Eurovision was a big moment for Blind Channel, the sextet from Oulu secured 6th place and cemented themselves in a line of successful rock and metal bands to have graced the Eurovision sphere. The rollercoaster did not stop there as they signed with Century Media, performed sold-out shows across Finland and are now planning on their first major European tour with many shows looking set to sell-out also.
Aptly dubbed 'Finnkin Park' (even though their 'Violent Pop' sound brings together a variety of rock and metal genres), Blind Channel released a music video for their latest single 'Balboa' (released back in August), echoing the core story of the Rocky films i.e. getting up and taking the fight head-on.
Blind Channel's Joel Hokka spoke to Global Metal Apocalypse about their journey since that evening in Rotterdam and how one of Finland's most successful musicians Lauri Ylönen (The Rasmus) came in touch with Joel about doing a special cover of 'Dark Side'.
Blind Channel gained overnight international success after the Eurovision 2021 finals, talk us through the emotions on that night. Additionally, what was it like signing with Century Media?
“Yep it happened pretty quickly with 'Dark Side' & the whole ESC thing. To be honest we didn’t expect that kind of success at all. We were thinking that if we hit the finals it’s already a win for us, and then we ended up in 6th place. But the real victory happened the day after when we saw that 'Dark Side' was #62 on the international Spotify global charts. I think we’ve been hyped up since that night until the last live shows of the summer ended last month. Century Media feels a great home for us. We want to be a massive alternative music outcome and CM / Sony has a great platform for us to be who we are without selling our souls!“
Your achievements have given bands not only in Oulu, but other Finnish cities too, hope that they can break out internationally. Thinking back to when you first started out, did you ever imagine you would be where you are at now?
“We always wanted to make it big internationally. There was no other choice. We were always looking up to Finnish exports like HIM, Children Of Bodom etc, and we thought if those guys can make it so can we! So yeah, we were pretty sure since the start!“
You released your new single / video 'Balboa' last month, first impressions are that the song is to do with the 'Rocky' film franchise, is this true? Either way what was the inspiration for 'Balboa'?
“Balboa is an anthem for the underdogs. It’s simply about getting up again and again. That’s how we’ve felt with our career for past 8 years. And yes, Rocky is the ultimate example of an underdog!“
Assuming 'Balboa' will be included on your forthcoming album (due out 2022), how far are you in the album creation process? When will the next single drop? Will this album be the darkest you've ever done?
“The album is right now in the hands of Dan Lancaster who will be mixing the whole thing next month. After that it will mastered in the US. The next single… hmmm…. maybe soon. The album itself will be the purest Blind Channel ever. We’ve gone through a lot while writing & recording this so there’s a LOT of stories to tell. Of course there’s always the darkness in our music. We come from the North. It’s in our DNA.“
Will the new album be released on vinyl? Will there be special, limited editions released? Maybe a mini-documentary of the band's rise from humble origins to international success?
“There will be many different forms of physical album. Vinyl's for sure for example! We’ve already documented a lot of stuff during 2021 but of course there’s a lot of things still to show for people so let’s see. Hopefully!“
Now you did a live duet with Lauri Ylönen (The Rasmus) on the song 'Dark Side', tell us how that came about? Could we see Blind Channel tour with The Rasmus in times to come?
“Lauri called me (Joel) and told me about the idea. I was blown away ‘cause Lauri is one of my childhood idols from early 2000’s and I really love The Rasmus. I really hope we can tour together ASAP! Maybe next year?“
Speaking of tours, you recently finished a string of dates across Finland, talk us through the logistics and emotions. Your next tour in early-2022 will be with Eskimo Callboy and fellow Finns One Morning Left; assuming you will be playing songs from the new album?
“The shows in Finland have been incredible. Thousands of people every night, pure insane adrenaline all the time. We played over 16 shows and had the best times of our life. The tour with Eskimo Callboy is something we really look forward to now. We will be playing brand new songs but also classics. Our set will be around 40 minutes per night so we need to be smart with the choices when it comes to songs!“
Regarding next year, are you looking to secure slots at festivals across Europe? Could we see Blind Channel at Download or Bloodstock in the UK?
“We’d LOVE to play some big European festivals but right now we don’t know about them yet. Only thing we know for now is that there will be MASSIVE festival slots in Finland for sure but Download, Rock Am Ring, Bloodstock, Reading etc. is always good for us!“
What plans do you have for the year ahead and into 2022 other than your tour supporting Eskimo Callboy?
“Album 4. Hell a lot of touring in EU / FIN (Hopefully US as well), new videos, cool TV things and tons of empty white wine bottles!“
Do you have any greetings and thanks that you wish to send out to friends, family, fans, etc?.
“Greetings if you read this whole interview! We really respect that a lot, and also thank you for all the support. Without you (the people and the medias) we’d be nothing. See you at the shows!!“
The fact that metal music is a global phenomenon has been established since the turn of the millennium and as such is no longer a secret, this is a music genre that has traversed the world across all factions and even to this day, more and more bands are forming and scenes being established, leaving lasting legacies not only just in the metal community, but in their own national community also.
The challenges metal music poses vary from country to region and seeking resolutions have not always been easy, but the spirit of devotion to arguably the world's most connected genre lives on and so will the people behind it.
Yet ironically where it is no surprise that metal exists in every corner of the globe, the fact that new scene discoveries are so fascinatingly exciting just underpins the gravity of why global metal music is a treasure to behold.
Enter Toxic Roulette, the first metal band coming from Yemen. The band spoke exclusively to Global Metal Apocalypse about their origins, the possible emergence of a Yemeni metal scene; the challenges that will come / are coming with it and how they are perceived by the Yemeni people.
For some bands it was relatively easy to establish a scene, for some it was the choice between life and death. For Toxic Roulette, their emergence was thanks to meeting in a talent competition, and that they discovered metal music through various means as they go on to explain:-
"Heavy metal came to Yemen mainly because of the people who lived abroad, they came back with guitars and metal CDs, and the second reason is the internet. There was a small talent show and we gathered from different places. Some of the talents had similar taste of music and we thought why not make a metal band. It was a pure coincidence."
Much like when Morocco went through a period of censoring metal music, jailing metalheads and labelling it as Satanic music, Yemen could enforce a similar if not the same method of constraining a harmless 'threat to cultural norms'. For now it seems that metalheads in Yemen are wanting the music to remain ironically underground and not gain a wider national interest, maybe the values presented in Sharia law outweigh the freedom of playing metal music and so would rather keep it hidden in secrecy until open dialogue is established – look at Creative Waste playing their first open air concert in Saudi Arabia for example....
“The general perception of heavy metal in Yemen is very bad, they think it’s only related to Satanic rituals. But at the same time the majority of people are yet still to know more about it. Heavy metal in Yemen is still not well known enough, and the authorities are not well informed about it, but if more people follow heavy metal, then the authorities will ban it 100%.”
This view then begs the question of what the bandmembers families think of metal music, naturally it's expected for family members to be supportive of what their relatives undertake within reason (no prizes for coming up with any suggestions of what is not appropriate). Also, as the band mentioned earlier, the importation of metal CD's were a fundamental resource in building up a metal community in Yemen, they go on to explain who they got into first:
“We got into heavy metal after listening to great bands like Metallica, AC/DC and Megadeth. Also, we loved the sound of electric guitars. Our parents thought it sounds loud and doesn't make sense, but they too love guitar solos.”
