When Motionless In White brought to the world their combination of Metalcore and Gothic Industrial tinged metal, there were those in the metal industry who raised eyebrows and embraced a sceptical view of combining these music styles. Fast forward 2 decades and the combined sound is still riveting and being embraced by more walks of life than at first fathomed. The latest incarnation comes from Chilean ground-breakers We Are The Monster, whose ferocity is only matched by their pitch black darkness and brooding atmospherics. 

     Ahead of their maiden release with Spanish metal label Art Gates Records, the hotly-tipped and widely anticipated album "Born In The End" of which drops 29th January 2027, the sextet took time out of their duties to talk to Global Metal Apocalypse about their humble origins, their journey so far (including supporting Avatar, Jinjer and most recently Deviloof) and what the future ahead will bring arguably the greatest Chilean metal export since Pentagram (Chile) and Criminal. 

For those who have not heard of We Are The Monster, could you explain how you came to form the band - were you in previous bands to begin with?

     "We Are The Monster was born from the idea that a band could be much more than just music. We wanted to build a universe that truly represented us, one where crushing riffs, emotional atmospheres, electronic elements, a strong visual identity, and our personal story could all coexist.
Most of us came from different bands within the Chilean metal scene. Every project taught us valuable lessons and gave us important experiences, but over time we realised we all shared the same vision: to create a band with an international mindset from day one.

     We didn't just want to write songs; we wanted to create an experience that people could hear, see, and feel."


Individually could you tell us who you are, what you play / do in the band and how you got into playing music; are any family members musicians or inspirations?

     "Each of us found our way into music through different paths, but we all share the same passion for creating something that truly connects with people:-

• Zero - the founder, songwriter, and lead vocalist of We Are The Monster, is the person who brought the project to life. His vision was to create a band that combines modern metal, a dark visual identity, and a conceptual story inspired by our origins. Since childhood, music has been his way of expressing himself, and today he leads much of the band's creative direction.

 

• Anaxor - is our keyboardist, scream vocalist, and is also responsible for the synthesizers and makeup that has become a defining part of our image. Her contribution goes far beyond the music, she played a major role in creating the visual identity of We Are The Monster. She has always been drawn to heavy music and artistic concepts that blend powerful sound with gothic aesthetics.

 

• Leo - is our lead guitarist. His playing brings the aggression, technique, and melody that defines a huge part of our sound. He fell in love with the guitar and heavy music at a young age, developing a style that has become an essential part of the band's identity.

 

• Nick - is our bassist, provides the weight and foundation behind every song. He has always viewed the bass as much more than a supporting instrument, striving to give it its own personality and presence within our compositions.

 

• Jay - is our drummer. His energy, precision, and creativity are essential to both our live performances and our recordings. Music has always been his way of channelling his energy, and that comes across every time he sits behind the kit.

 

• Javier - is our rhythm guitarist. His role is fundamental in building the backbone of our sound, bringing power, consistency, and a strong connection with the rest of the band. His passion for guitar started at an early age, and he has become a key part of We Are The Monster's evolution.

     While some of us grew up in musical families and others discovered music on our own, we all share similar influences. Bands like Motionless in White, Bring Me The Horizon, Architects, and Spiritbox have all had a significant impact on us. We also draw inspiration from industrial metal and electronic music. That combination of influences is what has ultimately shaped the identity of We Are The Monster."


The Chilean metal scene is strong with some notable successful exports, could you consider yourselves the next wave of Chilean metal?

     "Chile has an incredible metal scene filled with talented, hardworking bands. We have nothing but respect for everyone who paved the way before us.

     Whether we're part of the next generation of Chilean metal isn't for us to decide, that's something time and the audience will determine. What we can say is that we work every single day to represent Chile in the best possible way and prove that world-class music can come from the southernmost part of the world. 


     If our journey inspires future Chilean bands to dream bigger, that alone would make us incredibly proud."


You recently released your self-titled single ahead of your 2027 album release "Born In The End", it sounds like you're taking a far heavier and darker approach to your craft, was this the plan?

     "Absolutely. "Born In The End" isn't just an album it's a story. Every riff, every synth, every lyric, and every visual element exists to build that universe.

     We wanted everything to sound darker, heavier, and more cinematic without losing the emotional side of our music. For us, the contrast between aggression and atmosphere is a fundamental part of who we are.

     Our self-titled single is simply the gateway into everything that Born In The End represents."


From hearing your music, there is a major leaning towards Motionless in White as a core influence, so how do you try to distinguish yourselves from them; I noticed there is more of a Metalcore approach?

