View allAll Photos Tagged Melodic.
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Special guest degli Helloween e dei Rage, il 31 gennaio all'Alcatraz di Milano, i Crimes Of Passion.
With an epic sense construct of melody, dynamics and power, C.O.P UK (Crimes of Passion) will hit your ears on October 23rd with “Kiss Of An Angel”, a 4-track/2 video EP that refuses to leave your memory.
Produced by Sascha Paeth the Sheffield, England-forged quartet make their intentions clear from the first shimmering guitar of “My Blood”, it’s crisp, melodic metal sound placing C.O.P. UK in the same arena as Saxon, Megadeth and classic White Lion. “Kiss Of An Angel” showcases a soaring sense of balladic warmth which cascades into a slice of classic AOR rock radio, Saxon’s Biff Byford makes a guest appearance on the catchy yet thrash-riffy “Blackened Heart”, while “Blown Away” is a stadium rock classic in the making.
Dale Radcliffe (vocals), Charles Staton (guitar), Andrew Mewse (guitar), Henning Wanner (keys), Scott Jordan (bass) and Kevin Tonge (drums) grew up with the sounds of hometown heroes Def Leppard ringing in their ears, and fusing such influence with an insatiable appetite for performing, C.O.P. UK came together in 2005 and quickly established the type of schedule reserved for the elite. Honing their craft on club stages all over Europe, the band recorded their debut album, To Die For, in 2011 at Blind Guardian’s Twilight Hall Studios, Orion Studios in the UK before being completed at Helloween’s Tenerife studio.
It was during this spell that C.O.P.UK garnered major interest from some of modern metal’s founding fathers. Saxon’s Biff Byford personally invited them to tour Europe in May/June of 2011, touring with them again later that year, as well as appearing at metal festivals throughout the continent. 2012 saw C.O.P. UK’s ascent continue, with recognition from Metal Hammer magazine and further prestigious festival appearances such as the world famous Wacken Open Air and Bloodstock in the UK.
audiojungle.net/item/electric/14723643?ref=bkfm
Modern electronic music in unreal space and movement with a lot of synth sounds. Melodic and charm.
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this page without written permission and consent.
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Mentre i Lamb Of God annullano il tour europeo, per gli attentati a Parigi, i Children Of Bodom invece vanno avanti.
L’appuntamento è all’Alcatraz di Milano il 24 novembre 2015.
I Children of Bodom sono un gruppo musicale melodic death metal finlandese formatosi nel 1993 a Espoo.
Il gruppo prende il nome dal lago Bodom, situato nei pressi della loro città d'origine, e conosciuto per il massacro omonimo.
Il simbolo dei Children of Bodom è la morte, resa dalla rappresentazione di una figura scheletrica vestita con una tunica nera con cappuccio e con in mano una lunga falce, soprannominata Roy e presente sulle copertine di tutti i loro album.
Alexi "Wildchild" Laiho – voce, chitarra
Jaska W. Raatikainen – batteria
Henkka "Blacksmith" Seppala – basso
Janne Wirman – tastiere
View from the roof terrace
In the 1970s and 80s, Gatwick had a dedicated viewing terrace on the roof of the only terminal building. It was used by flyers, relatives and plane spotters alike, and it even had a café and fountains! It enabled quite a panoramic view of the airport.
This shot is taken as the sun was setting, and shows Vickers Viscount 806 G-BNAA getting airborne from runway 08 at London Gatwick. Viscounts were the last regular British propliners to be seen at both Heathrow and Gatwick in the 1980s, after the demise of the Handley Page Heralds.
The Vickers Viscount was a British medium-range turboprop airliner first flown in 1948 by Vickers-Armstrongs. A design requirement from the Brabazon Committee, it entered service in 1953 and was the first turboprop-powered airliner.
The Viscount was well received by the public for its cabin conditions, which included pressurisation, reductions in vibration and noise, and panoramic windows. It became one of the most successful and profitable of the first postwar transport aircraft; 445 Viscounts were built for a range of international customers, including in North America.
Type 806 Production variant for British European Airways with Dart 520 engines and 58 seats, 19 built, first delivered in March 1958. Nine aircraft were later converted to Type 802 when the Dart 520s were changed for Dart 510s so the 520s could be used in the airline's Argosy freighters. More info on the Viscount here: en.wikipedia.org/wiki/Vickers_Viscount#Specifications_(Type_810)
G-BNAA c/n 311 - Vickers 806 Viscount - delivered new to BEA as G-AOYH in October 1957 named 'William Harvey', flying with them until 1968, when the aircraft went to subsidiaries BKS and then Northeast. Became 'Jeremy' in April 1974 when BEA merged with BOAC to form British airways. Continued to fly with them until 1982, when the aircraft was sold to BAF. Leased out to North Cariboo Flying Service as C-GWPY in July 1983, then became G-BNAA with Euroair in 1985, returning to BAF and and retaining this identity until withdrawal in May 1987. Broken up around March 1991.
And now, you can listen to the melodic sound of the Rolls Royce Dart in my SoundCloud recording, which includes two Viscounts passing over my house on runway 23 approach to London Heathrow back in 1979. Link here: soundcloud.com/sound-vision-10193594/aviation-archive-1?s...
31m 45s - 43m 23s - Heathrow 23 approach *** live ATC & aircraft recordings with next door’s dog & local birds :) ***
‘IA237’ - Iraqi Airways B707 YI-AG?
‘Oman 2’ - Sultan of Oman VC-10 A40-AB
‘AI193’ - Loftleidir DC-8-63CF TF-FLC (Leased to Air India)
‘AT916’ - Royal Air Maroc B707 CN-RMC
‘?’ - unknown B707
‘BA192’ - BA Concorde G-BOA?
‘Manx307’ - Manx Airlines Viscount G- ?
‘RJ051’ - Alia Royal Jordanian B707 JY-?
‘BD423’ - BMA Viscount G- ?
Taken with a Soviet made Zenith TTL camera and 300mm lens, using Kodacolor GA100 print film. Scanned from the original negative without restoration.
You can see a random selection of my aviation memories here: www.flickriver.com/photos/heathrowjunkie/random/
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Mentre i Lamb Of God annullano il tour europeo, per gli attentati a Parigi, i Children Of Bodom invece vanno avanti.
L’appuntamento è all’Alcatraz di Milano il 24 novembre 2015.
I Children of Bodom sono un gruppo musicale melodic death metal finlandese formatosi nel 1993 a Espoo.
Il gruppo prende il nome dal lago Bodom, situato nei pressi della loro città d'origine, e conosciuto per il massacro omonimo.
Il simbolo dei Children of Bodom è la morte, resa dalla rappresentazione di una figura scheletrica vestita con una tunica nera con cappuccio e con in mano una lunga falce, soprannominata Roy e presente sulle copertine di tutti i loro album.
Alexi "Wildchild" Laiho – voce, chitarra
Jaska W. Raatikainen – batteria
Henkka "Blacksmith" Seppala – basso
Janne Wirman – tastiere
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Special guest degli Helloween e dei Rage, il 31 gennaio all'Alcatraz di Milano, i Crimes Of Passion.
With an epic sense construct of melody, dynamics and power, C.O.P UK (Crimes of Passion) will hit your ears on October 23rd with “Kiss Of An Angel”, a 4-track/2 video EP that refuses to leave your memory.
Produced by Sascha Paeth the Sheffield, England-forged quartet make their intentions clear from the first shimmering guitar of “My Blood”, it’s crisp, melodic metal sound placing C.O.P. UK in the same arena as Saxon, Megadeth and classic White Lion. “Kiss Of An Angel” showcases a soaring sense of balladic warmth which cascades into a slice of classic AOR rock radio, Saxon’s Biff Byford makes a guest appearance on the catchy yet thrash-riffy “Blackened Heart”, while “Blown Away” is a stadium rock classic in the making.
Dale Radcliffe (vocals), Charles Staton (guitar), Andrew Mewse (guitar), Henning Wanner (keys), Scott Jordan (bass) and Kevin Tonge (drums) grew up with the sounds of hometown heroes Def Leppard ringing in their ears, and fusing such influence with an insatiable appetite for performing, C.O.P. UK came together in 2005 and quickly established the type of schedule reserved for the elite. Honing their craft on club stages all over Europe, the band recorded their debut album, To Die For, in 2011 at Blind Guardian’s Twilight Hall Studios, Orion Studios in the UK before being completed at Helloween’s Tenerife studio.
It was during this spell that C.O.P.UK garnered major interest from some of modern metal’s founding fathers. Saxon’s Biff Byford personally invited them to tour Europe in May/June of 2011, touring with them again later that year, as well as appearing at metal festivals throughout the continent. 2012 saw C.O.P. UK’s ascent continue, with recognition from Metal Hammer magazine and further prestigious festival appearances such as the world famous Wacken Open Air and Bloodstock in the UK.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Mentre i Lamb Of God annullano il tour europeo, per gli attentati a Parigi, i Children Of Bodom invece vanno avanti.
L’appuntamento è all’Alcatraz di Milano il 24 novembre 2015.
I Children of Bodom sono un gruppo musicale melodic death metal finlandese formatosi nel 1993 a Espoo.
Il gruppo prende il nome dal lago Bodom, situato nei pressi della loro città d'origine, e conosciuto per il massacro omonimo.
Il simbolo dei Children of Bodom è la morte, resa dalla rappresentazione di una figura scheletrica vestita con una tunica nera con cappuccio e con in mano una lunga falce, soprannominata Roy e presente sulle copertine di tutti i loro album.
Alexi "Wildchild" Laiho – voce, chitarra
Jaska W. Raatikainen – batteria
Henkka "Blacksmith" Seppala – basso
Janne Wirman – tastiere
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The soft hum of Jefferson Airplane’s melodic, acoustic instrumental song, Embryonic Journey, surfs on the spaces of air reserved for sound in my room. I have always figured Grace Slick’s tremendous voice to be capable of providing a gentle anthem for my ruminations and reflections. Some of my finest musings came from a comparable scene: a dark and open room filled with flickering light and jumping shadows which have been discarded by the atomic tangerine flames wavering in the fireplace beside me. The flames pop and jump, dancing to songs like Today or Comin’ Back to Me. Sometimes I wonder if the fire is listening to the words of the songs, the romantic strums of the guitar, or the beating drum. The fire is very much alive, as are the eroding mountains, the bleeding sandstone walls, the gliding and wild running rivers, the unbreakable rocks sleeping on the valley floors and the accumulating snow in the higher elevations.
The desert air is daubed with a frigid shade of winter tonight. Maybe my memory has been selectively blurred by four years of patient study through countless textbooks, for I recall much warmer winter air blanketing the southwest landscape this time of year. Nevertheless, wintertime has arrived with a rush of brittle air and frosty temperatures across the American desert lands. Paralleling the winter season is the holiday season. From Hanukah to Christmas, Kwanza, Boxing Day, and even the Earth’s Winter Solstice, the shifting weather always seems to be enough reason to bring families together for large meals, gifts, and holiday cheer. We have a small and very untraditional family. At the end of the day it is just Greg, me, and little Miss Charlotte. Our extended families are spread from Oregon to Wisconsin, Texas, and even back East in Massachusetts. We typically spend the holiday season on the road, in the wild, with cameras, tents, and sleeping bags, but this year the weather required warmer lodging. The world is so much more discreet in the winter. The parks are not full; the roads in the higher elevations, those that are away from ski resorts and public commons, are typically empty. It is much more possible to be alone in a winter landscape in the Southwest than any other time of year. Our small trio requires silence and solitude—the nutrients of our souls. Fittingly so, this holiday season we escaped the city in search of that peaceful silence that our spirits were craving.
We had no set destination. No determined or mapped out places. We spent a day cooking and dehydrating foods for the journey, packing winter clothing snow boots, camera gear and writing equipment. We looked at weather maps and forecasts without a decision of where to go. The following morning, on Christmas Eve, I folded a bronzed cashmere blanket around the floor of our miniature schnauzer’s dog kennel, grabbed her leash, and fastened her collar. Hester is a salt and pepper colored schnauzer. She’s a little over a year old and a terrifically happy puppy that loves to hike, travel, and run up and down sandstone canyons and mountain trails. She quickly made her way into the grey box where she travels. Greg positioned her in the backseat of the car, next to Charlotte. He secured the door and we sat in our own chairs, buckled seat belts, and then backed the car out of the garage. As we sat parked in the driveway, watching the garage door slowly seal the open air away from our home, Greg looked to me and asked, “Where are we heading?” I sat for a moment, thinking of the weather, our two young companions, and the time we had set aside for the trip and replied, “Utah. Let’s go to Utah”. Greg flashed his charming smile and backed out of the driveway. And as simple as that we were on our way.