Forming a band and releasing music is one thing, forming a band with no pre-existing scene and then looking to release music is an entirely different challenge in itself. For Toxic Roulette, the latter applies as they go on to explain they are only doing covers for the time being, with 2022 aiming to be the band's first time creating original material:
“We are still yet to release a demo. We mainly play covers of famous metal songs, but hopefully we can release a demo next year.”
We look forward to the first ever metal release to come out of Yemen, but like the rest of the world this is not the biggest challenge being faced... in 2019 a then-unknown pathogen emerged out of Wuhan, China which later came to be called 'COVID-19', plaguing the world in a battle and race against time to suppress this lethal killer. Since then vaccine developments have been heralded as major step in attempting to limit the long-term damage of the disease, however a whole host of countries (chiefly those of the Third World) are yet again being left behind by the First World. It is no secret that Yemen has suffered years of famine and poverty and still continues to suffer, to coin a phrase it's like 'kicking a man whilst he is down'. So how has the country dealt with the COVID-19 pandemic and what limitations have been posed?
“COVID-19 didn’t have much effect in people's lives in Yemen, since the authorities didn’t do much to protect the people. We are not under a lockdown.”
As mentioned earlier Toxic Roulette are the first metal band from Yemen, so with no pre-existing scene the challenges are exceptionally difficult - let alone not performing outside of Yemen. One such challenge is equipment sourcing and so they have to rely on travellers to carry out favours for them:
“Obtaining good equipment is always a challenge in Yemen. We rely mostly on people who come from abroad to provide us with good instruments.”
Since 2019 air travel has been at an all-time low and as such many destinations were off-limits or strongly advised travelling to, but under normal circumstances the band recommends visiting the historic sites Yemen has to offer including old Sanaa (Bab Al Yemen).
Naturally the global metal community is a tight-knit one and it's considered the norm to herald any major achievements by bands from the lesser known metal scenes. Of course it's great hearing bands like Ghost getting a GRAMMY award, but what about Orphaned Land (Israel) and Khalas (Palestine) touring together? Considering their two nations are against one another, that milestone is something that should be celebrated more than winning an award no?
The MENA (Middle East-North Africa) metal scenes have come a long way and are making sensational progress in establishing themselves, it's inevitable that more and more entities within the Western music industry will pay more attention to bands from this region... it's got to happen, there is so much talent being overlooked just because the next Swedish export so happens to be the next Amon Amarth per se, Europe is no longer the big boy on planet metal and it's about time we accepted that.
“We think that heavy metal has made great progress in the MENA region despite all of the obstacles and challenges. We have seen many great metal bands from Jordan and Egypt get noticed.”
And so where does Toxic Roulette go now as we head towards the end of 2021 and welcome in 2022?
“Our plan for next year is to make original heavy metal music.”
Empressite is a melodic / progressive metal band from Sweden formed in 2012 by Velvet (vocals) and Chris (guitars and composition; who also plays with Bleeding Utopia and Prosector, ex-Decadence).
The couple have spent years writing material and ere joined in 2020 by drummer Nicke Olsson (Putrid Vision, One Day In Pain, Haven Devine, ex-Leprosy, ex-Centinex).
The trio recorded and released single and music video Exhumed in February 2021.
After the release, they recruited bassist Gastón Nanni and second guitarist Patrick Wahlberg (Ex-Nocean drummer). The EP "Road Of All Ends" is currently being recorded and is intended to be released Autumn 2021.
Here they survived their interview interrogation.
On the new music video 'Exhumed' -
Tell us how you chose the name 'Empressite', after all it's a rare mineral relating to silver telluride.
"When I was little, my grandmother used to take me with her outside to go looking for stones, which sparked my interest in minerals. Years later I came across an article about the Empress Josephine Mine in Colorado, USA, where this rare mineral 'Empressite' was found. I really liked the sound of it so I decided to use it for the band we started. The stone itself is black with a silver shimmer."
It has been a long time between your inception in 2012 and the release of your upcoming EP 'Road Of All Ends', what happened in this period; instability or were there other releases?
"When we (Chris & Velvet) started the band in 2012 we quickly realized it was the wrong time to get a band going, studies took time and other bandmates who joined moved, or studied or worked irregular days and hours, so we decided to take a break. We kicked the band into motion again in 2020 when our drummer Nicke joined us. After the release of "Exhumed" our latest additions Gastón (bass) and Patrick (guitar) completed the line-up".
You played Heresy Fest (Argentina) this year, how did you manage to get on the schedule? Will this be your first performance outside Sweden; even broadcasting overseas?
"Our fantastic bassist Gastón is from Argentina, hence the connections and amazing opportunity to join the festival.
Yes, that's right, this was the first time performing "outside" Sweden, even if this was online due to the coronavirus regulations. But we really hope for it to get better so we can actually travel sometime."
"The organiser of the festival is on pretty good terms with close friends and former band members I had back in Argentina, so when the opportunity came up it was pretty good to reach out and coordinate our participation."
Your new music video 'Exhumed' has a Nordic Noir feeling and tells a story, but what challenges did you face in creating the video?
"The video was made all by ourselves, so the biggest challenge was definitely the time consuming cutting and production process.
The whole video was filmed under just a couple of hours, the weather was cloudy, cold and damp. It got really chilly after a while, especially for Louise who was playing the part of Sorrow, standing barefoot almost all day. Take into consideration this was mid-November here in Sweden. Time was also extremely limited since the sun starts to set before 4:00 PM in November, we had to be well prepared and move fast with the takes, leaving almost no breaks at all."
Check out the new music video below
With that in mind your style features doom elements on top of your melodic / prog metal sound - who do you look to for inspiration in your sound?
"Nature, emotions, life, books and games. We want to move towards a more progressive sound with the new material we're currently writing, finding inspiration from bands such as Dream Theater, Haken, Rush, Symphony X, Katatonia, Swallow The Sun, to name a few."
What plans (all things considered) do you have for the year ahead?
"This year we'll release an EP called "Road Of All Ends" with another music video to one of the songs. We'll make a physical copy of the EP and we're having some pretty amazing merchandise ideas upcoming for the release.
We have considered to release a couple of the older rock / metal tunes we have as well before we move on to new material, and perhaps a couple of covers, those are always fun to do."
Could we see Empressite enter Melodifestivalen or Wacken Metal Battle sometime?
"Nothing is impossible, haha"
Do you have any greetings or thanks that you wish to send out to friends, family, etc?
"I want to thank my mum for always believing in me, my daughter, E, Chris, our lovely mini-pigs Toffee and Truffle, and my best friends Louise, Sara and Joshua. I'd also want to thank Rockers.fi for sponsoring me with the most metal and Empressite-like jewellery there is."
"Of course I need to express my gratitude to the Swedish people for welcoming me with open arms into their house, and my family and friends back in Argentina, for believing and supporting me on this ride, most particularly the bands that I had to leave and closest band friends up on stage, Sentinel, Innerforce and Bloodcrown.
"I wanna thank my family for always supporting my passion for music, my girlfriend for pushing me and of course anyone who supports Empressite in any way, as well as Skull Strings for endorsing us with the best strings for metal!"
"Extended thanks to my bandmates for putting up with me. Toffee and Truffle, Edward, Josh, Josh, Tanja, Jacob, Dan, Solar guitars, Bare Knuckle Pickups, Skull strings.
