S.K.O.A Magazine Issue 1 | 2014

fRIDAY JUNE 27

SATURDAY JUNE 28

SUNDAY JUNE 29

mAINSTAGE 1

STEEL PANTHER - SEETHER JEff ScOTT SOTO +1 AcT

mASTODON

PRImE cIRcLE - cIVIL WAR + 2 AcTS

ALIcE IN cHAINS – ANTHRAX

THE BLAcK DAHLIA mURDER +1 AcT

mAINSTAGE 2

DORO - ANNIHILATOR

W.A.S.P.

LYNcH mOB - ALESTORm +1 AcT

GOJIRA - POWERWOLf +1 AcT

WATAIN - TRIPTYKON - cANDLEmASS NAPALm DEATH - SOLSTAfIR - NOVEmBERS DOOm

NEUROSIS - SATYRIcON - ELUVEITIE LEGION Of THE DAmNED - NILE NEcROPHOBIc - IN SOLITUDE

HATEBREED - BRING mE THE HORIZON

SUIcIDE SILENcE - cOmEBAcK KID - POWERmAN 5000

mARQUEE

mETALDOmE

GRAVEYARD

UNIDA - ORANGE GOBLIN - WALKING PAPERS Of mIcE & mEN - mISS mAY I - THE TREATmENT + 1 AcT OPEN AIR STAGE

EmmURE - BUcKcHERRY BLESSTHEfALL - HUNTRESS - BATTLEcROSS

DARK TRANQUILLITY

DILLINGER EScAPE PLAN - cULT Of LUNA ENSLAVED - AmENRA - NAILS - cARAcH ANGREN + 1 AcT KYLESA - PRO-PAIN - WALLS Of JERIcHO PROTEST THE HERO - SKYHARBOR

PARADISE LOST - DEATH (DTA) - TIAmAT ScHIRENc PLAYS PUNGENT STENcH - cYNIc GLORIOR BELLI

mETAL cHURcH - SEBASTIAN BAcH RHAPSODY Of fIRE - GLORYHAmmER + 3 AcTS

WE cAmE AS ROmANS - THY ART IS mURDER LETLIVE. - cROSSfAITH +1 AcT

in this issue the sixth string 06

The Prescription

08

Down Among The Dead Men

12

Every Hour Kills

16

The Awakening

20

Deals Death

22

Nervosa

singularity 30

34

thunderfuck 56

Immolation

Heike Langhans

Models

chronicle

58

Jossie Ayame

62

Countess Havok

A Lesson In Violence

swaar Metaal 39

Funneling The Fury

40

Agro

44

Roots Bloody Roots

50

Sacrifist

Reviews 68 Paul’s Corner 70 4

S.K.O.A Magazine

letter from the editor A singularity of vision, a sense of purpose and a dollop of good music characterize this issue. What we offer in the following pages is what sets this magazine apart.

From the archives of Thunderfuck we’ve uncovered interviews, unseen for years.

We’ve commissioned reviews of the latest releases. We don’t just cover acts that have already made it, we pride on the space we give to bands that aren’t big in any way aside from the sounds they make. We also have a brand new incoming section Swaar Metaal. Wherever you are in the world, we hope you will take a liking to these pages. At the very least, we hope you get to sit back, relax and sample some of the finest the world of Metal has to offer. Thanks to our writers, contributors, artists and to you, our readers, for making it all real.

Riaan Jooste

Editor In Chief

Editor In Chief Riaan Jooste

Associate Editor Zoey Els

Graphic Artist Brendon Nox

Contributing Writers

Introducing

Lucinda Villian Lav Nandlall

Paul’s Corner Paul Hodgson

Support Your Local Scene

on the cover: Countess Havok

Photo by: Frank Moody | Photo editing: Heike Langhans

Questions & Feedback s.k.o.a.mag@live.com Facebook.com/SKOA.Mag Twitter: @SKOA_Magazine

You play many live gigs in your hometown, what is the response to The Prescription during a show?

The Sixth String

The

Prescription F

lorida has shown some serious talent lately. We’ve been fortunate enough to feature some kick ass Floridian bands, this feature being no different, of course. So if you’re into a rock/stoner/electro sound, then The Prescription is the perfect combination of all that. Their sound is energetic with some great lyrics and addictive riffs. The band started up in 2010 and are currently not signed to a label, but that’s not stopping them from working hard and making some great music independently. Promising you a great live show full of energy and a great vibe. Check out their Facebook page for info on gigs in your area.

All that being said, who better to describe the band then the vocalist himself. Check out this interview with Billy Doom!

To find the perfect combination to form a band is not an easy task. How did you guys go about finding the right ingredients to complete the bands current line-up?

the proper tools for us to make our art more visible, then they could fit the bill. Otherwise, we would still trudge on independently like we have up until this point.

We arrived at this line-up after going through 6 other members at various times/formations in the band. I have to admit that I am very fortunate to have arrived at the current line, seeing as finding great talent that is level headed becomes extremely difficult when you are coming from a small town. Keith and Anthony are both amazingly talented individually, and when combined together they are an even more amazing rhythm section.

What kind of music is the band into?

Would you say it has any major influence on the music you make?

The Prescription isn’t currently signed to a record label, is there any specific record label that the band would like to be signed by, or are you looking to make music more independently?

There certainly are some amazing record labels out there that are consistently putting out great music from notable and credible artists. With that being said, there are also a shit load of labels out there that do the opposite. For us, being “signed” isn’t about the glitter and gold of fame, it’s more about having the ability to make our art more visible to the widest audience possible. So if a label had interest in RX and could provide

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The band as a whole listens to everything from 80’s hard-core to contemporary pop to garage rock to hard house music and we HOPE that all of that amalgamated sound is heard in our tunes.

What are some of the bands hobbies and interests aside from music?

My drummer (Anthony) is a fitness guru and music instructor outside of RX. My bassist (Keith) is a live music sound engineer and illustration artist outside of RX, and I (Billy) am a music instructor, beer enthusiast, and a constant tinkerer/builder of musical equipment for the band.

To any new fans that would be reading this, could you sum up the band’s sound in one sentence?

Riffy and melodic hard rock with elements of world music, synthesis, and space.

That certainly depends on the bill. There have been moments of cheering, claps, and the occasional walk-out. For us, as long as there is some reaction to the sounds were creating, whether positive or negative, then were doing our job.

What are some of the places the band would like to travel to spread the music of The Prescription?

So far we’ve played over 20 states in the U.S., so we got at least the other 30 to cover ASAP. We would then need to cover the other continents and hopefully the moon shortly thereafter.

What’s in store for the band this year? Any news you can share with us?

We do in fact have some very special plans/ news for this year. Some of which I can discuss, like our new album “BETWEEN SIGHT AND SOUND” that will be out for consumption very soon, as well as plans of touring. There are some other things I would really like to leak, but I unfortunately can’t say that stuff at the moment. That should help provide you the reader incentive to follow the band on our Instagram at @officialRXband and on our Facebook to stay up to date on all the upcoming RX endeavours!

Where can fans find your music, merch or read up on any news of the band?

You can find us at Facebook.com/theprescriptionmusic, Soundcloud.com/The-prescription, and on Instagram and twitter at @officialRXband Thanks for talking to us! Any last words?

Thanks very much for the interview; we appreciate the chance to give your readers some insight to our labour of love. For the people who already support RX, we want to say thanks for all you do and for making this as fun as it is.

Cheers!

Signed,

Billy Doom >> Interview by: Zoey els

Photo by: Brian Storey

The Sixth String

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>> Album cover from self-titled debut album, released Nov 2013

W

hen you tweet that you are listening to a famous band you love, the last thing you expect is that one of their

ex-members start talking to you directly. This happened to me when I tweeted that I am listening to the great Bolt Thrower.

Now I have the pleasure to interview down to earth, nice guy and talented death metal vocalist, Dave Ingram, (ex-Benediction/ ex-Bolt Thrower) about his new project, Down Among the Dead Men, who released their debut self-titled album in November 2013.

The band is: Dave Ingram (ex-Benediction/ex Bolt Thrower) Dennis Blomberg (Paganizer) Rogga Johansson (Demiurg/Paganizer)

- Vocals - Drums - Guitar/Bass

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Please give us a brief history of the band and explain the meaning of the name.

That one is easy: We formed early 2013 after a brief email conversation and we have just released our debut, self-titled album.

That’s the band history sorted (unless you want us to talk about our past endeavours.)

The name DOWN AMONG THE DEAD MEN has its roots in one of my own personal loves, the TV show DOCTOR WHO. It’s a very tenuous link, but it’s there. It’s also connected to archaeology as I worked in that field back in the late 1980s.

What’s your song writing process and what is the main theme/inspiration for your lyrical content?

Again, I can give a tenuous link to DOCTOR WHO. In fact, it’s more a side character called Professor Bernice Summerfield. Her character (and the audio adventures she is involved in) is of great inspiration for the lyrics on this album. Next time round…who knows? For the most, Rogga and Dennis will write the music then send me rough tracks for me to add lyrics to, so they can see where to extend sections or add solos etc. It works really well. There are 3 songs on this album that I wrote myself, though Rogga did some arranging on a couple of them, which turned out very cool!

Your sound is pretty much awesome old school death metal with a good dosage of crust punk. What made you decide to go for this sound, and do you think it’s a risk in having that approach (considering that most new bands nowadays play technical death metal)?

I’ve wanted to do that style for a very long time. I proposed it to Rogga and he liked the idea a greatly. He didn’t adapt it, he kept it exactly as I imagined.

The modern, tech-metal bores the fucking shit out of me. Bands play 8 minute songs with 75 riffs and it goes fucking NOWHERE. I wanted to do fast, in & out songs that punch you in the gut and wake you the fuck up.

What do you think about the current scene compared to the early 90’s?

It’s tough for me to compare it. It changes, it evolves…sometimes into things that one single person doesn’t like. Thing is if there’s something you don’t like, such as the aforementioned tech death, then don’t listen to it. (I sure as Hell don’t!) If you dig deep enough you’ll find something that floats your goat. There are a lot of bands out there that keep the old school sound, you’ll know them when you hear them.

Let’s talk musical influences. First metal band you listened to, the band that inspired you most to start playing metal and DATDM’s main influences?

Black Sabbath, as a 7 year old. Along with Pink Floyd, Status Quo, Deep Purple, Budgie and several other old Heavy Metal bands. I moved on to Iron Maiden, Kiss, Dio (and many more) later on, along with a lot of Punk too. I had The Clash’s single “Tommy Gun” when it first came out in ‘78. Much later I got into the Thrash & Death Metal, such as Voivod, Celtic Frost, Destruction, Venom…. all these inspired me in varying degrees to do what I’m doing. For DATDM then I would say Discharge, G.B.H. and Amebix are strong influences, at least for me.

If you could cover any song from any genre, what would it be and why?

I would like to cover every single Bieber song….in gasoline and

throw a lit match! But seriously, I’d love to do a Discharge song, maybe Venom or Celtic Frost and even one by Slade, the real old band from the UK (the Midlands, where I’m originally from.) So many covers to choose from, all to be done in the band’s own style OR as close to the original as possible.

What’s been on your playlist the last month, and feel free to disclose any guilty pleasure Christmas carols it may include.

I only celebrate Xmas for my son (he’s 10) else I wouldn’t bother. I certainly don’t do Xmas carols. The closest I come to is “Merry Xmas Everybody” by Slade. Here are my most recently played albums: Bolt Thrower - Those Once Loyal Paganizer - On A Gurney To Hell Bonesaw - The Illicit Revue Gillan - Mr Universe Queens of the Stone Age - Era Vulgaris Kiss - The Elder The Cars - The Cars The Nuns - The Nuns Murray Gold - Doctor Who, Series 7 Soundtrack

What is your most memorable experience while on stage?

Any crazy stories to share?

I think the show I performed with Bolt Thrower just a few days after my sister had died. The crowd were told about it, and totally understood. At the end of the show I stood in front of 60,000 people and was weeping. Not one person berated me. That’s something I will take with me forever.

Quickfire: Favourite album of 2013 (excluding your own) Either Paganizer - “On A Gurney To Hell” or Bonesaw - “The Illicit Revue” Though I’m not 100% sure either of them are actually released in 2013. I just got to hear pre-releases.

Song to be played at your funeral...

Every single version of the Doctor Who theme. I have an mp3 that I edit accordingly for this.

Bolt Thrower or Benediction...

Bolt Thrower. There were only good memories. It ended on a sour note with Benediction.

Mention an interesting thing about yourself that even your band members might not know.

Favourite song on your album...

I have become a misanthrope in my old age.

I can’t say “all of ‘em” so I shall say….” The Epoch”.

Or “Bones Of Contention”…or “Draconian Rage” - OH, FUCK IT! ALL OF ‘EM!!

