Intervista ai LAST MINUTE TO JAFFNA

Gli scenari apocalittici di un paesaggio devastato dalla potenza della natura, atmosfere cariche di tensione, musica che mira ad avere un forte impatto emotivo e non solo sonoro... questi sono i Last Minute to Jaffna che in occasione dell'uscita del loro nuovo album "Volume II" per Argonauta Records con il titolo Volume II il 2 Marzo, ci hanno concesso un po' del loro tempo per chiacchierare con noi non solo di questo progetto musicale, ma anche di molto altro ancora.

Les Fleurs du Mal: È proprio da qui che voglio partire, dalla pubblicazione di Volume II che, nel 2014, è stato preceduto da Volume III. Scelta interessante la vostra, un po' fuori dagli schemi. Potete raccontarci un po' di più su questa decisione?

LMtJ: Ciao Dora, grazie per averci contattato. Non è stata una cosa voluta, diciamo che sarebbe dovuto uscire prima Volume II e successivamente Volume III (che – rimanendo in ambito bibliografico - di fatto è una sorta di appendice dei primi due volumi), però per tutta una serie di motivi contingenti è uscito prima il III ed ora finalmente esce il II.

LFdM: Ascoltando il disco è chiaramente rintracciabile non solo l'impronta metal, ben presente e quasi solida base, ma si possono captare tantissime altre suggestioni sonore, tutte tese alla creazione di un'atmosfera davvero molto particolare e di difficile catalogazione. Dato che ho l'occasione di parlare direttamente con voi, qual'è o più propriamente quali sono i generi che davvero vi possono definire come musicisti?

LMtJ: Bella domanda. La componente metal c'è senza dubbio perché ognuno di noi presto o tardi ha ascoltato metal, ma prima di pensare a quale genere possa appartenere la musica che stiamo facendo, cerchiamo di creare un'atmosfera, una determinata tensione. Quando abbiamo cominciato a suonare si parlava di post core, ora invece si parla di post metal; sono definizioni sufficientemente vaghe per inquadrare più o meno il genere, dopodiché come si diceva prima più che la definizione a noi interessa quello che trasmette la musica.

LFdM: Siete una band attiva da ormai dieci anni, eppure la vostra produzione discografica è circoscritta. Non fraintendetemi, non credo sia un male, a volte certe band peccano di presunzione e sfornano a raffica un prodotto che, a livello di contenuti, non è capace di dare molto a chi ascolta, questo invece non sembra accadere con voi. Tre album, è vero, ma strutturalmente molto solidi e sicuramente ben curati. Qual'è stato il vostro percorso in questi dieci anni.

LMtJ: E' stato il percorso di un gruppo che da un lato tira avanti nonostante le mille difficoltà di tutti i giorni, difficoltà che hanno portato diversi avvicendamenti nella formazione. Dall'altro sicuramente non ci piace fare le cose tanto per farle, quindi prima di registrare un disco vogliamo esser convinti al 100% dei pezzi e, dati i gusti parecchio diversi, non è sempre facile trovare la soluzione che convinca tutti. Qualcuno l'ha definita “attitudine slow food”, non so se ci possa stare il paragone culinario, ma l'idea ci piace.

LFdM: Sono rimasta colpita dall'interessante scelta di nominare le tracce (ma alla fine gli interi album) come se fossero dei capitoli di un romanzo piuttosto che vere e proprie tracce di un cd. A chi è venuta in mente questa idea, davvero particolare, e come mai avete continuato a portarla avanti?

LMtJ: Le parole spesso distraggono dalla musica e volevamo che fosse esclusivamente la musica a parlare; di qui la scelta di non dare titoli a pezzi e dischi e non pubblicare i testi. Ci piace l'idea che ognuno sia libero di interpretare i pezzi a modo suo.

LFdM: Musica e testi, due parti estremamente importanti all'interno di un progetto musicale. Quanto la musica ispira i testi e quanto, invece, sono i testi a portare ad una determinata scelta melodica? E poi, è sempre così o c'è una parte di emotività e di trasporto che esula da questi due elementi rendendo il processo creativo quasi improvvisato, non costretto in rigidi schemi?

LMtJ: Inizialmente i testi nascevano parallelamente alla composizione della musica e non dovevano rispettare schemi particolari perché la voce era principalmente urlata. Col passare degli anni abbiamo cominciato ad inserire parti più melodiche all'interno dei pezzi e di conseguenza abbiamo anche cominciato a costruire degli arrangiamenti intorno alle linee vocali, quindi i testi sono divenuti parte integrante della scrittura – pur rimanendo legati alle atmosfere evocate dalla musica.

LFdM: Nel creare i Last Minute to Jaffna quali sono stati gli obiettivi che vi siete posti come band e, magari, anche come singoli individui? Siete riusciti a raggiungerli o ne avete aggiunti altri nel corso della vostra carriera?

LMtJ: Se penso a dieci anni fa, direi che l'unico obiettivo che avevamo era di divertirci e fare musica che ci piacesse e senza dubbio possiamo dire di esserci riusciti. Ci siamo anche tolti diverse piccole/grandi soddisfazioni, dal suonare assieme a band di cui siamo grandi fan al conoscere persone con cui sono nate profonde amicizie.

LFdM: Le vostre esperienze di singoli, a livello musicale, sono tra le più varie e disparate. È stato difficile farle andare tutte d'accordo o avete subito trovato il giusto compromesso tra loro, riuscendo a investire al meglio il vostro background in nome del progetto dei Last Minute to Jaffna?

LMtJ: Non è semplice mettere d'accordo quattro teste diverse, ma è l'unica via possibile per cercare di fare musica che possiamo sentire nostra a tutti gli effetti. Non è un caso che in dieci anni abbiamo fatto uscire pochi dischi, ci sono un sacco di pezzi che abbiamo accantonato perché non ci convincevano pienamente.

LFdM: E ora una piccola curiosità. Jaffna è una città dello Sri Lanka, lo so perché faccio ripetizioni ad un bambino che arriva proprio da lì, quindi l'impatto del vostro nome su di me ha avuto una portata differente rispetto a chi potrebbe non saperlo. Come mai avete scelto proprio questo nome per contraddistinguere le vostra band? Siete mai stati in Sri Lanka e, magari, vi siete fatti perfino ispirare dalle sue atmosfere, oppure è stata una scelta casuale, dettata magari da una questione di musicalità o anche di mistero legata al nome?

LMtJ: La scelta è legata a un'evento abbastanza tragico, lo tsunami del 2004 nell'Oceano Indiano. Abbiamo cominciato a suonare pochi mesi dopo quella catastrofe, e traendo ispirazione dagli scenari apocalittici di quei giorni abbiamo scelto Jaffna perché ci sembrava una scelta meno scontata rispetto ai posti della Thailandia che erano sulla bocca di tutti.

LFdM: Con l'uscita di Volume II immagino arriveranno anche i concerti in giro per l'Italia e magari anche per l'Europa. Come vivete questo momento fondamentale per una band, ovvero quello che porta dallo studio direttamente a contatto con i fan? E che ruolo ha per voi?

LMtJ: I concerti rappresentano forse la parte più divertente del suonare in un gruppo, non tanto per il momento del concerto in sé – che comunque è catartico come pochi - quanto per quello che accade attorno, prima e dopo.

LFdM: Un bilancio fin qui? Cosa vi aspettate dal vostro futuro imminente e quali i progetti a lunga scadenza?