"My daughter Matilde and all my amazing friends!"
Our Endorsers Skull Strings, Bare Knuckle Pickups, Solar Guitars, Rockers.fi jewellery
If you think you can hear some rather Awful Noise, then you're probably right... no it's not your next roadworks or your stomach rumbling, it's Australian noise-makers Awful Noise giving your ears a good pounding. Having delivered their second single "Synchronized Drowning" and released a COVID-19 split with Canadian and Belarusian hordes Mendacity and Grimentity respectively, the new kids on the block are priming themselves to leave their mark on the national metal scene, whilst securing a record label deal for their debut album. They've dealt with COVID restrictions and bushfires rampaging their homeland of Queensland, and now they're setting on navigating the choppy waters of the music industry... vocalist Lindon Faynes elected himself to be interrogated by GMA, as Fosters would say 'good call'.
For those who have not heard of Awful Noise, could you tell us how the band came about and how the name was chosen?
"Our original bassist Brady Irwin and myself started hanging out and writing tunes with the idea of creating a more of a jokey style of grind band, then we recruited Chris Perkins from Those Who Endure on guitar who had a handful of riffs written and was looking to make a step outside of the deathcore genre. When we had enough material written I hit up my mate Pete Robertson (TazerTorture / Xyanix / Malakyte) for drums as he had put his hand up to play some grind beats. Chris came up with the name 'Awful Noise' and it took a bit of influence from the Finnish band, Rotten Sound. It's a fun name to use for sure!"
You released your 2nd album single "Synchronized Drowning" back in December, what was the reception like? Will we expect similar sounds on your forthcoming debut album?
"People liked the song and we've sold a few of the single art t-shirts that were printed with the release. It's our punkiest song so far but all the other album songs still have that savage grind attitude"
What can you tell us about the debut album so far? How is the creation process coming along, where are you currently with it?
"The album has been ready for 2 years now, unfortunately after we recorded the album as a 3 piece our drummer Pete decided to step down. I had to basically sit and come to the conclusion that either the band would die there or would go on with a new lineup. Chris and myself are the only remaining original members with new bassist Robert Needham jumping in after the album."
You mix brutal death metal with grindcore, what makes your music stand out from other bands playing both said genres?
"Whilst I wouldn't say we're unique or anything like that, we do strive to write outside of the normal grind cliche and our recordings are a lot cleaner than typical of the genre."
Do you take any music inspirations outside of metal? If so who and how do their sounds fit in with your music?
"Besides punk/hardcore influences we don't really add anything else soundwise."
Do you feel that the Australian metal scene is often forgotten about by the rest of the world, at least in part due to its geological position?
"Yes and no, you'll always find dedicated international support for bands like Parkway Drive, Aversions Crown, Portal, Psycroptic etc"
Alongside COVID-19, Queensland had to deal with bushfires - talk to us about that, how did it start, is it an annual thing? How was the threat mitigated?
"Yeah COVID-19 put a holt to a lot of future plans in the music and art industry. When people were able to leave isolation, Chris, Rob & myself went into the studio and recorded 2 tracks for a COVID split with Mendacity from Canada and Grimentity from Belarus. Our friend Ben Davies (Kaerulean) did the drums and his guitarist Blake Nevarov handled the recording. As for the bushfires, they started in various ways: some by lightning, some by human actions, including arson. However, it's the climate conditions that provided ample fuel for the fires to grow and spread. Before the fires ignited, Australia was already enduring its hottest and driest year on record. Also our Prime Minister decided then to take a holiday to Hawaii despite the warnings so f*** him and his handshake."
What plans does the band have for the year ahead (COVID depending)? Do you have any greetings or thanks you wish to send out?
"Awful Noise is now a 5 piece band with our new drummer and 2nd guitarist yet to be announced. I've recently started talking to labels and distributors about the album so hopefully soon we can finally announce the album title and art, once we know when the album is ready for launch we'll look to gig / tour for it once we're allowed to do so ie covid. We'll give a shoutout to everyone has supported us during this time and to you Rhys for your support. Grind on!"
"We have already begun writing another album as we speak and we will be more active than we have ever been previously."
You might not be forgiven if you happen to forget that beneath the leviathans of Slipknot, 5FDP, Trivium, Metallica and the other greats of the American metal scene, are underground hotbeds producing the newest and exciting bands to lead the country and bear the flag. One such band is Pathways, whose journey from the Sunshine State aka Florida to the Pacific coast of Washington State has culminated in not only new recruits, but newfound vigour.
"Great Old Ones" is the quartet's newest single and is just one glimpse of what the lads have up their sleeves as they barrow towards their debut album seeing daylight. The lads managed to survive our interview interrogation and whilst they spilled their guts out about the challenges of playing live shows, why their sound is a cauldron of different sounds that make them extraordinarily hard to pigeonhole, how Washington state coped with the COVID-19 pandemic and what their plans are for the year ahead.
For those who have not heard of Pathways, could you please tell us how the band came about and what the band name means?
"Our last major release was in 2016, with a 5 song EP titled “Dies Irae”, released through Tragic Hero Records. Since then, our world has utterly changed in a progressive and exciting way. At the time, both Wil & I (Jon) lived in south Florida. Eventually circumstances led us out here to the Pacific North-West (PNW), where we really decided to seek out our musical identity (as a band). We knew the exact sound that needed to be achieved, and in order to do this properly, we needed help from other / newer members.
We spoke with the CEO of Tragic and we were able to release our contract from the label, parted ways with previous members, and as luck would have it - our search concluded with Caner and Kyle. With the new line-up solidified, we immediately wrote our first ever full-length album, and a separate single (Great Old Ones). The single serves as a catalyst to kick off the fresh sound and active condition of the band. The band has a specific sound in mind, and achieving it would take many different dynamics to come together - Pathways is a way of achieving an action, within multiple avenues (us as a collective)."
You play progressive metalcore and utilise 8 strings and classical influences, please discuss the decisions behind the two influences?
"We have always had a strong classical influence. Our identity has been shaped from having neo-classical metalcore / deathcore elements, to just being strictly metal now. The older tunes were designed with an aggressive and chaotic foundation, while the current work is focused on groove and purposeful melodies, while of course, maintaining that classical ominous vibe. We couldn’t be happier with how the sound has been defined. It took a long time to reach this exact point of musical maturity, but the wait will be worth every moment passed (especially for the fans)."
Each musician has their own influences, where does your influences come from and how do they fit in with Pathways sound?
"An extremely diverse musical pallet is on the table with the new Pathways line-up. Jon went to Musicians Institute in L.A. for 2 years and is classically trained. Wil has strong r&b and pop / hip-hop ties, which he incorporates into the pocket grooves of the music. Caner is all over the place with influences, but in a brilliant & diverse way. He has influences that stem from his Turkish heritage, all the way to rap and deathcore. His main strong suit is his vocal range. It is truly unique and unlike anyone we have ever heard.
He is our secret weapon for sure - raw talent. That leaves us with Kyle. Pathways has never had a real bassist - our previous 3 bassists were fill-ins for the instrument, since we either could not find a right fit, or because we just liked the member on a personal level and wanted to try it out on bass. It is truly insane to see what Kyle brings to the table. He is a funk bassist who listens to metal. What more could you ask for? He has all the talent / technique / chops to both play and write to the music, very well."
You have just released your new single 'Great Old Ones' (26/3), how long did it take to curate and will this be featured on your debut album?