The highway led us through a maze of holiday shoppers and travelers. Las Vegas was bleeding with anxieties. Drivers flushed their rage by honking and screaming at one another, a far cry from the holiday cheer everyone talks about this time of year. On any average day there are about a hundred thousand or more tourists in the city. Yearly, about forty million visitors come to see the glitter in the Mojave. The holiday season sees a rush of travelers that pile in to this desert valley in such large amounts that on New Year’s Eve the strip is closed off to allow only foot traffic. Las Vegas is the glittering land of consumerism. Everything in this city is designed for the purchaser: the lavish restaurants and casinos, the shimmering lights of the strip that sing a song to visitors, asking them for coins and dollars or swipes of whatever type of plastic they have tucked away in their wallets. “Buy. Buy. Buy.” it sings. More money flows in this city during the course of half an hour than most people make in a year. You can find almost anything you could ever need or desire in this intensifying metropolis. Even dreams. Dreams are for sale in Las Vegas. With a simple bet and the ensuing pull of a lever it is possible, or so we are taught to think, to win a better life. That better life opens the door to more money which equates to more consumption and thus higher rates of environmental degradation.
In an over-consumption culture, we seem to always overlook the connection of how our purchasing behavior and choices impact the world around us. According to National Geographic writer Hillary Mayell, “Approximately 1.7 billion people worldwide now belong to the “consumer class” –the group of people characterized by diets of highly processed food, desire for bigger houses, more and bigger cars, higher levels of debt, and lifestyles devoted to the accumulation of non-essential goods” (Mayell). As hard as it may be while living in an unsustainable city like Las Vegas, Greg and I strive to have sustainable living practices as much as possible. Fittingly so, this is one reason we rarely participate in the consumerism that gridlocks shopping malls and stores this time of year. Instead of spending hours in checkout lines, we find ourselves desperately seeking an escape from the reminder of how materialistic, acquisitive, and unsustainable our species continues to become. As shoppers raced to malls in search of last minute gifts, we were quickly racing out of the valley, leaving behind Las Vegas and the hectic urgency of Sin City.
We drove over four hours, breaking away from society like prisoners absconding. We entered Utah and began our climb into the higher elevations. The temperature gauge on the dash slowly dipped below freezing as we ascended into the mountains. Rural Utah existed outside of my car window, flashing by with each stretch of mile, showcasing quaint and warm homes with smoke billowing out of the chimneys. Small stores were dark and flashed the word “CLOSED” in bright red lights, reminding travelers that consumerism was not as important as quiet time with family. There are still stores that close on Christmas Eve. Yes, they do exist. These places rightfully relieve employees of their occupational duties, encouraging them to embrace loved ones without interruption. They forego the monetary gains of staying open—gains achieved to promote over-consumption and quench the thirst of the hungry shopper.
Greg and I discussed the relationship between story and sense of place as we drove through the countryside. Words are some of the most powerful tools we have in our human arsenal. More authoritative than any weapon ever created, words have the unique and contrasting ability to create peace and war. You see, we can sew them together to form the quilted patterns of oral and written narratives. They can facilitate others to understand the senses of place that are described in stories. Oral narratives existed long before written history tracked the patriarchal dominance of man over nature. Words have always been used by humans to communicate significant events, relationships between humans, and the significance of understanding the interconnectedness of all life forms. Ralph Waldo Emerson understood the significance of reflection and words. He said, “A man's power to connect his thought with its proper symbol, and so to utter it, depends on the simplicity of his character, that is, upon his love of truth, and his desire to communicate it without loss.” Thus we use our words to communicate the veracity of the natural world and in our photographic quest Greg and I seek to pair this truth with visual evidence to underline the significance of conservation, sustainability, and systems thinking. Storytelling is a gentle art that enlivens the land and forces each of us to acknowledge our roles in helping sustain it.
The fire sitting next to me as I sit here this evening, writing this text, is just as alive as I am. It breathes and moves, dancing in the dark shadows of the evening. Its life is commanded by the availability of oxygen much like my own. Without oxygen we both die. It sustains us. Though we take different forms, me in my human body and fire in its ethereal and fluid figure, we are the same; two dependent life forms existing because of something else. My ancestors in the Muscogee Creek tribe explained the significance of fire through story. Their tale describes how the tribe enlisted the help of brave Rabbit to bring fire to their people.
Fire was sent by Thunderbirds, through lightning, to a tree, on an island, filled with Weasels. The Weasels were stingy with the fire and refused to give it to any other animal. Their island was surrounded by water too deep for people to cross. The humans sat on their land watching the smoke rise from the Sycamore tree which caught the first sparks from the lightning. It was wintertime and the tribe suffered greatly from the cold. They spoke to the other animals around them, asking for support and aid in their quest to obtain fire from the Weasels. Knowing the violent nature of the Weasel, only one animal rose to the occasion. Rabbit was brave. He could swim and run faster than the Weasels and he recognized how his skills in dancing would be able to allow him to join the weasels in their nightly ritual of fire and dance. He covered himself in the sticky material produced by pine wood and quickly swam to the Weasel’s island. The Weasels welcomed the Rabbit and his beautiful gift of dance by dancing around a huge fire. As they danced around the fire, the Weasel’s would approach the fire, bow, and then back away from it. The eager Weasel’s beckoned the Rabbit to lead them in the dance and he followed suit, leading the ritualized movement, coming closer to the fire. Rabbit bowed low as he got close to the fire and suddenly the pine tar on his hair exploded in flames. He escaped with the fire clinging to his head. The Weasel’s realized that they had been tricked and angrily chased after him but the Rabbit was too quick. He outran them and then jumped in the water, swimming his way to the people with his head on fire. Furiously the Weasels summoned the Thunderbirds to bring rain so the fire stole fire would be killed. The Thunderbirds answered the call and spread rain upon the Earth for three days. Rabbit protected the fire from the rain by building a fire in the embrace of an old hollow tree. After the rain ceased he brought the fire to the people. From then forward the Creeks housed fire in their homes when it rained. They protected the fire’s life much like the fire guarded them from the cold.
Stories can show us the significance of life and the importance of understanding how things like fire and mountains, valleys, and rivers sustain us and the responsibilities we have to protect them from harm. We are interconnected with everything around us. The landscapes that flashed by my window as we drove that cold night, the rivers we crossed, the snowflakes that began to fall silently against the lonely road before us. Everything is connected you see. Our journey into the cold winter countryside of southern Utah was intent on reminding us of that connection. I told the story of the Rabbit and Fire to Charlotte during our drive. She likes stories and always fills journals with many of her own creations. Storytelling has been a part of our family since long before she or I were ever born and it is something we attempt to continue in our own way.
As we turned down the road to Bryce Canyon National Park, the sun was coming to a rest on the Western horizon. We pulled into Ruby’s Inn, a nice old lodge located outside Bryce Canyon National Park and look around at the empty surrounding area. Stores and most of the hotels in the area were closed for the season. The quiet of the park was appreciated and paired well with the cold airs of winter that chilled the upper elevations. The first few flakes of a winter storm began falling as we unloaded our photography gear, food, and clothing from our vehicle into our room. The familiar, “I’m hungry”, cry from my nine year old daughter came soon after we shut the door of our rented abode. My stomach agreed with her plea and I went to the ice chest to prepare our Christmas Eve dinner.
We do not eat processed or junk/fast foods. Restaurant eating is met with hesitation these days since we have cleansed our diets to more sustainable practices. We travel with our own homemade yummies for each meal and snacks in between. This allows us to have control over what we’re putting into our bodies, it helps us save money, and it ensures that we’re getting the right nutrients we need. Road food is rarely a good idea for our crew. Instead, bringing our own food allows us to control our environmental impact. We refuse to contribute to the growing mass of landfill waste created by fast-food consumers.
Greg and I had made a vegetarian farrow and bean winter stew the day before our trip. It was a robust stew filled with a homemade herbed broth, the stewed tomatoes we had frozen from our fall harvest, heirloom carrots, and a medley of organic veggies including new potatoes, celery, onions, cabbage and dinosaur kale. We heated the soup on our Coleman stove, scooped a ladle full into individual bowls and then garnished them with freshly grated parmesan and a splash of olive oil. I heated a few southern buttermilk biscuits and handed one to Greg, tearing apart another to split between Charlotte and myself. We sat under a dim light in the motel room, enjoying the hearty stew and biscuits, celebrating our love and togetherness that Christmas Eve. It was quiet and peaceful—exactly what we wanted when we left the city. Later that evening, we enjoyed a chocolate bottom oatmeal pie for desert and drank some hot tea before bed.
The morning came quick and our alarm clock sung us awake at 6:00am. We dressed in layers. I had three pairs of pants on, three shirts and two jackets. Living in the Midwest on the shores of Lake Michigan had prepared me for the coldness of winter in any situation. Cold climate living provides residents with a knowledge that can only be gained from suffering through biting wind chills due to lack of preparation and proper dress. You only do that once in the Midwest and then forever afterward you arrive to cold situations over-dressed and over-prepared, realizing that it’s easier to lose a layer or two rather than being on the other end of the spectrum and needing another layer or two. Even with the layered clothing and preparation for the cold temperatures, sitting at 9,100 feet in the mountains, Bryce Canyon National Park becomes a frigid ice box once the mountain winds start howling. As we arrived at twilight to our first shooting spot for the morning, Hester and Charlotte cuddled between blankets in the back of the car. Charlotte sipped her breakfast tea and munched on some sheep milk yogurt, dehydrated berries and homemade nonfat granola. Greg and I surveyed our surroundings, looking for compositions and safe areas to set up our tripods. A tapestry of snow had fallen during our nighttime sleep, accumulating from 4-10 inches in different areas of the park. Being the first people in the canyon provided us with a carpet of untouched, shimmering, new snow. The winds were relentless, stinging the naked skin on my cheeks and nose and burning through the flesh on my lips. I wore my sunglasses to protect my eyes from the bitter gusts. Frost bite was a real concern that morning considering the strength and persistence of the cold winds. The wind chill wavered from 0 – 6 F and I pulled my outer winter jacket around my face attempting to protect it from the cold. Hours later my cheeks and nose would burn red with the kiss of winter and wind.
We stood outside in the soundless park, facing the blustering cold as the sun began to wake for the day. The snowy cloudbank muted the light from the sun’s rising, creating a subtle yellow orb in the sky with no streaking lights to fill the pillars in the canyon. A flat winter light imperceptibly illuminated the ground before us but it did not cause the snow to shimmer or the salmon colored rock to glow. The light wasn’t right. The temperatures stayed well below freezing even as the sun began to rise in the sky. This is always a risk that photographers take as they face extreme temperatures in search of the light. Light is never certain and predicting how the weather will be comes down to good fortune more times than not. It was Christmas Day and we were treated with a white Christmas in the canyon that morning. We went out again in the early afternoon in hopes of catching some rays of light in the canyon. The soft, white palette of snow contrasted the red hues of Bryce Canyon’s towering columns of limestone. Each season has its principal color and each color sings a different story. Spring is decorated with a rainbow of flowers but overwhelmingly the Earth bleeds with green hues. Summertime is filled with straw colored grasses, overheated trees, and the golden rays of a hot desert sun. Fall is awakened by the reds of ivies and the soft amber saturation of falling leaves in front of a stormy sky. But winter holds the purest color in its white precipitation. As I stood and looked at the formations in the canyon I thought about the meaning of their color, the language that is used to describe them, and the stories that have encapsulated their essence.
I was reminded of a story the Paiute tribe told about Bryce Canyon and how it came to be. In 1936, a Paiute Elder named Indian Dick narrated the legend of canyon:
"Before there were any Indians, the Legend People, To-when-an-ung-wa, lived in that place. There were many of them. They were of many kinds – birds, animals, lizards and such things, but they looked like people. They were not people. They had power to make themselves look that way. For some reason the Legend People in that place were bad; they did something that was not good, perhaps a fight, perhaps some stole something….the tale is not clear at this point. Because they were bad, Coyote turned them all into rocks. You can see them in that place now all turned into rocks; some standing in rows, some sitting down, some holding onto others. You can see their faces, with paint on them just as they were before they became rocks. The name of that place is Angka-ku-wass-a-wits (red painted faces). This is the story the people tell." (USNPS)
Charlotte stood beside me, munching on a homemade granola bar as I repeated the words of the story. We looked at the red hoodoos and imagined the legend coming to life. The Coyote, standing on the overlook at Sunrise Point, as a powerful trickster he turns the To-when-an-ung-wa people into stone for their bad deeds. According to Kevin Poe, Chief of Interpretation at the park, the To-when-an-ung-wa peoples “were notorious for living too heavily upon the land” (Robert & Poe). This is why they were punished. Their unsustainable behaviors and lack of appreciation for the interconnected and systemic nature of the natural world caused their demise. Poe states, “They would drink up all these streams and the rivers in the springtime so there would be no water left for all the other creatures come summer” (NPR). And in the fall Poe describes how they would eat all of the pine nuts, leaving none for the survival of other animals during the frigid winter. The shameless overconsumption of the resource forced the rest of the animals in the area to bring the injustices to the attention of Coyote. Tricking the To-when-an-ung-wa people, Coyote invited them to a lavish banquet to feast for an entire day. They accepted his invitation and arrived adorned in war paint and fantastically colored clothing. As they sat at Coyote’s table, Poe says the Coyote cast a spell that turned them to stone. “The To-when-an-ung-wa tried to flee up over the top of the canyon rim, and in so doing –almost like a scene from the “Titanic” - you see them trampling on top of each other, writhing bodies trying to escape over the edge of the canyon, and clustered right on the brink” (Robert & Poe). In this version of the story, it was the unsustainable practices of the To-when-an-ung-wa peoples that instigated their rocky fate.