LMtJ: Fino qua il bilancio non può che essere positivo, nonostante tutti i casini che chi suona musica di un certo tipo conosce bene. Nel futuro più prossimo speriamo di suonare moltissimo in giro, mentre come progetti più a lunga scadenza abbiamo già un po' di materiale pronto per una futura uscita.

Vi ringrazio davvero molto per il tempo che ci avete dedicato e in bocca al lupo da tutto lo staff di Les Fleurs du Mal.

Dora

Grazie a te e a chi ha avuto la pazienza di leggere fino qua. A presto!

Members: Danilo Battocchio - guitar, fx
Valerio Damiano - vocals, guitar
Andrea Skinner Pellegrino - drums
Gianmaria Asteggiano - bass

Genre: Heavy & psychedelic

Hometown: Turin - Italy


TRACK LISTING
1. CHAPTER XV
2. CHAPTER DCCXV
3. CHAPTER XII
4. CHAPTER DCLXVI
5. CHAPTER XIII
6. CHAPTER XIV
7. CHAPTER XXV
8. CHAPTER XXVI





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I Last Minute to Jaffna parteciperanno anche all'Argonauta Fest, un grande evento musicale previsto per il 10 Maggio presso Live 23 a Bosco Marengo (AL). Non perdetevi l'occasione di poter ascoltare dal vivo questa e moltissime altre band italiane!

HANDS OF ORLAC – Figli del crepuscolo

HANDS OF ORLAC – Figli del crepuscolo

Tracklist

01. I Figli Del Crepuscolo

02. Last Fatal Drop

03. Burning

04. A Coin In The Heart

05. Noctua

06. A Ghost Story

07. Mill Of The Stone Women

Label: Horror Records & Elektroplasma

Quando cala la notte le creature che vivono ai margini del mondo, quelle che si svegliano solo quando tutti gli altri vanno a dormire, prendono vita dalle ombre che si allungano sulla terra, proiettando i loro oscuri incubi sui sogni di chi non crede nella loro esistenza.

È questo che sembrano voler fare gli Hands of Orlac con il loro ultimo lavoro discografico “Figli del Crepuscolo”: richiamare a loro le ombre che si annidano là dove la luce non pare avere nemmeno il coraggio di infiltrarsi, aprire quelle crepe sottili che ci sono tra i mondi mescolandone le essenze e le entità. E le inquietudini di un mondo che giace addormentato e sopito, quasi nascosto e celato sembrano davvero venire fuori, un po' come quando Pandora ha aperto il famoso vaso, lasciando camminare sulla terra tutto quello che mai avrebbe dovuto esistere.

Figli del Crepuscolo è un omaggio a tutto questo, ad una cultura a cavallo tra Ottocento e Novecento, ad un mondo fatto di nebbie impenetrabili, ad una realtà sulfurea, impalpabile nella quale i demoni di ogni bambino si fanno carne, pronti quasi a risucchiarne l'anima.

Le sette tracce si snodano in un modo quasi organico tra loro, prive quasi di una soluzione di continuità, complice anche una voce che ti risuona nelle orecchie e che pare arrivare direttamente dall'inferno, ma che purtroppo non ha quel guizzo in più capace di rendere la produzione davvero unica ed originale, nonostante non manchino affatto spunti interessanti ed un ottimo uso di un background letterale e cinematografico ai quali gli Hands of Orlac attingono per costruire questo mondo oscuro, maligno e perfino inquietante.

Le potenzialità ci sono tutte e di sicuro la band sa come poter tirar fuori il meglio da un concept che sembra essere congeniale alle loro capacità e al loro personalissimo modo di pensare e concepire la musica. Forse dovrebbero provare a fare un passo ulteriore verso quell'universo al quale sembrano appartenere, accantonando per qualche istante la patinata realtà di secoli ormai caduti nell'oblio, per modernizzare e rendere ancora più originale il loro sound.

6.5/10

Dora

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The Flame Still Burns: THE DREAMING - interview

...when the dreams come true...
Chatting with one of my favourite artist Christopher Hall.

There come times when remaining professional and detached becomes really hard and this is definitely one of those. I must honestly admit I deeply loved Stabbing Westward and I confess I used to listen to “Puppet” at least 5 times a row everyday day. If this means being a fan, well am one of them for sure.

Les Fleurs du Mal:  I had been reading lots of things about you in these years, but the point I reached the peak of enthusiasm was when I found out that Walter Flakus, an incredible genius at the keyboards, had joined the line-up. What did you do in that period?

Christopher Hall: I'm not sure I understand the question. but.. Walter and I hadn't talked for several years after the break up of Stabbing Westward. so I was surprised when he showed up at my fathers funeral last summer to support me on a really difficult day. It made me remember that even with all the drama and bad feelings over the breakup of the band that he had still been my best friend and band mate for over 20 years. We spent the rest of the day bar hopping in the small town wen grew up in and by the end of the night we had decided to start writing music together again. There was much discussion as to whether we should go back to calling it Stabbing Westward or stitch with the Dreaming since I had spent the last 10 years building up that name. in the end reclaiming the name Stabbing Westward was too much trouble and carried with it a lot of preconceived ideas of what it should be and how it should sound so we thought it would be better to stick with the Dreaming. but honestly it's the same music whatever the name. It was always Walter and I writing the most important songs of SW's career and none of the elements that created that music have changed.

LFdM: The contribution Walter gave to the project had a strong impact on the quality of the new material, I mean, you have been working a lot together and I am wondering if you have been searching for any particular kind of sound

C.H.: Well I would say we have a natural sound that comes from both of us doing what we like and not worrying about what kind of style or label people will put on the music. but I was very concerned that the music sounded more true to our roots. The last 2 Dreaming albums have not lived up to my expectations. I thought they were good but I thought they could be better. there were always outside influences pulling us away from my electronic darker musical style and I found that frustrating. Walter's contribution fixed that problem. He is such a strong writer and programmer that the music pretty much wrote itself. I'd also like to add that Carlton Bost also contributed heavily to the making of this record.

LFdM: Back to “Puppet”: it had it all. A dark soul, a punk heart and a crazy rock  brain, not to mention the lirycs. It reached my guts and made me dream. How would you describe “Raise Again” compared with that previous one?

C.H.: Definitely more late 80's early 90's industrial based. the theme is a bit different. a lot of puppet was based on the emotions of love and lust. With Rise Again we had a different theme and feeling in mind. We had just gone through a really hard couple of years were we lost a couple of my key bandmates to other bands  then had a terrible experience with a label who attempted to change us into a rock pop band. at the end I was left with just Johnny in my band and no label, no manager, no endorsements and no one to really turn to. it's was the lowest point of my career since the last SW album. I asked Carlton to come back and help me write the new record and I got Walter involved. WE then found an awesome manager and he found us metropolis records. so the theme of Rise Again really comes from that refusal to surrender no matter how dark things get. It's always been my greatest strength. I'm stubborn beyond reason.

LFdM: Why have you been waiting 4 years before releasing new stuff? Aims of perfection or just some technical problems?

C.H.: Well the problems I mentioned above were mostly to blame. I spent a year trying to write the record with a guitarist who was incapable rising to occasion. and then it took a year to get carlton and Walter on board and functioning as a team. the record has actually been done for well over a year but we had to wait for Rhys Fulber to become available to mix it and that took longer than anticipated. basically everything just takes twice as long as we think it will. oh and I had a son in the process so that knocked me out of the game for 6 months.

LFdM: As it is said about the eyes same with the music which could be considered to reflect one's soul. I noticed some changes in your lirycs, could you tell us something about that? What would you like to share with the audience and how do you feel during sonwriting process?