"This process has always been easy for us, and with the addition of fresh talent, it was even more seamless. You definitely know when you gel with other musicians, and that is the case with us as a quartet. The musicianship & personality blend makes the relationship seem like fate, in a way.
The process actually started in 2017, with the symphony. It was a 42-piece overture written with a prime motive in mind - that every single melody from this orchestral piece would be referenced in each song on the album. Almost like a musical concept album that has melodic Easter eggs spread throughout. Not soon after the symphonic piece was released, the early writing stages of the album were underway.
The intro riff to 'Great Old Ones' is actually a variation melody that was rooted in the symphony. This is the main melodic line of the song and set the basis for the rest of the single. The main line was given to all members, and we just worked off of that motif until it was melded into GOO (pun intended)."
What can listeners expect from your debut album and will it be released independently or via a record label; as you're no longer with Tragic Hero Records?
"As this release is meant to showcase the newer music identity, brand, and pave the way for album promotion, we aim to go about this in a very bold and calculated way. We have learned so much about the industry (still learning) over the years, and have seen how much the pandemic & social climate is still affecting the future of it. We think it is definitely smart to be strategic with self-releasing music and distribution. Our catalogue now includes 4 music videos, a full-length album, a single, and tons of photo shoots - all to be self-released for now, in order to make way for future branding. We have already begun writing another album as we speak and we will be more active than we have ever been previously."
How tough is it for American metal bands to organise tours across the country? Do smaller bands tend to do state tours rather than national tours?
"It's more common for smaller acts to tour state to state or regionally rather than a nationwide tour. Many Seattle artists will cover the west coast from Vancouver BC all the way down to LA. It can be difficult for smaller acts to book multiple venues in one city let alone an entire state. It can be difficult finding venues on the way to larger cities that will cater to your sound. Not every city has a venue that would welcome a metal act."
Florida has a rich history of metal bands from Morbid Angel to Trivium to Deadstar Assembly, what is it in your opinion that makes the Floridian metal scene so successful at delivering a constant stream of talent?
"South Florida, being isolated from most of the rest of the US has a very tight knit scene. I'd say that's because not as many tour packages make it that far south if they have an option to book in north or even central Florida. Because of this, the local scene is constantly growing and engaging with itself to make up for the smaller tour packages that might not be willing to drive the extra 5 hours south just to have to drive back up the panhandle to tour in the rest of the country after one or two shows. So in essence Florida's scene is built to fill a void of live entertainment from the rest of the country. Add the fact that Florida is a cultural melting pot from native Floridians, snow birds of the east coast turned full time residents and people looking for a tropical change, you get all walks of life and plenty of scenery to inspire a creative song writing mental state."
How did Washington react to the COVID-19 outbreak? What restrictions and measures were put in place? What is the situation like now?
"Washington state began shutting down in March 2020 once west coast states started seeing cases. Our favourite bars and venues have been shut down since, some shut down for good because of limits on gatherings. Some establishments have been able to keep afloat with reduced capacity, mostly restaurants. Washington just went into Phase 3 of reopening, parks are opening again and people are getting out more. It's refreshing to see people outside again after being pent up inside their homes for a year!"
For metalheads visiting Seattle under normal circumstances, what sights / attractions could you recommend? What about bars, venues and pubs?
"A must for any metal inclined visitor would have to be down town at The Showbox Theater. The place has a great record of national/international touring metal bands stopping through. Some other great venues would be El Corazon and Chop Suey. Both have a great mix of local and national metal acts. While you're in the neighbourhood after a show you can waltz down Capitol Hill and hit up the many bars lining the streets. Then finish off your night at The 5 Point Cafe no matter how late/early in the day."
All things considered, what plans does Pathways have for the year ahead and do you have any greetings / thanks you wish to send out?
"Pathways is going to be releasing a ton of content this year in forms of video, photo,and interactive material to keep our audience engaged until live shows become commonplace again. We've got more singles with music videos lined up for release to introduce our full length album. We've adapted to the shift from live in person to at home interactive and are excited to merge both together for an experience for our audience like never before. Huge thanks to our pal Karl at Hot Karl Productions for helping us out with not only the music video, but for getting us back on track. Also huge thank you to Kirill Konyaev at Zerodbproductions for mixing and mastering the new single."
Pathways' new single "Great Old Ones" is out now via all streaming platforms
"[to tour] you need to get a tour permission, which is issued by a commission (none of its members have any relation to music). And they can refuse to issue it because of “low artistic level”, even if your music is literally a masterpiece"
Whilst most of Europe's metal listeners are so transfixed on what's happening in the metal scenes within Western, Northern and Southern Europe, on the other side of Europe a handful of countries often get forgotten. OK so The Ukraine has Jinjer and Moldova has Infected Rain leading their respective scenes charge, but how long did it take for those metal scenes to receive widespread acknowledgement from the metal masses? Exactly. Well now it's the turn of the Belarusian metal scene to stake it's claim on European soil, the band leading the charge and flying the flag for Belarus is Belle Morte. The symphonic metal quartet are set to unleash their mastery through their debut album "Crime Of Passion", which will be released through Italian label Wormholedeath sometime in 2021.
GMA spoke to 4 of the 6 members about the debut album, how Belarus has dealt with the COVID-19 pandemic, what it was like growing up as metalheads and why people should check them out... discussing their unique take on the symphonic gothic metal sound.
The two guitarists who did not answer questions are
What does it feel like signing with Wormholedeath? You must be excited seeing your debut album being released internationally?
"It feels like we are starting a new chapter: very thrilling and we can hardly wait till the album is out :). Signing with Wormholedeath is a huge step forward and it gives us more confidence in what we are doing."
SB: "This is definitely really cool and we have high hopes for this collaboration!"
Your debut album "Crime Of Passion" is based on the John Fowles novel "The Collector", how did you get into his writings and what aspects of the novel inspired the album?
"It happened literally by chance. My mum’s best friend lent her this book, I was hooked by the cover and annotations, and read the whole book in one night. If I say this book became my fav, that would definitely be an exaggeration, but it was really exciting to read the same story told by both sides, to know how they both felt towards the same events. Besides, to me it was interesting to try to get into the main character’s shoes and think the way he did. To feel this boundless desire, this need in possessing someone, which goes beyond any logic, ethics, or human law. That’s how the song 'To Get Her' appeared, consequently other tracks followed. By the way, I was surprised and happy to find out Sergey read this book too, because it made our work easier - I didn’t have to explain the feeling each song should trigger."
"That’s true :) besides, it made things easier for me as well: I had no troubles telling Belle what I wanted her to sound like when we recorded vocals. Something like “this verse should sound like you are an arrogant moron, whose one and only skill is butterfly collecting”. Speaking about the novel, I read it in 2005 and it left quite an impression on me. This struggle between sophisticated and straight-forward personalities, sharp minds and blindness, inner freedom and narrowness. My main criterion of whether the book is good or not, is whether I have thought “it would be nice to compose a rock-opera or at least a song based on this” during reading. I had this thought :) so I was really enthusiastic towards the idea of having the whole album inspired by "The Collector"."
Would you say your album is more of a story than simply just a collection of songs? Which aspects of the album are your favourite?