     "Motionless in White has been a major influence on us, just like many other bands we admire. They've shown that heavy music can be massive, melodic, and visually ambitious. But influence is only the starting point.

     Our identity comes from blending modern metalcore with electronic music, cinematic production, and our own narrative inspired by darkness, emotion, and the experiences we've lived as people.

     Our goal has never been to sound like another band. We want someone to hear one of our songs and immediately say, "That's We Are The Monster.”

​Welcome to Born In The End.

​This is only the beginning, and we hope to meet all of you somewhere in the world very soon"

Latvia, one of Europe's forgotten metal scenes is alive and well in the underground, however it's on the surface that it lacks international recognition albeit for their torch-bearer's in the Pagan / Folk Metal band Skyforger. Focusing on the underground and you have bands like Stagnant Project, whose Modern Metal sound may be miles apart from the core Folk Metal sound that seems to engulf the national scene, but united they are with their fellow Latvian brothers and sisters. The quartet are not resting on their laurels having released their 2nd album "The Age Of Giant Monsters" back in 2018, they are in no doubt poised to release new material within the coming year, we will just have to sit and wait.

We therefore had to interrogate them, they elected Paul Rutkovsky to be the spokesperson. We spoke about the band's origins, the challenges that Latvian Metal bands face and have to overcome, their scene and what cool phrases fans tend to shout out at their shows.

Swapping the back streets of London / Essex for the sun-soaked pavements of Los Angeles should be an easy task surely? Well for Joe Crudgington it's worked out alright, although for the time being he's back in London. Being the frontman of Industrial Rock / Metal outfit Drownd brings it's own challenges as he goes on to explain during our interview with him, but things on the other hand are sweet too - a label signing, an album release later this year and a full live show to come... Joe talks to us about this rollercoaster ride and why metal is close to his heart.

Hi guys so firstly how does it feel signing to Armalyte Records?

     "Hi Rhys! Yeah man, it was a great thing to sign up to Armalyte at the start of last year. It's nice just for a bit of recognition that people are into your stuff and it's not just yourself grinding away thinking that you're writing good stuff. The guys that run it are great too - massive music fans that have been in the scene for ages so they know what they're talking about, plus their roster includes some pretty impressive artists (PIG, Cubanate, Chemlab, plus loads of others), so it's quite an honour to have my name, DROWND on there with them. They're just a really nice label to deal with and genuinely care about the quality and content of the finished product - the way to be as far as I'm concerned."


Given the nature of the band in terms of the line-up, you must be excited to finally showcase your music live at the end of the year?

     "Ah for sure - DROWND did it's debut show on the 10th December 2019 at The Black Heart in Camden with Riotmiloo supporting. It managed to pull a decent crowd for a first show, as really, no one had any idea what to expect - people had basically just put a load of faith in me and hope haha... It could in theory have been a total s**t show, but alas, as a debut, I think it went really well - sounded great thanks to all the hard work programming the live set, rehearsing it up and visually I think it came across pretty well. Definitely plenty of room for improvement, but a good first show to get under the DROWND belt. There will be big changes to visuals, stage attire and line up changes in the future too, so plenty of exciting stuff for the DROWND live shows if this pandemic bulls**t ever leaves us to crack on and pick up the pieces."


Given you're into Marilyn Manson, NIN and Gary Numan, etc were they artists/bands you grew up listening to, or was your music landscape totally different?

     "I've always been into heavy music since I was a kid - I mean I think I speak for a lot of people my age when I say that I was massively into the music that was on the soundtracks of games like Tony Hawks Pro Skater, Matt Hoffman's BMX, Dave Mirra's BMX etc... These tracks were like a gateway into Manson and NIN - I mean when I first listened to NIN and what Reznor was doing, it blew my f**king mind man - I'd never heard anything like it - the songwriting, the sound design, the production and engineering of the records, etc - just something else entirely.

     I still listen to these artists literally everyday, alongside a lot of soundtrack / score work (the American Beauty score has been being played heavily recently) and also since I found out about him a while back, I've been well into an artist called Ghostemane - I love his heavy, evolving, genre spanning music and he's got the images and visuals as well as a savage live show to back it all up. Skynd are another one - again, great sounding original, well produced music but with concepts, visuals and a live show to back it all up - the full package."


Last year you moved to California, what was the transition like from living in the grey streets of London to the sun-soaked boulevards of Los Angeles?