At first glimpse these stories seem to provide a simple moral on the importance of sustainability practices and good behavior. What fascinates me about these tales is that they move beyond simple moral narratives, reinforcing the significance of calling a place by its true name. The Paitue elder and Kevin Poe both referred to the structures of the canyon as people, naming them “To-when-an-ung-wa”. Saying that name in a whisper on the rim of the canyon, I was reminded of the significance this landscape held to the Paiute peoples. This canyon was not named Bryce. The tribe that lived in harmony with this landscape had called it “Anga-ku-wass-a-wits”, naming it aptly for the red painted faces of the unsustainable “To-when-an-ung-wa” peoples that now stand silently in the canyon. “Anga-ku-wass-a-wits” is an endonym, a name for a geographical feature or place that is used by the people who originate from the area. “Bryce Canyon” then is an exonym, or a name that is used by outsiders to reference a certain area. I strongly believe in calling a landscape by its real name by using the languages from first peoples and try to find the appropriate endonyms and stories about each location we visit.
My mother named me after the romantic Russian love story “Dr. Zhivago” written by Boris Pasternak. I have read the story countless times and even fallen in love with the film version. One of my favorite parts of the story is documented in the following quote. It has resonated with me for as long as I can remember and has helped inspire me to call each thing by its right name and to inspire my own child to bear witness to the remarkable beauties our world has to offer.
“Lara walked along the tracks following a path worn by pilgrims and then turned into the fields. Here she stopped and, closing her eyes, took a deep breath of the flower-scented air of the broad expanse around her. It was dearer to her than her kin, better than a lover, wiser than a book. For a moment she rediscovered the purpose of her life. She was here on earth to grasp the meaning of its wild enchantment and to call each thing by its right name, or, if this were not within her power, to give birth out of love for life to successors who would do it in her place.” ― Boris Pasternak
The visit to Anga-ku-wass-a-wits was the first part of our winter journey. We photographed in the cold of the canyon studying how snow storms moved across the landscape and how shadows and light danced together on the hundreds of hoodoo-people that stand as reminders of the importance of sustainability practices. The light never quite took off the way we had imagined it would, but at the end of the day, Greg and I both are satisfied with the images we made and the time we spent in the canyon, as a family, on Christmas day. It definitely was not a typical American holiday, but then again, we strive to be anything other than normal. We celebrated the holiday with living trees that were decorated in a delicate arrangement of snowflakes that had fallen during our visit. These trees were alive like you and I. They were alive like the flickering fire that sits beside me in my study this evening. This is the same fire that Rabbit stole from the Weasels and brought to my people to protect. We respected the trees and honored the canyon and the Paiute peoples who walked on the trails long ago. The gifts we gave to each other bore no resemblance to the material goods of common culture. We gave each other time, thoughtful discourse, and love. What more could anyone ask for from the people they love during the holidays? We gifted ourselves another experience in a lonely landscape and it was because of this remarkable present that we became closer to the lands of southern Utah and were better able to understand their unique stories and the disappearing languages that should been used to describe them. It is my hope that this tale of our winter journey serves a similar purpose to those who find themselves navigating through the words of my text. I hope that it inspires you to find a lonely landscape and to learn its history and stories. Speak the rightful names of the areas you visit and try to connect their history to your own experiences. In doing so, you will be more capable of translating the language of the land. This act of translation guides us on our own journey, chasing the light.
My teacup is empty and I am afraid morning again will come quickly. I am retiring for the evening, but do rest assure there will be more to come later…
References:
Drink Starbucks? Wake Up And Smell The Chemicals! (2014, September 2). Retrieved December 29, 2014, from foodbabe.com/2014/09/02/drink-starbucks-wake-up-and-smell...
Kaye, L. (2013, May 23). Starbucks Is in a Unique Position To Push Consumers To Waste Less. Will It? Retrieved December 29, 2014, from www.sustainablebrands.com/news_and_views/waste_not/starbu...
Mayell, Hillary. "As Consumerism Spreads, Earth Suffers, Study Says." National Geographic. National Geographic Society, 12 Jan. 2004. Web. 28 Dec. 2014.
Siegel, Robert, and Kevin Poe. "A Paiute Take On Bryce Canyon's Hoodoos." NPR. NPR, 1 July 2008. Web. 29 Dec. 2014. .
United States National Park Service. "American Indian History." National Parks Service. U.S. Department of the Interior, 28 Dec. 2014. Web. 29 Dec. 2014.
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Mentre i Lamb Of God annullano il tour europeo, per gli attentati a Parigi, i Children Of Bodom invece vanno avanti.
L’appuntamento è all’Alcatraz di Milano il 24 novembre 2015.
I Children of Bodom sono un gruppo musicale melodic death metal finlandese formatosi nel 1993 a Espoo.
Il gruppo prende il nome dal lago Bodom, situato nei pressi della loro città d'origine, e conosciuto per il massacro omonimo.
Il simbolo dei Children of Bodom è la morte, resa dalla rappresentazione di una figura scheletrica vestita con una tunica nera con cappuccio e con in mano una lunga falce, soprannominata Roy e presente sulle copertine di tutti i loro album.
Alexi "Wildchild" Laiho – voce, chitarra
Jaska W. Raatikainen – batteria
Henkka "Blacksmith" Seppala – basso
Janne Wirman – tastiere
More biographical information on the great Tammi Terrell. On
March 16 ,2020 will be 50 years since Tammi passed.In this
article found more information on the October 14,1967 concert
at the Hampden-Sydney College.While singing with Marvin Gaye
she collapsed on stage then was rushed to the hospital.
Marvin Gaye & Tammi Terrell: Perfect Together
by John Pumilia
First Mary Wells, then Oma Page. Kim Weston followed, and later Diana Ross, but it was Tammi Terrell who is
remembered as Marvin Gaye's ultimate singing partner. Author David Ritz says, "The fourth of Marvin's five
musical marriages was the most intense--intensely melodic, spectacularly successful, devastatingly tragic." The
duo could summon the spirits of friendship, warmth, passion, church, romance, and fire; their songs embody some
of the beautiful sentiments ever sent out into the world.
Kim Weston exited the company in early '67, leaving Marvin in search of a duet partner. This time the label
teamed him with vivacious Philly native Terrell. From the outset, it was a match made in heaven. "That was Mr.
Gordy's idea, as far as I know," said Johnny Bristol, who produced their first duets with partner Harvey Fuqua.
Marvin said, "I had no idea Tammi was as good a singer as she, of course, turned out to be...But some people
who were on their toes dug her sound and perhaps realized that we may possibly make a good duet. And, wanting
to try something new all of my life, it was a challenge and something groovy to do...Tammi was nice, she was
pretty, and she was soft and warm and sweet--and misunderstood. I enjoyed working with her and that, coupled
with a new team, Ashford & Simpson, made it so marvelous."
The Gaye/Terrell partnership represented the apogee of the soul duet, as their voices blended sensually on a
string of hits: "Ain't No Mountain High Enough," "If I Could Build My World Around You," "Your Precious Love,"
"If This World Were Mine," "Ain't Nothing Like The Real Thing," "Keep On Lovin' Me Honey," and "You're All I
Need To Get By." The Complete Duets showcases Marvin Gaye with Tammi Terrell and features their entire recorded
output from 1967 to 1969 on a superb two-disc collection.
Tammi Terrell was born Thomasina Montgomery in Philadelphia on April 29, 1945. She sang in church as a wee
lass. By the time she was 11, she was competing in area talent contest. After winning a number of local talent
contests, by the age of 13 was regularly opening club dates for Gary "U.S." Bonds, Patti LaBelle & the Blue
Belles, and other acts.
At the age of 15, Tammi was discovered by producer Luther Dixon and signed to Specter/Wand Records. Credited as
Tammy Montgomery, she made her debut with "If I You See Bill." She encored in the spring of '62 on Wand with
"Voice of Experience," but stardom was still a ways down the road. James Brown signed her to his Try Me label
and issued "I Cried" in 1963 and she toured with his live revue. "If I Would Marry You" appeared on Checker a
year later, during which time she also studied Pre-Med at the University of Pennsylvania.
Reports vary as to how Tammi joined the Motown roster. One account has it that either Motown producer Harvey
Fuqua or Motown president Berry Gordy, Jr., caught her act when she was singing duets at the 20 Grand Club with
Windy City soul crooner Jerry "Iceman" Butler in 1965. A similar featured spot with Chuck Jackson's troupe may
have also played a role. Her Motown label debut was "I Can't Believe You Love Me," with "Come On and See Me"
and "This Old Heart of Mine" following.
An odd and disturbing story, Tammi had complained of severe migraines headaches for some time. Former boss
James Brown was said to have often violently abused Tammi during their relationship and this caused her family
to strongly object to the liaison. Their objections coupled with the constant abuse she suffered finally ended
the affair. Tammi was engaged to and had a short love affair with the Temptations' former lead singer David
Ruffin (who was also very violent toward her) but called it off when she allegedly found he was already
married. It has been said that David was jealous of her extremely strong, but platonic, relationship with
Marvin. Rumors suggest that she endured still further physical abuse from a certain Motown executive.
Terrell finally collapsed onstage while singing with Marvin Gaye at Hampden-Sydney College in central Virginia
at Homecoming on Saturday October 14, 1967 and was rushed to the hospital. Tammi was diagnosed with a malignant
brain tumor--alleged induced by physically abusive bosses and boyfriends.
Hampden-Sydney's Homecoming weekend '67 events included fraternity parties, class reunions, alumni functions,
and a Saturday night concert featuring Marvin Gaye and Tammi Terrell. The October 13, 1967 cover story of the
student newspaper The Tiger reads:
The German Club will present for Homecoming, The Drifters, The Tropics, and the Robinson Brothers for Friday
night, and Marvin Gaye and Tammi Terrell, and Bill Deal and the Rondells [sic] for Saturday night...
Saturday Night, Marvin Gaye and Tammi Terrell will be accompanied by Bill Deal and the Rondells. Marvin Gaye's
hit singles include: "Can I Get a Witness" and "Stubborn Kind of Fellow." German Club President Bill Carter
calls him "the smoothest of the pop-showmen."
"Tammi Terrell, who started with James Brown, combines with Marvin Gaye to form the most professional and
enjoyable male-female act in the business," said Bill. Their recent smash hits are "Ain't No Mountain High
Enough" and "Your Precious Love." Tammi and Marvin come directly from appearances on the "Tonight Show" and
"The Joey Bishop Show."
These groups will be singing through the German Club's new public address system. Carter reports that "this is
so good that one of its speakers sounds better than all four of the old speakers."
Show times will be 7:45 p.m. to accommodate the football team. Entrance will be through the front doors only.
The price for non-members will be $6.00 each night.
"The Drifters put on a most enjoyable concert," said Bill, "and Marvin and Tammi are the male-female of Sam and
Dave--perfect together."
German Club vice-president Bill Selden, Jr., believes the club paid about $4,500 to book Marvin and Tammi. He
recalls, "The six-member band got there about three hours early, which is very unusual. [Selden even played
poker with them!] It was very hot in the gym that night, especially with 800 students and their dates crammed
into it. There were no seats at all. There was only about 20% of the crowd in the bleachers. Mostly everybody
was standing in front of the stage.
"Tammi wasn't feeling well from the time Marvin and she got there, so she stayed in her dressing room, which
was nothing elaborate--just two coaches' offices--with the light out. Terrell said she'd be ok; she just had
some headaches. She did come out and sang two or three songs. The last one was 'Ain't No Mountain High Enough'
before she collapsed. We thought it was because of the heat. I do remember Marvin holding her as she collapsed.
He caught her as she dropped down and helped her off to the edge of the stage. She went back to her dressing
room. At intermission, Tammi still wasn't feeling well. I didn't see her again. Marvin was real nervous and
concerned about her."
In 1967, Candy Jamison (now Candice Dowdy, Director of College Events at Hampden-Sydney College) was a student
at nearby Longwood College (now Longwood University). Candy attended the show and recounted, "The concert was
in Gammon Gymnasium. They performed on a portion of the bleachers. (I don't remember there being any kind of
staging at all.) The students were packed into Gammon Gym, seated on a wall of bleachers, and I was among the
many who covered the basketball floor.
"It was a great concert. Marvin Gaye covered for her very well when she collapsed...to my knowledge she just
passed out--no one knew she had headaches or had been abused. At the time we just thought she collapsed from
exhaustion or too much of something. She slipped down onto the bleacher seats; eventually she was helped down,
and Marvin Gaye continued singing...ending the concert with the entire audience happy as clams. The concert was
great, she was great, and they made a great duo!"
Hampden-Sydney College undergraduate Becky Garland (formerly Reed) and her ex-husband Jeff Reed, in addition to
his full time job, for a few years ran a weekend concert-booking agency called Top Star Productions. Before the
day of bigger agencies handling concert promotions, small companies, such as Top Star, solicited college clubs
to present concerts by the musicians they represented, from small combos and bands for fraternity parties and
club functions to the big name acts of the day. Acting as an intermediary, the Reeds contracted with United
Artists in New York to present local college concerts by the Fifth Dimension, Gladys Knight & the Pips, Little
Anthony & the Imperials, Martha Reeves & the Vandellas, the Shirelles, and other top artists. Top Star booked
Tammi Terrell and Marvin Gaye for Hampden-Sydney's German Club.