C.H.: I try and write from a really honest point of view but in a way that the listener can insert themselves into the song. I never really know where my ideas come from. sometimes from the most random events or conversations. A certain phrase will stick with me and I will slowly weave it into a song idea. I do most of my writing while I'm walking my 2 greyhounds. we go on  really long walks every morning and it gives me a lot of time to think with no distractions (other than picking up steaming piles of dog poop). I get really obsessed during the writing process. I will think about a song for weeks working it like a puzzle in my mind. it makes me a very bad driver and an even worse listener.

LFdM: If I remember well you live pretty far from each other. Did this somehow slow down the composition and the recording process? I mean, how important can it be having the chance to look into each other bandmember's eyes when it comes to make the best choices about  the creation of a new work?

C. H.: No I think it actually really helped. If I was there in the room with Walter or Carlton I would ask them to do what I want. Make it sound the way I think it should sound. But we have already hear those Dreaming records. this one s special because I let go of my stranglehold on the project and trusted these 2 really talented musicians to create without my interference. I still nudged them in certain directions sometimes but for the most part I stepped back and let them create and then wrote vocals over their creations.

LFdM: What or who made you decide to become musicians one day?

C.H.: I was always a musician. I started singing and playing trumpet and drums at the age of 4. I was in band, choir and musicals all through school and college. I was and am a total band geek. Music is my language. I'm not very socially skilled and am a bit of an outsider but music allows me to communicate with people and to get the things inside me out. it's probably the defining quality of who I am.

LFdM: As far as I know you recently signed for Metropolis, a very good label, especially considering its roster. What lead you to decide that was exactly the label you were looking for?

C.H.: We have been trying to get on Metropolis for 10 years. When SW formed our main goal was to get on Wax Trax records. Well I think of Metropolis as a modern day Wax Trax. I love the bands he signs. I love the courage he shows supporting great music and not pushing bands to become more pop to make more record sales. I love the DIY mentality but the support of a real label. I love that they print vinyl!! I really happy being on Metropolis and feel really blessed to have the opportunity.

LFdM: Do you think that being that experienced in your field, that being considered "veterans" can have a deep influence on your style choices? I mean did the recording company try to influence your choices, did you ever try to fight against all that?

C.H.: Metropolis never pushed us in any direction. former labels and managers have. that very thing is what ultimately broke up SW. I don't think any band will ever be successful changing who they are to become more famous if their heart isn't in it. the greatest music is the music that is true to the composer. I do think being a veteran affects or writing styles. we are children of the 80's and 90's and that will always be where we look for our influences. I think it would feel pretty phony if we suddenly became a dub step band or whatever new stele is popular at the moment.

LFdM: Your career in the music field dates back to the end of the 80's and the begining of the 90's, when both industrial and dark waves were reaching their peaks. Do you think it's still possible having fun today with those kind of genres?

C.H.: I think industrial has really changed. we play with so called industrial bands now and to me a lot of them are just metal bands with makeup and goth cloths. I think there is a crowd of fans who still remember that music and I think that younger fans are starting to appreciate it and it's contributions to music now.

LFdM: It's really hard for me not insisting on making questions about Stabbing Westward, so I hope you could forgive me for this one: did Walter's comeback lead you back in the past? And how much would you prefer keeping these two worlds separated?

C.H.: Walter's comeback opened up a pandora's box of mixed feelings about SW. now so many questions are SW based questions. sometimes I wish people could focus more on the Dreaming instead of SW but I'm still thankful that I had those experiences in SW and that I earned so many of our fans from making that music.

LFdM: What would you like to ask your oldest and newest fans if you could?

C.H.: Thank you so much for staying on this journey with us. without you I'd just be the weird dog walking guy who hums to himself.

LFdM: Please tell me we're going to see you soon performing across Europe, it would be awesome having the chance to see you live even if once in  a lifetime.

C.H.: I heard a rumor we are coming over in September!!

Interview by Michela

Edit by Margherita

For Les Fleurs du Mal

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Our Review

Fireproven - Recensione di Omnipresence

OMNIPRESENCE

1. New Born Truth
2. As Above, So Below
3. 18 Hells Part1: Samsara Waves Part2: The Vision Part3: Omnipresence

Release 29 Giugno 2013

Line up:
Drums & Backing Vocals: Nuutti Hannula
Keyboards & Backing Vocals: Ilari Hannula
DJ & Fx: Teppo Laurio
Guitars & Clean Vocals: Janne Väätämöinen
Bass / Growl & Backing Vocals: Juha Väätämöinen

La Finlandia ci ha da sempre abituati all'eccellenza nel campo musicale. Molte sono le band che si sono susseguite nel panorama di questa gloriosa terra del nord e tutte quante, in misura certamente diversa ma sempre molto apprezzabile, sono sempre state capaci di lasciare qualcosa durante questo passaggio, magari solo una sensazione, manciate di emozioni, o addirittura album indimenticabili di cui ancora oggi si parla.

I Fireproven sono una nuova realtà. Sono Finlandesi, sono giovani, hanno tanta voglia di conquistare il mondo della musica, ma soprattutto sono bravi e hanno talento, perché puoi sì venire da una terra dove le note sembrano scorrere nel sangue di tutti quanti, ma senza questi due ultimi ingredienti non si può andare da nessuna parte e questi cinque ragazzi ne hanno da vendere, sia di talento che di bravura, entrambi al servizio di un progressive metal di ottima fattura.

Omnipresence è il loro ultimo album (che segue la pubblicazione di un EP nel 2012), una piccola raccolta di soli tre brani, ma che brani! Un concentrato di voci, suoni martellanti che sembrano provenire dalle profondità della terra stessa e anche ottima tecnica capace di mettere d'accordo questi due elementi in quello che è un filo conduttore che ha come tema principale nei suoni, ma anche nei testi, un viaggio, o forse sarebbe più corretto dire un cammino che ci conduce proprio là, in quei recessi infernali che si nascondono nel sottosuolo, fino ad arrivare oltre le stelle, là dove forse si nasconde l'immortalità.

Quello che i Fireproven fanno in questo album è scuoterci con prepotenza con una voce graffiante, roca, aggressiva ma mai scontata, per poi scaraventarci in un'altra dimensione attraverso linee vocali più pulite in una sorta di combattimento ideale che si svolge sul campo di battaglia della musica. È come trovarsi sulle montagne russe, ma la cosa bella è che non si vorrebbe mai scendere.

L'album si apre con New Born Truth che è anche il singolo il cui meraviglioso video è stato candidato per un prestigioso premio che mira a promuovere i video musicali nordici come una realtà artistica indipendente. Segue poi As Above, So Below e si conclude con Hells, una maestosa composizione in tre movimenti che nei suoi dieci minuti riassume alla perfezione tutto ciò che questi ragazzi sono capaci di fare.

Non c'è da stupirsi se si pensa che la Finlandia sia un grande paese di grande musica: chi si cimenta in questo percorso fa di tutto per lasciarci senza parole.

9/10

Dora


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The Cyber Emperor Jaani Peuhu Interview

Good things come to those who wait!
I have to admit it: for this interview I had to wait a very long time, but since I'm so stubborn, here it is. 
Jaani Peuhu is a songwriter, leader of finnish dark wave band Iconcrash, producer and composer. On the 26 January he released his first solo album Tear Catcher.


LFdM: Let’s start from the end ... Jaani Vs Iconcrash. A lot of artists, when they try a solo career, try to play a totally different sound compared to the one of their own band. 
As for you, in which way you feel more free to express yourself?