     "Whoa L.A. is a crazy ass place - that's for sure. It's worlds apart from other cities like London I think - people seem somewhat more inclined to help and collaborate out there. I mean I've been fortunate to meet some great and talented people in my time there and would consider to be good friends too. The weather out there helps massively, I mean, where I was, you'd get up in the morning, virtually guaranteed sunshine and crazy high temperatures, have a swim, have some breakfast and then crack on with writing music.

     The alternative music scene seems a lot bigger out there too with plenty of different gigs going on all over. It's quite an inspiring place to be too - I mean, I love down-town L.A. - a lot of people hate it, but it's so f**king weird and scary in certain areas that you can't help but be inspired. The best part is when the sun drops and it turns to night - down-town L.A. completely changes and so do the people haha... At the moment I'm back here in London which seems like an absolute world away from L.A. what with the current pandemic sticking its teeth in nicely, but fingers crossed this s**t will be over soon and I'll be back out there asap."

Do you feel that in recent years the Industrial - Goth blend has had a resurgence of sorts? Or has it been chugging along nicely?

     "Hmm I'm not really sure - I think it's always been there and always will to a degree. I think every now and then an artist or two will make it big from kinda within that scene, but as far as my experience goes, the goth / industrial stuff has always seemed pretty insular - just my opinion. That said, the fans and people involved in the goth scene are HUGE supporters which is great and they are genuinely interested and care about the music that you put out."


Joe, you undertook red carpet duties at both The Heavy Music Awards and Metal Hammer Golden God awards - talk us through your emotions that night.

     "Haha yeah that was great for sure - it was bizarre. I mean, we would be knocking about backstage and then Ozzy Osbourne would just casually walk past... It was also the first time I met Skynd too who were there and involved with the event which was great."


Given the state of the world as it is with COVID-19, do you feel it's more important than ever for musicians and fans to engage together in any way they can?

     "It's a weird time to be in at the moment, isn't it? So much uncertainty. That's what is doing me in, the fact that I can't plan anything - we've already had one DROWND show pulled thanks to COVID-19 which was supposed to be at the Lounge in Camden which will be rescheduled at some point. The other band I play in, Sulpher, has had loads of dates cancelled and re-arranged which sucks - we literally played 2 shows in Toronto JUST before everything got shut down - we only just managed to get flights back to London haha! If I'm honest, I'm highly doubtful we're gonna be doing any live shows for the rest of 2020, I mean, I've basically resigned myself to it all kicking off again in 2021, but fingers crossed I'm totally wrong and we can get back to live shows and some sort of normality. But in the midst of this lockdown I have been writing like nothing on earth and it's the best sounding stuff I've written to date in my opinion, plus I've got tonnes of ideas for videos, images etc which we are currently filming and putting together as part of a real special release. Watch this space.


What are your plans for the forthcoming year? Do you have any greetings you wish to send out to friends, fans, etc?

     "I think I kinda rattled on a bit with the last question and semi-answered this one. But yeah, my plans are basically finish what I'm working on (which I'm very excited about) and see what people think of it. Then I'd like to see where we stand with live shows and get some worthwhile gigs booked up. There's also some exciting Sulpher dates lined up too with a few festival slots and a couple O2 shows and maybe some small tours later in the year, but it's all a bit hush hush for now and just waiting to see where we stand with this current pandemic. Time will tell.

Thanks for your time mate, Joe."

https://www.facebook.com/drownd
https://www.instagram.com/drownd_music/

Arguably you can place Anaal Nathrakh in the same bracket as Australia's The Berzerker and Canada's sorely-missed Strapping Young Lad, for being pure fucking extreme metal. For a duo who have been serving up nihilistic and downright filthy albums since 1999, Anaal Nathrakh have shown no signs of slowing down and with the forged relationship between V.I.T.R.I.O.L.: and Irrumator, they are unbreakable; no matter how many pieces of equipment they go through by harnessing their beautifully dark minds in synchronicity.

Album no.11 will see daylight sometime this year but due to the ongoing COVID-19 pandemic, there is no clear cut release date, but what is clear cut is that it's destined to leave you needing fresh underwear. It was then only fair for GMA to interrogate V.I.T.R.I.O.L. about the unmovable partnership the band has, what he has been doing since the UK went into lockdown and how music distribution has changed in context with what challenges the band faced years ago to what newer bands could face these days... oh and having a question about the new wave of British Extreme Metal being answered in a unique way; the interviewee asking the interview; much love Dave :).

Album #11 is coming out this year, is there a definitive title yet or are some ideas being bounced around; what stage is the album at?