Describe a day in the life of David Ingram. Working class musician or living the rock star life? And how do you manage your time to fit in the band, radio shows and still have time for your family and your Doctor Who obsession?

I live life to its fullest, because we all have only one. Once it’s gone, then it is gone. Life is to be experienced, so be opulent at every opportunity. I schedule my time as wisely as I possibly can, though one of my radio shows (my Big Band Jazz show called “Lambert’s Basement”) has been suffering for all the DATDM promotion recently. I shall endeavour to rectify that situation in the New Year.

My metal show “Metal Breakfast Radio” is still flying the flag. I will give some links of possible interest at the end. I always make time for my family AND for my DOCTOR WHO obsession (which is a healthy one.) In fact, I am going over to London in January to see a musical written by the composer Murray Gold (he who does the music for my beloved show) and I’ll be hanging out for drinks with him again afterwards. Boozing and schmoozing!

What is the best advice someone has given you and what advice can you give to any up and coming bands?

Keep true to what you want to do, keep focused, keep at it, and be vigilant over what you are offered to sign. Be tough, or the industry will walk all over you. Another good piece of advice, one that has stuck with me forever: “You’ll

honey.”

Favourite vocalist...

I’m very much into Josh Homme of Queens of the Stone Age. And Tiny Tim. I kid you not.

Here’s some links which might be of interest to folks: DOWNLORD back-catalogue, free download: http://www.metalbreakfastradio.com/Downlord.zip www.darksentinel.dk www.metalbreakfastradio.com www.darksentinel.dk/DATDM.html www.facebook.com/LambertsBasement www.facebook.com/MetalBreakfastRadio www.facebook.com/MetalBreakfastIngram www.facebook.com/DownAmongTheDeadMen Twitter: @MetalBreakfast www.radiofreesatan.com www.radiovillains.com >> Interview by: Lucinda Villain

catch more flies with

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P

laying guitar for 15 years, teaching, playing in bands and producing for almost a decade, he’s done it all! From recording and touring, all the way to graphic design, managing record deals and creating live MIDI lightshows and sample rigs. Yep ex-Divinity guitarist Sacha Laskow is the man I am referring too. Over the last two years, he, bassist Brent Stutsky (Breach of Trust), drummer Rob Shawcross (ex- Out Of Your Mouth) along with vocalist Jerrod Maxwell-Lyster (Walk As Chaos, Out of Your Mouth, Autobody) have been busy in the studio working on recording new songs to be unleashed to the masses.

Last year saw their first single ‘Deliver Us’ exposed to the world and set the path for their next knock out force ‘Chosen’ produced

by Joey Sturgis (Asking Alexandria, Emmure, Of Mice & Men and We Came As Romans).Every Hour Kills is a new modern melodic metal band exploding out of Calgary. We recently caught up with Sacha to talk about his new band, work, his past and the future.

Photo by: Sarah Kitteringham

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What has the response to ‘Every Hour Kills’ been like?

What’s your view on the Vinyl format these days?

The response has been overwhelmingly positive. Our moms are especially proud.

I have no opinion on it really. I tend to consume most of my music digitally, but whatever blows your skirt up!

Over the last two years the band has been recording, Alberta-based, it seems that the Canadian scene is and last year your first single ‘Deliver Us’ was released. exploding and growing by the day. Your thoughts on it?

This brings us to ‘Chosen’, your brand new single. What Canada has always had some of my favourite bands so it isn’t did producer Joey Sturgis add to the proceedings?

Joey worked with us remotely strictly in a production capacity, so things like tweaking the vocal lines and instrumental sections as well as tightening up the arrangements. He also added synth and FX, that sort of thing. We did the bulk of the writing as well as the recording / mixing and mastering here in house.

How did you first discover metal music?

My older brother got me into Metal when I was really young, like 8 or 9. I was listening to Venom tapes when most kids were probably into New Kids on the Block or some shit. I’m fucking TR00.

Tell us a bit about your early years in ‘Enditol’.

ENDITOL was my solo project, Jerrod coming in to the picture later and adding vocals. I was pretty much taking every influence I ever had and ramming it into a blender, as well as trying to fellate myself with my own guitar skills and how ‘progressive’ I could be.

How many instruments do you play?

really a new phenomenon for me, and that’ s nothing to do with patriotism, I actually just think the music is great.

I grew up listening to a lot of Canadian bands. Razor, Exciter, Piledriver, Voi Vod, etc. Which Canadian bands do you admire?

SO MANY including some of the ones you mentioned, also SYL / Devin Townsend of course, Into Eternity, tons of greats from the Quebec scene including Martyr, Gorguts, Augury etc.

The Calgary scene where I’m from has definitely been steadily growing and improving as well.

As a musician, producer and engineer for over a decade, as well as a guitar teacher and holding down a day job, it doesn’t leave you with much spare time. What do you like to do for fun?

Reading, cooking, travelling, and curating my extensive Flesh light collection.

What’s your view on the current state of the music industry, online music accessibility, etc.?

I play a little bit of everything. Being a producer myself, it’s important to understand what each instrument can do and how they work together. Guitar and Drums are my big passions though.

Much like the rest of western society, the music industry is a hot fucking mess. I feel like I’m watching Rome burn. I don’t have any solutions to offer either. Do what you want, write what you want, and listen to what you want. Fuck the music industry anyway too, seriously.

Word has it that you are an absolute perfectionist when it comes to recording, what can you tell us about the recording processes of the band?

Thanks for taking the time to chat to us! Good luck with all your future endeavours. Any last words or comments?

Sure, I’m a perfectionist, that’s what the sound aesthetic I appreciate requires. We spend a lot of time on pre-production and making elaborate demos, going back and forth on ideas and parts until everything is predominantly mapped out. Of course, some experimentation still occurs on the fly in the studio. Then we just record the final takes and I mix and master everything.

We’re currently accepting applications for tambourine girls at: tambourineauditions@everyhourkills.com >>Interview by: Riaan Jooste

FRIDAY 13 JUNE

SATURDAY 14 JUNE

SUNDAY 15 JUNE

PERFORMING

BLACK LABEL SOCIETY

SKINDRED - POWERMAN 5000 CROSSFAITH - MISS MAY I

KILLSWITCH ENGAGE

VOLBEAT

BOWLING FOR SOUP - WHILE SHE SLEEPS FOZZY - DYING FETUS

JOE BONAMASSA - BUCKCHERRY WINGER - RED DRAGON CARTEL

ZIPPO ENCORE STAGE

FLOGGING MOLLY

MEMPHIS MAY FIRE

BURY TOMORROW THE ANSWER TESLA DANGER DANGER

SKID ROW CRAZYTOWN BOSSHOSS PRESS TO MECO STAGE

SEETHER PHILIP H ANSELMO & THE ILLEGALS SABATON SEPULTURA EMMURE - SKILLET WE CAME AS ROMANS - AVATAR

ANATHEMA - LETLIVE AMERICAN HEAD CHARGE - BLACK DAHLIA MURDER THE USED - SUICIDE SILENCE KILL DEVIL HILL QUICKSAND - THE AMITY AFFLICTION BLESS THE FALL - LONELY THE BRAVE THE TREATMENT - FEED THE RHINO THY ART IS MURDER - RADKEY DEFEATER - UPON A BURNING BODY TWENTY ONE PILOTS ARCANE ROOTS - SEPTEMBER MOURNING ZOAX - THE CHARM THE FURY THE GRAVELTONES - COLLIBUS LIVE

TYKETTO ANTI-MORTEM - LYGER HUNTRESS

STAGE

THE HOWLING - CAGE THE GODS BATTLECROSS - MALEVOLENCE NEW POLITICS - COLDRAIN - SKY HARBOR

POLAR - HEART IN HAND KING 810 - REIGNWOLF MONUMENTS - BAD TOUCH

PLUS MORE BANDS TO FOLLOW FOR TICKETS, FESTIVAL UPDATES AND TRAVEL INFO GO TO: www.downloadfestival.co.uk 13-15 JUNE 2014, DONINGTON PARK ON SALE NOW: WEEKEND ARENA & CAMPING TICKETS, COACH PACKAGES, CAR PARKING, LOCKERS & DISABLED ACCESS TICKETS. RIP PACKAGES ALSO AVAILABLE FROM THE FESTIVAL WEBSITE OR CALL 0207 009 3484 LIKE US

/DOWNLOADFEST

(SUBJECT TO LICENCE)

FOLLOW US

@DOWNLOADFEST #DL2014

(BILL SUBJECT TO CHANGE)

The Sixth String

F

ounded in Johannesburg, South Africa in 1995 by vocalist Ashton Nyte, The Awakening are back for their first South African tour since 2007! They are one of South Africa’s most successful Goth bands, with success throughout Europe and the US. They have headlined some major South African festivals including Oppikoppi and Ramfest, playing for crowds of 30 000+ people.

They are finally returning to home grounds for The Awakening Anthology XV SA tour set to kick off 20 March this year. We spoke to vocalist Ashton Nyte about the tour, upcoming new album and what’s in store for The Awakening from here on out.

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The Awakening ashton nyte

S.K.O.A Magazine

Photo by: Intervention Arts

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With an enormous support base in South Africa, The Awakening are set to tour home grounds again for the first time since 2007. What can you tell us about the tour?

I can tell you that we are looking forward to it and that we are very excited to play on SA soil again - 7 dates across the country!

Reconnecting with the fans who helped launch The Awakening’s career is very important to me, as is sharing where the band is at today, creatively speaking. Thank you to Sabbath Events for making it happen!

Being based in the United States for a lengthy period; what sets South Africa apart from the US standard of music both culturally and metaphysically?

I think that sense of being “removed from the rest of the world” makes South African artists try that much harder. In SA we are used to fighting for absolutely everything. I think that informs our music and our appreciation of it, as music lovers.

The band has managed to release an album almost every 1-2 years. However, there is a huge break between Tales of Absolution and Obsoletion and the new album. What has the band been up to during that period?

I took some time off to concentrate on my solo career for a while.

I released and toured my 5th solo album, The Valley and recorded 2 new solo albums, which are as yet unreleased. In late 2012 I set about remixing, re-recording and re-arranging classic Awakening tracks for the Anthology XV album, which was released digitally in April 2013 and is the theme of our SA tour in March 2014. A special limited edition physical CD version of Anthology XV will be available on tour for the first time.

It was announced that there is a new album in the making and you are aiming to release it October this year. What can you tell us about this?

The songs have been written and we are currently in studio with pre-production and song development bits ‘n pieces. We will get stuck into final recording and production after the South African tour. There is a European tour in the pipeline and we’re hoping to have the new album completed before then. We’re shooting for October 2014. Musically, the album is a return to the harder side of The Awakening. It is more dynamic and energetic (and probably heavier) than anything we have put out to date.

The Awakening have been credited in the press as “South Africa’s most successful gothic rock act”. Aside from the hard work and love for what you do, what keeps the bands creative juices flowing?

I am a compulsive songwriter. Some people are addicted to caffeine, cocaine, or reality TV. I just can’t stop writing songs. I do have wonderful friends, family and a studio who continue to help me through it.

You’ve describe the bands live performances as a “ritualtype experience based on our theatrical on stage appearance and performance.” With Terminatryx and Fspot supporting the South African tour, does the band have anything special planned for the live shows in South Africa, perhaps something bizarre?

I do have a penchant for melodrama and am fortunate enough to be playing with the strongest live line-up in the history of The Awakening and some cool support bands. Anything could happen.

With the last question in mind, a lot of fans pay to see a performance as opposed to people on stage reciting lyrics.

The Awakening clearly gives its audience something to watch. How important is that theatrical factor when doing a gig?

Very important. Someone once said that a great concert is a place to lose yourself, or find yourself. We certainly try to facilitate that.

Considering the line-up, how many band members can go down before it stops being The Awakening?

Well, The Awakening has always been my baby. I have written and produced all the songs to date and generally play most of the instruments on the albums, so I guess it would end if I ceased to be ;-). Having said that, I have had the opportunity to work with so many talented people over the years, especially bringing the albums to life on stage and often improving on my limited abilities. The new album, however, will feature performances by the current live band members, who will then be touring the album. It feels good to see the full cycle realized.

Time and time again anything with a hinted label of ‘Gothic rock’ is portrayed as ‘bad’, ‘satanic’ or ‘evil’. Recently in the US, a young Goth has been held in captivity for murder charges. The press emphasized his Gothic roots more than anything else. What do you make of the tainted society that we live in and how has the band overcome such a stereotype?

The media (and society in general) has always been partial to scapegoats and probably always will be. Most thinking creatures do enjoy the benefit of free will. I am pretty sure that poor judgement, or lack of moral fibre, has little or no correlation to your taste in music.

Would you like to add anything?