Jaani: Not much has really changed. Iconcrash started as my solo project, and after I’d finished the Nude album, I began touring with my musicians and it started to feel like we were a band.  

I decided in my mind that OK, Iconcrash is a band now, but in the end it has always been pretty much like a dictatorship. Running bands can be very much about the democracy and being friends, etc, and in the end that’s often not a good thing for the music. Someone might have a very special vision and then there are 4 more guys who are cleaning up all the personality from the original idea.
Thankfully that was never the case with Iconcrash. I have always been very blessed to work with very talented musicians who have fully respected my vision. 

With Tear Catcher - my vision was to do the music with synths, drum machines and acoustic guitars, so there would not have been much for the Iconcrash guys to do in studio – haha! 

The guys themselves also wanted to do other projects, so it all just felt right this way. 

I always need to have a very detailed idea about the albums' sound and feeling and can't really do anything before I can kind of "feel" the album. Slowly I have started to get ideas about the next Iconcrash album, but let's see if it’s going to be 2015 or 2050 when I  hit the studio with that stuff!

LFdM: Before Tear Catcher, the last december you released the new single "No Regrets" with a wonderful video. Despite there are mostly dark wave atmospheres, the sound is more floating and light. Can you tell me something about this song?

J: This song has travelled with me for ages. I wrote it for the Iconcrash “Nude” Japan edition 10 years ago, but then it never came out. I then revisited it for both the 2nd and the 3rd Iconcrash albums, but I was never happy with the versions. Finally I realised how I should do it in the Tear Catcher pre-production sessions in London. 

LFdM: Your sound comes from the European dark wave scene; sometimes, when I listen to your songs, the oldest Cure or Cocteau Twins come to my mind. You are a very good songwriter, what do you think when people compare you with these great bands?

J: I am very honored if you find any similarities to their material or overall feeling. 
For me The Cure and Cocteau Twins are sacred things. I don't even know what dark wave is to be honest. For some reason some people have just labeled my music that way. I love pop music but in some countries pop is like a bad word. I would call my music dark pop if you asked me. 

LFdM: I was born with 80s songs and I think it’s really great to see you being presented in this context like a new electronic group. What's your position about this? 

J: I absolutely love music written in the 80s and 90s.  A lot of the gear I am using is from the 80’s era, and a lot of the music I listen too also, so yes it does affect my music a lot. I can't operate at all with the fashions in music that seem to come and go. There is no way I could have dub step sounds for instance in any project I am working with, because in the next year that stuff could sound outdated already. I’d rather try to do music that does not sound like a particular year. I think I have done a pretty good job with that, with the Iconcrash albums, because they all sound very different compared to each other, but aren't tied into any movement that was affecting music making during that period. I think my solo album is closest to the first Iconcrash album "Nude" style wise, but of course the production sounds different because I have learned lot of different production tricks in the 10 years or so since the ‘Nude” album was made. 

LFdM: Listening to your songs it seems the dark soul is always inside you. Do you have a special feeling with the darkness?

J: Yes I have had a special relationship with darkness my whole life (and I’m not talking about ‘Darkness’ the band), in a spiritual way but also in real life.  I like to put my darker feelings into music, so when I’m not making music I can be all "happy-happy-joy-joy". I find it really hard to connect with my sunnier side when it comes to making music or art in generally. 

LFdM: Where does the desire to create a song come from? 

J: From my real life 100%. If I feel hurt somehow, or somebody who I care for is hurt, it all transfers into my songs. I have in the past made songs for my fans also, if they are going through something hard. For example I wrote a song called "When The Lights Go Out" for a young girl who was suffering from cancer.  
I sent it on CD straight to her hospital to cheer her up. To cut a long story short, her family later contacted me and asked if they could play the song at her funeral. But yes music has always been my way to communicate. I’d rather send a song in an email if I want to say something, than write a letter. Some of the songs on the album are actually letters to somebody.

LFdM: Sometimes I am fascinated by the pics that you posted. How is important the visual presentation in your music or in your life? 

J: I am the son of a photographer so I have been raised in front of and behind the camera. If one day I no longer felt like making music, I would go and start studying photography or video stuff. I have always been very involved with my videos, even shooting footage for them, and that is something I would love to learn more about.

LFdM: You played with many different bands, is there a collaboration you are especially proud of?

J: And all of them! I really enjoy producing, and for me it is so cool to be able to turn some average sounding song into something very beautiful.  Then I get to share that proud feeling with the band I am working with. I find songs as a challenge I need to solve or crack. Like a damn puzzle. And if I can nail it then it will be released. I have maybe 300 unsolved problem songs waiting for the right idea to manifest. 

At the present moment I am producing Rain Diary's second album, and oh I love this project. Their songs are so cool,  and the band have 100% trust in my vision about the albums sound- so working together feels almost like a dance. We are dancing into a noisy and fuzzy light together.  I'm also waiting for a mix from UK - the first single from pretty special new band I am very involved with. I can't tell you more now but you will hear about it pretty soon.

LFdM: From the producer’s perspective, what's your favorite instrument to mix up? And as a musician? 

J: The studio is my instrument. I don't really favor any one instrument. I just follow my intuition. If I find some instruments in the studio then I take it as a hint and use them somehow, or if someone visits me there he will probably end up playing something on a song or two. I play all kinds of instruments myself but in the album I often asked for help with guitars because I am pretty crappy with guitar. I have my own style and I master that well but if I need to record something more technical I’d rather ask someone better to play it, rather than waste hours practicing, cursing and editing! Why do that when you can just check out who is in the same studio, or even online these days?  Why record a crappy track when Timo Tolkki is around? That’s why there are often cameos on my albums. I have no ego as a musician. The songs are my babies, not the guitar parts.

LFdM: Many bands have the “insane” (grant me the term) dream to break the American wall, while others prefer to stay in a smaller space with less fans… What do you think about it? What is, in your opinion, the best way to share your music? 

J: I want people to hear my music, so yes I have loved to play in ice halls, etc, where I can connect with thousands of people at the same time. With my solo stuff I will not be touring in every village in Finland. I will focus on touring internationally. Here music of my genre is very underground, but for example when I have been there in Italy, where you live I could hear Depeche Mode, Cure and Placebo on the radio all the time. Finland is all about Metal and Rap. 

LFdM: Which are your plans for the future? A little bird told me you’re coming in Italy...   

Now we are working with international releases of my album, and planning the future tours.
We are working on it, next may .... We should see pretty soon if things will go ahead as planned.

Thanks a lot Jaani for this chat, we'll see you in the backstage next may! 

Interview by Michela

Here our  review of Tear Catcher

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The Midnight Ghost Train - Cold Was The Ground Recensione

COLD WAS THE GROUND

Release Dates:
28.2.2015 – GSA / Europe / AUS
2.3.2015 – UK / NO / FR / DK / IT
4.3.2015 – SE / ESP
10.3.2015 – USA / CAN

Label: Napalm Records

Tracklist:
1. Along The Chasm
2. Gladstone
3. BC Trucker
4. Arvonia
5. One Last Shelter
6. The Canfield
7. Straight To The North
8. No. 227
9. The Little Sparrow
10. Twin Souls
11. Mantis

La figura solitaria di un uomo con alle spalle il rudere monocromatica di una casa dalla tipica foggia di un'abitazione dell'America rurale, introduce l'ascolto di Cold was the Ground il terzo album dei The Midnight Ghost Train, band di Topeka che ha sempre abituato il suo pubblico ad un sound a cavallo tra il blues e il rock tipico della loro terra.