     "Hello. Yes, everything is completely finished, we handed the whole album over to Metal Blade Records a while back. But then immediately after we’d done so, the COVID-19 pandemic kicked off.  So we’re in limbo to some extent now, and we don’t know what’s going to happen next. Presumably MB want to continue to release music, because people out there in the world in lockdown can still seek out and listen to new music – in fact music might be a particularly important thing for many people at the moment. I’ve been listening more myself, certainly. But at the same time, presumably the people at the label, the pressing plants, the distributors and so on are mostly working from home or furloughed. So yeah, the album is complete, but we’ve no idea what will happen with it next."


What can you tell us about the new album that has no relation to the previous album? e.g. themes, differences between this and "A New Kind of Horror"?

      "Well the last album had a lot to do with the First World War because of the time we were writing it, which obviously isn’t the case with this one. So in terms of subject matter it’s very different in many respects. There’s a lot in it, but I suppose you could say that a lot of it focuses on the position of the person or individual – basically, you or I, or a person we could very easily have been – in the world. That’s especially the case with the cover art, too, which is particularly striking this time. I’ve been thinking a lot more about art over the last year or so, and in working with Mick [Kenney] on the artwork for this album, we’ve really outdone ourselves. 

     But art aside, in general, I think we humans are increasingly subject to manipulation, for example even to the extent that the Government’s responses to the coronavirus crisis here in the UK were initially dictated not by experts on viruses, but by behavioural scientists. And it’s turned out that in many respects, even though the album was written before the virus came along, it’s just as applicable in the new updated global context. Musically it’s more direct, I think. For the kind of music it is, I think it’s probably more accessible – obviously I don’t mean it’s pop music, and something filled with blast beats and screaming can only be accessible in a relative sense. But even by our standards as a band you can latch on to despite the viciousness of the music, I think it’s even more immediate than before. But we won’t know whether that’s borne out in other people’s experiences until the things is finally fucking released!"


As a band you've been going 21 years now, (how time flies) would you agree the British Extreme Metal is experiencing a new wave of bands?

     "Haha, I’m not sure how the two halves of that question go together! When you’ve been doing something for ages, it usually means you have less of an idea what’s going on with people who have just started doing it, not more! I think perhaps your question would be better answered by a journalist like you rather than by me." [Rhys: Touche Dave, got me there; the UK Extreme Metal scene is amidst a new wave for sure]


As the UK is in lock down, what have you been doing at home both musically and in other hobbies?

      "It’s a weird mixture of intentions and inertia. I think a lot of people have found themselves expecting and fully intending to get on with all the little projects they’d not got around to, but then in reality sitting in their pants eating shit in front of the TV. My mental escape has always been games, so I’ve been playing quite a lot. I’ve also been thinking about some philosophical stuff – I recently finished a really big piece of work, and it’s possible that I could polish some parts of it and seek to publish them, so I’ve been thinking about some problems that I’d have to solve to get them to publishable quality. 

     It won’t make sense to many people, but if you’re into that sort of thing, basically it’s about the roles of cognitive vs. conative elements of a hybrid metaethical position. But mostly I’ve been sitting on my arse and festering into an ever greater loathing of my fellow humans and the twats on the telly and the radio who act like they know what they’re doing, but who are actually incompetent, self-serving, arse-covering fuckwits. Just like everyone else."

Arguably you're one of the strongest metal duo's to be still active and so what is it that makes you both tick along nicely?

     "Tick along nicely? This is Anaal Nathrakh, not a long-running car boot sale or someone’s happily married grandparents. We do what we do together because when we get together and work on this stuff, the results excite us. We specifically don’t have a trick or formula that makes things smooth and easy. That would be boring, and alienate us from any creative satisfaction. There’s never any thought of ‘ok, back to the old job, and this time around…’, because every new thing we do is ad hoc and vital and expressive, not mechanistic. We have a significantly optimised approach to recording, for example, because we know what we’re doing, but despite that we haven’t recorded in the same place twice in a row in nearly a decade, we usually use different equipment, and the cares and concerns we have at any given time are fresh and immediate. 

     A band like Bolt Thrower could perhaps approach an album and say to themselves ‘OK, how do we talk in a slightly different way about war this time?’. And it worked brilliantly for them. But that’s just not how our minds work. Yes, when we work together on Anaal Nathrakh there’s a similarity or continuity with our previous stuff, because it’s us and it’s Anaal Nathrakh. But beyond that there’s no trick or method – we do what we do because we know who we are, we know we get on well, and we know if we focus and work as hard as we possibly can, we will think the results are fucking brilliant.  Even if nobody else did, haha!"