Thank you for your support and we’re looking forward to seeing you at one of the shows in March! Until then, please visit The Awakening at www.the-awakening.com or www.facebook.com/ theawakeningofficial Ashton Nyte of The Awakening Thank you for your time with S.K.O.A! >> Interview by: Zoey Els Lav Nandlall

Photo by: Sean Coetzer

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The Sixth String

Deep in the wintery depths of Sweden, Deals Death have been preparing their next batch of melodic death metal for the world to enjoy. Originally formed back in 2009 out of a musical college in Borlänge by guitarist Erik Jacobson, before they relocated to Gothenburg, these Swedes have easily made their name in modern metal. Despite their relative youth, they have already made waves with their previous two album releases and gained the respect of metal legends, such as Alexander Kuoppala (formerly of Children of Bodom fame) who had previously offered a guest solo on their debut album,

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Internal Demons. The band got some mass exposure when vocalist Olle Ekman uploaded a video on YouTube where he is growling along to a piano, titled “Death metal vocal exercises”. They are a band that have certainly paid their dues, having been on tour with Scar Symmetry, Dark Tranquility and Hypocrisy. In their early days, even a few Sabaton members were part of the band. “Deals Death brings the good news!

The world isn’t going to end; it’s only becoming a horrific and gruesome place to inhabit.

Photo by: Therés Stephansdotter Björk

How would you describe Deals Death’s sound?

Big, fast and aggressive. I personally like a lot of film music along with trash metal so the outcome is pretty simple.

Give us a musical overview of your latest album ‘Point Zero Solution’ Well, music wise we wanted to take it to the next level. More of everything and we started to see ourselves on bigger stages so we wanted a bigger sound to go with it. A good show is everything to us. If we can get an ocean of people to have the same feeling as we have on stage, we´ve made it. I personally wanted to use more keyboards and orchestral arrangements because I like that kind of stuff. Lucky for me that I write the music. Its also more of a complete production rather than an album full of hits. I wanted to create a feeling that’s something is wrong with the world and how we are blinded to see it.

How did you decide on the album title?

Have you seen the movie Armageddon? When a comet is about to hit the planet? They show a big red circle that goes around the Earth symbolizing the point of no return. Meaning that if the comet passes through this red line, everyone is fucked. So I started to think about what it would be like if the comet went through? And the mission to blow it up failed. Surely the Elites of this world must have a plan B? Oh yes they have. Its called Point Zero Solution.

Press the big red button and initiate the plan. “Save the best, burn the rest.” Wich means that everyone without money or power would go under. Whilst the Elite would survive and celebrate their own greatness. The fact that people around the world don’t realize this bothers me. When humans stand in front of death, we become animals.

Sweden has been so big for metal bands over the years. Is the current metal scene still strong in Sweden, or has it been surpassed by some other Scandinavian countries?

I would say that Sweden and Finland are going strong. Mainly because there are so many opportunities to be in a band over here.

We have laws that makes being in a band profitable for fucks sake!

Haha. And since there is basicly no rivalry between bands everyone helps everyone and it goes to show that it works out.

The band played a show with the symphony orchestra of Dalarna.

Please tell us more.

Deals Death started out as a project I had in a collage called Boomtown. And the show with the orchestra was the final exam.

So I wrote all the notes for them and they played it with us! Pretty cool to hear a full orchestra play your songs. It sounds massive! I think there is a clip from the show on youtube.

How did you get started in music? Were there any specific bands or albums that inspired you to pick up a guitar?

I started to play because I had a lot of friends playing guitar when I grew up. It looked like they were having a lot of fun when playing together and writing music. And it looked so easy so I thought “I can do that” haha. 14 years later I can now say that yes, I can play guitar, hehe. I started to become more and more interested in the heavier music (In Flames, Arch Enemy, Children of Bodom, Dimmu Borgir) and started to copy guys like Alexi Laiho, Per Nilsson, Paul Gilbert and so on. I used to sit for 9 hours a day just playing all these exercises and eventually I got better. Glad I didn’t quit.

What type of music do you enjoy listening to?

Mostly film music and classical. There are so many elements to listen to and discover. It very interesting. Of course I listen to a lot of metal but also pop and sing/songwriter stuff. None of that R&B/ Hip Hop bullshit though…

In metal music today, do you have any thoughts on the genre or the scene at the moment? Anything that’s perhaps good or bad about it?

As in all businesses, money talks. Its just the way it is and sadly the art of music and creating music is either doomed by this fact or it could make you grow, fast… In this day and age there are SOOO many bands out there that are trying to get seen and heard on the internet and online services. It makes it hard to stand out you know? To be a musician today is to be a business owner. You have to think about dealership, contracts, money, investments, collaborations, public relations, lawyers, appearance.. The list goes on and on… And on top of that, you have to write awesome music!

I would say that whilst the music is the most important part its still not the biggest part. The fact that the music is great is more or less standard. Its what you DO with it that will take you somewhere.

In terms of the shows coming up, what can fans expect from the set list?

Of course, a lot of new stuff from PZS since we are still touring with that album. And headbanging! Haha. Yeah but we are making preparations for one hell of a show. The upcoming tour through Europe supporting Amaranthe is going to be great and we cant wait to show the people of Europe what we have to offer them.

Before I let you go, are there any words you want to share with our readers?

Thanks for taking the time to read this interview! Have a good day and be sure to keep an eye on Deals Death! >> Interview by: Riaan Jooste

The Sixth String

Brazilian Thrash 22

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bout 2 years ago, when we decided to change the sound in my band to something heavier and faster, I searched for inspiration by looking for all female thrash bands. I discovered Nervosa’s video, “Masked Betrayer”, and I was instantly hooked by the unique female vocals and thrashy sound.

It is with great honour that I now get to interview the relentless driving force of Nervosa, role models for female musicians in metal, on the brink of the release of their full-length debut album “Victim of Yourself”.

Members: Fernanda Lira - Vocals & Bass Prika Amaral - Guitars & Backing Vocals Pitchu Ferraz – Drums

Queens

Victim of Yourself Release Dates: 28/02 - Europe 11/03 - USA and Canada 30/03 – Brazil Photos by: Pri Secco

So let’s get started with the basics.

Please give us a brief history of the band; explain why you have chosen the name Nervosa, and was it a conscious decision to be an all-female band?

PRIKA: I played in a death metal band in 2010, and we needed a drummer, a friend showed me a female drummer, and we began the idea for a female band. I searched by one year female members, bassists and vocals, many girls, but nobody was the ideal. In July of 2011, I found Fernanda Lira to be our bassist; she is perfect for us, because she has the same ideas. She suggested to make a test of vocals, and when I listened I liked it very much! The band had 4 songs before Fernanda Lira, but after that she joined the band, the first show happened and we recorded our first demo, and the band began to walk on.

The name was chosen when I sent a preview song to a friend and he said: - This song is really nervous! And the word nervous in Portuguese is Nervosa, this word is a female word, because nervous in male is nervoso. Nervosa is perfect because everybody understands the meaning and can pronounce and speak it easily, it is universal and aggressive like our songs are.

FERNANDA: I joined the band when it was only a project in 2011. I had been kicked from my previous band, and

after a while away from playing metal, I decided to get back on pursuing my dream of having a band again. So I started looking for girls to gather up an all female thrash metal trio, and when my quest for girls was almost over, because it´s a really hard task to find committed girls to play with, Prika got in touch with me and we saw we had the same objectives and ideas, and also that we got along really well, so we decided to move on together in Nervosa. After that, I came up with a lot of plans and ideas, including for changes in the songs that already existed, and then finally the band moved on as an active and professional band!

You’ve had a few member changes since Nervosa started in 2010. How did you deal with these changes? Did you look for a certain personality to fit in with the band?

PRIKA: When I founded the band, I searched for almost 2 years for a perfect line-up, and my criteria was professional girls and this was very hard. We are a new band and all these changes were necessary. Only today we are a perfect line-up. It was because of the reason that we are trio, we have a perfect harmony, we are like sisters and everybody has the same goal, professional posture and dedication.

FERNANDA: When we had 2 guitar players in the band, everything was very

difficult because she couldn´t be here to rehearse, and also to play gigs was a whole complicated logistic because she was from another state. So when she left the band, we decided to continue as a trio because everything works easier when you are in a three piece. It´s easier to make decisions, to travel, to get along, everything becomes easier. As for the drummer changes, when our former left the band, we were worried from the beginning, because it´s hard to find female musicians who want to commit to a band and who are also professional and easygoing, and it´s even harder to find female drummer who can play extreme metal, like thrash and death.

All the girls I was contacting at the time were already in a band, didn´t want to commit, or didn´t know how to play thrash. Prika even suggested to put a man in the band in case we didn´t find any girls, but I never gave up. I worked my brain to death trying to remember and search all the female drummers I could, and then I remembered Pitchu, who was playing in another band before us. But right in the time we needed, she had just left her band, the problem is that we never saw her playing thrash before, so it was a mystery for us if she was gonna be able to do it! In the end, we found out that it was meant to be.

She was meant to be our drummer. She had the same ideals, she takes music seriously and DAMN, she really can play thrash metal!

From your live and promotional pictures, I can see that your influences range from death metal to thrash metal and everything in between. Please name some of your main influences & describe how these influences had an impact on your decision to play music?

PRIKA: Exactly! My influences are thrash and death metal, bands like Slayer, Exodus, Death, Sodom, Vader, Destruction, Cannibal Corpses, Napalm Death, Testament, Kreator, etc. I love double pick, and I look for old school, songs like Bonded by blood (Exodus), and The four Horsemen (Metallica).

Both are the references for double pick, and to aggressiveness. I chose new songs like Seasons in the abyss (Slayer),

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Angel of death (Slayer) with elements of death metal, the macabre scales with speed, bands like Vader, Venom, Cannibal Corpses are great influences.

FERNANDA: I think our music is the perfect reflex of what we listen to. We do music we like to listen to, so that´s why in our songs you can find death, thrash and even traditional metal elements! There´s a lot of bands that influence me, actually everything I listen influence me in a certain way. But for thrash metal the most influential to me are Slayer, Sepultura, Nuclear Assault and D:R:I! As for death metal, Morbid Angel, Deicide, Cannibal Corpse and

Vader are very important for me as a musician! I´ve always appreciated the energy in thrash metal, and the heaviness in death metal. So when I decided to gather up a thrash metal band, which is my favorite metal genre, there was no way I couldn´t be influenced by the bands above and many other ones, because they were a natural inspiration to me, cause, as I said, everything I listen to, influences me in a way!

As a female musician, I’ve found that at times we have to work a little harder to get recognition and break the mould of metal bands being a “boys club”.

What challenges and prejudices have you experienced during your years as Nervosa and how have you overcome them?

PRIKA: The majority of people are free of feeling prejudice, but some people think that we get the things because we are women. But for me, image doesn´t sell albums and there are some female bands, if Napalm Records chose us it was because they saw a potential in us. Like any band, we will get respect along time. I don’t care with prejudice of others, I follow my way.

FERNANDA: Yeah, and by the way I really liked your band, Junkyard Lipstick,

more respect, because people saw that despite the fact that we are girls, and no one can blame us for being girls, we´re just like another band, we just want to make our dream come true, we just wane play the music we like, you know? People are starting to realize this fact! Nowadays only a few people insist on attacking us on the internet, for example, but we don´t even consider it, because most of the times they are just clueless offenses. In the beginning, it was hard to me to face the prejudice because I thought it was very unfair, but nowadays, I’m very ok about that, critics I can take, but offenses, I just ignore!

Hailing from Brazil, a country where there is extreme poverty and the gap between the rich and poor is large, how has this affected you? As a band, are you involved in any social responsibility projects in struggling communities?

I love to see the GIRL POWER aroundJ So, you´re a hundred percent correct.

We´re girls playing in a male dominated scene, we can´t say it isn´t hard, because in my opinion it´s double as hard. I get the sensation you always have to prove something when you´re a girl playing metal, because as most of the bands are male, some think women can´t do it, which is complete bullshit. In the beginning, it was really really hard for us, people were very unfair, because things happened very fast for us, and people didn´t understand why, so there was always a bunch of lies about us, and also a lot of critics because we were women! Nowadays, we have much

passed through a lot for me to be raised the way I was, so I know how hard it is to be poor in Brazil. So that´s why nowadays, I help people the way I can.

I have been a volunteer on teaching English to poor communities for a long time. Recently I gave a lecture on music culture for poor children and when I can I donate money or food for caring people. With Nervosa, as Prika said, we played some beneficent gigs; the last one we did was for raising money and toys on Christmas for kids with cancer.

All the work I do to help caring people makes feel very fulfilled. If one day I have time and money, I will SURELY open and organization to help kids, especially the poor ones, sick ones and the ones who suffered any kind of child abuse.