La prima impressione è quella di vedere la copertina prendere vita. Along the Chasm, nulla più che un'intro di un minuto e mezzo che va ad alimentare Gladstone (che è anche il primo singolo), aprendo la strada a brani che non sono altro che un ingegnoso e quantomai perfetto equilibrio tra un drumming abile e potente, un basso che dà prova del suo estro e della sua solidità, il tutto legato dalla voce prepotente, pungente e graffiante di Steve Moss, che cattura subito l'attenzione con quella sua rudezza quasi polverosa simile ad uno schiacciasassi in una cava di pietre.

L'album ha un ritmo incalzante, feroce, ogni traccia scivola via quasi fondendosi con la successiva, rendendo forse perfino impossibile rintracciare i pezzi migliori tra gli undici proposti dal trio del Kansas, eppure è come se si dividesse in due: una prima parte, che va fino ad Arvonia, nella quale la voce di Moss sembra essere quasi frenata, trattenuta forse per non essere troppo aggressiva, e una seconda parte molto più dura, quasi crudele, nella quale non sono solo bassi, chitarre e batteria a farla da padroni. La voce squarcia il velo che fino a poco tempo prima sembrava quasi imprigionarla, arriva a toccare picchi altissimi in The Canfield che ha la potenza di un autotreno in corsa alla velocità della luce, per poi lasciarci ancora senza parole con The Little Sparrow, una traccia inaspettata quanto perfetta con quel suo parlato che incanta e sconvolge.

Per chi non ha mai sentito i The Midnight Ghost Train è arrivato il momento di correre ai ripari: questo disco sicuramente vi sorprenderà. Chi invece fa parte di quella cerchia di fan che già hanno avuto modo di conoscerli e apprezzarli, il consiglio è uno solo: lasciatevi sconvolgere ancora una volta di più da questa band che sa davvero cosa vuol dire fare musica.

8.5/10

Dora 

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Evil Invaders: "Pulses Of Pleasure" - Recensione

Evil Invaders - Pulses Of Pleasure
Napalm Records
Uscita: 27 February 2015

The track listing is:
1. Fast, Loud 'n' Rude
2. Pulses Of Pleasure
3. Eclipse Of The Mind
4. Siren
5. Stairway To Insanity
6. Shot To Paradise
7. Venom
8. Blinded
9. Master Of Illusion

Back to school!
Tirate fuori tutte le chincaglierie più stravaganti che indossavate negli anni ’80 e che avete nascosto facendoci credere di averle gettate, perché gli Evil Invaders stanno per fare irruzione nelle vostre case mettendo ogni cosa sottosopra con il loro album di debutto “Pulse Of Pleasure”.

Un cocktail esplosivo di speed, hip hop e  thrash metal per nove tracce dai ritornelli orecchiabili e ruffiani dei migliori Exodus, il tutto mixato da un eccellente songwriting che farà gola non solo ai palati più raffinati.

Anche se è difficile individuare il punto di rottura tra classico e underground, scena dalla quale proviene la band belga, il loro stile unisce brani semi-melodici come “Siren” ad altri a tutta velocità come “Stairway To Insanity”, che ben si adattato al contesto dell'album armonizzando tutta la track list.

Se non siete alla ricerca di qualcosa di particolarmente elaborato, ma volete solo concedervi qualche piccolo svago “fricchettoso”, è il disco che fa per voi.

7/10

Michela

www.evilinvaders.be
www.facebook.com/evilinvaders

Photocredit:

Wim Op de Beeck - Shutterwall.net

Lovelorn Dolls Interview

LFdM is always ready to add in our bag new sound!
LOVELORN DOLLS is an endearing and cyber duo Ladyhell (lyrics, vocals, arrangements) and Corpus Christi (music, programming, guitars, production).

The last year they come with their second album: "Japaese Robot Invasion". An electro melodic rock concept with heavy guitars and catchy vocal lines.
We wanted to learn more...

Les Fleurs du Mal: Hi! Let's start telling us something about your band: how would you describe your sound to someone who never listened to your songs?

Ladyhell: Hi guys! Lovelorn Dolls is a mix of electro-pop-rock-dark sounds, with a female voice. A cross over between The Birthday Massacre, Depeche Mode, Marilyn Manson and many more influences from the 80s, the new wave, the gothic metal, ...

CC : it’s a mix of both influences.  We focus on melody, catchy song and heavy guitars.

LFdM: If you had to describe your new record to a totally profane listener, having the chance to choose just one song, which track would you pick up?

Ladyhell: Mmmm, very difficult, but I would pick up “Miss Friday Night”. Very poppy melody, with loads of synth, big guitar riffs, and angelic voice. 

CC: I agree with Ladyhell.  However if you listen to the whole album you will hear that we did not chose one song and copy/pasted it ten times.  You can expect some surprises.

LFdM:You are a dark rock band. Nowadays there are so many projects that belong to this genre, why does the dark/goth metal world seem to be so attractive in your opinion?

Ladyhell: Only today? Since I’m born, this kind of projects are very popular, but maybe they wear the name of “new wave” or “gothic”. I think we are the children of bands like Sisters of Mercy, The Cure, Lacuna coil, Placebo, Evanescence, and more. It’s attractive because it’s a music with loads of sensitivity, humanity, atmosphere is very important. There’s a lot of sadness and irony too. Teenagers may recognize themselves a lot in it.

LFdM: Where does your fascination with the dark and electronic come from?

Ladyhell: I don’t know … it comes from 80s and 90’s MTV, it comes from Tim Burton’s movies .. I’ve always liked music that moved me, that made me literally cry. Dark electronic music gives you that.

CC: I’m a bit new to electronic.  I’m a guitarist so I can listen to dark music without any electro touch inside.  But now I really enjoy to use keyboards and synths.

LFdM: Did you have any other kinds of experience in the music field, like some former band before, or this is your first one?

Ladyhell: Of course. I’ve been the lead singer of the band Skeptical Minds for 5 years. We released the album “Rent To Kill” and we played big stages with Epica, Lacuna Coil, .. to name a few. Then I also worked on a solo project for some times. I also like to collaborate with other artists, like Psy’Aviah, Junksista …

CC: I’ve spent 12 years in a band called Free Launch then I wanted to do something on my own and created a “rock/metal opera”. Ladyhell was the first singer I asked to participate to this.  Then we continued as it seemed that it was easy to work together.  I’ve been a fan of Laydyhell when she was singing in Skeptical Minds. 

LFdM: Tell us something about the main sources of influence of your music?

Ladyhell: My musical tastes are pretty eclectic: Madonna, Nirvana, Placebo, The Smashing Pumpkins, The Gathering, Depeche Mode, Radiohead, Bat For Lashes ... Every music can influence me, as long as it is good and gives me the shiver. I want to be sent in another world for 5 minutes.

CC: I like heavy music but with melody inside.  It may vary from bands using simple riffs like in Rammstein to complex music like Dream Theater.

LFdM: Looking at the artwork of your album, one could find out something like little puzzle pieces, a gothic quarter, floating toys, a doll. What would you show to the audience? Soul, life, or simply... entertainment?

Ladyhell: We want to entertain, and make people have a good time. We want them to travel with us in a Japanese robot invasion …

LFdM:Your band needs clothes, accessories or something like that for the shows?

Ladyhell: Yep, on stage we wear special “lovelorn dolls” clothes. We pay special attention to look different on stage than in our everyday life. We think image is very important. As important as music.

LFdM: For us, Japan seems like a world of its own. What do attract you from the Japan world?