What (in your opinion) are the biggest challenges facing the new crop of metal bands coming up the ranks in the UK?

     "I have little idea, to be honest – you’d have to ask someone who’s in that position. If anything I’m sick of the solipsism that makes people feel entitled to comment on the predicaments of others without actually understanding the peculiar difficulties of others’ situations. It’s like an MP saying they could live on universal credit when they haven’t got a fucking clue about life outside their privilege.  Having said that, one of the big things must be how to adapt to the fact that the world has moved on in terms of distribution and performance channels. Nowadays a lot of music culture revolves around Instagram and so on in a way I find distasteful, but which is simply the norm to most people. That’s an issue for all bands, but it must be especially acute for those trying to build some initial recognition and rise among the plethora of others on Bandcamp or wherever. 

     It still applies if you have significant recognition among potential fans, of course, but if hardly anyone has ever heard your band name yet, it’s got to be harder. We had early success on mp3.com back in the day – it was more like an early YouTube kind of thing back then, not the corporate pop shit thing is it now – but nowadays you have to navigate a much more complex network of genre tagging, big-data-style keyword heuristics, game search results, all that kind of shit. In the end though, nepotism will always be the most effective tool. So be good friends with someone influential, butter up or pay the appropriate people to get into the frame for the big tours, and in the UK, be from London. Then you’ll soon be doing better than us and be more able to answer that question than we are."


What plans for the year ahead do you have (COVID-19 depending); did you have before this pandemic?

      "Well, it’s basically impossible to answer that question. As it happens, we were planning on keeping a somewhat lower profile in terms of shows, just playing key events. But now we don’t even know when the album is likely to come out, everything’s cancelled, and no one can book shows and tours at all. For example, just as the virus blew up in the West, we were in talks about a really big festival show in South America, possibly along with some tour dates on that side of the world. But that’s completely out the window now. Depending on how the prognosis for society develops, perhaps we’ll have to think of something innovative and unconventional to do. But for the time being, it’s a waiting game to see what will happen."


Do you have any greetings or thanks you wish to send out? Any final words?

"Thanks. Remain indoors."

https://www.facebook.com/Anaalnathrakhofficial

It's been 18 years since the Finnish Industrial Metal band ...And Oceans released an album and yet here we are, album number 5 'Cosmic World Mother' is due for execution on the 8th of May. There is a reason behind the lengthy period between albums and that is because the band was under another moniker for 8 years (2005-2013), the name being Havoc Unit. However the sextet from Pietarsaari are back with a new lease of life and are set to carry on from where they left off albeit with 2 members being from the original set-up. New vocalist Mathias Lillmåns and original guitarist Timo Kontio spoke to GMA about this change in name, the new album and the current health of the Finnish Metal scene.

So here we are album number 5, "Cosmic World Mother" - it looks like ...and Oceans are coming back with renewed vigour, what does it feel like coming back under your original moniker other than 'Havoc Unit'?

Timo:-

     "Of course it feels great. We had such a great run with …and Oceans back in the day. We had thought of coming back a few times. Then we always thought that maybe it’s better to leave it to rest and not trying to force it and make a comeback for the sake of it. Then we had a couple of rehearsals and it was clear that we had to do this. We made a short rehearsal room video and put it online. Feedback was quite great. It gave more boost to that to happen. Soon we got some offers for gigs and festivals. After those we thought that it would be great to do some new music as well and here we are now.

     Havoc Unit was totally different thing music wise and basically everything else as well. …and Oceans, Festerday and Havoc Unit have always been different units. It’s a known misinterpretation that we would have just changed names between them. For example Festarday and …and Oceans are both active now."


Could you give us a brief background behind each of the songs on the album itself? It must feel good to release a new album after 18 years since 'Cypher'?

Mathias:-

     "When I wrote the lyrics to this album it started to shape into a concept album and each song has it's own place and story within that concept. I will not at this time reveal any clues to unlocking each song, since I think that people should think for themselves and form their own vision of what the songs stand for. I can tell that much that this album is all about energy and how it transforms."


Do you feel there is a current lack of Industrial Metal bands? What is about the genre that captivates you and how does this filter into ...and Oceans?

Timo:-

     "I don’t know about that. Don’t follow the current scene that much. Even less of industrial metal bands. My cup of tea is more of black metal and death metal. People might hear that on our new album as well."


Would you say the artwork can be interpreted in many ways? In the case of ...and Oceans perhaps shedding your old line-up away to be reborn anew?

