profession of course i will help them to go on the next level too. 

As a multi-instrumentalist, what aspect of creating music do you enjoy the most? And as a word of inspiration, what would you tell to all the aspiring musicians out there? 

The thing i enjoy the most is when i listen to a song being ready, that moment of the complete song is the best, period! I really enjoy every single moment on writing, i love playing guitar or sing for example, or experiment with hunderds of samples, everything has it’s own special thing for sure and i enjoy it to the maximum. But of course drumming for me comes always first… 

I always advice my students to pick up an learn another instrument, it does help so much with your playing as well as with the way you listen to music. It changes it all! Nothing can make you a better musician than learn more instruements and undertand the language of music. So this will be my advice to all: “Learn another instruement or two! Have fun with it, it’s is more fun than you would expect, and will get you do what you always wanted to do better. And don’t be afraid to write music, get whataver you have inside you out and express yourself, music is a way to express ourselves and not a contest on who wrote the best riffs….” 

What does your schedule look like for 2015 for Nile and your other projects? Are there any festival appearances and drum clinics that your fans should look out for? 

It looks very busy…We are talking the summer off for family reasons and we are getting on the road late August starting with a big European tour with Suffocation. Then we have a US Tour on January and a few shows in between those for Australia/Japan and possibly some other countries too. Next year we have the second leg of the European tour for the new album and of course many festivals in the summer. As fas as clinics, i have 3 Drum Camps in Italy in a few days but other than that i am waiting for the Nile schedule before i start booking more, but they will be many of them too… 

Finally, how would you define your debut solo album ‘Invictus’ in one sentence? 

It’s a real metal album made with a lot of passion and love, it is extreme but has a lot of feel in it and it is made 100% for the fans, this is my gift to them! 

Thank you for taking time off and spending some time with me for your fans. It’s been an absolute honour. All the best for your upcoming projects!

Thanks for the support! 

REVIEW: PARADISE LOST - "The Plague Within"

The roots of Gothic metal can be traced all the way back to the first Black Sabbath album, but it truly materialized in the early nineties thanks to the work of pioneers such as Paradise Lost. The genre gets its name from their second album Gothic; they are to Gothic metal what ‘Death’ is to Death metal.One of the few bands that have more or less maintained their original line up since the beginning, Paradise Losthave been consistently releasing albums and now they’ve presented to the world their 14th studio album ‘The Plague Within’.

‘The Plague Within’ is an album whose meat lies in the first half. There are some really good songs in the first half of the album with songs like ‘No Hope In Sight’ and ‘Punishment Through Time’ being some stand out tracks. They prove that Paradise Lost still knows how to bang out some really good, groovy and heavy tunes. The riffs are relentless and so heavy that you physically feel like you are being pummeled into the ground.

Like any good Doom/Death or Goth album, this one too has a very dark tone to it. The band does a very good job of creating the most depressing feeling in some of their slower songs. If you track the album by how it makes you feel, the graph will look something like a valley with the beginning and end being a little more upbeat and the middle being the saddest pit of shame you can crawl into to die. The same goes with the pace of the songs with the middle of the album containing some of the slower, doomier songs.

But the slower songs are what I feel is the literal arrow to the knee of this album. They really take you out of the mood that the album begins with and it gets really hard to get back to listening to the rest of the album. When you start listening to the album you really get into the songs and you are shaking your head feeling like going out for a drive while listening to the music and then you the hit the brick wall of ‘Beneath Broken Earth’ and its better sounding cousin ‘Sacrifice The Flame’ which slow you down to such a degree that you just want to get off the ride this album had you on. I could excuse the songs if they were good to listen to but I felt they were quite boring; I have heard these riffs multiple times in different ways, there is nothing new here that grabs my attention.