Ladyhell: What attracts me in the mix of modernity and tradition. I also like their culture, and in particular, their mangas, their drawings and clothes, their cult of “cute”. I also love their calligraphy. The people are a mix between delicate and brutal, it’s fascinating.

CC: Japan has invaded our culture, it’s a fact.  I’ve recently discovered Babymetal and I’m now a huge fan of that band/concept.

LFdM: Any plan for the future? Where we can follow you in the next months?

Ladyhell: Future is unpredictable, but you can follow us with some ep releases and some concerts…

Thank you guys!


Michela for LFdM

Tracklist:
1. Happy Valentine
2. The Thrill
3. Long Awaited Kiss
4. Japanese Robot Invasion
5. Miss Friday Night
6. Curse of the Crab
7. Just Like Heaven
8. Blood Moon
9. Jasmina
10. Wolfe Inside


LADYHELL - vocals, composer, writer.
CORPUS CHRISTI - guitar, composer.
SEDJEM - live guitar.
NICO DAVEL - live drums

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36 CRAZYFISTS:"Time and Trauma" - Recensione

36 CRAZYFISTS "Time And Trauma"
Data pubblicazione: 17 febbraio
Spinefarm Records

Track list:
01. Vanish

02. 11.24.11

03. Sorrow Sings

04. Lightless

05. Time And Trauma

06. Also Am I (il video ufficiale)

07. Translator

08. Silencer

09. Slivers

10. Swing The Noose

11. Gathering Bones

12. Marrow

13. Edge Of The End

14. I Erase

Anche per una band con oltre vent’anni di carriera viene il momento di fare un bel restyling per rigenerarsi.

Ecco perché Spinefarm Records, che da sempre mostra di avere particolare occhio per queste cose, ha messo sotto contratto i 36Crazyfists per la pubblicazione del loro nuovo album, dopo quattro anni di silenzio.

Per quelli che hanno vissuto la NuMetal Generation e per tutti gli amanti dell’hardcore nel senso più ampio del termine, Time and Trauma rappresenterà un corroborante ritorno al passato.

Lunatiche, frenetiche, adolescenziali, le 14 tracce sfrecciano velocissime prendendo ognuna un percorso diverso, ma convergendo alla fine tutte su di un unico binario stilistico comune al genere, senza far comunque diventare l’album nell'insieme troppo complesso.

Un risveglio, quello degli orsi di Alaska, che sarà in grado di rapirvi, scoraggiarvi e rinvigorirvi allo stesso tempo, grazie anche al ritorno dietro al basso di Mick Whitney, e di una voce pulsante e piene di energia, quella del loro frontman Brock Lindow, capace di prendere il sopravvento anche su qualche piccola imperfezione ancora da sistemare.

Time and Trauma sarà come una scarica di adrenalina nel momento più rilassante della vostra giornata, da provare.

7/10

Michela

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MAGI - Interview

The last 26 January MAGI have released Forget Me Not for Argonauta Records, The lead singer Brandon Helms talks about the blend atmospheres behind  this album and his sensations.

Here our album review.

LFdM: Magi “Evolution of a band”. Let’s start from this: what’s the meaning behind it? 

MAGI started out in 2011, mainly as a drone/noise project but I always wanted it to be much more than that. We recorded 2 ep’s at first and in 2013 work began on what became “Forget Me Not”. 
The name MAGI to me has no particular meaning but the concept of the band is built around Freemasonry.  I have always been fascinated in the history and secrecy of Freemasons and how they have so many influences on the founding of America.

LFdM: This summer you released two songs with a doom and post-metal athmosphere. 
The production is really good, and they also have a great emotional power. Can you tell us something about these singles?

Sure, the first single is titled “A Million Questions” and it is one of my favorites on the album.  
I think it sounds a little like ADAI in how its structured but that was not our intention.  I think that song best describes our sound and what we were going for on “Forget Me Not”.  The second was “The Silence We Display”.  It’s more of an experimental take on doom/sludge.  We just don’t want to end up sounding like everyone else out there.

LFdM: You’re going to release “Forget me not”. What are your aims? What do you expect from this album?

Really just to get our name out there.  Were not expecting anything other than that. 
We’ve been getting great reviews so far and could not be happier, we are also on a great record label in Argonauta Records, that helps to.

LFdM: Do you think there’s still something to change in your sound or are you trying to keep everything as it is now? I mean…are you trying to find new atmospheres or prefer to go on following your current path?

We are always going to try and expand and try new things.  We don’t plan on staying to close to one genre, but instead experiment and branch out and keep things fresh and new.  It sounds easier than done, sometimes it can be difficult to not get stuck in a comfortable zone instead of taking risk.

LFdM: Despite of your influences, many tracks (like From Oceans To Autumn and  Mountains Among Us) have a very powerful sound. What does it mean, to you, to play doom metal?

I’ve always been a fan of bands like YOB, Rorcal, Old Man Gloom, Knut. I think these are our biggest influences. I love how they can blend raw power and heaviness with melody and atmosphere albeit earie to create something fresh. Lyrics and subject matter don’t mean as much to me as the power of the music itself. 

LFdM: Do you ever happen to think how you and your music will be ten years from now? 

Haha, no not really but it would be cool if people were still listening to our music years down the road!

LFdM: What is, until now, your most significant musical experience?

Oh man that’s a tough one.  If I absolutely had to pick just one it would be my first listen of Rosetta’s The Galilean Satellites.  One of the best albums I have heard in many years.

LFdM: Your lyrics are about current issues, such as communication, or the inability to communicate without new tools provided by technology. Do you think music, in general, suffers from this lack of communication?

In some ways.  I think everybody communicated better before there was so much technology, everything was more personal had more feeling.

LFdM: In every interview there is always a question about influences. Are there artist who inspired your sound, and what of them, in your opinion, is left in your own sound?

There are many influences we have but the ones that stick out the most to me are YOB and Knut.  I have always loved how they balance power and emotion.  I guess those would be the two biggest.

LFdM: After the release of “Forget me not” you’ll surely start a promo tour. Are you planning some shows in Europe?

Europe would be great but not likely due to many factors. I am the only guitarist in the band and in parts there are 3 or more guitars playing at once so that would be tough, along with the financials of it.  Who knows what the future holds though, I would absolutely want to tour Europe!

Interview by Michela 

Edit by Alessia

http://www.argonautarecords.com/
https://www.facebook.com/MagiNoise

THE PASSION OF OUR SOULS interview

Finland has always accustomed us to a particular type of music, made of inspiration, movements of the heart and a sophisticated style. Les Fleurs du Mal had the pleasure of interviewing a band that just comes from the land of ice, snow and music to talk a bit of their project and much more. Here: The Passion of Our Souls!

Les Fleurs du Mal: We know very well the finnish music scene and the wonderful landscapes of the country. Where do you come from?

Samuli: Hello!!! We come from the southern part of Finland. Julia is originally from  Hämeenlinna and I'm near Hämeenlinna too,  in the municipality of Janakkala. So we both live  less than an hour away from Helsinki, Tampere etc. 

LFdM: Elements of industrial, metal core, and melodic death metal are infused together to create something special. How did you start this project?

Samuli: We met  each other and we began to carry out together our passion for music. We have different kind of backgrounds in music. Julia has been singing and composing pop and rock music and I've been doing loads of different genres, but mainly metal, so that's how our styles came together.

Julia: We met last autumn and we found out we have a lot of things in common.  We both are very passionate about making music.  It was nice to realize that there is someone who really understands what you want to do in your life. We started working for our passion together, that's why the band has this name: The passion of our souls.  Basically that's how everything started.