Garland remembers that Terrell was not feeling well and was acting somewhat strange. "I was uneasy that
evening," Garland said, "because she did have some problems." While drug use among musicians was fairly
rampant, she said that Terrell didn't seem to have the symptoms of that, but rather of an illness. Upon hearing
of her death from a brain tumor years later, Garland reflected on that evening, realizing that effects from the
brain tumor could have been Tammi's problem at that time.
WFLO radio news director Elliott Irving in nearby Farmville, Virginia, recalls that Marvin and Tammi arrived
for their concert at Homecoming late in the (American) football game during the fourth quarter. They went
directly to their dressing rooms, where she lay down, complaining about not feeling well.
"Tammi passed out during about the fourth number they were doing together," he said. Contrary to the often-
repeated legend, Irving says it is "not true that she fell into Marvin Gaye's arms. Her knees buckled and she
lowered herself to the floor. Gaye did catch her and the concert continued. People didn't know at the time it
was a major medical problem, nor that this was her last concert appearance."
Maxine Brown, Brenda Holloway, Barbara Randolph and Ann Bogan replaced Tammi on a tour with Marvin Gaye when
she became ill. Although the tumor forced Terrell to retire from live performances, Motown publicity downplayed
the seriousness of the situation at first. She continued to record with Gaye and, according to Billboard
Magazine, was often seen entering the studio in her wheelchair. She worked twelve- and eighteen-hour days for a
week, and after she finished their second duet album said, 'I've got a lot more faith in God.' "
For half of that album, You're All I Need, new duets were created by having Marvin overlay vocal parts on
Tammi's previously recorded solo tracks. To help Motown keep expenses down, he had done the same thing for some
of their first album together United, although now a necessity, not just a cost-cutting procedure. As these
were multi-track recordings, Tammi's vocal could be isolated and removed. Marvin then simply filled in the
gaps. Though not an authentic duet, the result was Marvin and Tammi on one song.
Even the vaults were raided for material! A and B sides of previously released Tammi Terrell singles were given
the treatment! "Come On and See Me," "Baby Don'tcha Worry," "I Can't Believe You Love Me," and "Hold Me Oh My
Darling" resurfaced as "duets" two to four years after their original solo issue.
Actually, this slight-of-ear worked quite well; extremely well on "Ain't No Mountain High Enough," which almost
unbelievably underwent the transformation from solo track to convincing duet! "Two Can Have a Party," "You
Ain't Livin' Till You're Lovin'," "Give In, You Just Can't Win," "When Love Comes Knocking At My Heart,"
"Memory Chest," "That's How It Is (Since You've Been Gone)" and "More, More, More" also benefit from Marvin's
vocals added to Tammi's previously recorded vocals.(Check out these mostly previously unreleased solo versions
on the The Complete Duets.)
The albums United and You're All I Need have moments of heavenly charm. In addition to the singles, album
tracks "Sad Wedding," "Give A Little Love" and "Oh How I'd Miss You" help make United delicious ear candy, as
do "I Can't Help But Love You," "I'll Never Stop Loving You Baby" and "Memory Chest" on You're All I Need.
Eerily prophetic, even the liner notes on the back of the You're All I Need album mention the state of Tammi's
health: "Such performances have been temporarily denied us due to Tammi's illness...Not only did recording this
album contribute to her convalescence, but added a new dimension to the Gaye-Terrell repertoire."
To address rumors that were spreading, ex-boyfriend David Ruffin publicly reassured anxious fans that Tammi had
been hospitalized, but was returning to health. After eight surgeries, which resulted in loss of memory and
partial paralysis, recording a third album was impossible.
Husband-and-wife songwriting and production team Nicholas Ashford and Valerie Simpson were among those called
in to fill the void at Motown left by Holland-Dozier-Holland, who had recently exited the company in a royalty
dispute.
"When Nick and Valerie had come to Motown as writers, their product was distributed to various producers," said
Bristol. "So Harvey and I were given 'Ain't No Mountain High Enough,' 'Your Precious Love,' and I think a
couple more. But I think those were the ones we just jumped up and down about. Mr. Gordy assigned us these
particular songs, the material, to do Marvin and Tammi.
"On 'Your Precious Love' we had the opportunity to do the background--Marvin and Harvey and myself and Tammi,"
noted Bristol. "We called ourselves 'the Riff Brothers Plus One.' Tammi was the 'Plus One.' But we had fun in
the studio doing those things. There was a lot of laughter, a lot of clowning around. And I think the joy from
the personalities and the energy--it was a very relaxed arrangement."
Addressing the fact that Marvin and Tammi apparently recorded some of their later duets separately, Bristol
said, "Oh yeah, that's true, but that was very seldom true with us, because we all enjoyed being there
together. I think it was more when Nick and Valerie were producing them. I think it started more around that
time." Simpson anonymously assumed the singing role of the dying Terrell on most of the tracks from the 1969
album Easy.
Gaye said, "At first I refused to go along with the plan. I saw it as another money-making scheme on BG's part.
I said it was cynical and wrong. I didn't want to deceive the public like that. Then Motown convinced me that
it'd be a way for Tammi's family to have additional income. [Valerie] amazed me with how faithfully she
captured Tammi. I felt strange...I suppose I felt guilty."
Somewhat surprising is that "Baby I Need Your Loving" is the only Holland-Dozier-Holland composition the duo
(or a trio at this point?) recorded. Though H-D-H had only just recently left the company, Motown seems to have
moved on without them and rather quickly at that!
Hit singles continued: "Good Lovin' Ain't Easy To Come By," "What You Gave Me," "California Soul," and "The
Onion Song," which proved to be the most successful of the duo's singles in the UK. (Which vocals are Tammi's
and which are Valerie's? The accompanying booklet in The Complete Duets is to be faulted for not providing such
vital and pertinent information!)
Without new material from Terrell, much of the magic was gone. Nowhere on Easy is there any of the "hey-Marvin,
hey-Tammi" banter that permeates the first two albums because Gaye felt strange singing to Simpson, and even
guilty. (All was not lost, as "Love Woke Me Up This Morning" and "This Poor Heart of Mine" are among the many
standouts on Easy and even on the entire collection!) Though Valerie Simpson on Easy is perhaps a pinnacle in
the pairings of Marvin's performing partners, there "ain't nothing like the real thing"!
Contrary to some reports, Terrell wasn't married to boxer Ernie Terrell, whose sister Jean would replace Diana
Ross who left the Supremes for a solo career in 1970. Rumor has it that Tammi may have had a chance to be the
new lead singer of the group, but due to her illness, her preference to remain a solo act, and other problems,
she was not considered. Motown released Tammi's only solo LP Irresistible in January of 1968, but she wouldn't
live long enough to savor her success.
Distressed over Terrell's illness, his failing marriage, and various artistic dilemmas, Gaye made it difficult
for Motown to entice him into the studio--disrupting its stringent production schedule. He was really terribly
afraid that she wasn't going to make it. And he was right. Gaye saw her wither away to less than ninety pounds
and die. Immediately he went into seclusion. He was shattered by the tragedy and, sequestering himself away
from the public for an extended period, he stopped recording and making personal appearances. Friends say he
was never again the same.
"I was devastated by Tammi's death," he said later. "I think maybe what scared me the most was that I was so
angered by the senselessness of it all. I had to accept that it was God's will, but it was difficult to
understand at the time. I grieved for years, and the fact that deep down inside I hated performing with
somewhat of a passion made it even easier for me to stop. After taking time off, I developed a real fear of
performing and it was even more difficult to come back."
Convinced he was bad luck to his partners (Wells and Weston had left Motown shortly after their collaborations
with him), Marvin would avoid duets until teaming with Diana Ross in 1973 for the Hal Davis-produced Diana and
Marvin. Because he was a sensitive guy, Gaye used to feel like he had some kind of hex on him because something
happened to everybody who sang with him.
Tragically, both members of Motown's perfect partnership died prematurely. Marvin Gaye was fatally shot in the
chest by his father in Los Angeles on April 1, 1984, preceded by the passing of Tammi Terrell on March 16, 1970
at the age of 24. She had never married nor had yet reached her full potential. "I felt that I somehow died
with her," Gaye said. He refrained from live performances and went into a period of reclusive exile.
It is ironic that the duo wonderfully portrayed the beauty and innocence of love on their recordings, when
neither could find it in life. "It was acting," acknowledged Marvin. "It was...as though she was dying for
everyone who couldn't find love."
Tammi Terrell's grave is at Mount Lawn Cemetery, northwest of Philadelphia International Airport. She is
survived by a sister, Ludie Montgomery; Ludie's sons, Kirk and Donald; and Kirk's three children. All still
live in Philadelphia.
There has been much speculation about Tammi Terrell's drinking, her loose morals, and her demise. Number One
With A Bullet, a novel by former Gaye aide Elaine Jesmer, included a character clearly based on Terrell and
gave voice to the accusations. (Allegedly, the Motown machine purchased the movie rights to the book to prevent
the story from ever being told on the big screen.) It has been said that her death resulted from the many
beatings she suffered from one of the relationships she had within the Motown fraternity.
"This is one of the many misconceptions about her. Unless you talk to people from all eras of her life like we
have, you don't really see who she was by reading previous things written," says Vickie Wright, who is
assisting Ludie in writing a biography. "Almost 80% of what's out there is not accurate or it's just people
spinning off the rumor mill.
"I have compiled a complete bio from birth to death. People took a few things about Tammi (literally just a
few) and that was their focus for 32 years. You have to look at the whole person--the entire 24 years...not one
or two boyfriends or one book that was written. I write from what's true, not from my theories. That's the
problem--everyone wrote their own theories. So I would have to disagree. I just know more about her than what's
out there. I know too many positives about her that will make those negatives fall away.
"Tammi's family gets tired of the same old rumor mill. She is dearly loved and admired not only by the ones
that knew her, but the fans have stayed loyal to her for over 30 years. Her strength and courage out weigh any
of the negatives she had. Her legacy in tact for such a short career, her place in music secure. I have always
felt that she deserved positive validation for all the love, joy, and happiness she brought to the music world
and the world in general."
APPENDIX A: Hampden-Sydney or Hampton?
According to the student newspaper The Tiger of October 13, 1967, Marvin Gaye and Tammi Terrell (and Bill Deal
and the Rhondells) performed at Hampden-Sydney College at Homecoming on October 14, 1967.
Hampden-Sydney College is a small private four-year liberal arts prep school (with a student body of about one
thousand). Founded in 1776, it is one of only three all-male liberal arts colleges in the United States. It is
located in rural south-central Virginia in the town of Hampden-Sydney just south of Farmville in Southside, 65
miles west of Richmond, and forty miles east of Lynchburg. Founded in 1776 for sons of southern planters,
Hamden-Sydney was a school for white males only until 1963 when the college officially reversed its policy on
admission. The first African-American student didn't enroll until 1968, the year after Marvin and Tammi
performed there. (John Phillips of the Mamas & the Papas is considered an alumnus, but did not graduate from
HSC, as he actually left before the end of his first year.)
Because Hampden-Sydney College did not have any African-American students enrolled at the time and its Gammon
Gymnasium does not have a stage large enough to accommodate a Marvin Gaye concert (or any stage at all for that
matter), it is often mistakenly reported that the concert occurred at Hampton Institute (originally called
Hampton Agricultural and Normal School, now Hampton University) about 140 miles away.
Located in Hampton near Norfolk, in eastern Virginia, about 80 miles southeast of Richmond, Hampton University
was founded in 1868 as a coeducational school. One of the oldest African-American educational institutions in
America, Hampton Institute was founded after the Civil War to provide training in vocational and practical arts
to former slaves. (It is a HBCU, Historic Black College or University, with a great museum of African-American
art.)
APPENDIX B: Collector's Corner
In the course of reviewing The Complete Duets, I literally played my copy to death! Strangely, there somehow
appeared a scratch on my once freshly purchased and formerly pristine copy. The scratch, on Disc 2, Track 24,
was eerily significant because it was the age at which Tammi passed away! [Kudos: Much thanks to Motown for
sending me a replacement!]
With a passing shiver, I also noted a couple of song variations that would be of interest only to collectors:
namely, that on the album version of "You're All I Need To Get By," Marvin mentions Tammi by name before the
second verse. Swearing that I never heard that on the single, I pulled out a copy and played it. Lo and behold,
Motown faded down Marvin's vocal to change "Tammi, listen!" to just "...listen." Could the reason be that it's
not Tammi singing, but Valerie Simpson?