There are quite a few female metal bands that have formed in the past few years in Brazil, like Valhalla, HellArise and Moratorium, do you PRIKA: The problem of Brazil is think this is because metal is part of the corruption, here the tax is very your mainstream culture and it is more expensive and abusive, and this prevents acceptable for females to participate? many things, the price of instruments and equipments are very expensive, PRIKA: Brazil is a country of all people, and the people don’t have money here you meet Americans, French, because the government steals our Dutch, Australians, Africans, Japanese, money and the laws don’t work. Here, Chinese, Portuguese, Spanish, Italians, the people are poor of culture, because etc... So here the prejudice is little, here there are many opportunities, but therefore I think the woman are more the government teaches to be lazy and participatory. Here there isn´t financial doesn´t punish gangsters. I think that equality, but there is folk equality. Brazil if judicial reform existed, many things is a modern country a new country and would change. I would like to help other therefore some traditional prejudices people but I don’t have any time, but were forgotten. we have already played in beneficent shows.

FERNANDA: This you´re saying is a concrete fact! Besides the bands you FERNANDA: I can say to you that this mentioned, there´s also Sinaya, Vocifera, affects a lot, because we grow a lot of and some other female fronted, such hate inside of us, which we spit out as Necromesis and Cauterization, through our lyrics and aggressiveness among many other ones. Of course when playing live! Everything bad that comparing to some cultures, in Brazil it we have to face here day by day, not is more acceptable for a woman to be only about poverty, but corruption, independent or to play in a band. For terrible health and education systems, example, but I don´t think it´s a cultural violence and the government not giving things, in fact I get really surprised when a shit for that. Everything of this is a people overseas tell me that it´s not a fuel for us to unburden in our music! I common occurrence in their countries tend to be very sensitive when it comes to have female musicians playing. For us to poor people and suffering children it´s a pretty normal fact. The same way especially, because I have a poverty there are male head bangers and who background in my family. My mom are in bands, there are also female head

bangers who are in bands, you know?

Most bands have two guitarists. Do you find it challenging with only the one guitarist in the band, and how do you go about writing your skull crushing songs? Do all members contribute to it?

PRIKA: One guitar opens space for the bass to work better, and I think this is interesting because in many bands with two guitars, the bass can’t be heard.

Destruction and Sodom are trio and work very well, I accepted the challenge of one guitar, and I try to overcome each step. I always played in bands with two guitars, and the idea of one guitar was interesting for me, because I had to work more. The songs are made by Fernanda, and me, and our ideas combine and one complete another. I don’t know how it would be with another guitar, but we are determined to be a trio.

FERNANDA: For me it´s even better.

Being a three piece is helpful in many things, everything is easier. In fact, when I was looking for girls to gather up a thrash band, I wanted it to be a trio because I am and have always been a fan of three-piece bands, such as Motörhead, ZZ Top, Destruction, Sodom, Coroner and many other ones! I just love that! If you know how to make the guitar work well, you completely fill the need of having a second guitar, and also I feel the bass is more present. There´s a lot of extreme metal bands, which usually tend to have a deeper and heavier sound, that have 2 guitars and then the bass just disappears, so that´s another good reason to be a trio: the bass is more present and audible! Prika and me are the main composers of songs and lyrics, all songs have a little of Prika´s ideas and mine. One comes with a riff, and then the other improves it or adds another one, so that´s how our music is born!

As female musicians what is your stance on using your gender to your advantage? Do you prefer not to highlight the fact that you are an allfemale band, or do you embrace it as a marketing tool?

PRIKA: I would like it to be equal; I don’t like to live with idea that the image is an advantage. I think the image calls attention, but for women it’s harder to get respect because of this reason.

However, I believe that with time, we will be able to prove our competences, and this feeling will change. Our job is serious, and we are here by music.

FERNANDA: I think the fact that we are an all female thrash trio is for sure a good ´marketing´ tool, because it helps promoting the band in a certain way, because metal is a male dominated scene, so all female bands, especially playing extreme music, is something that is still rare. It´s still something NEW, and everything that´s new naturally draws attention, but in our case, that´s the only thing we ´take advantage´ of by being women. Once we don´t like using our image as an appeal. For us, what matters the most is the music! Because in a few years, there will be as many male bands as female bands, so we can´t attach ourselves to this label, because this label won´t be something new in a few years.

So, MUSIC is what matters the most to us! Bands who use their image as an appeal, don´t last! In metal, music is what makes you stand out I say!

Your upcoming album, Victim of Yourself, will be released during the month of March. You have received rave reviews from thrash metal’s legends such as Max Cavalera, Bobby Blitz and even Cannibal Corpse’s Alex Webster. How does it feel to get recognition from your idols? Do you feel pressured to up your game even further for future releases?

PRIKA: This is fantastic, our idols recognizing our job is a dream. I don’t feel pressured, I’m anxious to make another album and show our evolution, every work that I make I try to do my best, and this is overcoming for me.

FERNANDA: No way, I feel the opposite, I use that as a great fuel to move on and trust my work even more! To me it feels GREAT to be acknowledged and appreciated by some of my personal heroes. I always say that when you´re

a teenage head banger, you´d never imagine that one day you would have a band. And that your idols would know who you are and your band, then they would listen to your band and say good stuff about it!!! It´s just too much of a dream come true to me, honestly. I know we work very very hard to earn our things, but sometimes I just feel I am one hell of a lucky head banger!

If you could cover any song from any genre, what would it be and why?

PRIKA: I never thought of that, but I would make a version and not a cover, maybe a thrash version of Jimi Hendrix or BB King.

FERNANDA: Cool question! I can think of many ones, from the different styles I listen, from the most extreme metal, to my passion in blues and soul music, but there´s a song that I ALWAYS wanted to make a thrash metal version: Killer, by Iron Maiden! Besides being my favorite band, I just think this song would really work well as a thrash version! I hope one day I can do that!!

You have shared the stage with many thrash greats like Exodus, Destruction, and Exciter. Which was your favourite?

Who would you still like to share the stage with and why?

PRIKA: Each show was special in a different way. I loved every show. I would like to play with Slayer, Sodom, Vader, Cannibal Corpse, Testament, etc..

There are many bands..

FERNANDA: All of them were special to me in certain way, because each of these bands represent a moment of my life and all of them bring good memories of my head banger road! So all of them were a great fulfillment to me! I would really like to share the stage one day with Slayer, if one day this happens; I can live as a completely fulfilled head banger! haha Describe a day in the life of Nervosa’s band members. Working class musicians or living the rock star life?

PRIKA: Most days are very agitating, me

and Fernanda and Lira, we take care of all details. We don’t have a manager because we want to take care of all, I did business school and Fernanda did journalism, so one completes the other, and our routine is answering many emails about shows, merch, interviews, etc... All activities are very well divided, 50% to me and 50% to Fernanda. We talk to each other everyday and make a schedule for disclosures, we rehearsed 2 times per week for 6 hours, etc... There are so many things that I can’t explain.

FERNANDA: All of us have regular jobs, unfortunately we´re just a new band, and in Brazil, it becomes very difficult to live only the rock star dream! But all of us 3 put a lot of ourselves into the band to make it happen and maybe one day we can live through our music! I love doing everything I do to help the band and it´s more than a pleasure to me!

Who in the band writes your lyrics, and what inspires your aggressive lyrical content?

PRIKA: 50% of lyrics are mine and 50% are of Fernanda Lira. We have much hate inside of us, and writing lyrics is an opportunity of exposing our thinking.

We write about humans and about reality, about political and human behavior and its consequences.

FERNANDA: Prika and me are the main lyricists, but the cool thing is we like to write about the same thing: human aspects. I always say that lyrics, to me develop a very important role, I use them as one of my dearest ways of expressing myself about everything I have to face day by day. I use them to spit out and unburden everything I see around and don´t agree with, so that´s why in our lyrics, you´ll find lyrics that are about the government, about violence and corruption in Brazil, about envy, about child abuse, about many things related to human behavior!

Any last words for your fans out there?

PRIKA: Thank you so much for the opportunity. Always support the scene, and respect every band, because each one works hard. Uniting forces, we will grow!

FERNANDA: Keep supporting metal to help make the metal legacy be alive! www.nervosa.com.br www.youtube.com/nervosathrash twitter.com/nervosathrash www.facebook.com/femalethrash >> Interview by: Lucinda Villain

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Singularity

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Heike Langhans Draconian & Lorelei Vocalist for Sweden’s “Draconian”, and currently working on her solo project “Lorelei”, Heike Langhans is one of the most talented vocalists to come out of the South African metal community. Her hard work and passion for music has definitely paid off, and as a result given her the opportunity to share her beautiful vocals with the world. Check out the interview to follow as we chat to Heike about Draconian, her solo project and what it’s been like being back on home grounds.

When and how did you first get involved in singing?

I sang along (much to the annoyance of those around me) to everything I heard since I could remember and joined the school choir at 8 years old. I got fairly tired of having to sing like everyone else in a group, so I ditched choir before I left Primary school and decided to learn guitar and piano instead, so I could write and sing by myself. It took me a while to get used to my voice being different from the other girls , but I knew I’d never stop singing.

You are also a trained Graphic Designer and talented artist, are you sometimes critical of your own work and art?

Definitely. I am my own worst critic and sometimes it takes weeks to be content enough with something I’ve produced and even then, I think it can be far better. I often get asked why I don’t let other people do art or photography for me and it comes down to me having too much of my own ideas (though I do appreciate the offers a lot). I know what I want, but cannot express it in words, so I’ll just express it visually myself and spare others the frustration of dealing with my stubbornness.

Born on the southernmost tip of Africa, how did you come to be the lead singer for Sweden’s ‘Draconian’?

Draconian was one of the first doom bands I’ve been following since 2006 and when I heard that Lisa had left the band in 2011, I actually just assumed they would find another singer in Europe. A

few of my friends joked and said I should audition, but I didn’t think it would have been an option. Eventually I found out via Facebook that they were accepting international applications for auditions. I asked when the deadline was, but before I even managed to send an application, guitarist Daniel Arvidsson contacted me and said he liked the stuff on my music page and that I should apply asap.

The band responded to my application within a week and asked if I would come audition. I could barely believe it, but felt an overwhelming sense of finally allowing myself to think that I might be good at something. I visited Sweden for a week and rehearsed/ recorded with the band. Being able to do that was amazing enough for me at that point. I returned to SA and awaited a response from the band and producer Jens Bogren. A month later, the good news came and I was packing my bags for Sweden.

It has not been easy and I am still back and forth (after nearly 2 years), having to deal with immigration laws and paperwork that is slowing down our progress, but I’m determined. I’ve gotten this far - there’s no giving up. Not for doing what I love to do.

Were you always attracted to the Beauty and Darkness of Doom Metal?

I’ve always found beauty and comfort in darkness (and I don’t mean in a pretentious ‘gothic’ kind of way), but only got introduced to Doom Metal when I was about 19. I naturally enjoy slower and more melancholic/emotional music and I was constantly searching for music that spoke to me. Doom Metal is not just something one finds though. It finds you, because you need it. It’s a state of mind and being. It’s either a part of your soul, or it isn’t. These days I find

beauty in the obscure, mysterious and other-worldly. ‘Darkness’ has become fashion to some extent and fashion is nothing I really want to associate myself with. Especially not ‘gothic fashion’. My own inward darkness doesn’t quite fit the description of the stereotypes anymore, but I believe there is true beauty in true darkness.

didn’t take long. Hur hur.

How does the South African scene compare to the Swedish one?

It’s always a pleasure to work with professionals. Paul and Sonja are all-round lovely people and I always appreciate being in the same room as another restless creative. Recording with Theo was awesome (for lack of need for a better word). I’m really glad I got the opportunity to. He’s laid-back and makes a person feel comfortable in studio. He knows what he wants to hear and doesn’t waste time.

It’s a pretty cosy studio too, I must say.

I’m going to be honest as always, without intending to offend anyone. There is no denying that I prefer the positive attitudes, professionalism and support in the Swedish scene compared to some of the bickering and pointless politics in the SA scene. I do however understand the mentality of the SA scene now and don’t judge too harshly. In SA, we’re hungry for opportunity and competitive, sometimes to the point of negative behavior and even jealousy. I have not encountered this sort of thing in Scandinavia yet and it made me realize that environment and circumstances are the root-cause of this behavior.

If SA was as well equipped in terms of public transport, good music venues /studios and offered up more opportunities for musicians to feel supported and get paid - we’d be seeing a lot less frustration.

South Africans are generally resilient and outspoken as well, which is a bit of a contrast to the more inward and polite Scandinavian folk.

All this being said, I truly believe SA has a fierce metal scene and tons of talent. People work hard, sometimes to reach a dead end. I have respect for everyone who makes music in SA, but even more respect for those who help and support one another and don’t complain in the process. Let the sun shine on others.

You are currently awaiting your permit to go back to Sweden, which, given the circumstances is a long and grueling process.

How frustrating is this for you?