LFdM: Melodic and Death are considered two forces in the finnish metal scene, I’m thinking about Omnium Gatherum or Sentenced. Did you learn anything from these bands?

Samuli: We have a lot of metal bands in Finland. I like some songs from Sentenced, but I can't really say that I learned from them musically...  Sentenced was a succesful band and as far as I know about Omnium Gatherum, they are quite similar to us, having very melodic and also rough stuff. They are well known in other countries and really succesful nowadays too. So if you work really hard for your things, you can get everywhere. Maybe that's the thing we learned from them? 

Julia: Both bands has beautiful songs, I like the lyrics by Sentenced. 

LFdM: Your music is very related to the creation of extreme countered situations: you suddenly go from a quiet part into a blasting black-like sequence and back into a softer one. What is your point of view? Could you tell us something about the lyrics? 

Julia: All the songs are basically love songs. The lyrics are written by me and they come from my own experiences and tell about finding a true soulmate and how I want everyone to find the love of their life. I really want to write about love because people are forgetting how important it is expecially when you're living hard times in this world. I want to send a message about caring and how important it is to show your feelings to the people you love.  

Samuli: That's how it comes... we wanted to make music  with catchy choruses and a bit of "Pop" touch, but remaining into Melodic Metal with influences from Death Metal etc.  

LFdM: The electronic parts are more prominent and the female voice is very impressive. How many hours  do you spend in the rehearsal room?

Samuli: Yes, Thank you. I knew that Julia can sing clean very well, but then we found out that she can actually do awesome growls as well. I was like.. huh... she has got some lungs!  We don't have  a rehearsal room with this band at the moment,  except home...  so we do all the rehearsals at home. 

Julia: Actually I had never done growls before, so that was suprising for me too.  I sing a lot with my Pop Rock band SEELE and I also studied Complete vocal technique in Helsinki. I usually sing everywhere,  for example in my car . I also work with music all the time because I'm studying to become an audio engineer. So all of my days go with music somehow.

LFdM: Can you please tell us something about your production process?

Samuli: Sure! I'm just playing guitar and then getting some ideas to riff or melody and starting to develope that. Then usually comes a  clearer image about what I want to do with the song. I'm recording instruments and then we work together. That's how it goes at the moment. Recording and mixing happens by us as well. 

Julia: It was a lazy sunday when this project started. Samuli was playing his guitar and asked me if I could growl. I was like, well I don´t know, I can try if you want. I found it easy for my voice and it actually felt like this is really something I want to do more. Then I started to write lyrics and we figured out the melody for the first song. Then we made some more songs and that's how we created "Soulmates", which will be released in march 3rd, as a self-released physical  version and  a digital  version via all major digital distributors.  

LFdM: What do we have to expect about the new teaser?

Samuli: We released few days ago a full track for streaming on youtube. The song is called "Everything" and it's the second song from the upcoming "Soulmates" EP. Not sure yet which song or teaser will come next, but you can expect Melodic metal with Death metal influences and catchy pop-style choruses. ..and of course low female growls and clean  vocals.

Julia: I think that all the songs are not just for metal music fans. I think that popstyle choruses are something that also pop and rock music fans might like. I hope that you just enjoy the music and let your feeling fly with it :) Thank you very much and greetings to readers.

Samuli: While waiting that.. subscribe to our youtube channel and be ready when it comes.

Like us on facebook and Pre-order the album as digital via Bandcamp or physical via thepassionofoursouls@gmail.com

Thank you very much for the interview.  

Michela for Les Fleurs du Mal

Tracklist:
01. Give Me Your Soul - 3:26
02. Everything - 4:58
03. What Tomorrow Brings - 3:53
04. Till Death Do Us Part - 5:16

Members: Julia Mattila - All Vocals
Samuli Tuomas Mäkelä - All Music

You can find The Passion of Our Soul on:
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HATE Crusade:Zero - Recensione

HATE
Crusade:Zero
Napalm Records


TRACK LIST:
1. Vox Dei (A Call From Beyond)
2. Lord, Make Me An Instrument Of Thy Wrath
3. Death Liberator
4. Leviathan
5. Doomsday Celebrities
6. Hate Is The Law
7. Valley Of Darkness
8. Crusade Zero
9. The Omnipresence
10. Rise Omega The Consequence
11. Dawn Of War
12. Black Aura Debris
13. The Reaping (bonus track)

Tutti quelli che pensano che la culla del Black/Death Metal in Europa sia da ricercarsi prevalentemente nelle lande scandinave e teutoniche, dovrebbero fare un passo indietro, ascoltare "Crusade: Zero" degli HATE, uscito lo scorso 2 Febbraio in Italia, goderselo fino all'ultimo growl e poi scoprire che la band capace di cotanta potenza viene da Varsavia.

Dopo aver plasmato la scena metal polacca dell'ultimo ventennio, gli HATE,  la cui formazione risale al 1990, risultano attualmente composti da Adam the first Sinner (ATF voce e chitarra) Destroyer (chitarra solista) Pavulon (percussioni) e Kain (basso dal vivo). Arrivati a incidere il loro nono album, il secondo sotto Napalm Records, gli HATE vantano anni di gavetta, spesa nell'underground e vari cambi di labels e line-up, di cui uno, purtroppo, dovuto alla prematura scomparsa del bassista Sławek "Mortifier" Archangielskij, morto durante il tour nel 2013 a causa di una disfunzione cardiaca. 

"Crusade: Zero", registrato presso i Polish Hertz Studios, quelli che hanno ospitato anche Vader, Decapitated e Behemoth, per intenderci,  ti rapisce portandoti con sé verso l'abisso più profondo, lungo 12 tracce tiratissime, da ascoltare tutto d'un fiato.

"Vox Dei (A Call From Beyond)", strumentale, dalla durata di poco più di un minuto e mezzo, spalanca il cancello sullo scenario apocalittico con un ritmo inquietante e la sinistra presenza di violini. "Lord, Make Me An Instrument Of Thy Wrath" è ancora strumentale, poco più lunga della precedente, ma comincia a ricordarci che negli Hate le chitarre hanno un ruolo di un certo peso.

In "Death Liberator", il ruggito di ATF Sinner dà voce alla feroce vendetta dell'angelo caduto, che porta a termine la sua missione distruttrice verso il pianeta terra e il genere umano, in 6 minuti di pura angoscia, descritta nel refrain: My reign has come, my kingdom is here, Lucipher's dagger is covered in sangre.

Nella traccia successiva già incontriamo la mostruosa biblica creatura degli abissi. "Leviathan" ci atterrisce con il brutale growl Darkness will prevail Darkness must prevail, che si alterna a potenti e inarrestabili schitarrate dai tratti cupi e minacciosi che, poi, in "Doomsday Celebrities", grazie a quelle che sembrano scale arabe, raggiungono perfino un'eleganza inaspettata, come quella dei versi Now embrace the silence! Haunted by planets we are just remains of exploding stars.

In "Hate Is The Law", Sinner, dopo un assolo strumentale di un minuto e mezzo, si alterna a Destroyer ed entrambi continuano a pestare duro, secondo la legge dell'odio, proprio come il titolo della traccia, lasciandoci scivolare in un immaginario da brivido in cui il sangue che scorre a fiotti purifica e consegna a una demoniaca immortalità, come recitano in Baptized in blood I become divine.