On the UK 2-on-1 of United/You're All I Need (released just prior to the US release of The Complete Duets!),
you will find a slightly different version of "Ain't No Mountain High Enough." At 1:44 into the song on the
alternate mix, Motown didn't remove Tammi's vocal from a few lines. Instead of Marvin soloing, they duet on the
line, "If you ever need a helping hand, I'll be there on the double, just as fast as I can." (This variation
was previously unavailable elsewhere, but has since been released on the various artists compilation "The Love
Songs of Motown.")Brown’s crossover success set its own course, impossible to reproduce by following
instructions. In 1965, the great factory for creating black pop music according to plan was Motown. And in that
year, the president of Motown signed somebody Brown knew well, Tammy Montgomery. Motown founder Berry Gordy
changed her name to Tammi Terrell and began his systematic process of grooming her for stardom, putting her
through the Motown finishing school. Meanwhile, Brown had already put her through another kind of school.
Terrell lasted only about a year with Brown,
THOMASINA "TAMMI" MONTGOMERY TERRELL
April 29, 1945-March 16, 1970
Some books/articles give her birthdate as January 24, 1946; the authors probably misread a handwritten 4/29/45
as 1/24/46. But, having heard from someone who knew her and attended her funeral, I now know that 4/29/45 is
the correct date. Anyway, Tammi (or Tommie, as her family knew her) was the older of two children born in
Philadelphia to Thomas Montgomery (brother of boxer Bob Montgomery) and Jennie Montgomery (an actress). The
younger child was a sister, Ludie (now also her biographer). Tammi began her singing career in 1960 with a
contract with Scepter/Wand Records. She also recorded a few songs, including "I Cried," that were produced by
James Brown, whose own hits include "Papa's Got A Brand New Bag" and "I Got You (I Feel Good)." Until 1964 she
toured with his Revue and was also his girlfriend. In 1965 she signed with Motown and became romantically
involved with David Ruffin of the Temptations. Ludie confirms that Tammi received abuse from both Brown and
Ruffin. Contrary to popular belief (CTPB), she was never married to boxer Ernie Terrell (although she was
engaged during the last year of her life to one Dr. Ernest Garrett). Instead, she adopted the last name Terrell
because it was shorter than Montgomery. Then, in 1967, she met the man on whose coattails she rode into fame--
Marvin Gaye. Their duets include "Ain't No Mountain High Enough" and "Your Precious Love" (both from their
first album together, United). Also CTPB, they were not lovers in real life; however, they were as close as
people who are just friends can be. Symptoms of a malignant brain tumor came when she collapsed onstage while
dueting with Marvin in the fall of 1967 at Hampden-Sydney College in Virginia (not to be confused with Hampton
University, also in Virginia). Two more duet albums were released over the next two years. Half the songs from
the second album, You're All I Need, were real duets, but the rest were Tammi solo recordings to which Marvin's
vocals were added. Two tracks from the third album, Easy, also were overdubs (even a few United songs were
overdubs; this helped Motown keep studio expenses down); on the rest of Easy, the authenticity of the female
vocals is in dispute. On one hand, Marvin alleged to his biographer David Ritz that songwriter-producer Valerie
Simpson susbstituted for Tammi; on the other hand, Ludie quotes Simpson and co-writer/producer Nickolas Ashford
as saying that Tammi really did sing on those specific songs, albeit with great difficulty. Eight brain
surgeries failed to save her; the tumor continued to worsen until it ended her life. Her grave is at Mount Lawn
Cemetery, northwest of Philadelphia International Airport. Besides Ludie, Tammi is survived by Ludie's sons,
Kirk and Donald; and Kirk's 3 children. All still live in Philly.
Dirtnap (2016)
Drakulas' debut for Dirtnap is also their first full length, following up on a 7" from a couple of years ago that I don't have. This is my first exposure to the band and in general, I'm pretty impressed. Boasting a 'members of' resume that includes bands like Riverboat Gamblers and Rise Against, I wasn't sure what this was going to sound like. That being said, they did have the Dirtnap seal of quality slapped on, so that usually pushes me towards a purchase more often than not.
What I ended up is an album that I think is pretty good, but is missing that little something that pushes it into rarified territory. I think it's probably the vocals, which tend to live on the snotty, nasal, punk rock side of the spectrum. I tend to favor vocals that are little more melodic and less acerbic. With that said, Drakulas still crank out a hell of an album, full of fast paced, Marked Men style downstrokes and some pretty energetic hooks.
When the band really hits their stride on songs like "Sunny Tzu" or "VHS" I'm all in. The combination of the buzzsaw guitar chords and the snappy choruses are right up my alley. Less successful for me are when the band goes off the beaten path on something like "My Name In Your Mouth" or when they're simply going too fast even for me as they do on "Headphones/Slit Throats." But these are minor detours on an album that is a fun listen for the vast majority of the time. It may not be in album of the year territory, but it's definitely worth a listen. Especially if you like your rock and roll fast, loud and fuzzy.
Drakulas - S/T:
Hardcore Superstar
Alcatraz - Milano
17 Novembre 2013
Jocke Berg - vocals
Vic Zino - guitar
Martin Sandvik - bass
Magnus "ADDE" Andreasson - drums
ph © Mairo Cinquetti
Many bands play it safe – Hardcore Superstar doesn't.
The Swedish four-piece had the balls to marry two styles that grew up hating each other. We're talking about thrash metal and sleaze rock. The former hard, aggressive and ugly, the latter catchy, melodic and decadent.
The bastard child's name?
– We play street metal, offers drummer Magnus "Adde" Andreasson. Thrash and sleaze both come from the gutter. They wear big sneakers, they are a bit stupid and they both read pulp fiction. I can't believe that nobody brought them together before.
Hardcore Superstar did just that with the band's fourth and eponymous album, released in 2005. But the quartet didn't arrive overnight, rather paying its dues during a rocky but rewarding ride.
The roots can be traced back to the late eighties, when Adde was talked into playing the drums by older friend and neighbour Jocke Berg.
– I played the guitar and we tried our best with songs such as "Paranoid" and King Diamond's "Shrine", Jocke remembers.
The young teenagers, hailing from a small town just outside of Gothenburg, ended up in different bands, who in turn chose different routes from their Iron Maiden inspired beginnings. Adde opted for heavier stuff in Dorian Gray whereas the Jocke fronted Glamoury Foxx went in a glammier direction. Incidentally, Jocke took up singing thanks to one Thomas Silver, fellow guitar slinger in Glamoury Foxx.
Eventually, Jocke and Adde ended up together again. This time in Link, a classic rock oriented outfit with grunge leanings. They were joined by guitar player Fredrik "Fidde" Johansson and bass player Martin Sandvik, the latter having originally tried to lure Jocke away to his own band, Wanted. Link did the occasional gig and recorded a couple of demos before Adde headed west to pursue his dream.
– I kind of grew tired of Link, he confesses. I moved to Los Angeles to study at the Musicians Institute.
Link recruited drummer Mika Vainio and kept going until parting ways with Fredrik Johansson in the fall of 1997. The guitar player wanted to take the band in a psychedelic and arty direction – the other three just wanted to rock.
– I remember showing Fidde the riff to "Hello/goodbye", Martin says. He turned his back on me and started to play scales on the guitar. He obviously thought the riff sucked.
The remaining members couldn't be bothered, forging ahead and adopting the name Hardcore Superstar. Well, there was one little problem. Jocke already was quite a frontman, but being the sole guitar player? Naaah. As luck would have it, Thomas Silver had just left local rockers Green Jesus Saviours. Hardcore Superstar had a club gig lined up in Gothenburg, so Jocke asked his old bandmate to help out. Things clicked immediately and Thomas signed up as a permanent member.
His connection with Gain Productions helped Hardcore Superstar get "Hello/goodbye" and
"Someone special" onto a compilation album. The response was phenomenal and Gain duly offered the band a contract. And so in early 1998 the boys set out to record their debut album.
– We were influenced by the LA metal scene of the eighties, says Martin. You know, LA Guns and Faster Pussycat and the likes. But we also dug Oasis, as can be heard in "Someone special".
The result, "It's only rock'n'roll", was released in October 1998.
– Putting out an album was awesome, Jocke gushes. I felt like a rock star. And then we got to support Motörhead in Scandinavia. It was like "wow, we've made it!".
The initial 1000 copies of the album sold like hot cakes, and the second pressing sold out as well. Legendary UK label Music For Nations took notice, but Mika Vainio's interest was waning. The drummer jumped ship in late 1998. The band was bummed out but quickly decided that this might've been a blessing in disguise. There was this guy in LA with a bit of skill behind the drums, remember. Thomas called Adde, suggesting he'd get his ass back to Sweden to play some proper rock'n'roll.
– I said yes on the spot, Adde remembers. I felt done with LA, especially after being in a pub brawl that sent me to the hospital. I was back in Sweden in less than a month after Thomas' call.
Everything gelled as soon as the prodigal son returned. Hardcore Superstar signed to MFN but instead of having "It's only rock'n'roll" re-released – as the label was pushing for – the band insisted on re-recording its best tracks plus a few new songs.
– We wanted Adde to be on the album, Martin says. Plus we'd written "Liberation", "Have you been around" and some other great stuff.
The choice proved to be a wise one as soon as "Bad sneakers and a piña colada” was unleashed unto a wider audience in the spring of year 2000. The old songs benefitted from better playing and better production and "Liberation" and "Have you been around" both became successful singles. Together with lead-off single "Someone special", they climbed the domestic charts and made Hardcore Superstar the first Swedish rock band to make it big in the new millennium. Pretty much the rest of the year was spent on the road. Hardcore Superstar played 169 gigs, including a European tour and visits to Japan and Canada.
– Those were our first proper tours, Martin says. Being in a tour bus for six weeks straight and getting to experience Japan was incredible.
Still on an adrenaline high, the band didn't waste any time making a new album. This time, the objective was to explore the possiblities of the recording studio to the max. If "Bad sneakers..." was a case of "wham bam, thank you, ma'm", the follow up "Thank you (for letting us be ourselves)" – released in September 2001 – was a meticulous piece of work. Hardcore Superstar's American seventies' classic rock record, if you will.
– That was our Aerosmith phase, Adde offers. "Thank you..." might not have been what people were expecting or wanting, but we wanted to stick our necks out. We really enjoyed taking our time and using all those expensive, vintage instruments. We even had a string quartet on there.
The album was recorded with producer Roberto Laghi at the helm. Halfway through the project, Hardcore Superstar got the chance to open for AC/DC at a sold-out show (more than 50 000 people) at Gothenburg's Ullevi Stadium. The band shared the stage with friends and fellow local heavy hitters Lok, with whom they'd recorded the single "Staden Göteborg" earlier in the year. The reworked punk rock song – written by the Troublemakers – was the theme song for the music event Popstad Göteborg and had received lots of air play. Supporting Angus Young & Co remains a career high point.
– AC/DC is the ultimate party band, Adde gushes. The music is about pure energy. That's exactly what we're trying to achieve with Hardcore Superstar.
As a huge bonus and ditto honour, the guys were invited to open for AC/DC in Turin, Italy, again a few days later. "Thank you (for letting us be ourselves)" spawned the singles "Shame" and "Mother's love/Significant other" ( a double A-side). The album and the singles all went top 20 in Sweden and Hardcore Superstar once again toured Europe and Japan.
A familiar pattern ensued. The band went straight to work – and the record turned out to be a very different beast to its predecessor. Released in the summer of 2003, "No regrets" was a sonically raw and decidedly more Britsih sounding affair. Misfits had always been a big influence, but spurred on by Roberto Laghi the quartet discovered, or rediscovered, bands like Buzzcocks, The Ruts and The Stranglers. The album was preceded by the single "Honey tongue" and "Still I'm glad" followed. Both made an impact on the domestic charts, but the latter's title was not a good description of the mood in the Hardcore Superstar camp. Quite the opposite.
The heavy touring and heavy partying had taken its toll and spirits were low. After yet another European tour, things became ugly when the band went to the US for selected shows. Hardcore Superstar attended a party thrown at the Swedish consulate in New York City, and Thomas Silver got into a fist fight with a journalist from Swedish tabloid Aftonbladet. The short tour was completed, but the members knew they needed time apart.
– We were so tired of each other, Adde sighs. Tired of everything that had to do with Hardcore Superstar. It could've been two of us getting into a fight.
Back in Sweden, Hardcore Superstar went on a hiatus. The decision was made easier due to the demise of Music For Nations. The future was looking very uncertain, but there would be a twist of fate. Adde inherited an old house and spent the summer of 2004 refurbishing it with help from Martin. When at work, the guys blasted classic albums such as "Appetite for destruction", "Dr Feelgood" and "Among the living" and found themselves smiling again.
– It was like a revelation, Adde remembers fondly.
– We just went "this is what Hardcore Superstar should be about!". We had drifted away from our roots, in a way. It was time to write music from the heart and not listen to anyone but ourselves.
Adde and Martin had a new album mentally mapped out from the word go, and the writing process that followed was smooth and enjoyable. When all four members reconvened after more than six months apart, the chemistry was there again. Sparks were flying at rehearsals and everyone was pleased with the new and heavier direction, the self-proclaimed street metal.
Hardcore Superstar knew they had come up with their strongest material to date. In order to keep the vision pure, the band enlisted friends Johan Reivén (ex-Lok) and Christian "Rizsa" Isaksson to co-produce the record (with Adde and Martin) that was to put Hardcore Superstar back on the map. No-one outside that inner circle was allowed to listen until the album was wrapped. As a teaser, the single "Wild boys" was released in June. But even such a strong song couldn't fully prepare the media and the audience for what was to come.