Mathias:-

     "That can be one of way looking at it, yes. It would fit, but it's not my own interpretation. As I said before, I think everyone should form their own opinions. Don't wanna spoil too much here either, but it is very closely connected to the concept. In fact you when you will see the whole artwork of the album you can unlock everything that is "Cosmic World Mother"."

What were (if any) the more challenging aspects of creating the new album? Will there be a European tour (and overseas) in support of the album?

Timo:-

     "There were thoughts not doing this like mentioned earlier. Reason was the doubt how it would turn out. Now when the album is ready those doubts were unnecessary. New riffs and melodies kept coming like it’s ’95 again, haha.

     One challenge was the fact that we live so far away from each other and in several different cities. Arrangements and testing new stuff for example. That wasn’t possible at least not so often. It turned out great though.

     We are working on a tour and a few nice possibilities is already there, but we come back to those when confirmed. European tour first."


What is the current state of the Finnish Metal scene? Is it still in the public domain or has it receded more to underground levels?

Timo:-

     "Quite a lot new bands both in death metal and black metal scene. Almost like a 3rd or even 4th wave, haha. People seem to appreciate Finnish bands a lot and why not since quality stuff. Metal in general has been noticed quite well since that is the one thing people know when talking about Finland. Though there are only a few big bands coming from here. Most of the bands are in the underground willingly or forced to stay there for a reason."


For metalheads visiting both Pietarsaari and Vaasa, what sights / attractions could you recommend?

Timo:-

     "Visiting Pietarsaari, hmmm. Not too much to see here. Hardly any live events at least not metal. Our band members live in four different cities nowadays. None of us lives in Vaasa any more."


What are your plans for 2020 post-album release? Are there any greetings you wish to send out?

Timo:-

     "Of course we want to have a really strong coming with this new album. Loads of gigs/festivals, tour. A new video in the making. Hope to see new fans out there and also old fans from the old era of this band. See you on the road!"

https://www.facebook.com/andoceans/

Australia has always had a rich history in rock and metal music, from the days of AC/DC to the modern reverberation of the Metalcore and Deathcore contingent alongside the hellish Black Metal underground. But aside from that, one genre that seems to be simmering underneath is Industrial Metal and it falls on to bands like Darkcell to keep that burning flame alive. Having released their self-titled album this year, vocalist Jesse Dracman was happy to chat to GMA about the band's history, the local scene and future plans among other things.

The world of crossover music has always been there and for those eager enough to explore it, there are some rather spectacular and imaginative musicians out there. One such musician is Chinese-American cellist and erhuist Tina Guo, who has been a part of a countless number of musical scores most notably as a solo cellist, these include (but not limited to): 'Iron Man 2', 'Olympus Has Fallen', 'Vikings' (TV series), 'X-Men: First Class', 'Family Guy' and more. Moreover she has collaborated with world-famous musicians and composers such as John Legend, Hans Zimmer and Rupert Gregson-Williams respectively.

To top that she has appeared in the 'Mazda 6' and 'United Airlines' adverts respectively... in fact alongside this she has helped score for numerous video games including 'Diablo III' and 'Call of Duty: Black Ops' as well as releasing as of 2017, 8 albums of her own material with guests along the way; some of the albums are covers of game tunes e.g. her latest album 'Game On!' which has a metal feel to it and as Tina goes on to explain in the interview she had with GMA, there is something special about the relationship between metal and classical music.

Furthermore she has recently appeared on 'The Lion King' soundtrack to which she expressed absolute delight at.

You've done numerous albums, some involving metal music and so, could you tell us how you became interested in metal music? Do you feel classical music and metal music have strong correlations with each other?

     "Yes! Industrial Metal is my main love and after hearing Marilyn Manson when I was 13 secretly, since I was not allowed to listen to anything but classical music in my household, the next big revelation came when I turned 18 and moved to Los Angeles to attend the University at the University of Southern California where I studied Classical Cello Performance. I felt my world open up when I was able to go online, watch YouTube videos, and discover so many amazing bands and artists - including my favourite band, Rammstein. I feel all music is just music, there is good and bad music in any genre - but to me personally, there is something about both Classical Music and Metal Music that has a lot of deep emotion and power.
 

From your experience, do you feel that classical music of any kind should receive more respect and recognition than it does currently?
       