"It’s definitely a coherent story, chapter by chapter. From the very beginning we had this theme, and all we did was setting about filling the gaps and finding the correct means to tell this story. One of my favourite aspects is definitely leitmotif usage. For example, the instrumental part in 'Lace' has a battle of the 'To Get Her' theme (which is obviously the main theme of the murderer) and the 'My Legacy' theme (which is the girls’ response) - and we have lots of such Easter eggs here and there."
"I really like the fact this album is close to a mono rock-opera. We used the leitmotif component, which Belle already mentioned, starting from 'Overture' and till the very end; the plot can easily be grasped without any synopsis; we have a fully-fledged duet between the abductor and his victim, besides, it’s not just some abstract exchange of characters’ emotions turn by turn (how it often happens). It’s a dialogue, turning into an argument in the end. Besides, we gave a lot of thought in how to craft the choral parts and backing vocals (for instance, in 'Beauty and the Beast') and orchestral parts, where they fitted.
Given the glut of Symphonic Gothic metal bands worldwide, how does your music distinguish itself from the rest? Where do your music inspirations come from?
"I think our most distinctive feature is balancing between genres, augmenting symphonic metal with different elements, such as progressive, industrial, black, rock opera, Celtic music, Argentinian tango - whatever we feel is appropriate for a particular track. We are not really bonded by any genre strict rules, we focus on “music first” and see where inspiration takes us. Besides, we combine catchy and easy to remember melodies and complex multi-layered orchestral arrangements."
Tell us what it is like growing up as metalheads in Belarus? What challenges do you face within the Belarusian Metal Scene?
"I have nothing to compare with, but from my personal perspective Belarusian metalheads are the nicest people, they are super friendly and helpful. I wouldn’t say I faced any significant challenges with the local scene. Unless we count the fact that it’s almost impossible to make a living doing music here, most musicians have to combine their “hobby” with a job where they get paid. It does lead to certain limitations."
"It’s complicated :) there are a lot of metalheads here, but in general society perceives them as somewhat marginals. Government doesn't embrace the fact that metal music has the same rights to exist as music of the other genres. Soviet legacy is still very prominent here. On the other hand, it’s getting better and during past years we have had a lot of great bands come here. But organizing a gig is still a very stressful and complex thing to do. For example, you need to get a tour permission, which is issued by a commission (none of its members have any relation to music). And they can refuse to issue it because of “low artistic level”, even if your music is literally a masterpiece :).
Local gigs are like swings. We used to have pretty wild underground gigs; then everything died out for a while. Then there was a period when we had great concert organizers, who put in a lot of effort and their own resources in holding top-level concerts. And then the pandemic happened. The bands also suffered from missing quality booking agencies, labels etc. The majority have to work somewhere else to make a living, and take care of organizing concerts, printing merch, releasing albums etc. on their own. We have many talented musicians, but not all of them are ready to deal with all of that, and it’s sad."
How has Belarus coped with the COVID pandemic; what restrictions / lockdown protocols were put into place?
"There is a huge difference in answer depending on whether we talk about the Government or people living here. The Government shamefully failed to take any measures at all. We didn’t have any restrictions, all the borders were open, the severity of the pandemic was denied and laughed at in official media. Medical workers were not provided by appropriate protection means. And real numbers of those who got infected and those who died, were concealed. Medical workers, who had courage to tell publicly how bad the situation was, got fired and repressed.
On the other hand, Belarusian people have shown the level of solidarity we didn't see here before. They created special funds to help medical workers and provide them with protection means, food and other supplies. They distributed printed instructions telling older people how to protect themselves, and again - helped with delivering foods and medicines. Although officially there were no protocols whatsoever, people started following WHO recommendations by their own initiative."
For metalheads visiting Minsk, what sights or attractions would you recommend (in a normal world)? What bars, venues, festivals are there?
"TNT club (which might appear very ordinary if you don’t live here) :). The biggest festivals are Kupalskaje Kola, Our Grunwald, UMF (United Metal Festival)."
"In good old times when we went to bars and clubs, if I wanted to hang out in a friendly atmosphere, I went to TNT club. You could always meet someone from your mates there!"
"In addition to what Rostislav already mentioned, Brugge club. But it looks like it didn’t survive the pandemic…"
Aside from the album launch, what plans do you have for the year ahead and do you have any greetings or thanks you wish to send out?
"We try to stay positive regarding the COVID situation and prepare ourselves for a productive year. For sure we’d like to have the album presentation (hopefully not just online, and hopefully more than one gig). Besides, we are doing a lyric video for 'Broken Things'. In the parallel we still have a lot of work in the studio, as we want to record our second EP this year. We have a very clear concept for it, and expect it to have a lot of unusual collaborations and musical instruments we haven’t used before. Last but not least: we are thinking about shooting our third music video."
"I am very grateful to Kirill and Arthur, who helped us with guitars’ recordings at the times when we didn’t have a permanent line-up, long before Ilya joined us. And we are thankful to our families and friends for their support during the whole time!"
"We continue to combat the rejection of metal music as the authorities and the media do not understand this style of music and view it as a part of the ideological weapon of the enemy of the north."
When you think of the Caribbean island nation of Cuba, you tend to think of the ever-lasting Cuban cigar, rum, Spanish-colonialism and the historical Cuban Missile Crisis; fronted by Fidel Castro and Che Guevara. But beneath that is a metal scene that's practically built on a DIY attitude, just like our ancestors did when they first created the boat to enable voyages across the seven seas.
Perhaps it's then fitting for the quintet Mephisto to deploy their Latin-infused style of Black Metal, a sound that would rival the very ferocity of a barraging hurricane. For a band that has been around since 1996, a revolving-door of musicians coming and going and their debut album coming 20 years later, you would have thought it was curtains for the band... alas you'd think wrong, they are set to deliver their second opus in the form of "Pentafixion". It was therefore fitting for Global Metal Apocalypse to grill the quintet and find out info relating to the album, why you need a 'can do, will do' attitude just to survive in the Cuban metal scene and why bands (like Mephisto) look outwards to Europe (in their case) and the USA for exposure.
This culminated in them signing with Italian label WormHoleDeath. Now whilst Mephisto plans a national tour of Cuba (slated for mid 2021) and a run of dates later in the year in Nicaragua, check out the birth of "Latin Black Metal" courtesy of Cuba's veterans Mephisto.
Hi everyone, first of all tell us what is it like to sign with WormHoleDeath and what this means for the band?
"Signing with WormHoleDeath means a huge step forward for the band. The visualization of Mephisto in the European and Asian markets, where I am sure that people from those regions do not even know that there is even a small island called Cuba in the Caribbean and even less that European metal is made on that island. This exposure is important as it’s what Mephisto does, although future fans will notice that the influences of the Spanish and African mix of our culture are noticed in our music.
We have been ostracized for years due to the little attention that metal in general has in our own territory and the little we have achieved has been through perseverance, work and talent, so the opportunity to belong to the family of such a prestigious record company gives us a visibility on the map that we could not achieve with our own means or with the help of Cuban record companies that have little reach."
Not many people would associate Black Metal with the exotic climate of Cuba, what makes your style of Black Metal different?
"Not having contact with other leading bands of the genre worldwide, not having access to international festivals and due to the scarce exchange on stage with bands from other countries, means that we have few external influences that mould our music, so our Black Metal takes on a rare originality. That is the reason why several bands in the world, when they go to compose or record an album, isolate themselves in remote places, so that their product is genuine. It happens to us for reasons of force majeure.