When "Hardcore Superstar" finally arrived on the Gain label – yes, the band was back "home" – in November 2005, jaws dropped. The album was given excellent reviews worldwide and songs like "We don't celebrate Sundays", "My good reputation" and "Bag on your head" – all three eventually picked as singles – became anthems.
The tour was a runaway success, with not just old fans turning out to celebrate the comeback.
– At last we appealed to the old school metal fans. It was so cool to have those long-haired and bearded dudes with denim jackets playing air guitar in front of us, Martin says with a smile.
The live power of Hardcore Superstar was captured on the dvd "Live at Sticky Fingers", recorded in Gothenburg in March. The band toured Europe, made two triumphant trips to Japan (including an appearance at the prestigious Loud Park Festival) and played a number of European festivals, including a rousing performance in a jam-packed tent at the Sweden Rock Festival.
Having found a musical style and "modus operandi" that worked, the band was eager to start working on its a new album. It was decided that Adde and Martin should once again handle production duties, with old conspirator Roberto Laghi engineering.
The single "Bastards", recorded as a one-off and released in the summer of 2007, proved this was a good idea. It went gold in Sweden and showed that Hardcore Superstar were still on a creative roll. Before going into IF Studio – the Gothenburg studio previously known as Studio Fredman but now owned by In Flames – to record the album, Hardcore Superstar played some festivals. The most remarkable thing was the return to Sweden Rock Festival, this time as support act to Aerosmith on the main stage. Filled with confidence, the guys didn't have a problem immortalizing their new songs. The idea was to build on the strengts of "the black album".
– We knew exactly what we wanted to do, Adde says.
The recording process was more enjoyable than ever, and you can really hear that we were super confident. Musically, we went for diversity. You know, making the hard stuff even harder and the choruses even grander.
"Dreamin' in a casket" came out in November of 2007 and showed that "Hardcore Superstar" was no fluke. The album became another big-seller and the band went on tour to support it.
However, all was not hunky dory. Thomas Silver had lost a bit of his fire and found it hard to be on the road.
At the end of the first leg of the tour, he announced that he was quitting the band. Losing a long-standing member was a heavy blow, but Hardcore Superstar came up with a solution pretty much on the spot. The young and talanted Swede Vic Zino – whose band Crazy Lixx had been the support act on the tour – was chosen to fill the vacant spot for the Australian and Japanese dates that were just around the corner.
The Bosnia-born guitar player did a great job and was asked to join the band on a permanent basis. After some serious thinking, he accepted.
– I co-formed Crazy Lixx, so parting with my childhood friends was a tough thing to do, Vic confesses. But I just couldn't turn down an offer to join Hardcore Superstar. Since the black album, I've been a big fan of the band.
With Vic properly on board, Hardcore Superstar played several European dates as well as some high profile Swedish shows. Selling out Lisebergshallen, the second biggest indoor venue in Gothenburg, was a high point.
There have been many in the ten-year history of the band – and there are many more to come.
The sweetest surprise at the banquet last night was this beautiful young woman playing the most beautiful music. I have always love the delicate sounds from the harp, and this was no exception. She did not seem to mind as I took many many photos as she played. I could have spent an hour doing so (but couldn't, darn).
view on black, looks great!
Adjectives 101 Melodic
Fonte Avatar official FB Page:
A dark, twisted circus sideshow that’s built around bombastically grooving melodic death n’ roll is swinging forward with captivating glee, mesmerizing merriment and the plundering power of lethal pirates toward those brave souls who hand over a ticket to be torn by Avatar and their Black Waltz, the fourth album and first proper American release from the Swedish masters of mayhem.
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
Fonte Avatar official FB Page:
A dark, twisted circus sideshow that’s built around bombastically grooving melodic death n’ roll is swinging forward with captivating glee, mesmerizing merriment and the plundering power of lethal pirates toward those brave souls who hand over a ticket to be torn by Avatar and their Black Waltz, the fourth album and first proper American release from the Swedish masters of mayhem.
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
Pierce the Veil performing alongside A Day To Remember, All Time Low, and The Wonder Years at the Sands Event Center in Bethlehem, PA
Latvian progressive melodic metalcore band from Riga.
Follow them on Facebook: www.facebook.com/Eihshia
Listen them on Bandcamp: eihshiaofficial.bandcamp.com/album/forfeiture-of-design
Watch them on YouTube: www.youtube.com/user/EIHSHIA
Riga, Latvia
Fonte Avatar official FB Page:
A dark, twisted circus sideshow that’s built around bombastically grooving melodic death n’ roll is swinging forward with captivating glee, mesmerizing merriment and the plundering power of lethal pirates toward those brave souls who hand over a ticket to be torn by Avatar and their Black Waltz, the fourth album and first proper American release from the Swedish masters of mayhem.
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Mentre i Lamb Of God annullano il tour europeo, per gli attentati a Parigi, i Children Of Bodom invece vanno avanti.
L’appuntamento è all’Alcatraz di Milano il 24 novembre 2015.
I Children of Bodom sono un gruppo musicale melodic death metal finlandese formatosi nel 1993 a Espoo.
Il gruppo prende il nome dal lago Bodom, situato nei pressi della loro città d'origine, e conosciuto per il massacro omonimo.
Il simbolo dei Children of Bodom è la morte, resa dalla rappresentazione di una figura scheletrica vestita con una tunica nera con cappuccio e con in mano una lunga falce, soprannominata Roy e presente sulle copertine di tutti i loro album.
Alexi "Wildchild" Laiho – voce, chitarra
Jaska W. Raatikainen – batteria
Henkka "Blacksmith" Seppala – basso
Janne Wirman – tastiere
90 Mins. of Melodic & Progressive House selected and mixed live @ Berlin Klein
ENJOY ❤️
▼ Follow DIRTYANGEL Iwish:
www.facebook.com/DJ.DIRTYANGEL
www.youtube.com/c/DirtyangelI...
zeno.fm/radio/dj-dirtyangel-r...
▼ Tracklist:
[0:00]Nils Hoffmann Feat. TENDER - Let Me Go
[5:00]Forty Cats - In My Darkness
[9:50]Forty Cats - Ledokol (GMJ & Matter Remix)
[16:20]Simon Doty - Dreamescape
[21:00]Tinlicker - Always Will ft. Nathan Nicholson (Mees Salomé Remix)
[25:30]APNITUS, Kresko - Sensations
[31:40]Max Day - Catharsis
[35:20]Rezident - Hunter
[38:49]RÜFÜS DU SOL - I Don't Wanna Leave (Innellea Remix)
[44:20]ARTBAT - Aquarius
[48:50]Banaati - Sleepwalking
[54:00]The Dualz - Beyond
[59:44]Paige · Nihil Young & Beacon Bloom - Spitfire
[1:05:30]Miss Monique - Land of Sunshine
[1:11:11]Goom Gum - We Are
[1:17:20]The Cobb - Elysium (Dmitry Molosh Remix)
[1:21:50]Modera - Angel's Envy
#DIRTYANGEL #ProgressiveHouse #MelodicHouse
Fonte Avatar official FB Page:
A dark, twisted circus sideshow that’s built around bombastically grooving melodic death n’ roll is swinging forward with captivating glee, mesmerizing merriment and the plundering power of lethal pirates toward those brave souls who hand over a ticket to be torn by Avatar and their Black Waltz, the fourth album and first proper American release from the Swedish masters of mayhem.
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
Instrumental electronic music by Eigenfrequenz. Video features model Jen Somerfield. For the full video go to YouTube or Vimeo.
Equipment used: Roland Juno 60, Yamaha CS15.
Eigenfrequenz creates electronic music based around analogue synthesisers, guitars and sounds, from melodic instrumental to abstract soundscapes, inspired by the sounds of the 70s and 80s.
Eigenfrequenz is also looking at moving images as a way to connect music and visuals, in a different way to the conventional ‘music video’.
For more of my work please go to Eigenfrequenz on YouTube, Eigenfrequenz on Vimeo, Eigenfrequenz on Facebook, Eigenfrequenz on Bandcamp or Eigenfrequenz on Soundcloud.
Inspirations include Tangerine Dream, Klaus Schulze, Jean Michel Jarre, Vangelis, Kraftwerk, Cluster, Neu!, Brian Eno, Cabaret Voltaire, Orchestral Manoeuvres in the Dark (OMD), Human League and Gary Numan.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Special guest degli Helloween e dei Rage, il 31 gennaio all'Alcatraz di Milano, i Crimes Of Passion.
With an epic sense construct of melody, dynamics and power, C.O.P UK (Crimes of Passion) will hit your ears on October 23rd with “Kiss Of An Angel”, a 4-track/2 video EP that refuses to leave your memory.
Produced by Sascha Paeth the Sheffield, England-forged quartet make their intentions clear from the first shimmering guitar of “My Blood”, it’s crisp, melodic metal sound placing C.O.P. UK in the same arena as Saxon, Megadeth and classic White Lion. “Kiss Of An Angel” showcases a soaring sense of balladic warmth which cascades into a slice of classic AOR rock radio, Saxon’s Biff Byford makes a guest appearance on the catchy yet thrash-riffy “Blackened Heart”, while “Blown Away” is a stadium rock classic in the making.
Dale Radcliffe (vocals), Charles Staton (guitar), Andrew Mewse (guitar), Henning Wanner (keys), Scott Jordan (bass) and Kevin Tonge (drums) grew up with the sounds of hometown heroes Def Leppard ringing in their ears, and fusing such influence with an insatiable appetite for performing, C.O.P. UK came together in 2005 and quickly established the type of schedule reserved for the elite. Honing their craft on club stages all over Europe, the band recorded their debut album, To Die For, in 2011 at Blind Guardian’s Twilight Hall Studios, Orion Studios in the UK before being completed at Helloween’s Tenerife studio.
It was during this spell that C.O.P.UK garnered major interest from some of modern metal’s founding fathers. Saxon’s Biff Byford personally invited them to tour Europe in May/June of 2011, touring with them again later that year, as well as appearing at metal festivals throughout the continent. 2012 saw C.O.P. UK’s ascent continue, with recognition from Metal Hammer magazine and further prestigious festival appearances such as the world famous Wacken Open Air and Bloodstock in the UK.
Melodic, theatrical at times, heavy, grooving with obvious orchestral or symphonic touches, Symphony X puts on a great show.
Melódico, teatral a veces, pesado, rítimco con toques obvios oquestrales o sinfónicos, Symphony X da un concierto fantástico.
Fred Theolonius Baker & Me - Sept 2015
--
Spur of the moment Melodic Improvisation -
~ ᗩ ᗷEE ᗪᗩᑎᑕE ~ (Music Video-More detail in HD)
“The greatest challenge for me is to keep improving every aspect of the compositions and arrangements,” says ARCH ENEMY founder/guitarist Michael Amott about new album, War Eternal. “I’m always searching for ‘the perfect ARCH ENEMY song.’ When I started the band in 1995 I had the idea to create the most heavy melodic band of all time.”
And he did. Over the course of 19 years, ARCH ENEMY, under Amott’s guidance, crafted 10 acclaimed full-lengths, dominated sales charts, and toured the globe. If Amott were a smart man, he’d retire now to some tropical island with his favorite Michael Schenker records in tow and the setting sun on his face. But neither he nor ARCH ENEMY are done. Not by a long shot.
With vocalist Alissa White-Gluz replacing long-time frontwoman Angela Gossow in 2014 respectively, War Eternal is ARCH ENEMY reborn. “Changes in the band lineup are hardly ever looked upon favorably by the fans,” Amott acknowledges, “which I completely understand. Nonetheless, it does happen and the changes that have been made in the ARCH ENEMY camp were necessary in order for the band to survive and keep going. I love the energy of working with new people and Alissa has certainly brought a lot of talent and enthusiasm to the band!”
When Amott recruited Angela Gossow to front ARCH ENEMY for the Wages of Sin effort, he changed extreme metal forever. With White-Gluz, he has a new weapon. She’s a veritable firebrand on War Eternal, her unrelenting roar, cruel rasp and unique looks are the mark of a woman ready to conquer the world. “My goal is to keep ARCH ENEMY alive and thriving!” White-Gluz exclaims. “I want to open a whole new chapter for ARCH ENEMY, powerful and diverse, all the while respecting the legions of fans that love traditional ARCH ENEMY. Fans can expect loads of pure fucking metal.”
At 13 tracks, War Eternal is the quintessential ARCH ENEMY album. It’s both a nostalgic nod to the band’s past (“Never Forgive, Never Forget”, “No More Regrets”) and stunning example of what’s possible in the future (“Down to Nothing”, “Time is Black”). But if there’s a standout track—a spearhead—it’s the title song. Unveiled to the world on Youtube, “War Eternal” marches defiantly against the mundane, two raised fists to the constraints of society and the cage it desperately tries to put on us all. In it, White-Gluz proves she’s the next generation of great, while Amott and the rest of ARCH ENEMY play as if ”War Eternal” is their last song. That ”War Eternal” amassed an astonishing 1.5 million views the first 10 days is telling of its conviction and power. “There are a lot of details in this album that excite me as a songwriter and guitarist,” Amott grins. “Personally, I’ve pushed myself harder as player on War Eternal and feel I’ve gone to another level this time, which is very rewarding. I actually think the whole band has kicked everything up a notch or two.”