     "To be honest, I don't really play traditional classical music any more, but I think that there are so many amazing musicians online who are using technology and social media to connect with a new and young audience. I feel like if you want more people to recognize something, it also has to be made accessible and energetically open, not closed off because for members of the general public who have never had experience with Classical Music, it may seem intimidating. I think that Soundtracks are an amazing way for people to hear orchestral music, and it has really reinvigorated  people in being curious about instrumental music based on the tradition of European Art Music."


For those looking to get into playing the cello or erhu, what tips and tricks could you offer? What make and model of cello are you currently using?

     "Lots of practise! I practised 8 hours a day from when I started the cello at age 7 - in the past 10 years as I've gotten busier, I haven't been able to do as many hours but that foundation of technical ability is very important to establish when starting an instrument if it's something you'd like to pursue professionally. I would recommend find a good private teacher, and taking regular lessons - but most important is the follow through and practice.
 

     My Acoustic Cello is an 1880 Gand & Bernardel that I purchased 7 years ago, I love him very much and his name is Cello Guo! I have a few bows but my favourite is by Lothar Seifert, with a Wholly Mammoth Ivory tip. 
 

Do you have any greetings or thanks that you wish to send out to friends, family, fans, etc?

     "I love and appreciate everyone who has supported my music and art, because without people to watch and listen, what is the point of music? Music and art is to communicate our own emotions and interpretations of the human experience, and I love being able to share that energetically with others.
 
Thank you!"

http://tinaguo.com/

Mentioning the Eurovision Song Contest usually brings to the fore the flamboyant outfits, lovey-dovey pop songs and the evident 'block-voting' syndrome. However occasionally the event delivers some rather outstanding and unique entries, from Heavy Metallers Lordi (delivered Finland's first ever win in 2006) to Hungary's Post-Hardcore group AWS (post-Eurovision performed at Wacken Open Air)... then came Iceland's turn to abandon the safe-zone, free itself from the shackles of formulaic Eurovision pop music and embrace a darker, more aesthetically-pleasing and original tone in the form of Hatari, who are a 'Award-winning, anti-capitalist, BDSM, techno-dystopian, performance art collective'.

Of course they are not a metal band, however arguably through their performance which befits that of a Rammstein show; through pyrotechnics, elaborate outfits and singing in a language that demands your utmost attention, they might as well be. The unfurling of the Palestinian flags will be seen as a political statement and perhaps the most controversial thing to happen at Eurovision (although the counter-argument is Ukraine's winning song '1944' by Jamela; centres around the deportation of the Crimean Tatars), could the Eurovision be political in that it allows Australia and Israel to participate, but not Kosovo nor Gibraltar or the Faroe Islands due to the latter two not being independent nations. With that in mind it does beg the question whether the ESC is contradictory in it's own rulings or whether there needs a massive shake-up... let's face it will Punk Rock ever get a look in? Maybe the UK should send the Sex Pistols... let's see how far that goes, but for now GMA caught up with Matthías Haraldsson, harsh vocalist of Hatari and discussed about post-Eurovision events, their first EP 'Neysluvara' and of course if everything is going according to plan. 

For your listening pleasure we have included the single / music video for 'Klefi / Samed', curated by Hatari and Palestinian musician Bashar Murad. Next to this is 'Hatrið Mun Sigra', Hatari's Eurovision song, whilst the jurors did not really appreciate the song, the public vote was very high - they finished 10th... we like to think Europe understand the message Hatari are conveying.

Hatari are currently doing shows in Iceland and abroad, check out their Facebook page for dates coming up and ones to be announced.

London show has sold out.

https://www.facebook.com/hatridmunsigra/
https://hatari.is/

Halloween is once a year, or is it? Not according to American quintet Eternal Halloween whose demonic stature is sure to garner attention from overseas as arguably the States answer to the UK's Evil Scarecrow. Moreover this Los Angeles (or as they might call Los Hellos), California-based horde have only been around a year and are already causing a buzz across the American Metal underground, let's just hope their name is not a reference to the Aiden song otherwise things could get quite confusing. Eternal Halloween were happy to spare some time to answer some questions GMA had in store for them...

Many might see their latest photo as perhaps as Visual Kei, sure their Gothic-Glam crossover is one to admire and for the ladies to swoon over. But this quintet are no pushovers, in fact what we could see here is in fact the dawn of a new scene in Italy, as the guys in Beyond The Fallen go on to explain, hailing from the Vatican City (or Italy) is not as weird as it seems, or is it?


Hi guys, for those who do not know of Beyond The Fallen could you give us a brief history? Are you really from the Vatican?