I could write an essay about it, man. I’m deeply frustrated with authority and their lack of empathy toward the situations of applicants. It seems that one can only get anywhere in this system if you are paying someone a ridiculous amount of money or if you break the law without consequence. I follow all the right channels, only to be told I may wait 7 - 12 months for a 2 year permit and even my German passport. I have little to zero tolerance for bureaucracy and with each day that passes, I feel like I’m turning into a terrorist (That was a joke, Immigration Office). Alas, all I can do is be patient.

Being back in Cape Town has been great though. I cannot complain about seeing my family and spending time with really important people in my life. I’m also taking the time to collaborate with talented people to keep sane. I don’t take my given opportunities for granted and I’d love to see more SA artists being noticed, so a bit of collab work is a decent activity while in limbo.

Are there any plans for a new Draconian album when you rejoin them?

We have already recorded some pre-productions for the new album before I returned and I will be recording some more demos here and sending it over. We’re quite happy with where the new album is heading and I’m terribly excited to get back and finish it. I don’t think Draconian fans will be the least bit disappointed with the new material and I say that as a long-time fan myself. The delay in progress could cause impatience, but I also see it as time to really refine and perfect the material. It wouldn’t be Doom Metal if it

You have a guest appearance on the new Terminatryx album.

What was it like working with Paul, Sonja and Theo Crous of Bellville studios?

Lorelei is the name of your solo project. Please tell us more.

Lorelei started as something I kept myself busy with in sleepless nights. I needed a platform where I could express my inner self and create music without the opinions and interference of others.

Despite being an extrovert, I do like being alone and having peace and time to solve the puzzles in my conscious universe. Creating music electronically gave me more freedom and ability to create the soundscapes I wanted to hear when I wanted to hear it and it’s a nice learning process along the way in terms of production.

To be honest, I never ever thought people would like it. At times I felt reluctant to even let anyone listen to it, because it was personal and not professionally done. When I did play it to people, they fell silent and stared into the distance, sometimes even cried (we dubbed it ‘The Lorelei Effect’) . Seeing someone relate to something you create is beautiful. I could never take it for granted and it inspires me to embrace my own troubles and channel them creatively.

Thank you for taking time to speak to us. We here at S.K.O.A will surely follow the melancholy that is Heike Langhans.

Any last words to your fans?

You are most welcome and thank you kindly for interrogating me. *hat flip* Eternal thanks to every person who has listened to or shared my music. Your support doesn’t go unnoticed and it is received with great appreciation. My only dream was to be able to connect with other beings through music and you help me make that dream a reality in this dimension. It makes this lifetime worth it. Much love and respect! >>Interview by: Riaan Jooste

chronicle

>> Lucinda Villain

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Slayer Album: Reign In Blood Year released: 1986 Slayer’s third album and renowned masterpiece was released in 1986 through Def Jam records. This is a prime example of what to play to someone who has never heard thrash metal before. It embodies everything that thrash metal represents: aggression, speed, intense hatred and lyrics so wrathful you can feel every song spitting with poison. Ahead of its time, this album will forever be regarded as one of metal’s best albums ever created.

Exodus Album: Bound By Blood Year released: 1985

Released in 1985 by Combat Records, Exodus’ debut album is essential for any metal head’s collection. It features classic thrash anthems such as the title track, “Piranha” and “Strike of the Beast”. This album will give you a lesson in violence and teach you the spirit of metal camaraderie. The album was re-recorded in 2008 and called “Let there be Blood.”

Anthrax Album: Among The Living Year released: 1987

Among the Living, Anthrax’s third studio album was released in 1987 by Megaforce/ Island Records, and is highly regarded as their breakthrough album with songs like “Caught in a Mosh”, “I am the Law” and “Indians”. The album was dedicated to Cliff Burton (Metallica bassist) who passed away a few months before the album’s release.

Death Angel Album: The Ultra-Violence Year released: 1987

The band’s debut album “The Ultraviolence” was independently released in 1987 and sold 40 000 copies in 4 months. This album is a good dosage of fast, non-stop in your face thrash metal. The members of the band were all in their teens when they recorded this album and are evident in the raw aggression shown in the songwriting.

Sodom Album: Agent Orange Year released: 1989

Sodom’s third studio album was released in 1989 through Steamhammer/SPV records. The album was the first ever thrash album to enter the German album charts and features the crowd favourite “Ausgebombt”. The fast-paced punk influenced riffs complemented with hostile vocals and songs inspired by the Vietnam War creates the ideal combination to make this album a must.

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Kreator Album: Enemy Of God Year released: 2005

The eleventh studio album from the masters of German thrash Kreator is a thrashing work of art. Released through Steamhammer records in 2005, the songwriting is phenomenal and the production perfect. It’s a full on violent thrash attack with melodic riffs pleasing both the ears and heart.

Overkill Album: The Electric Age Year released: 2012

Overkill has been going since 1980 and “The Electric Age” was their sixteenth studio album released through Nuclear Blast in 2012. It features tracks that will stick in your head for days. The album is infectiously groovy while maintaining great speed; Bobby “Blitz” Ellsworth’s unique vocals provide the ideal balance between clean and aggressive singing styles.

Metallica Album: Kill ‘Em All Year released: 1983

The groundbreaking debut album from Metallica was released in 1983 by Megaforce.

Regarded as one of the albums that thrusted the genre into the spotlight, this album was exactly what was needed to break the hold of glam on metal. Fast riffs, furious vocals coupled with high-speed tempos, explain why this album has sold over 16 million copies to date in the USA alone.

Sepultura Album: Arise Year released: 1991 Sepultura’s revolutionary fourth studio album was released in 1991 through Roadrunner records and received raving reviews worldwide at the time of its release.

With captivating riffs, trailblazing drumming and vocalist, Max Cavalera, yelling out his hate to the world, this album should be a solid favourite in anyone’s collection.

It embodied the rage fuelled by their impoverished background, and such honesty combined with musical talent can only be excellent.

Testament Album: The Gathering Year released: 1999

Released in 1999 through Spitfire Records, The Gathering is Testament’s eighth studio album. Melodic and death metal influenced vocals by Chuck Billy matched with compellingly groovy riffs and excellent drumming, makes this a uniquely thrashy and groundbreaking album, evident to Testament’s current inimitable sound.

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Megadeth Album: Rust In Peace Year released: 1990

The fourth studio album released through Capitol Records in 1990, rocketed the band to mainstream stardom.

This album is filled with skillful and memorable melodies, goose bump worthy leads and steady drumming. It includes the iconic songs, Hangar 18 and Holy Wars.

Annihilator Album: Alice In Hell Year released: 1989

Another extraordinary debut album, Alice in Hell was released in 1989 through Roadrunner records. The album is highly regarded as Annihilator’s finest release through their whole career. Guitarist, Jeff Waters, is an all-round genius at song writing. Balancing technicality with neck breaking speed, the band created one damn fine album.

Follower recommendations: 1. Onslaught – VI 2. Heathen – Breaking the Silence 3. Forbidden - Forbidden Evil 4. Nuclear Assault - Game Over 5. Razor - Violent Restitution 6. Tankard – Zombie Attack

South African Metal

"Angry At Dad" ^^Louis Du Pisani

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Photo by: Liquid vision photography

FUNNELING

the

FURY

>> Lav Nandlall

D

espite the hardships that most metal bands face, there is always a burning desire to embark on their heavy metal dream. That dream becomes the foundation of success but even the most successful metal bands agree that it’s never an easy journey.

I

t has been an awesome but difficult twenty plus years since Agro has spread the furious and beautiful metal in South Africa and abroad. As vocalist Cliff Crabb recollects, “It has been a fantastic ride on the heavy metal highway! There have been many twists and turns on this somewhat turbulent journey, I believe that all Agro members past and present have been able to take a lifetime of positives out of this experience and I am still extremely grateful that we are still making music and moving forward at a very fast pace with the future looking very bright and full of new challenges and metal mayhem.”

I

ndeed Agro made metal mayhem by being the first band to represent their home country at the largest pilgrim of metal – Wacken Open Air in Germany. Crabb recapitulates, “We still remain the only band in South African metal history to be invited to play the festival, twice! On one of those occasions it was on the main stage. So it goes without saying that the experience was monumental and unparalleled. Due to our performances, a lot of interest was gathered by the Wacken Open Air team and promoters in South Africa. To include South Africa to the Wacken Metal Battle roster; a battle of the bands (separate from the actual festival but a huge draw card none the less) took place. The overall winning band receives global recognition and a Nuclear Blast contract. So yes, it does feel good having put South African metal on the Wacken Open Air and European metal map. Hopefully, in the future we get to see a future South African metal band take the honours.”

H

ome-grown quality metal is gaining recognition and it is through smaller festivals locally that bands have a chance to display the steel. RAMfest 2014 is an excellent example of a local festival and Agro are sharing some buzz about it. “2014 is panning out to be a huge year for us because in March we will be sharing the Ramfest main stage with Trivium and Killswitch Engage and in the same month we will be supporting Affiance from the United States of America, shortly after we will be releasing our new

album with a tour to follow. Exciting times!” exclaims Crabb.

A

gro has seen many tours, festivals and a World Aids Day charity concert. As Crabb mentioned these are one of the many highs of the bands career but the lowest of the low took place in 1996. Crabb interjects, “There have been a few lows in our career but the death of our original rhythm guitarist still hurts the most! Rest In Peace David Mountain Kietzmann.”

A

part from such tragedy, Agro has seen several line-up changes but how many band members can go down before it actually stops being Agro? Crabb replies, “Including the five of us in the current line up, Agro has had sixteen members all in all since our first gig in 1993! Each and every member has played their part. No band wants a revolving door of members but sadly for some life changes and priorities shift...when you start a family, buy cars and houses, hold down a demanding job etc; it leaves you in a situation where giving 100% to the band becomes very hard work and therefore over the years some members have had to move on.

Agro will always remain Agro as long as we stay focused on what we believe in [which is] keeping heavy metal alive and supporting the cause and not bowing to trends.”

E

very release of Agro is very different and definitely does not follow any particular trend – apart from new band members; there is also an alteration of style, atmosphere and even instruments. Towards the end of 2010 Shane Pennicott quit the band and Crabb recruited John Morrow into the band as lead guitar player as well as esteemed lyricist. Agro took on a bold new dimension as the keyboards were replaced with full time violin player, Katherine Morrow. With many changes and a big year ahead, Crabb has to answer the ultimate question which is when can we expect a new release? “We are almost half way with our eighth studio album.

Drums, bass and rhythm guitar are complete! Big news [from Agro] to follow.”

Well, Agro – don’t keep us waiting!

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swaar metaal Members: Cliff Crabb - vox Wez Hitchin - drums John Morrow - guitar Katherine Morrow - Violin Robbie Riebler - bass

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Photos by: Vlademirovka Photography

Agro

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Good Day Agro!

Thank you so much for taking time to do an interview with SwaarMetaal!

It has been an awesome twenty plus years since Agro has spread the furious and beautiful metal in South Africa and abroad. How has the journey changed each member; personally and musically especially the longer standing members of Agro?

It has been a fantastic ride on the Heavy Metal Highway!! And although there have been many twists and turns on this somewhat turbulent journey, I believe that all AGRO members past and present have been able to take a lifetime of positives out of this experience and I am still extremely grateful that we are still making music, and moving forward at a very fast pace with the future looking very bright and full of new challenges and metal mayhem Agro has been Due to the line-up changes over the years, how many band members can go down until it actually stops being Agro?

Including the 5 of us in the current line up, Agro has had 16 members all in all since our first gig in 1993!! And each and every member has played their part! No band wants a revolving door of members but sadly for some life changes and priorities shift...when you start a family, buy cars and houses, hold down a demanding job etc it leaves you in a situation where giving 100% to the band becomes very hard work and therefore over the years some members have had to move on. Agro will always remain Agro as long as we stay focused on what we believe in...Keeping HEAVY METAL alive, supporting the cause and not bowing to trends.

Fortunate enough to be the first South African band to grace the largest pilgrim of metal – Wacken Open Air in Germany.

How has that experience changed the band?

We still remain the only band in SA metal history to be INVITED to play the festival...

TWICE!!And on one of those occasions on the MAIN stage. So it goes without saying that the experience was monumental and unparalleled. Due to our performances, a lot interest was gathered by the W.O.A. team and promoters in SA to include South

Africa to the Wacken Metal Battle roster, a battle of the bands (separate from the actual festival but a huge draw card none the less) where the winners from each participating country can compete on one of the tent stages the day before the festival starts... with the overall winning band receiving global recognition and a Nuclear Blast contract. So yes, it does feel good having put SA metal on the WOA Euro Metal map and hopefully in the future we get to see a future SA metal band take the honours.

Since 2006, Agro has been signed to German Record Label Armageddon music.