The different musical tastes of each member also make a difference, the same in metal as in other musical genres, so do not be surprised if we are caught listening to Jazz. Also the amalgamation of Caribbean sounds that we are surrounded by influences us indirectly. In Mephisto you can find patterns that jump from 4/4 to 3/4 or 6/4 and 7/4, or the use of syncopations, Latin jazz patterns on the drums, and even the Cuban keys. Of course, deep down, if you know music you will notice."
Arguably, the Caribbean has some pretty good metal scenes, but those in Europe are often not noted, what do you think is missing or owed to those in Europe who don't explore Caribbean metal?
"Because death metal and brutal death abound. The consumption in Europe is mostly more in the symphonic styles, and even perhaps melodic or symphonic death metal. I think Europeans are more attracted to black, folk and death metal trends that I mentioned earlier. The metal market is in the USA, mainly Florida and New York, so the Caribbean bands try to enter that market. There is a rejection between both parties. In the case of Mephisto we have a special interest in Europe, because it is the market that suits us best. Although if we’d welcome success in America too."
Logistically, would we ever see a Caribbean Metal Festival take place? What is the general perception of metal music by the general public?
"If you mean Cuba, well ... there are about 9 metal festivals throughout the island, but only some have an international character and few bands from the USA and Europe have participated due to the poor logistics of each of them. It must be taken into account that the government of the island, of a socialist nature, is not interested in financing this type of event for ideological reasons and all are carried out by a small but strong non-governmental organization called AHS that puts its funds to carry out these events. International groups that have an interest in acting on the island must do so with their own financing, and not everyone does that because it is a great expense.
As for other regions, in Central and South America there are events that can afford to have first-rate bands, but let's bear in mind that they operate in a market economy where they invest and obtain benefits. That way everything can be done."
You are preparing to release your new album "Pentafixion", can you tell us what the album is about and how did you come up with the lyrics? Tell us about the process of recording the album.
"Pentafixion is composed of songs from different eras of the band. Songs that were collected in poorly recorded demos, with a sound impossible to commercialize. Due to technological advances in music production we managed to make this recording with a lot of effort and group work. The sessions were held in my house (Mole's Home Studio) with minimal conditions that will seem impossible when you listen to the sound of the album. The orchestration was done with Kontakt software without acoustic conditions of any kind. But I repeat, you will not believe it when you listen to the CD since the software, plug-ins, etc., have helped to clean up the mix and give it the professional studio environment that you will listen to. As we have had the need, we have become experts in these software programs and in sound engineering. What else could we do with no access to professional recording studio in Holguin?
Once the album was mixed, we took it to a private studio of another sound lover: Samuel P. Santiesteban (Botija Productions), who was in charge of the mastering. I was then charged to make the DDP file, guided by a YouTube tutorial. As I said before: necessity is the mother of invention. As for the letter of Pentafixion, it is simply the fact of the crucifixion on a pentagram for the performance of a ritual of evocation for the materialization of evil on earth (Mephistopheles). As for the other topics, I can summarize it this way:
Tell us what it was like to grow up as metalheads in Cuba, the challenges, the difficulties, how has COVID-19 impacted the country in general?
"Difficulties have grown perseverance. Necessity is the mother of invention, and surrender is not an option for Cuban metalheads. It is not new history, the metalheads and bands of Eastern Europe went through the same thing and bands like Behemoth and Vader did not see the light at the end of the road until the fall of the Berlin wall. We are in the same situation and we have had to invent our equipment and instruments until we had access to branded equipment with outside help. There has also been the production of t-shirts with their own means by fans and a thousand other curiosities.
We continue to combat the rejection of metal music as the authorities and the media do not understand this style of music and view it as a part of the ideological weapon of the enemy of the north. Of course, over the years some of these things have changed and there is some openness and some other space on radio and TV, but the anthropological damage has already been done in the population, so metal is still minority music.
The Covid-19 has achieved that in 1 year there are no metal events or concerts in the country except in our city, Holguin, where the rate of infected is lower, and there were a few months that it reached 0%. Of course, only groups from the city and other nearby cities have been able to participate, since the west of the country has not had respite from this new disease.
Under normal circumstances (i.e., without a pandemic), what sights / attractions would you recommend to metalheads visiting Havana?
"There is only one place: the Maxim Rock room on Bruzón Street, in Ayestarán corner, Plaza municipality. It's where the only metal concerts are held."
What are your plans for next year taking all things into account? Do you have any greetings or thanks that you want to send to friends, family, fans, etc.?
"We are preparing another album, this time a conceptual work on the myth of Dracula. It will be titled Carpathian Tales. It's more of a remake of an album that we recorded in Cuba but we couldn't do anything with it due to the sound quality. Later we will do the same with our first two demos and while this happens (in a space of two or three years); we will be composing a totally new album with unreleased songs. 5 songs out of 10 that are in process are ready but as you can see, there is work for a while.
Also, depending on the epidemiological situation, we plan to tour Central America and Europe, but we still have to wait to see what happens for now. It’s frustrating not being able to tour but we have the time now to effectively promote the Pentafixion album in all possible ways."
Official Website – https://mephistoband.com
Official Facebook Page - https://www.facebook.com/MephistoCubanMetalBand
If you thought that Orphaned Land, Arallu and Melechesh was Israel's only metal exports, you'd be highly mistaken. Making a name for themselves is Scardust, their unique take on the progressive metal sound has received global acclaim and is evident in their latest music video "Tantibus II".
The song itself is taken from their new album 'Strangers', which was released on the 30th of October, 2020 via M-Theory Audio. The YouTube video can be viewed here: https://youtu.be/C7uOQPjjiqM
Tantibus II continues the story of the song Tantibus (the first ever single and video the band officially released, back in 2015) in which the protagonist is stuck within a Sleep Paralysis and is looking for a way out. In Tantibus II the protagonist becomes addicted to this feeling, describing it as “taming her demon”, disconnecting from reality into her own mind in which she can now feel safe.
Yoav and Noa talk to GMA about the new album, how COVID-19 has impacted the band's plans and what metalheads can do when visiting the city of Tel Aviv.
Arguably, Scardust has emerged as one of the newest exports the Israeli metal scene, has it been a challenging journey for you guys?
"Well, it has been challenging, yeah. But I think that's just the way it goes you know? Trying to maintain a group of different people together with endless tasks over a long period of time is hard. We usually work on high gears so the grind never stops. Recordings, shows, videos, promotion, social media and so on."
Tell us more about the Israeli metal scene, we know about Orphaned Land, Melechesh and Arallu, but what about the underground?
"There are many local bands. There's a vivid death metal scene, if you're into old school stuff check out Kever, Venomous Skeleton, Promiscuity and Psynthesis. There is also Winterhorde who play Black Metal. In the more progressive direction you should check out Tillian and Subterranean Masquerade."
Reflecting on your new album "Strangers", what was the journey like in creating the new release? Talk us through the creation process.
"Firstly, Noa and Orr met to discuss the concept of the album. Through these meetings came up the idea to make a themed album from Noa's idea of estrangement and to build the album as pairs of songs. After that the writing process began, they wrote the lyrics and composed the main melodies and song structures with vocals and piano alone. Then came the orchestration as a full band, choirs and string quartet. When this was about half done we started rehearsals on the new material and gave feedback (for example, there was a whole song that was shelved), changed things a little bit, wrote solos and practised a lot. Almost the same as the way our previous album was made.