          "Hey there! We are Beyond The Fallen, an industrial metalcore band born and raised in the Vatican City, as odd as it may sound. We started the band back in 2014, releasing a full length album named "You Rise, We Fall". In 2015 we released a remix EP named "Re:Fall", while our latest piece of work is a single called "Anima"."


Italy has had a long-standing history with the industrial music sound, what makes it so popular there (if so)?

          "Actually, metal bands and in general alternative music in Italy doesn't work out as well as it may seem from the outside. There's been probably one, maybe two alternative bands that actually "made it" in the alternative music scene, but truth is any metal band in Italy knows very well that the only way to make it is to gain attention from international labels and fans. "


You recently released your new video 'Anima', what makes the sound different in comparison to older songs? Is there a story behind the video?

          " "Anima" was our first work with our guitarist Yuki, who entered the band after the release of our first LP. We wanted to evolve our sound from the very harsh, raw industrial of our first record to something more polished and modern, and it turned out to be very easy and natural thanks to Yuki's approach to songwriting and music in general, which was very different from what we've had with "You Rise, We Fall". The result was a more metalcore-ish song, with loud guitars and a lot of changes in the song moods. We kept some of our key elements though, like synths and drum-work, and the mix turned out to be an excellent starting point for us in our pursuit of a new sound.

          About the video, we did something different this time around. In our first video, "Disconnected", we played a lot with dark and sick atmospheres, trying to achieve something that would confuse and impress the viewer. With "Anima" we did the opposite. The white background gives a sense of clarity, everything is bright and visible and while there are still some strange, confusing elements (thanks to our wonderful actors and costume designers) the action is quite clear so the viewer can focus more on the overall flow instead of wtf-ing about what's happening on screen."


How was it working with Utau Yume on the music video? Would you invite her on tour with you? 

          "We've had a great experience working with Utau Yume. It was our first time working with someone else, and her music is so different from ours that we actually were a bit concerned about how things could turn out. Instead, everything went extremely smooth. Songwriting sessions with her were very easy and fun, and everything came out naturally. Not to mention her incredible performance! We'd love to bring her with us on stage, it's something we already thought and talked about, and we can't deny that it could surely happen."

What has the international response to your music been like so far? Have you had any fans come from any countries that you were surprised by? What do people in your area think of your music?

          "We've had a great support from both national and international fans. Most of them were surprised about how different "Anima" was from our previous work, but thankfully in a good way. With the release of the single we also printed physical copies of it and of our previous LP and EP, which were only digital at the time of release. We still don't know why but it seems our music gets a lot of love in Mexico.

          We tried to reach countries like Germany, UK and of course the US, but the love and support we receive from Mexican fans is something we didn't expect at all and we're very happy and grateful about it. We also have fans from Japan, and our love for the people there and the country itself was what led us to write a song in japanese. About Italy, we played several shows around the country in the last 2 years, and we managed to reach a lot of people who supports us in a wonderful way."


With the popularisation of the 'Gothic Metalcore' movement inspired by Motionless In White, would you consider them and yourselves as pioneers of the said genre? Or what you describe yourselves as?

          "MIW could totally be considered pioneers, but for us, we don't consider what we do pioneering at all. We had an idea, back then, to try and mix our love for the '90s industrial scene with modern metal music, and we're still working on it to get to the sound we have in mind. When we'll reach that point, fans and critics will say if what we do is pioneering or not, but for us it's just trying to express ourselves in the way we think best suits what and who we are."


Does each member have their own unique look in terms of clothing and make-up? Would it be safe to say that you're influenced by the Visual Kei scene?

          "We are totally influenced by the V-Kei scene! We went a little overboard in the promo material for "Anima", but with it being a song in Japanese, mostly for japanese fans, we felt it was natural and we've had a lot of fun building our looks and outfits. Every one of us has a very different taste in style so we find ourselves talking (and arguing) about our looks often when we have to shoot a video or some promo pics. While writing and playing music are of course our favourites things to do, we surely think and work a lot about our image in order to deliver something that's carefully thought and realized from start to finish."


Where does Beyond The Fallen go on from here (the music video release)? Debut album? UK / EU tour?

          "We have a lot of material for our second LP, that should come out sometime around 2017. We'll start working in studio in October, and thanks to "Anima" we have a clearer idea about what the album will be. We can't wait to let you guys listen to it!"


Finally do you have any hello's or thank you's you wish to send out?

          "We'd like to thank you for this interview of course! And also thanks to all of our fans for their incredible support, we never thought what we do could mean so much for people and every one of our fans is a reason for us to keep working as hard as we can."


https://www.facebook.com/BeyondTheFallenOfficial/