How has it been working under that label for nearly six years? Then the 2010 album was released under Tritone records, why?

Are there any plans to move on to bigger labels or return to being an independent band?

Sadly we are no longer with Armageddon Music as they liquidated a few years back, Tritone was our own label that we ran for a while with distro agreements but as we speak we are fishing for another international label to handle the next album.

Ritual 6 remains to be one of my personal favourite albums from Agro. Though, every release of Agro is very different – apart from new band members, there is also an alteration of style, atmosphere and even instruments. What fuels the creativity process of Agro and how much of an influence do other bands have on Agro?

Towards the end of 2010 Shane quit the band and I recruited John Morrow into the band as lead guitarist and also assigned him to take over the song writing duties as a talent of his calibre cant be played down so naturally our music direction will evolve with his great song writing talents...also, we replaced our keyboards with a full time violin player (Katherine Morrow) and she has added a whole new dimension to our sound with beautiful melodies, class and finesse. Our musical influences and values remain the same but I like to think that with our newer members we have evolved into a more professional and tighter unit.

In an interview with SA Guitar Magazine Agro states, “We are currently writing our 8th album...” On that note, what has Agro been working on lately? Can the band spill

any news for their upcoming release?

Yes, we are almost half way with our 8th studio album, drums, bass and rythem guitar complete!!! Big news to followJ Are there any plans for Agro in 2014?

There is a buzz surrounding RAMfest.

2014 is panning out to be a huge year for us, in March we will be sharing the Ramfest main stage with Trivium and Killswitch engage and in the same month we will be supporting Affiance from the USA...shortly after we will be releasing our new album with a tour to follow!! Exciting timesJ Agro have played or headlined all major music festivals in S.A. as well as Agro was invited twice by the Botswana government to headline the World Aids Day Charity Festival in Maun, Northern Botswana. In a music career spanning twenty years and playing locally or internationally, what have been the highlights for Agro in terms of touring?

All the above mentioned have been fantastic, but even a trip to Bloem or Potch, Cape , Durban or Josi remains a great thrill and honour for us to perform.

Keeping with the aesthetics of the previous question, what have been the low-lights of touring?

There have been a few lowlites in our career but the death of our original rhythm guitarist in 1996 still hurts the most! RIP David Mountain Kietzmann.

South Africa is still developing in terms of metal music – what have been the challenges that Agro has come across over the past few years and how has the band overcome these challenges?

Staying true to our ideals, Ignoring trends, keeping the ethics of true metal alive!!!

So, lastly do you have any words that you would like to add especially to our readers from abroad?

SA metal is on the rise! Follow with your hearts and collectively let’s take it to new heights!

METAL ON Cliff Crabb.

End of Interview. Thank You >>Interview by: Lav Nandlall

swaar metaal

>> Lav Nandlall

Roots Bloody Roots

“Into the mosh pit, Boet?” Hillbrow, 1985. Two longhaired boys stood in the Golden Banana club with their eyes fixed on the guitars being wielded on stage by the Odyssey.

The razor riffs being played were as unstoppable as wrecking balls, and those boys just wanted to rock it!

Today, former Odyssey vocalist Brin Addison notes, “I don’t think any of us knew at the time that our one and only record would garner such cult status twenty years on. The first time I saw a single copy of the Odyssey LP on eBay sell for $400, I was shocked! It’s almost like payback for being sequestered in the land of Boer music and Township-Jive all those years ago.”

Odyssey is one of the fore-fathers of heavy metal music in South Africa alongside a number of other forgotten precursors namely Ragnarok and Urban Assault. “In South Africa, heavy metal was perceived as the retarded bastard son of the music industry,” remembers Michael Gill former member of Urban Assault. “Most people knew it existed but few would have anything to do with it.”

In 1980s South Africa, furious angst was loaded into the electric guitars and brutal drums. It was a time when beautifully grotesque music flooded out of the smoky, dingy clubs that supported heavy music, gripping the alternative crowds with unidentifiable styles and sounds. IHeavy metal

music from abroad was the most crucial influence by far, creeping its way into South Africa and ensnaring a small, but stealthy army of metalheads. “It wasn’t easy to fill clubs because there were not many supporters but bit by bit things started to happen,” says Addison. “The problem with South Africa was that the music market was geared towards ‘Black music’ and ‘White Pop’, I think it still very much is but we had our little clique and we had fun breaking the mould. Most importantly we had a very dedicated fan base who would follow us from town to town and help create those real rock ‘n’ roll moments.”

“Ja, Boet! This band is flipping awesome!”

But not everyone agreed.

“The community generally despised us, called metalheads dirty long haired good for nothings,” says Dean Smith former guitarist of Ragnarok and Odyssey. “They hated us; there were often fights at the clubs, the Lebanese, police and biker gangs used to come to the clubs where we played and beat the shit out of everyone, really stupid and unfair!

The N.G Kerk didn’t help too much either, I remember them banning all sorts of recordings from bands like W.A.S.P, Iron Maiden or anything they deemed evil.”

Even across the seas in the mid eighties till the

nineties, heavy metal was branded as the ‘devil’s music’ after the coverage of Norwegian black metal in the media exploded, as well the infamous incident of Ozzy Osbourne biting a bat’s head off having thought it was a plastic prop.

Addison of Odyssey clarifies, “I think it was all very new and misunderstood. We were branded Satanists for obvious reasons but we really weren’t, we just wanted to rock!”

Rock they did, but the Apartheid regulations throttled their strings. There were a lot of constraints placed in the music industry during those frustrating times of racial segregation from the taxing cost of musical equipment, rarity of imported albums, lack of venues, restriction of metal releases and shortage of quality recording facilities.

Conversely, the political unrest prior to 1994, became the fuel for the aggression in heavy metal and resulted in encompassing a very ‘real sound’. “It [metal] was a real escape from the bullshit Police State that South Africa was back then – it was to escape the pressure from school, jobs, police, parents or any form of authority,” states Smith.

Metal music became a form of escapism, a way to stand-up and stand-out from everything that was hostage around the political embargo. Heavy metal music allowed headbangers to give society the middle finger. South African metal turned the turmoil into a creative outlet like bands from other troubled lands like Israel, and more recently Baghdad.

As Gill elaborates, “Without a doubt, we knew the

country was changing. We hated the fact that we had to go to the army, we hated ignorant people who couldn’t see the power and genius in metal or the rebelliousness and change that it promoted. Basically headbangers didn’t subscribe to anything but metal, so we rejected everything else.”

While Black Sabbath and Iron Maiden were producing ground-breaking records abroad, local metal bands were breaking the Apartheid laws to play in venues that supported the ‘heavy’. Namely, the Irish Pub, The Golden Banana and Club Image were favoured locations in the regions of Hillbrow. “I saw it as a mini New York with lots happening and always on the cutting edge of fashion and emerging trends. There were also more clubs, hotels and pubs who were open to metal. Many venues were ‘hidden away’, so it goes without say that things developed in Hillbrow,” says Urban Assault’s Gill. The bustle of Hillbrow created a mud honey effect with people from different backgrounds and interests and had become an ideal place to recruit more metal heads. Of course, this being prior to the time of mobile phones and the internet, so there was a landline and a ‘bangers list’. Smith elaborates, “There was a list that we all added our names and phone numbers to and it circulated for a long time, every time there was a gig or a meeting the person with the list would call everyone and spread the word.”

“Hey, Boet, did you hear that metal band on Lavine’s show?”

The metal scene was tiny yet tight and the headbangers devoured any heavy news or recordings floating around. Air play was a major bonus, but few radio shows supported hard rock and its culture. The treasured hosts were Rafe Lavine of The Rockin’ Horror Show, Chris Prior and later Phil Wright with their self-titled shows and the controversial Barney Simon. Smith remarks, “There was a DJ on Radio 5, Rafe Lavine, he was probably the first guy to play bands like Metallica, Slayer, and Venom, he introduced a lot of metal bands to South Africa. Apart from that people who were into metal had friends who were from the United Kingdom or elsewhere who would often go back for holidays and attend things like the Monsters of Rock festival; they would bring back all the news and make everybody else jealous. ” Today, downloading and music piracy is an ongoing problem making Metallica drummer, Lars Ulrich’s hairs prick. Though that was how the metal was fostered in the past. “Taping music from friends was a social past time for teenagers, accompanied by a beer or two and maybe a joint,” says Gill.

For Gill, Smith, Addison and fellow band members – social past times were spent exercising their fingertips on their guitars and other inexpensive music equipment. They

nabbed international music influences, combined that with their own particular social circumstances, and created the first down-tuned sounds of South Africa. In a way, Ragnarok, Urban Assault and Odyssey battled to create something powerful, to sound better than their metal Demi-gods and to stifle their everyday surroundings. Each band was hungry to get their message out to the masses. Subsequently, recordings had to be pursued. Addison states, “We [Odyssey] plugged in and rocked out live to tape, there was no trickery just a few vocal and solo over dubs. Inhouse Records were instrumental in trying to break metal on the local scene so we followed and lead at the same time. It was all very exciting back then, no rules and no examples just discovery.”

Metal music in South Africa was - and to an extent still is - bitterly betrayed by the larger recording companies as Gill discusses, “Local labels such as Gallo concentrated on radio-friendly Pop and African music. As always, big business (and more importantly the National Party Government) ran the media, and what was promoted in the media is what the populous bought or thought to be good music.”

As far as the original South African metal bands were concerned there was one record company who was the halo of Rock ‘n’ Roll and that was Inhouse Records. Former co-founder of Inhouse Records, Petra Markovic, elaborates, “Inhouse Records was the brain child of Phillip Nel and myself. It was at a time where the major record companies were only investing large sums of money in the “Black” music

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market. English “White” music was not performing as the locals only supported overseas acts.”

Inhouse Records were not only a part of creating records but they stretched their limbs to promote and publicize their roster as Markovic states, “We organised gigs for the metal bands, which went down very well. In those days we managed to draw a crowd of approximately fivehundred in Johannesburg. Phillip Nel being a sound engineer had definitely improved the quality of sound for the gigs.

With the support of radio DJ’s Phil Wright and Barney Simon we managed to get airtime. In those rare moments where we managed to draw a crowd of a thousand and more we felt extremely successful.”

After having held their arms wide open to Odyssey, Urban Assault, Voice of Destruction, Debauchery, Retribution Denied and many more – Inhouse Records had to douse the flame and close their doors, “We spearheaded a movement which could not have succeeded unless it had the support of a huge fan base, unlimited finances and maybe some support from a major or two. We also tried too hard. Being young and idealistic gave us the energy to get the movement up and running, but with the financial drain we were forced to turn our focus elsewhere. Phillip [Nel] then started offering sound engineering courses and for a while managed to run these concurrent. It encouraged young people to become musically educated and since their training was with metal bands, they went out there and head banged their way into the music scene,” says Markovic.

“Dude, I fuckin’ dig this band!” Johannesburg, 2012.

The fans want blood, the fans want horror, and the fans want a show not just the music. Metal has evolved in South Africa with bands becoming extreme – funnelling their fury into pig squeals or technical death metal patterns. Apart from the change in style, sound and musician etiquette, bands still face a number of challenges similar to those of their predecessors. Cape Town’s iconoclastic band Beeldenstorm are blistering, enigmatic and have a charming female guitarist who turns the axe up to eleven. The band’s guitarist, Waldi Van Hunks, discusses his perspective on the new wave of metal, “The only thing keeping the scene from growing is the lack of proper venues as well as the lack of professionalism in band and event management. The people [organizers] from Metal for Africa put on a great show twice a year and they set a standard all venues and organisers should meet. Metal in our country does not get enough exposure unfortunately compared to other countries but the tables should be turning soon. Bands like Contrast The Water and Voice Of Destruction have proven that the ‘outside world’ is accepting of our unique brand. All we have to do is work hard and persevere.”

The music industry is hard as nails and most artists find a marker of inspiration for their attempts as Addison

reflects on his Odyssey experience, “With a cheap Gibson SG copy in my hands everything started making sense and the rest is history. In 1987 I met a drummer in school and we started Odyssey. We were young at the time and didn’t know much about the industry but we were inspired and dedicated to putting songs together. Eventually after a few line-up changes, we signed a record deal with Inhouse Records and recorded Odyssey’s first full length LP, a first for South African metal, I believe ...”

Almost twenty years later, Odyssey’s self-titled LP has travelled far into the hands of metalheads in Greece, Brazil, Switzerland and many other corners of the globe. There are frequent requests for more LP copies – a true metal rarity.

It is easy to see why, Odyssey’s members were zealously enthusiastic, and their music announced a new regime – metal music in South Africa had begun to move forward.