The recordings were quite different. Firstly there's the children's choir "Westbrook Hay Prep School Chamber Choir"; Noa travelled to England for their recording. Besides that, the pandemic hit us in the middle of the recordings, which meant that parts of the choir had to be recorded separately instead of a full section together. You can see that on our behind the scenes videos for the songs 'Break The Ice' and 'Mist'. Yadin and Yanai recorded their parts at their home studios instead of coming to the recording studio and having a technician help and make the process faster. That was quite a nightmare. But we made it through."
What was it like working with the legendary Jens Bogren? Was this your first time working with him or have you worked with him before?
"In addition to being legendary, Jens is a friend. I first contacted him in 2015, to master our first ever release, the EP “Shadow”, and then again in 2017 for our album “Sand Of Time”. In 2018 I worked closely with him, on writing and producing the choir parts (performed by my own choir Hellscore), and some female solo and backing parts, for Amorphis’s album “Queen Of Time”. Apart from that we both also worked on the Orphaned Land album “Unsung Prophets & Dead Messiahs” that year. It was only natural to work with him again on “Strangers”."
Check out their music video for 'Tantibus II' below:-
Noa, I think we can agree sexism is still prevalent in the global metal scene, but what is it like in Israel? If you have been subjected to it, how did you cope?
"Israel is the same as the rest of the world, or dare I say - slightly better, but I think that’s just because the scene is very small and most people in it know me personally. Unfortunately I have been subjected to sexism many times, and I’m afraid it’s probably safe to say that no woman in this industry can avoid that. It would usually appear in a form of man-explaining, or other forms of disrespect, or worse than that - objectification and / or harassment.
I know I can’t possibly educate adult people who behave in these ways, so I’m choosing to deal with it by being my strong self, and being confident in who I am, on and off stage. It’s also good to have bandmates who have my back at all times, I know I can trust them with my life :)"
Tell us how Scardust are coping during the COVID-19 pandemic, did Israel have a lockdown? Word is you have had a 2nd lockdown?
"Naturally COVID-19 came with many challenges, to say the least. We had the worst luck. Two productions, that we worked on each for months, cancelled at the last minute because of an unexpected lockdown, twice. We had to rethink how to fund the album, since it was supposed to come from the summer shows. We had to come up with alternative solutions on how to promote the album, without any shows. We had to figure out how to finish the album production during lockdowns and restrictions.
It wasn’t easy, but luckily for us, we are surrounded by some amazing people who devoted themselves to help this album happen. All the people in the choir, the strings quartet, our main sound guy Kossov, our guest Patty, everyone just gave their hearts and souls to make this album happen, even when it felt impossible! Apart from that, we decided to produce as many videos as possible in order to promote the album, and we had some amazing friends and family helping us produce them with an impossible budget and impossible timeframes. We also received generous donations from our fans. Our management, label, and PR people are doing their very best every day."
Under normal circumstances, for metalheads visiting Tel Aviv, what sights / attractions and venues / bars could you recommend?
If you are into metal bars that play all genres from heavy metal to death metal and black metal, then you have got to go to 'The Rebel Bar'. Great atmosphere and Max the owner is the best guy ever. If you want a more rock to metal experience with some nu metal music I'd say that both 'Cheers' are good, 'Cheers Alenby' and 'Cheers Florentin'. For shows you should check the listings at 'Levontin 7', 'Ozen Bar', 'Barbie', 'Reading 3', 'Art Hall TLV' and 'The Zone'.
"And let’s face it, most metalheads are big nerds, so you should check the LVL UP Gaming bar as well. They usually have rock music in their playlists, and the staff are some of the coolest people."
What are your plans for next year (all things considered)? Will we see Scardust perform in the UK?
"I wish I could be the bearer of good news here, but unfortunately it’s still nearly impossible to make any plans at this point. That being said, we had some big plans that were cancelled in 2020, and we surely hope to be able to “pick them where we left off” in 2021. We love the UK and can’t wait to go back there, so this one is definitely on our to do list for as soon as it’s possible :)"
Do you have any greetings or thanks you wish to send out to friends, family, fans, etc?
"Great! We would like to use this opportunity to thank everyone who was involved in creating this album. So many wonderful and talented people, most of them being our friends and families. You know who you all are, and this album couldn’t have happened without you. Apart from that, to our amazing fans that support us and vouch for us. We love you all and can’t wait to see you live again!
And to you, thank you for having us here. Cheers from Israel!
"Many expats from Germany and the US turned up at our shows and became supporters. They probably could relate to the [music] style much more than the locals."
It goes without saying that Arcana XXII was not just another metal band, they were creating their own metal music and presenting it to a country whose scene was non-existent, let alone not having any appreciation for metal music.
The flag-bearers of the Namibian metal scene (no matter how small it is) have dived head-first into the archives and have amassed a collection that despite covering only a 5-year period, has the indisputable honour of being an important piece of metal music history, having been the very first Heavy Metal songs to be released in Namibia... possibly the earliest on the entire African continent.
They epitomised the very essence of what it was to be a D.I.Y. band, sure there will be bands in Europe and the USA who have this view on their work... but they will never be in the same league as Arcana XXII as the band explained in our interview with them.
Johan, Sven and Johann Smit explained all.
Would it be fair to say that the Namibian Metal scene is a cursed one? It seems that only Arcana XXII and subMission existed. Could you tell us the history of the metal scene, what the current situation is in general and where you personally see it going in the years ahead?
"There never really was a scene in Namibia. After we started there were a few acts (probably fuelled by what we had done) but none of them made a lasting impression in terms of releases or longevity. So as for the future I can’t really say that anything will happen there. Sven started subMission and I continued with projects like D.O.G. or Lockjaw, before moving to Germany.
South Africa is different, with numerous acts coming out or being around for many years. Examples are Bulletscript, LA Cobra, Mind Assault, Abaddon, Woltemade etc. Then of course there is neighbouring Botswana with bands like Overthrust or Wrust, which go into more of a death metal direction.
What was it like growing up as metalheads in Namibia, forming the first metal bands nationally and arguably providing the foundations for African Metal to grow upon?
"We had very little access to metal, be it in the form of LPs or live shows, so tape trading was huge. Every time someone went to Europe, they brought back cool releases which were transferred onto tape and shared. That’s how we got to know more bands and new genres. The only releases you could find in local record stores were bands that had major label deals. Like Def Leppard, AC/DC or Van Halen etc. This made us appreciate every piece of music we could get our hands on. Even a poorly dubbed cassette copy of Accept or Exodus was considered holy.
As for the band, it was fun but also hard work to start something in a market where the majority of the population is African and listens more to hip hop, kwaito or rap. There were no other musicians that could boost your enthusiasm in a healthy sort of rivalry. Nevertheless, I think it is exactly what made us stand out more. Since there was little happening, and no acts would visit Namibia, we motivated ourselves to create our own music. Our shows always had a high attendance, with people from different walks of life often coming for the pure energy of the live experience."
Some would see metal as purely a white person's music, but as we've seen this is untrue, surely it must be exciting to see other ethnicities across the world engage in metal music? On that note, do you feel metal music has helped to breakdown racial connotations that otherwise exist in the mainstream?
"It’s definitely exciting. I really enjoy seeing that, especially Botswana bringing out bands that are so devoted to metal. I think music has always been the universal language, but I don’t know if metal is really having that kind of impact on the mainstream in Southern Africa as you mentioned."