Produced by the band and mixed and mastered by Jens Bogren (Opeth, Paradise Lost) at Fascination Street Studio, the Swedes’ 10th full-length is unrelentingly brutal yet remarkably polished. “We could afford any big name producer at this stage in the game,” says Amott. “Having the band produce the album was a natural and logical way of working for us at this point. It was critical that we bring out the true ARCH ENEMY sound, the essence of the band on this record and who knows that better than us? Jens Bogren did an outstanding mixing and mastering the album. It was my first time working with him and I am more than impressed with his talent.”
The album was hailed as “Album Of The Month” in Terrorizer (UK), Powerplay (UK), Metal Hammer (Germany), Rock Hard (France), Metallian (France), Scream (Norway), Sweden Rock (Sweden) and got more than positive reviews all over the world; additionally, War Eternal achieved career-best chart positions for the band in the USA (#44), Germany (#9), Finland (#5), France (#56), and The Netherlands (#36), plus the best UK chart entry (#85) since Doomsday Machine (#81). ARCH ENEMY were also honored to appear on the front covers of Revolver (USA), Legacy (Germany), Rock Hard (France), Inferno (Finland), Up (Netherlands), Aardschok (Netherlands), Metal Maniac (Italy),Pro Rock (Bulgaria), Into The Pit (Thailand) and many more magazines.
Right after the release of War Eternal, the band kicked off their eternal touring with sublime festival shows at Wacken, Sweden Rock and many more, followed by a world tour with Kreator (with whom they released a split 7” single later in October 2014).
During the USA headline tour with Kreator, the band decided to part ways with guitarist Nick Cordle.
Christopher Amott (the brother of ARCH ENEMY founder/bandleader Michael Amott) joined the band for the remainder of their American headlining tour and Jeff Loomis (ex-Nevermore) stepped in for the following European dates with Kreator. Jeff will continue for another busy year in 2015 and beyond.
Jeff Loomis states: "I'm very excited to be playing with ARCH ENEMY. Michael Amott and I have stayed in contact over the years since we toured together when I was playing in Nevermore. Not only do I admire his guitar playing and songwriting, but I also consider him a close friend. To be able to share the stage with Michael, Sharlee, Daniel and Alissa is something I'm really looking forward to. 2015 is going to be a great year... See you all on tour!"
Michael Amott (guitars) comments: "The prospect of working with Jeff Loomis moving forward is truly awesome! Jeff Loomis is one of the best guitar players in the metal world in my opinion, as well as being a long time friend. I look forward to tearing it up on stages around the world together as we continue on the ‘War Eternal' touring cycle throughout all next year and beyond!"
There is no doubt that ARCH ENEMY are stronger than ever before. And the war is not over yet.
I took violin from age 8 to 11. I wanted a piano. My violin teacher used to pinch my cheek. Hard. Even so, I still love the sound of a well played violin. And I took piano lessons as an adult. Still can't play.
Adjectives 101: melodic
“The greatest challenge for me is to keep improving every aspect of the compositions and arrangements,” says ARCH ENEMY founder/guitarist Michael Amott about new album, War Eternal. “I’m always searching for ‘the perfect ARCH ENEMY song.’ When I started the band in 1995 I had the idea to create the most heavy melodic band of all time.”
And he did. Over the course of 19 years, ARCH ENEMY, under Amott’s guidance, crafted 10 acclaimed full-lengths, dominated sales charts, and toured the globe. If Amott were a smart man, he’d retire now to some tropical island with his favorite Michael Schenker records in tow and the setting sun on his face. But neither he nor ARCH ENEMY are done. Not by a long shot.
With vocalist Alissa White-Gluz replacing long-time frontwoman Angela Gossow in 2014 respectively, War Eternal is ARCH ENEMY reborn. “Changes in the band lineup are hardly ever looked upon favorably by the fans,” Amott acknowledges, “which I completely understand. Nonetheless, it does happen and the changes that have been made in the ARCH ENEMY camp were necessary in order for the band to survive and keep going. I love the energy of working with new people and Alissa has certainly brought a lot of talent and enthusiasm to the band!”
When Amott recruited Angela Gossow to front ARCH ENEMY for the Wages of Sin effort, he changed extreme metal forever. With White-Gluz, he has a new weapon. She’s a veritable firebrand on War Eternal, her unrelenting roar, cruel rasp and unique looks are the mark of a woman ready to conquer the world. “My goal is to keep ARCH ENEMY alive and thriving!” White-Gluz exclaims. “I want to open a whole new chapter for ARCH ENEMY, powerful and diverse, all the while respecting the legions of fans that love traditional ARCH ENEMY. Fans can expect loads of pure fucking metal.”
At 13 tracks, War Eternal is the quintessential ARCH ENEMY album. It’s both a nostalgic nod to the band’s past (“Never Forgive, Never Forget”, “No More Regrets”) and stunning example of what’s possible in the future (“Down to Nothing”, “Time is Black”). But if there’s a standout track—a spearhead—it’s the title song. Unveiled to the world on Youtube, “War Eternal” marches defiantly against the mundane, two raised fists to the constraints of society and the cage it desperately tries to put on us all. In it, White-Gluz proves she’s the next generation of great, while Amott and the rest of ARCH ENEMY play as if ”War Eternal” is their last song. That ”War Eternal” amassed an astonishing 1.5 million views the first 10 days is telling of its conviction and power. “There are a lot of details in this album that excite me as a songwriter and guitarist,” Amott grins. “Personally, I’ve pushed myself harder as player on War Eternal and feel I’ve gone to another level this time, which is very rewarding. I actually think the whole band has kicked everything up a notch or two.”
Produced by the band and mixed and mastered by Jens Bogren (Opeth, Paradise Lost) at Fascination Street Studio, the Swedes’ 10th full-length is unrelentingly brutal yet remarkably polished. “We could afford any big name producer at this stage in the game,” says Amott. “Having the band produce the album was a natural and logical way of working for us at this point. It was critical that we bring out the true ARCH ENEMY sound, the essence of the band on this record and who knows that better than us? Jens Bogren did an outstanding mixing and mastering the album. It was my first time working with him and I am more than impressed with his talent.”
The album was hailed as “Album Of The Month” in Terrorizer (UK), Powerplay (UK), Metal Hammer (Germany), Rock Hard (France), Metallian (France), Scream (Norway), Sweden Rock (Sweden) and got more than positive reviews all over the world; additionally, War Eternal achieved career-best chart positions for the band in the USA (#44), Germany (#9), Finland (#5), France (#56), and The Netherlands (#36), plus the best UK chart entry (#85) since Doomsday Machine (#81). ARCH ENEMY were also honored to appear on the front covers of Revolver (USA), Legacy (Germany), Rock Hard (France), Inferno (Finland), Up (Netherlands), Aardschok (Netherlands), Metal Maniac (Italy),Pro Rock (Bulgaria), Into The Pit (Thailand) and many more magazines.
Right after the release of War Eternal, the band kicked off their eternal touring with sublime festival shows at Wacken, Sweden Rock and many more, followed by a world tour with Kreator (with whom they released a split 7” single later in October 2014).
During the USA headline tour with Kreator, the band decided to part ways with guitarist Nick Cordle.
Christopher Amott (the brother of ARCH ENEMY founder/bandleader Michael Amott) joined the band for the remainder of their American headlining tour and Jeff Loomis (ex-Nevermore) stepped in for the following European dates with Kreator. Jeff will continue for another busy year in 2015 and beyond.
Jeff Loomis states: "I'm very excited to be playing with ARCH ENEMY. Michael Amott and I have stayed in contact over the years since we toured together when I was playing in Nevermore. Not only do I admire his guitar playing and songwriting, but I also consider him a close friend. To be able to share the stage with Michael, Sharlee, Daniel and Alissa is something I'm really looking forward to. 2015 is going to be a great year... See you all on tour!"
Michael Amott (guitars) comments: "The prospect of working with Jeff Loomis moving forward is truly awesome! Jeff Loomis is one of the best guitar players in the metal world in my opinion, as well as being a long time friend. I look forward to tearing it up on stages around the world together as we continue on the ‘War Eternal' touring cycle throughout all next year and beyond!"
There is no doubt that ARCH ENEMY are stronger than ever before. And the war is not over yet.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Special guest degli Helloween e dei Rage, il 31 gennaio all'Alcatraz di Milano, i Crimes Of Passion.
With an epic sense construct of melody, dynamics and power, C.O.P UK (Crimes of Passion) will hit your ears on October 23rd with “Kiss Of An Angel”, a 4-track/2 video EP that refuses to leave your memory.
Produced by Sascha Paeth the Sheffield, England-forged quartet make their intentions clear from the first shimmering guitar of “My Blood”, it’s crisp, melodic metal sound placing C.O.P. UK in the same arena as Saxon, Megadeth and classic White Lion. “Kiss Of An Angel” showcases a soaring sense of balladic warmth which cascades into a slice of classic AOR rock radio, Saxon’s Biff Byford makes a guest appearance on the catchy yet thrash-riffy “Blackened Heart”, while “Blown Away” is a stadium rock classic in the making.
Dale Radcliffe (vocals), Charles Staton (guitar), Andrew Mewse (guitar), Henning Wanner (keys), Scott Jordan (bass) and Kevin Tonge (drums) grew up with the sounds of hometown heroes Def Leppard ringing in their ears, and fusing such influence with an insatiable appetite for performing, C.O.P. UK came together in 2005 and quickly established the type of schedule reserved for the elite. Honing their craft on club stages all over Europe, the band recorded their debut album, To Die For, in 2011 at Blind Guardian’s Twilight Hall Studios, Orion Studios in the UK before being completed at Helloween’s Tenerife studio.
It was during this spell that C.O.P.UK garnered major interest from some of modern metal’s founding fathers. Saxon’s Biff Byford personally invited them to tour Europe in May/June of 2011, touring with them again later that year, as well as appearing at metal festivals throughout the continent. 2012 saw C.O.P. UK’s ascent continue, with recognition from Metal Hammer magazine and further prestigious festival appearances such as the world famous Wacken Open Air and Bloodstock in the UK.
Kiss
CD :
Malcolm Middleton And David Shrigley
Music And Words
Melodic Records
MELO99
Design . David Shrigley
Postcard :
Wim Delvoye
Birdhouse N°17
Wood Leather & Metal
1997
Use Hearing Protection
GMA
A rip-roaring cold day today. As the sun set down I noticed this flock of birds finding their comfort on a string of phone lines running along the main road that drops you in to Cape May..
To my eye, they looked like melodic notes on a skyward musical staff.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Opening act di Hey Violet il 4 dicembre ai Magazzini Generali di Milano, Jessarae.
In his writing, playing, and performing, 18-year-old Jessarae (Jez-uh-ray) reveals a true, old soul in a young man’s body. Jessarae takes his place as an unrelenting talent whose guitar playing and songwriting can be felt in your gut and in your soul. His music offers a raw, melodic, sometimes acoustic, garage rock that recalls seminal influences from Damien Rice to My Bloody Valentine. Juxtaposed with a uniquely broad and meticulously controlled vocal range and confidence, Jessarae's developed sound is a reflection of his near decade of experience in creating and performing.
Known for his singles "Follow Me," "Wild Ones," and "Milk and Honey," the singer and songwriter known as Jessarae established a formidable presence on social media, having attracted nearly 15,000 Twitter followers, close to 5,000 YouTube subscribers, and over 20,000 Facebook fans by early 2015.
His first YouTube post, uploaded in July of 2013, shows him playing a cover of the Johnny Cash song "Folsom Prison Blues" at the Warped Tour in Pomona, California.
In February of 2015, he toured with the alternative rock band Saints of Valory.
Born Jesse Robitaille, he is the son of Stacia Toten and former NHL star Luc Robitaille and the younger half brother of Vampire Diaries actor Steven R. McQueen.
Like fellow California musician Eric Statz, Jessarae promoted his music on SoundCloud.
“The greatest challenge for me is to keep improving every aspect of the compositions and arrangements,” says ARCH ENEMY founder/guitarist Michael Amott about new album, War Eternal. “I’m always searching for ‘the perfect ARCH ENEMY song.’ When I started the band in 1995 I had the idea to create the most heavy melodic band of all time.”
And he did. Over the course of 19 years, ARCH ENEMY, under Amott’s guidance, crafted 10 acclaimed full-lengths, dominated sales charts, and toured the globe. If Amott were a smart man, he’d retire now to some tropical island with his favorite Michael Schenker records in tow and the setting sun on his face. But neither he nor ARCH ENEMY are done. Not by a long shot.