Outcast in the late nineties due to their technical death metal sound, South African band- Damnatia still pursued their musical vision capturing a small set of core fans along the way. Later band mate rivalry reared its ugly head on-stage, and the band disintegrated, only to reunite in 2009 with a darker and more gnawing sound. Damnatia guitarist Julian -elaborates on the current metal scene in South Africa, “The scene has always been challenging, but

is in a dismal state. Ironic really, as those aforementioned, original metal bands had no such equipment as metal artists have today. Gill reminisces, “Not to blow my own horn, I personally worked all the time to find venues, my weekends consisted of driving around looking for potentials...With help from one or two band members, I also promoted and advertised our gigs well by printing and hanging a decent number of street posters and positioning flyers on cars outside other clubs or any place where I could get away with it. Urban Assault branding was distinctive and consistent which people could recognize easily over a short space of time.”

All those days of trekking and hustling paid off for Urban Assault, cementing the band’s reputation as one of the greatest influences in South African metal. Their spitting thrash riffs and endless fortitude makes the eye gleam and doing justice to what Metallica could not. It is a damn good thing that it all got preserved on the cassette album Don’t Bother Running – You’ll Just Die Tired.

Damnatia is not concerned with the problems. We just play our best, slay, and leave, whether it’s to five or five hundred people. As far as getting people to our gigs in the ‘90s; we had to design, photostat and cut paper flyers, which were then distributed by hand by ourselves, traipsing around town looking for anyone who looked ‘metal’. Now with social media the whole advertising thing is obviously way easier.”

Social media is a buzz word these days. If you are not online or using the plethora of technological fruit – your life

“It needs to be said that Ragnarok changed the sound of Johannesburg metal from the classic heavy rock to a more thrash metal sound. ‘Moshing’ in Johannesburg was also first brought into The Irish [club] under the influence of Ragnarok,” states Gill.

That said, ‘moshing’ [molesting and pushing?] has progressed to a large angry circle pit exclusively reserved for the army of headbangers who are probably the friendliest party goers at a gig. The neck-breaking heavy sounds paved the way for present-day South African metal, as well as bolstering the scene for an increasingly growing family of wayward souls. In the words of Ronnie James Dio, “The ending is just a beginner.”

Photographs and scans courtesy of Brin Addison, Michael Gill, Dean Smith, Robi Smith and the metal heads in the GB Group.

swaar metaal

Sacrifist The competitive spirits are up in South Africa, as bands are all trying to make it in the metal community. As a loyal fan to metal, you travel from metal club to metal club, supporting your favourite South African bands while moshing until you feel like one of those bobble heads on the dashboard of some dudes red Ford Escort. On the top of your “must see bands” list during your quest for metal, Sacrifist will always be boldly staring at you in a font of metal!

Sacrifist go far back, and have been knocking it out since 1993. Over the years, they have experienced some line-up changes, as some of the members decided to follow their own paths. This however, did not stop them from continuing on, and the band is still active today. They are now complete with five members and have four albums under the belt, their most recent being “Surrealist Plague”.

The fact that they are self-distributed and are so successful in the South African alternative community is what makes them a true metal band. You can often find them gigging in your area, so go check em out! They stay true to their roots, and that definitely makes them unique as a South African metal band.

We were lucky enough to get an interview with all the band members and talk about Sacrifist, and their views on the S.A metal scene.

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what you do, else you won’t last.

Sammy: Crazy beautiful The metal scene has rapidly changed over the last two decades here in South Africa. What are your thoughts on the metal scene back then and now?

Shaun: The metal scene now has definitely gotten bigger, however, we all still need to work on respect and supporting of one another.

Tommie: A lot has changed; I remember the old ways where one had to run around posting flyers and posters everywhere to promote a gig. Social media’s changed all that. It’s a different ball game now, adapt or die. Still handfuls of the old crowds left but mostly joined by younger generations now, which is great to see! There’s hope! All same in heart, we all just love Metal!

Wonder what next decade has in store?!

Dwayne: Then metal meant that you were not part of the norm, you stood out like a sore thumb and everyone hated your guts...

But you had people around you who went through the same shit and it felt good to belong to “REAL” people... Now it’s a fashion statement and everyone wants in… it’s sickening

Sacrifist have been around since 93’, how would you describe your metal journey over the past 20 years?

Shaun: Interesting, Breath taking, Powerful, Beerful, all in all, it’s been an amazing journey for SacriFist. To hear the music grow like it has and of course growing with the rest of my SacriFist Brothers is just amazing. There have been some frustrating times but the breathtaking times out shine the negative ones.

Tommie: Bands, Genre’s, one hit wonders have all come and gone; it really is only in Metal that you find this dedication from the fans and bands (who in turn are all fans) alike. It’s all worth it!

This country has turned up some great Metal, and continuing to do so! Proud to be part of it!

Dwayne: It’s been tough, friends lost but also friends gained. In the end, all the bloodshed was worth it Michael: There are good times and bad times, the primary key is enjoy

Michael: As everything goes through cycles, so does the metal scene.

Times it might be really cooking and at other times, the going is really slow. It’s just the way it is.

Sammy: Today’s “younger” bands have everything so easy. :) What do you think we can do as a metal community to help expand and grow the metal scene in South Africa?

Shaun: First things first. Too many bands are thinking they are the be all and end all of the South African Metal scene. We must all get over ourselves and learn to work together. Support each other and learn to respect one another!

Tommie: A lot has changed; I remember the old ways where one had to run around posting flyers and posters everywhere to promote a gig. Social media’s changed all that. It’s a different ball game now, adapt or die. Still handfuls of the old crowds left but mostly joined by younger generations now, which is great to see! There’s hope! All same in heart, we all just love Metal!

Wonder what next decade has in store?!

Dwayne: Well it’s not the end result but we can start with baby steps Nr1 - End of fighting each other and the beginning of sharing the small light we have.

Michael: Stop bitching out the kak slot, the kak turnout, the kak sound guy who ‘doesn’t know what he is doing’. We need to stick together bite the bullet and take the good with the bad.

Sammy: Stop your childish kak and get the fuck of your high horse...

That’s all I have to say about that.

What have been some of the biggest obstacles for the band?

Shaun: Deciding where and how we were going to sleep when we played in Switzerland. Our manager at that stage hadn’t thought things through properly.

Tommie: Everyone’s accepted that running a Metal band does not have any financial gains, it’s all about the passion. There’s loads of talent overseas so one really needs to be a cut above the rest for them to take on a cost to bring you over for a tour. Most bands going overseas are self-funded. Just some barriers to break down and take SA Metal further worldwide!

Dwayne: What has not? Sounds better as we faced and still do...

Obstacles

Michael: Keeping everyone happy. Everyone is different with different viewpoints and because we do not always agree, does not make the one right and the other wrong. Finding the middle point is sometimes very difficult.

Sammy: Club Owners. I hate dealing with some of them... ALWAYS some shitty story about something. Next up are these promoters who seems to think that playing for the door cuts it for bands.

You guys have four albums under the belt now with the latest release in 2009 “Surrealistic Plague”, what are the plans for Sacrifist, and can fans expect a new album anytime soon?

Shaun: OH HELL YES!!! We busy writing the new stuff as we speak and I know our SacriFist fans will NOT be disappointed!!

Tommie: Hell yeah!! Looking to push the band in every single way!

Quite proud of what we have so far, hope you guys will like it!

Dwayne: Watch this space Michael: Yes! The next one is really taking time and we can only hope that the wait will have been worth it. We do believe it will!

Sammy: Hou Dwayne se dop vas en check hierdie move.

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What’s the best and worst thing about playing in clubs?

Shaun: Worst thing about playing in clubs is carrying the equipment up the stairs hahahaha. Best thing is seeing our fans enjoying music.

Tommie: Best – Free beer; get to party with fans and friends Worst – The petrol price!

Dwayne: Best thing is that you can party afterwards with your fans and not get lost.

Worst... The stages suck most of the time.

Michael: Best – free beer Worst – kak sound (at times) Sammy: Best: Hanging with friends and fans.

Kak sound: 90% of the time and/or the fucking engineers are sloshed.

If you could play on any stage at any festival from around the world, where would you play and why?

Shaun: Wacken and Download festival - Those (for me) are the 2 biggest metal festivals still around.

Tommie: Which one wouldn’t I like to play, the list is shorter. Every country’s some great festivals going on, but I always wanted to hit it big in Japan for some odd reason! The Metal CD’s always have bonus tracks on!

Dwayne: WACKEN!!!!!! No need to explain Michael: Phew, there are too many to choose from. I have always fancied to jam at Madison Square Gardens.

Sammy: All over the world, would not mind playing anywhere in Germany again... coolest fucking people around!

With the changing of band members over the past few years, how has it effected the band and the music you guys produce?

Shaun: Well, a new member will always bring something new to the table, however SacriFist will always have it’s unique and powerful sound.

Tommie: The sound is still distinctly “SacriFist”. It’s a real honour to be part of it and everyone is committed to keep true to the band’s distinct “sound”.

Dwayne: It affected the band in numerous ways, from the way we write songs to how the songs sound like, each ex member had a flavour to it... but it was for the best in the end in my opinion.

Michael: I think we have always stayed true to our roots, no matter who has come and gone.

Fans – thank you!

Bands- good luck! It is hard work indeed.

Sammy: Fans: We are fortunate enough to have some of the coolest fans ever and the base keeps on growing... They really make this shit worth everything.

Bands: Are you guys fucking crazy? Rather go for something like Golf!

Thanks for taking the time to do this interview for Swaar Metaal Magazine.

Shaun: Thank you, Swaar Metaal Magazine! Keep up the good work!

Horns up!

Tommie: THANK YOU

Sammy: Personally, I don’t think ex members affected the music in any way. I’ve ALWAYS written what I like first and foremost and presented it to the guys from there it all starts. I reckon it’s safe to say that we’ve stayed true to what WE like.

Dwayne: No Thank you!

So where did the name “SacriFist” come from?

Sammy: Thanks a lot guys, keep up the good work!

Shaun: As far as I know, a very drunk lead guitarist!

Tommie: Ask Sammy and Mike!

Dwayne: The chop who sacrifices the idiot on the table, is called the SacriFist.

Michael: Thank you.

Members: Dwayne - Vocals Sammy - Guitar Tommie - Guitar Michael - Drums Shaun - Bass Photos by: Liquid Vision Photography

Michael: That’s a story from long ago, but doesn’t it sound cool?

Sammy: Ask Paul and Michael...: P Any words for your fans and bands starting up in the scene?

Shaun: KEEP GOING!!!! NEVER QUIT!!! It’s going to get hard bud it takes seeing one fan moshing to your music and all the negative goes away!

Tommie: Fans – Truer than true!! Thank you!

Dwayne: Stay true to your soul and do what’s best for you first before even thinking of anyone else.

Michael:

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Immolation Interview 1993 for Thunderfuck ‘Zine

Immolation has left the roadrunner land and are currently searching for a new label. Have you had any offers?

Shortly after our departure from Roadrunner we received a contract from Nuclear Blast.

At that time, we knew we were not going to sign anything right away, and told Markus that. We have been considering Nuclear Blas though, and now that we have completed our new promotional demo, we can start looking at contracts. We want to look at every option possible before signing with anyone. For most of ‘93, we really were busy in getting our situation straightened out. Being that Roadrunner did not want to back us, and did not believe inn our music, we split with them in March of that year. After this, we knew we had to get back to our day jobs, so we could more time into the band. We were inactive for most of ‘93, but it has paid off in that we can now concentrate better on Immolation.

You just played Peru in South America. What was it like?

Lima, Peru was great! Jorge Lujan set the whole thing up. The crowd was intense and the people we met down there were totally cool. Mortem and Hadez played with us, and the guys in Mortem showed us around Lima the day after the show. We are looking forward to going back when we get our new album out.

In one of your newsletters you said, and I quote, “Immolation” will be playing everywhere”. Have you ever considered playing South Africa?

We’ve considered playing everywhere.

Playing shows is what we like best. We want to go to as many different places as we can. It’s just a matter of finding the people in the certain countries that want to set something up. We are totally into playing South Africa, and we hope to do so in the near future. Anyone who’s interested in seriously setting something up over there, just get in touch with us.

You are also releasing a cd titled ‘Stepping on angels Before Dawn’ released on Repulse records out of

Spain. I understand it is rare stuff from the pre Immolation days. Tell us more.

Well, myself and Tom were members of a death metal band called Rigor Mortis which formed back in 1986. We released one studio demo in ‘87entitled “Decomposed” This 3 track demo, plus one extra track “Warriors of Doom”, will appear on the Repulse cd. The cd will sort of be our history in a way. We put a lot of time into it, finding old reviews, flyers etc. The whole cd will consist of the “Rigor Mortis” recordings, and all of Immolation’s studio work (the ‘88 and ‘89 demos, as well as 2 unreleased recordings) prior to our “Dawn of Possession” album. There will also be some live tracks from ‘88/’89 as well. The reason we did this cd is mainly because we have received a large amount of requests for our old demos, and we figured this would even be better, so that those interested in our pre-album days could check out our earliest material as well. It will be a total underground release as well, which is mainly how this should be.