"I think many black Namibians regarded us as some kind of freak show, harmless but strange :-). A large part of the conservative white establishment definitely did not like us, which we were perfectly fine with. Many expats from Germany and the US turned up at our shows and became supporters. They probably could relate to the style much more than the locals."
Surely you must be pleased to be releasing this historic compilation in "Return To The Darkland"? Will it be released on vinyl in the future alongside a digital and CD release?; Can you tell us more about the DVD from the physical version, what does it cover?
"We're really excited about the historic compilation release of "Return To The Darkland". It would be totally awesome to see this release on vinyl in the future, alongside the CD and DVD. That would just complete the set. The DVD is presented in a documentary style, from within three timespans in which Arcana XXII was active, i.e. circa 2001. Narrated by Namibian musician and TV personality, Boli Mootseng, it includes interviews, live clips and 5 full length music videos (And who knows, maybe the last 3 music videos, 'Remember Forever', 'Untold' and 'Breathing In Me', would be included)."
Do you feel as a whole that African Metal for years was largely ignored or not taken notice of by metal media in Europe? Could you envisage years down the line a festival much like Bloodstock Open Air, but based in Africa?
"Absolutely, I think metal from Africa has indeed been largely ignored. But I also think that African acts haven’t really done enough to achieve that acclaim either. It would require touring and frequent solid releases. The first band that ever set foot on European soil in terms of touring and playing live, was my ex-band Voice Of Destruction. Then there was Groinchurn also. But there were never follow up tours etc to stay in the game."
"In my time with subMission I organised the annual Windhoek Metal Fest where we invited bands from neighbouring countries, that worked really well and contributed to the unification of the scene on the subcontinent, at least a little bit. We had three editions, all sold out. We also had requests from international bands, like Heaven Shall Burn, Tankard and Orden Ogan. We couldn't find sponsors for flight tickets, so that was it."
For metalheads visiting Windhoek, what sights / attractions and venues / bars could you recommend (under normal circumstances)?
"Oh wow, I think those would be purely from a tourist point of view. I would definitely recommend Namib Naukluft Park and the Namib Desert, which offer vast landscapes and really take you out of the rat race almost instantly. Also interesting is the coastline. Skeleton Coast has many historical ship wrecks, and the name says it all. A really treacherous and rough coastline."
"The first and only metal pub in Windhoek "Blitzkrieg Bunker Bar" died at the same time as subMission did, around 2010. So visitors are left with the usual tourist traps, like Joe's Beerhouse. Or some nice beach bars at the coast. I would recommend the Desert Tavern in Swakopmund."
What are you plans for the year ahead and leading into 2021?
"We view "Return To The Darkland" as a sort of retrospective view on all the material we have written and also a the closing chapter of the band. There will be no further music or live appearances as all the members have their own lives now in different parts of the world. Logistically it just would not work. Perhaps only with a new line up, if at all."
Do you have any greetings or thanks that you wish to send to out to friends, family and fans?
"Really only to the fans who show support to this day and of course Einheit Produktionen for making "Return To The Darkland possible."
Arcana XXII – “A Return To The Darkland / Untold” Digi CD+DVD expected to released 25.02.2021.
"There's always the feeling that [Spanish] local bands are perceived as of a lower category than international acts."
Born In Exile are here to prove that the Spanish Metal scene is alive and that it should no longer be ignored by the wider European audiences. Having dropped their stellar second album "Transcendence" earlier this year via legendary Spanish label Art Gates Records, this progressive metal leviathan are already gearing up for next year (due to COVID-19 decimating the entire music industry), the bulls are raging.
GMA spoke to the quintet about their new album, the whole identity crisis surrounding nationalism and regionalism - the Catalonia vs. Spain debate, attitudes towards female musicians in Spain and why local Spanish bands have the perception that they are pushed beneath international bands.
For those who have not heard of Born In Exile, can you give us a brief rundown of the band's history?
"We are a contemporary progressive metal band from Barcelona. Our music is characterized by a
powerful voice with many registers, very strong riffs, virtuous solos and unusual rhythm structures; but easy on the ear at the same time.
We've released two records: “Drizzle Of Cosmos” (2017) & “Transcendence” (2020). The band was
formed in 2012 by ex-members of another Spanish band. In 2015, Kris became the new vocalist of the band and brought a big change to the style of our music. "Transcendence" is the true sound that we wanted since the beginning.
You released your 2nd album "Transcendence" back in March, what was the reception like and how does it feel linking up with Art Gates Records?
"The record received very good appraisal online, but unfortunately we haven’t had the opportunity to give it the presentation it deserves live, even if there were quite a few shows in place. Working with Art Gates Records is great, we are very happy about our professional relationship with them. They are very active and constantly get involved in Born In Exile’s promotion and exposure activities."
Talk us through the entire album process from pre-recording to releasing, how you came up with the song titles, etc?
"It was a long process since we wrote the songs until we recorded them. Most of the tracks are composed by Carlos and the lyrics written by Kris, but we love to create music all together too.
Many things in "Transcendence" are involved. The theme of the song, what we want to express in it and the target. We like to be sharp but subtle in as many ways as possible. Our music talks about experiences from our past and subtle social critique.
The recording and the mixing faced difficult issues, because we self-produced our music. Carlos Castillo was in charge of everything, and it became hard work altogether. A lot of hours in the studio made the perfect sound that we wanted and Carlos worked really hard to make the band happy with the sound.
Carlos Arcay (Arcay Sound) did the mastering and we were more than happy with that, a very good tandem."
Do you as a band prefer to be known as Spanish or Catalonian? Is this cultural identity as relative now as it was years ago?
"We don’t have a common position about this issue as a whole. Born In Exile prefers to be called however you want to call us (laughs). The national identity issue in Catalonia and other regions of Spain (Basque Country, for example) is a very complicated topic that sometimes leads to strong confrontation between people in both extremes. Most of us are Catalan but we also have an Argentinian / Andalusian member (Joaco, lead guitarist) so we prefer to leave the identity issue aside as a band."
What are the challenges that upcoming Spanish metal bands tend to face these days?;
"People in our country tend to believe that the national bands are less professional or successful. We have more followers at home than anywhere else, but there's always the feeling that local bands are perceived as of a lower category than international acts."
Kris, do you feel that sexism in metal is still an issue? In your own view has it improved or
"There’s a lot of work to do in fact. Fortunately the sexism in metal doesn’t exists as much in
Europe than in Spain, for example, or in other music styles or jobs dedicated to shows. Everything is getting better, but we need to keep on fighting more because it is not over at all."
How have you individually been coping with the lockdown earlier this year, what have you been up to in the time you're stuck at home?
"Everyone has stopped right now. We released the album one week before our lockdown. Even if all of our concerts have been canceled for 2020 (we had quite a few including a European tour) we tried to be as active as possible."
For metalheads visiting Barcelona in normal circumstances, what sights / attractions can
you recommend? What bars and venues?
"Everything is almost closed now, and maybe you cannot come to the best bars or venues, but you can search online for these bars - the “Undead Dark Club” in Sants, “HellAwaits” in Paralel, “Burning Rock Food” in Sants, the concert venues “Bóveda”, “Razzmatazz”, “Sala Monasterio” and “Sala Apolo”."
Do you have any greetings and thanks you wish to send out to fans, etc?
"Stay metal! Support localbBands and see you on the stages, friends!!"