With vocalist Alissa White-Gluz replacing long-time frontwoman Angela Gossow in 2014 respectively, War Eternal is ARCH ENEMY reborn. “Changes in the band lineup are hardly ever looked upon favorably by the fans,” Amott acknowledges, “which I completely understand. Nonetheless, it does happen and the changes that have been made in the ARCH ENEMY camp were necessary in order for the band to survive and keep going. I love the energy of working with new people and Alissa has certainly brought a lot of talent and enthusiasm to the band!”
When Amott recruited Angela Gossow to front ARCH ENEMY for the Wages of Sin effort, he changed extreme metal forever. With White-Gluz, he has a new weapon. She’s a veritable firebrand on War Eternal, her unrelenting roar, cruel rasp and unique looks are the mark of a woman ready to conquer the world. “My goal is to keep ARCH ENEMY alive and thriving!” White-Gluz exclaims. “I want to open a whole new chapter for ARCH ENEMY, powerful and diverse, all the while respecting the legions of fans that love traditional ARCH ENEMY. Fans can expect loads of pure fucking metal.”
At 13 tracks, War Eternal is the quintessential ARCH ENEMY album. It’s both a nostalgic nod to the band’s past (“Never Forgive, Never Forget”, “No More Regrets”) and stunning example of what’s possible in the future (“Down to Nothing”, “Time is Black”). But if there’s a standout track—a spearhead—it’s the title song. Unveiled to the world on Youtube, “War Eternal” marches defiantly against the mundane, two raised fists to the constraints of society and the cage it desperately tries to put on us all. In it, White-Gluz proves she’s the next generation of great, while Amott and the rest of ARCH ENEMY play as if ”War Eternal” is their last song. That ”War Eternal” amassed an astonishing 1.5 million views the first 10 days is telling of its conviction and power. “There are a lot of details in this album that excite me as a songwriter and guitarist,” Amott grins. “Personally, I’ve pushed myself harder as player on War Eternal and feel I’ve gone to another level this time, which is very rewarding. I actually think the whole band has kicked everything up a notch or two.”
Produced by the band and mixed and mastered by Jens Bogren (Opeth, Paradise Lost) at Fascination Street Studio, the Swedes’ 10th full-length is unrelentingly brutal yet remarkably polished. “We could afford any big name producer at this stage in the game,” says Amott. “Having the band produce the album was a natural and logical way of working for us at this point. It was critical that we bring out the true ARCH ENEMY sound, the essence of the band on this record and who knows that better than us? Jens Bogren did an outstanding mixing and mastering the album. It was my first time working with him and I am more than impressed with his talent.”
The album was hailed as “Album Of The Month” in Terrorizer (UK), Powerplay (UK), Metal Hammer (Germany), Rock Hard (France), Metallian (France), Scream (Norway), Sweden Rock (Sweden) and got more than positive reviews all over the world; additionally, War Eternal achieved career-best chart positions for the band in the USA (#44), Germany (#9), Finland (#5), France (#56), and The Netherlands (#36), plus the best UK chart entry (#85) since Doomsday Machine (#81). ARCH ENEMY were also honored to appear on the front covers of Revolver (USA), Legacy (Germany), Rock Hard (France), Inferno (Finland), Up (Netherlands), Aardschok (Netherlands), Metal Maniac (Italy),Pro Rock (Bulgaria), Into The Pit (Thailand) and many more magazines.
Right after the release of War Eternal, the band kicked off their eternal touring with sublime festival shows at Wacken, Sweden Rock and many more, followed by a world tour with Kreator (with whom they released a split 7” single later in October 2014).
During the USA headline tour with Kreator, the band decided to part ways with guitarist Nick Cordle.
Christopher Amott (the brother of ARCH ENEMY founder/bandleader Michael Amott) joined the band for the remainder of their American headlining tour and Jeff Loomis (ex-Nevermore) stepped in for the following European dates with Kreator. Jeff will continue for another busy year in 2015 and beyond.
Jeff Loomis states: "I'm very excited to be playing with ARCH ENEMY. Michael Amott and I have stayed in contact over the years since we toured together when I was playing in Nevermore. Not only do I admire his guitar playing and songwriting, but I also consider him a close friend. To be able to share the stage with Michael, Sharlee, Daniel and Alissa is something I'm really looking forward to. 2015 is going to be a great year... See you all on tour!"
Michael Amott (guitars) comments: "The prospect of working with Jeff Loomis moving forward is truly awesome! Jeff Loomis is one of the best guitar players in the metal world in my opinion, as well as being a long time friend. I look forward to tearing it up on stages around the world together as we continue on the ‘War Eternal' touring cycle throughout all next year and beyond!"
There is no doubt that ARCH ENEMY are stronger than ever before. And the war is not over yet.
© sergione infuso - all rights reserved
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Special guest degli Helloween e dei Rage, il 31 gennaio all'Alcatraz di Milano, i Crimes Of Passion.
With an epic sense construct of melody, dynamics and power, C.O.P UK (Crimes of Passion) will hit your ears on October 23rd with “Kiss Of An Angel”, a 4-track/2 video EP that refuses to leave your memory.
Produced by Sascha Paeth the Sheffield, England-forged quartet make their intentions clear from the first shimmering guitar of “My Blood”, it’s crisp, melodic metal sound placing C.O.P. UK in the same arena as Saxon, Megadeth and classic White Lion. “Kiss Of An Angel” showcases a soaring sense of balladic warmth which cascades into a slice of classic AOR rock radio, Saxon’s Biff Byford makes a guest appearance on the catchy yet thrash-riffy “Blackened Heart”, while “Blown Away” is a stadium rock classic in the making.
Dale Radcliffe (vocals), Charles Staton (guitar), Andrew Mewse (guitar), Henning Wanner (keys), Scott Jordan (bass) and Kevin Tonge (drums) grew up with the sounds of hometown heroes Def Leppard ringing in their ears, and fusing such influence with an insatiable appetite for performing, C.O.P. UK came together in 2005 and quickly established the type of schedule reserved for the elite. Honing their craft on club stages all over Europe, the band recorded their debut album, To Die For, in 2011 at Blind Guardian’s Twilight Hall Studios, Orion Studios in the UK before being completed at Helloween’s Tenerife studio.
It was during this spell that C.O.P.UK garnered major interest from some of modern metal’s founding fathers. Saxon’s Biff Byford personally invited them to tour Europe in May/June of 2011, touring with them again later that year, as well as appearing at metal festivals throughout the continent. 2012 saw C.O.P. UK’s ascent continue, with recognition from Metal Hammer magazine and further prestigious festival appearances such as the world famous Wacken Open Air and Bloodstock in the UK.
Fonte Avatar official FB Page:
A dark, twisted circus sideshow that’s built around bombastically grooving melodic death n’ roll is swinging forward with captivating glee, mesmerizing merriment and the plundering power of lethal pirates toward those brave souls who hand over a ticket to be torn by Avatar and their Black Waltz, the fourth album and first proper American release from the Swedish masters of mayhem.
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
Fonte Avatar official FB Page:
A dark, twisted circus sideshow that’s built around bombastically grooving melodic death n’ roll is swinging forward with captivating glee, mesmerizing merriment and the plundering power of lethal pirates toward those brave souls who hand over a ticket to be torn by Avatar and their Black Waltz, the fourth album and first proper American release from the Swedish masters of mayhem.
Within Avatar’s diverse songs, a steady focus on the fluid and organic power of the riff (recalling the thunderous foresight of heavy metal’s original wizards, Black Sabbath) takes flight combined with an adventurous sprit veering off into the astral planes of the psychedelic atmosphere conjured by pioneers like Pink Floyd back in the day.
Avatar has found a footing that combines the best of rock n’ roll, hard rock and heavy metal’s past, present and future into an overall artistic presentation that is thought-provoking, challenging and altogether enchantingly electric. With the grandiose showmanship of American professional wrestling, the snake oil salesmanship of early 20th century vaudevillian troubadours and the kinetically superheroic power of early Kiss, Avatar lays waste to lesser mortals with ease. Whether somebody gets their rocks off listening to Satyricon or System of a Down, they’ll find something suitably deranged here.
“We’re in this weird field, caught in a triangle between extreme metal, rock n’ roll and what can be described as Avant-garde,” confesses Avatar vocalist Johannes Eckerström. The all-enveloping theme park vibe of the band’s music and visual counterpart means that, naturally, “it’s turning into something bigger.”
“I have been in this band for ten years. I grew up in this band,” Eckerström explains. “We’re somewhat veterans on the one hand. But we’re the new kids in the neighborhood in America at the same time.”
Avatar came of age as “little brothers” of sorts of the famed Gothenburg scene that spawned the celebrated New Wave Of Swedish Death Metal. The band’s debut album, 2006’s Thoughts of No Tomorrow, was filled with brutal, technical melodic death metal to be sure but already, “We tried to put our own stamp on it,” the singer assures. While the following year’s Schlacht still contained flourishes of melody, the unrelenting metallic fury reached an extreme peak. “Intensity was very important,” he says, with some degree of understatement.
Where to go for album number three? “We basically rebelled against ourselves,” Eckerström says of 2009’s self-titled collection. “We figured, ‘We can play faster and make even weirder, more technical riffs,’ because Schlacht was cool. But to take that another step would have turned us into something we didn’t want to be.”
Instead Avatar rediscovered their inherent passion for traditional heavy metal and classic rock n’ roll. “We decided to remove some unnecessary ‘look at me, I can play!’ parts and added more groove. We added a whole new kind of melody. It was awesome to be this ‘rock n’ roll band’ for a while. It was refreshing and liberating.”
Black Waltz sees Avatar coming completely full circle, returning to a more aggressive form of heavy metal but incorporating the lessons they learned while jamming on big riffs with album number three. “We finally came to understand what a good groove is all about and what a great fit it was for our sound,” notes Eckerström.
Tracks like the appropriately titled “Ready for the Ride,” the rollicking “Let it Burn” (which dips into some delicious stonerifficness), the anthemic “Smells Like a Freakshow” (a modern day twist of Marilyn Manson and Rob Zombie) and “Torn Apart” are supercharged with a dynamic range of artistic showmanship on a near cinematic scale and it’s all stitched together by a driving bottom end.
While most European metal acts who dare attempt this level of musicianship, showmanship and attention to detail seem content to toil away in the studio and lock themselves away from the crowds, Avatar have excelled beyond their peers thanks in large part to their continued focus on road work. Careening to and fro on tour busses and airplanes around the world like a marauding troupe of circus performers, Eckerström and his mates (guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin and drummer John Alfredsson) have forged the type of musical bond that can only be brought forth from massive amounts of time spent together on the stage, in hotel rooms, in airports and partying at the venue’s bar.
Whether on tour with bands like In Flames, Dark Tranquility or Helloween, playing gigantic festivals like Storsjöyra and Sweden Rock Festival or demolishing South by Southwest, playing live is what it all comes down to for this band. “That is the final manifestation of our art,” Eckerström insists. “Of course an album is a piece of art in itself, but mainly it's a means to reach the higher goal, which is doing these awesome shows. Touring is of the greatest importance.”
“We all just love the pirate’s life,” he admits freely. “Sailing into the city on this tour bus thingy, going to kick some ass, have that party and all the while meeting all of these people, entertaining them, encountering a culture that's not your own. We love that.”
The want for this type of lifestyle goes back to early childhood fascinations for the good-humored singer. Reading about superheroes, watching Hulk Hogan on TV, getting exposed to Kiss – these were the first ingredients for what Eckerström would go on to create with the guys in Avatar and what has culminated now in Black Waltz.
The frontman promises that Avatar will continue to create, to captivate and to experiment. There’s no definitive endpoint in sight. It’s always about the horizon, the journey itself. “As long as you're hungry as an artist, there are higher and higher artistic achievements. I love AC/DC and Motorhead and what they’ve established is amazing, but we don’t want to write albums that are kind of like the album before. We want to travel to a new galaxy, so to speak, every time.”
The goal is always to conquer what came before. “That is what stays with you as a mentally healthy musician. Or maybe a mentally deranged one, I’m not sure,” the singer laughs. And part and parcel to that continued evolution will be the ever broadening expansion of the scope of Avatar’s worldwide presentation: Black Waltz and beyond.
“We have great visions of what we want to do and the things we want to give to people on a stage,” Eckerström promises. “These ideas, these visions, they require a huge audience. They require a lot of legroom to be done, so I want to get into those arenas, basically. I know we would do something really magical if we got the chance. This idea is one of those things that really, really keeps us going.”
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Mentre i Lamb Of God annullano il tour europeo, per gli attentati a Parigi, i Children Of Bodom invece vanno avanti.
L’appuntamento è all’Alcatraz di Milano il 24 novembre 2015.
I Children of Bodom sono un gruppo musicale melodic death metal finlandese formatosi nel 1993 a Espoo.
Il gruppo prende il nome dal lago Bodom, situato nei pressi della loro città d'origine, e conosciuto per il massacro omonimo.
Il simbolo dei Children of Bodom è la morte, resa dalla rappresentazione di una figura scheletrica vestita con una tunica nera con cappuccio e con in mano una lunga falce, soprannominata Roy e presente sulle copertine di tutti i loro album.
Alexi "Wildchild" Laiho – voce, chitarra
Jaska W. Raatikainen – batteria
Henkka "Blacksmith" Seppala – basso
Janne Wirman – tastiere