The production on the album is pretty good. It’s nothing out of the ordinary but it is good. I was able to hear most of the instruments clearly though I felt that the bass was a bit too low in the mix. Nick Holmes puts in a good performance with his menacing harsh vocals and admirable cleans. Greg Mackintosh and Aaron Aedy on guitars just churn out the riffs so thick and heavy they can be used as industrial grade lubricants. Steve Edmondson on bass can be heard rumbling away at the bottom end, helping create the doom and gloom atmosphere. Adrian Erlandsson on drums is really good, putting in little variety into each song with his drum fills. There is use of orchestration in some of the songs which adds a sort of epicness to the songs.

‘The Plague Within’ proves again why Paradise Lost are considered the godfathers of modern doom and goth metal. It’s got the heaviness, the atmosphere, the groove everything a fan would want. But unfortunately, like most albums it’s not perfect. My only advice to anyone who might listen to the album is “just skip past the slow bits”.

Rating - 7/10


A Friday night show is always a blast in Denver, as the downtown bar scene is alive and pumping, but the folk metal from the Summit Music Hall was louder than all. On Friday, May 15th, Denver, CO was once again blessed with the greatest folk metal bands around. Hitting the stage together in a co-headlined North American Tour, Korpiklaani and Ensiferum, with support from Trollfest, set out to prove that folk metal can be both fun and hard-hitting. This show was no exception. Once doors opened the local familiar faces and new ones from surrounding states crowded the venue, smiles all around. Both bands have graced this stage before in previous Paganfest tours; Ensiferum in 2013, and Korpiklaani in 2014. This lineup however, provided a lot more time for these bands to both show off their classic songs, and celebrate their new releases that came out this year. The excitement for the new material, and witnessing the beautiful Netta Skog (ex-Turisas) filling in for Ensiferum's Emmi Silvennoinen, were hot topics with the fans, and they were not disappointed. 

After Trollfest kicked the night off with a metal party that can not be topped, Korpiklaani was set to take the stage. Though I can't pronounce too many of their song titles, the band opened with “Viinamäen Mies” from their newest release, 'Noita'. A nice nod to the classic sound bands grew to know and love, this new material proved to get people smiling and dancing around, in the most metal ways of course. The band also played new tracks “Pilli On Pajusta Tehty”, “Lempo”, and “Sahti”. That being said, what would a Korpiklaani set be without “Vodka” and “Wooden Pints”? Fans, don't worry, they save their best for last. One of the best things about watching this live show, is seeing that every member is moving around on stage with smiles on their faces. There really is no better experience than watching a fantastic band enjoy what they're doing. I couldn't help but run to the bar and swing a beer or two around for their set. Fittingly enough, the bar is where I met the band's bassist Jarkko Aaltonen after their set. We chatted about my Powerwolf back patch and the equally great and entertaining power metal band, Gloryhammer

With the metal party sequel complete, the crowd prepared for co-headliners Ensiferum. On a side note, the first time I saw the band was Paganfest 2013, and the Denver, CO date was the tour's kickoff. The band had issues with their equipment getting lost in flight, and fans could definitely tell there was some serious jet-lag all around. This didn't stop them from delivering an enjoyable set, but 2015's tour showed a much more energetic band than I was expecting. Starting their set were tracks “March of War”, “Axe of Judgement” and “Heathen Horde” from the band's newest album 'One Man Army'. Despite being new songs, and not the same old tunes fans are used to seeing live, the crowd went absolutely crazy. 

Bassist Sami Hinkka was quite the character on stage, and truly was a total blast to watch. Intense, engaging, and actively commanding the stage, he really pulled in fans from all over the venue. With all members shouting and scowling along with the words, accordion player Netta Skog danced around with a beautiful smile, shining light a beacon of light itself, really standing out against the rest of the band. The band also played classics “Victory Song”, “From Afar”, and “Iron” but not without a hilarious and surprising “Breaking the Law” cover in between. 

All around, I couldn't think of a better way to spend my Friday night, and I wish that the bands had even longer to play. I could listen to their amazing arrangements all night long, but unfortunately all good things must come to an end. I am not sure when North America can expect to get another folk metal force such as this, but this one will be hard to top! The tour is still going on, headed now to the east coast and Canada, so if you have been debating snagging a ticket, don't wait! You won't regret it!

Review By,
Power Metal Chick