La legge dell'odio, inevitabilmente, ci trascina in una "Valley Of Darkness" da dove, manco a dirlo, non c'è modo di fuggire, nessuna via d'uscita e nessuna destinazione There is no escape from the scanning eyes of death, Vague illusions you dwell, Destination - Nothingness.

Per imbatterci nella  title-track dobbiamo arrivare all' ottava traccia, Death reigns! My crusade, my apocalypse is coming near, recitano i primi versi di "Crusade:Zero",  in cui il genere umano, accecato da falsi idoli, divinità, demoni e anticristo, si prepara per l'ultima battaglia.

"The Omnipresence", terza traccia strumentale, dura poco più di un minuto e fa da ponte tra due pezzi velocissimi, dandoci il tempo di riprendere un breve, quanto vano, sospiro di sollievo, visto che con "Rise Omega The Consequence!" si riprende a pieno ritmo la discesa negli inferi, accompagnata da una sezione ritmica precisa, pulita, velocissima e da chitarre più tendenti ai riff metal e a sonorità malinconiche sul finale amaro We are our past failing to come back.

"Dawn Of War" dura poco più di sei minuti, di cui i primi due strumentali, ma questo dettaglio non deve trarci in inganno, perché come ATF Sinner apre bocca, capiamo subito di essere davanti a uno dei pezzi più massacranti dell'intero album, anche se siamo in dirittura finale e i versi Turn your heart to stone, turn your blood to fire fanno riflettere, perché personalmente credo sia davvero così che si può affrontare l'orrore di una guerra, se ti ci trovi nel mezzo, non davanti a uno schermo che passa le news del notiziario.

"Black Aura Debris", quasi due minuti di cupa quarta traccia strumentale, stende l'ultimo velo nero sul nostro terrificante viaggio fatto di oscure visioni apocalittiche e sanguinosi sprazzi di crudele realtà. In alcuni Paesi c'è anche una tredicesima bonus track dal titolo "The Reaping".

Allora, tutti pronti per l'ultima crociata?

8/10

Margherita Realmonte (Meg)



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THE DREAMING – recensione

THE DREAMING – Rise Again
Data pubblicazione: 10 febbraio
Metropolis Records
Official Site

Tracklist:

1. Alone
2. Painkillers
3. Kisses Taste Like Death
4. Empty Promises
5. Afraid
6. Throw It Away
7. Still Believe
8. Blink of an Eye
9. Destroy
10. Rise Again

Come avrete modo di leggere prossimamente nell'intervista che abbiamo realizzato con il loro leader Christopher Hall, parlare dei The Dreaming senza minimamente fare cenno a chi e cosa furono gli Stabbing Westward è praticamente impossibile, soprattutto quando si ha ancora impressi nella memoria e nel cuore le loro meravigliose melodie.

A distanza di quattro anni dal precedente “Puppet” (2011) la band Hollywoodiana pubblica, per la prima volta con la Metropolis Records, il loro terzo album.

Rise Again offre al proprio pubblico sofisticati spunti dark, accattivanti sfumature rock e consolida quello spirito industrial già presente nel DNA dei suoi esecutori.

Con la sua innata capacità di far vibrare ogni singola corda e nota, lasciando che sia la musica a plasmare l'uomo e non viceversa, il "ritorno" di Walter Flakus (tastierista/compositore/programmatore degli Stabbing Westward) nelle fila di quella che da sempre è stata la sua famiglia, ha contribuito a conferire più spessore ai dieci brani presenti nell'album. 

Passionale, emotiva, a tratti quasi ipnotica, la voce di Chris bilancia i propri stati d’animo, mentre si percepisce, nella composizione dei testi, ancora una certa vulnerabilità, da rivedere rispetto al suono.

Sicuramente, rispetto al passato, l’obiettivo principale è stato raggiunto, se non altro quella rabbia e quella passione che sembravano essersi allontanate sono riemerse come una fenice, che a testa alta si è infiammata di tutta la propria creatività.

7,5/10

Michela

Members:
Christopher Hall – lead vocals
Johnny Haro – drums
Carlton Bost – guitar
Franccesca D'Struct – bass
Walter Flakus –  keyboards

Interview with SOEN

The masters of progressive metal are back with their second album.

Last november has been released 'Tellurian' (Spinefarm Records) and our blog had the pleasure to talk with their drummer Martin Lopez.

LFdM: Hi Martin, thank you very much for your time.

Tellurian has just seen the light. First impressions?

ML: Very positive, It has been received well by both our audience and the media.

LFdM: Cognitive and Tellurian, two very nice and accurate albums, but diametrically opposed. 

The first with a clear stylistic references - see Tool, Opeth - the last more personal, almost visceral. What's behind Tellurian?

ML: Mainly a lot of time and hard work.

We have developed as a band and refined our identity as a band.

Cognitive was done quite fast without really knowing each other musically while Tellurian took a lot longer and we got to know each other musically in the process.

LFdM: I find that Ekelof has a very deep and passionate voice, able to communicate the sense of each individual track to the audience. Is it the kind of interpretation that you always had in mind from the beginning?

ML: I wanted clean vocals but didn´t have a clear idea of which kind of singer we wanted.

As soon as I heard Joel´s voice on the music I knew it was the perfect fit and that we could create some really emotional music together. We share the vision of how music should sound like.

LFdM: Despite only two years have passed, it seems that this album needed a long time to be developed: from the attention to details to the mixing of sounds. How important was the choice of the new producer?

ML: Our guitar player Kim produced the album, same as Cognitive. All details and compositions were ready before we started recording Tellurian.

LFdM: The songs have a lot of pace, there are clear ethnic references, a very good job. Who came up with this idea?

ML: Myself, I play and listen to a lot of “World Music” so it comes naturtally while writing songs.

Ethnic music tends to add a spiritual vibe to the songs that fits perfectly Soens musical vision.

The pace changes is our way to keep our music dynamic and adventurous.

LFdM: A spontaneous reflection comes about the combinations of melodic and dark vocals opposed to the most epic and challenging references. What can you tell us about that?

ML: We try to add as many influences as possible while maintaining the flow.

Variety makes music more interesting.

LFdM: About epic themes, we can say that Tellurian is a bit 'like a ship that has sailed over seas, from progressive to post-rock. What are your main influences?

ML: I don´t know what post-rock is so I cannot agree.

Progressive rock is to me, bands that play technical and compicated stuff while we just try to write good songs without really caring if it´s complicated or not.

LFdM: How your past musical experiences have been used in this new band?

ML: Everyones experience is reflected in Soen, It´s a part of who we are and it´s present while writing or performing music.

LFdM: Who are the Soen? Can you describe yourself individually?

ML: I rather describe us as a group.

We are 5 guys who love music doing the best they can, still learning and developing.

LFdM: In many bands there is the tendency to find an almost forgot post-punk sound. Which tools have nowadays the bands to re-creates curiosity in the younger audience for this kind of sound?

ML: The best way is by seeing rock bands live, just forget everything else and be there, be a part of the show and feel.

LFdM: Speaking in terms of production, the digital age has made life easy for many people, even those who did not own the basics for this profession. Let's face it: sometimes this works against more deserving people. What is your position on that?

ML: It´s both good and bad but i still believe you´ll never write better music just because you have a better production.

Music comes from the inside and computers can´t help you there.

LFdM: Will we see you soon in Italy?

ML: Yes we have two shows in a few weeks.

19.03 Bologna, Alchemia Club

20.03 Rome (Mezzago) at a club called Bloom.

I love the Italian crowd and we´re really looking forward to these shows!

LFdM: We love you too! 

Interview by Michela Edit by Alessandra