What was your European tour with Massacre and Morgoth like, and did Craig Smilowski join you for that tour?

Yes, Craig sure did join us for that tour.

I don’t think anyone associated with that tour will forget him either. Craig officially joined the band after he completed recording the album with us in Germany.

Our former drummer Neal Boback quit 6 weeks before we had to record the album.

We already knew Craig, who was in Goreaphobia at the time, and asked him if he wanted to play session drums on the album. We didn’t want to steal Craig away from his band so we just left it up to him to join. We are pretty positive though that he had already decided to join Immolation the second we called him up and said “We are going to Germany to record our album, do you want to come?” Ever since then he’s been with us, so naturally he has done all of our touring. We don’t plan on changing our line up anytime soon. As for the tour with Massacre and Morgoth, it was unbelievable.

The crowds there were wild, and the people really take the music to heart. All that can be said is that it was great and we hope to be touring there again very soon!

You also toured Canada earlier this year. What was the response like?

That trip to Canada was an interesting one, to say the least. We had some troubles, but that’s not important. The show in Montreal was great, and the show in Sherbrook happened thanks to Morkeum and Chaosick.

These guys were totally cool to us. The trip

itself did us good, and we want to go back there soon. Next time we will make sure things are set up correctly, and there are no promoter problems. We have been in touch with Ali (Kataklysm’s manager), and he is helping us out. With his support, we don’t see any difficulties in getting some more shows together in Canada soon.

You just got out of Vortex studios in New Jersey where you finished recording a demo for record labels.

What can we expect (In terms of your new album)?

You can expect true death metal in genuine Immolation style, and nothing less. Our new material is different; it’s darker, more intense, more in depth. The music and lyrics are more emotional, and are still as heavy as ever. Even though there have been a lot of changes going on around us, we don’t plan on changing anything about Immolation.

We continue to write with feeling and create atmosphere with our music in a most destructive way. You’ll have to hear it for yourself. Our new album will take you into a realm of hell you have never heard.

How about a few new song titles?

The three tracks we recorded are “Away from God”, “Towards Earth” and “Christ’s Cage” That’s all we’ll tell you right now, the rest we’ll save for when the album comes out.

Well, basically, Chris’s brother Jim runs Vortex Sound Studios. We heard about this studio through a friend of Craig’s. We didn’t realize that Jim was Chris’s brother until we went to look at the studio. We had known Chris, as he’s been into the scene for a long time, but we had not talked to him in a while and never knew that he was in the actual music business so much. We were talking with him, before recording the demo; we realized that he would be a good person to have working with us.

We just stumbled onto having Chris as a manager. You can’t just get anybody. We always wanted to have someone, but we were not into just getting an agency. We don’t believe in that way of doing things.

We want someone who will work as hard as ourselves, and be into it 100%.We think that with Chris and ourselves working together we can just get that much more area covered, and more things accomplished.

Does everyone in the band still have full-time day jobs, or is Immolation a full-time band now?

Well, it’s not as full-time yet as we want it to be, but it’s getting closer. Just to start off clearly, we are not making any money with Immolation yet. It’s a full time job but with no pay. A couple of us still work to an extent, but not like before. We have been able to put more time into Immolation now, more than ever before. With our next release, we hope to be able to get to the point where we can start to make enough off the band, so we can do Immolation, and only that.

Out here in South Africa, you have a big following, any final message or comments to your South African fans?

Thanks for the interview Riaan!

Thanks and greetings out to all those supporting us over in South Africa, we hope to get over there soon!! Look out for our new album in the near future and keep your souls immolated! >> Interview by: Riaan Jooste

How did your collaboration with Chris Forbes come about?

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Model

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Photo by: Henk Haverkamp

Jossie Ayame I’m a 20 year old model from Pretoria, South Africa, who started out in late 2011. I love experimenting with different styles and concepts and am always up for a challenge. I’m quite shy in person but I love being in front of the camera.

Contact Jossie: Fb: www.facebook.com/JossieAyame Twitter: www.twitter.com/JossieAyame Modelbase: www.modelbase.co.za/26777 Blog: jossieayame.tumblr.com

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Photo by: MCJ Studios

Photo by: Trevor Charles Miller Photography

Photo by: Fringe Photography

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Photo by: Jes Hunter

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Model Countess Havok is an alternative model from Cape Town, South Africa who has been modelling for about 5 years. She has appeared in publications such as Kultur Mag, Gothesque Magazine and The Alternative Model Directory’s “Best of 2011/12” magazine among others. She was also recently named Alt Fashion Magazine’s “Best International Model of 2013” and appeared in the Vampirefreaks.com 2014 calendar. She loves various genres of black metal, cats, tea, comic books and graphic novels, board and card games, Poison Ivy, Star Wars and making her own clothing and accessories. In her free time she also enjoys cosplaying, playing board game tournaments (or just with friends), performing as a burlesque artiste, cooking and spending time with her cat Misa, named after the Death Note character. She also has a deep passion for acting and literature.

To see more of Countess Havok’s beautiful photographs, check her out on Facebook under : www.facebook.com/countess.havok.alt.model Photo by: Frank Moody | Photo editing: Heike Langhans

Countess Havok 62

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Photo by: Frank Moody | Photo editing: Heike Langhans

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Photo by: Dr Benway | Make-up artist: Jaxy Cramer - BlkJax Make Up and Hair

Photo by: Anika Molnar | Hair and make-up: Anelia Fourie - Creative Arts

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Photo by: Anika Molnar | Hair and make-up: Anelia Fourie - Creative Arts

old school death metal. This band is a refreshing change from the scores of technical death metal bands prevalent in recent years. The album fuses crust punk and death metal perfectly with skull crushing drums, catchy riffs (some great leads too) and fuming vocals. “Dead Man’s Switch” is the ultimate moshing song and “Draconian Rage” a playlist must.

Reviews

Iced Earth Plagues of Babylon

Behemoth The satanist Perhaps my favorite thing about this album is the darkness of it, however, if you’re looking for old Behemoth, this is not the album for you. Artists though, have every right to progress their music as they see fit, and Behemoth have done just that. The riffs unleashed alongside the increasingly important melodies are honestly infectious. Behemoth draw moods and styles from across their history and across music for this opus. Nergal fits into a really good niche with his vocals, as they sound really wicked and guttural. His vocal performance is pretty much flawless from beginning to end. “The Satanist” is a good example of why he’s such a prominent figure in his genre. From classic heavy-metal riffage and horn sections, to acoustic spokenword passages and doomy, down-tempo detours, The Satanist flaunts the band’s newfound interest in dynamics, and presents nine very different and very sinister compositions. This is a comeback from a band that refused to consider defeat, and their strongest offering yet. decades past. An overall great look back at the origins of metal. Tight, aggressive and powerful.

Schaffer and the rest of Iced Earth return with Plagues Of Babylon, an album narrating the fall of society via zombies, disease, and lots of evil. Plagues Of Babylon comes down to your dedication to power metal. The riffs are huge, packed with punch, and often seriously catchy.

During the course of the album, there is a wonderful guest performance by Hansi Kurch of Blind Guardian (also once a colleague of Schaffer on Demons and Wizards). Stu Block actually sings with more authority on this album.

The album ends with a star-studded cover of “The Highwayman” featuring Schaffer, Russell Allen (Symphony X, Adrenaline Mob), Block, and Michael Poulsen (Volbeat) singing in that order, each of them taking a verse, and it’s a fucking great version, I loved it! Iced Earth fans are going to go absolutely mental for this record.

The message from Iced Earth’s music is clear; together we stand, divided we fall.

Chrome Division Infernal Rock Eternal It’s so nice to see bands that bring back the fun in Metal and Rock, less Black and Death Metal, merely fun. So, it’s time to take out the leather jacket and head on to the local bar for a pint, or ten. Featuring respected players of the Norwegian metal scene, an alter ego adventure created by Dimmu Borgir vocalist Shagrath, Chrome Division’s fourth album has fine riffing, explicit themes, great nasty grooves and a mouthful of vehemence. The music itself has its moments of pure quality. The throaty sexy, sneering growling vocal style of lead singer Shady Blue naturally draws comparison to the mighty Lemmy. Not as good as the previous 3rd Round Knockout, there are still heavy riffs and booming metal drums, but this disc is significantly more rooted in hard rock from

Down Among the Dead Men Down Among the Dead Men Down Among the Dead Men’s debut self-titled album was released through Cyclone Empire Records in November 2013 and has been well received by the international metal community.

Featuring David Ingram (ex-Benediction/ex Bolt Thrower), Dennis Blomberg (Paganizer) on drums and Rogga Johansson (Demiurg/Paganizer) on guitar and bass, this project is a great new find for avid death metal listeners, young and old alike.

The album is just over 30 minutes and flows comfortably but powerfully from one song to the next. But don’t let that fool you. The pace is fast as fuck and the overall sound reminiscent of

Legion Of The Damned Ravenous Plague The band manages to build a wide, imposing sonic landscape without sounding too over produced. Straight-ahead fusion of thrash and slightly blackened death metal styles, Ravenous Plague is basically interchangeable with anything that Legion Of The Damned have done over their entire existence. Catchy riffs, a galloping pace, and rough vocals from Maurice Swinkels they blend elements of both the early Bay Area thrash scene with the Teutonic, early blackened thrash of early Kreator and Destruction into a rather infectious assault. The mix is also really gritty and unpolished. It helps the mood of the music, and

feels delightfully unrestrained in the way it hits you. This album transfers raw energy and power.

A pleasure for each head banger. “Ravenous plague” is the first thrash metal highlight of the year.

cool release. Adrian Erlandsson steals the show with a psychotic drum performance, especially on the lightning fast “Infiltrator”. Marco sounds legitimately angrier than 3/4ths of the metal core screamers out there, and I am glad to hear his screaming again, because it is sure to “punk” some of the shit bands that have come around.

They are still more solid than most bands out and about.

the Brave continues that tradition with four memorable choices. A dead-on rendition of the Black Sabbath classic “Paranoid”, a pensive and haunting version of “The Final Countdown” by Europe and a surprisingly heavy and energized take on Bonnie Tyler’s ‘80s pop staple “Holding Out for a Hero”. Another winner was an emotional rendition of Annie Lennox’s Oscar-winning “Into the West” from Lord of the Rings: The Return of the King, featuring a warm, delicate performance

by Scharf, definitely the album’s most emotional moment. Dawn of the Brave is a distinct step up in quality from Van Canto’s already stellar work, benefiting from a fantastic mix and smooth production.

Suicidal Angels Divide And Conquer Suicidal Angels decided to rejuvenate their sound. Bathed in the technical violence of Dark Angel, Slayer, Sepultura, and Artillery. This may be Suicidal Angel’s best record yet, as they delve even into epic territory and branch out a bit.

Hyper-aggressive technical thrash that’s about non-stop speed and attitude. Having a vicious vocalist is always a help. Founding member Nick Melissourgo’s vocals are archetypally thrash, lying somewhere between the crystal clear bark of Slayer’s Tom Araya, and the snarlier tone used by singers such as Kreator’s Mille Petrozza, and the late Paul Baloff of Exodus fame. Suicidal Angels is certainly one of the most enjoyable bands coming out of the thrash revival movement, churning out some really great thrash songs with some genuinely interesting ideas like the symphonic parts on Control the Twisted Mind. Laying down the law all the way, relentless and committed to Thrash at command, the old school affirmation is the key to a slaughtering victory. The old guard would be pleased.

The Haunted Eye Of The Storm In 2012, Swedish metal band The Haunted lost three of its five members. There was serious concern that the band would not continue, much like the fall of Nevermore. But, to the surprise of many, the band not only decided to continue, they brought together three musicians that sent jolts of anticipation throughout the metal community: Original drummer Adrian Erlandsson, previous vocalist Marco Aro, and Six Feet Under guitarist, Ola Englund. With this line up the band has recorded, and are about to release their first new material in the form of an EP entitled Eye Of The Storm. Fans of Marco-era Haunted will be pleased. Eye of the Storm is a

The Unguided Fragile Immmortality The new band featuring founding brothers Richard & Roger Sjunnesson and former members of Sonic Syndicate. Produced in infamous “Studio Fredman” The Unguided have blended the Harsh Vocals of Richard Sjunnesson, and the clean vocals of Roland Johansson to great prevail. It is a classic melodic death album from start to finish, heavy hitting guitars draped with upbeat techno like keyboards, and infectious melodies and riffing from beyond the realm. If you enjoy melodic death fusion then you are going to be in heaven. The Unguided have some of the best musical talent within the genre in their lineup, which is what makes them special. The Unguided are well on their way to securing a place in metal history despite the comparisons that they have received and will likely continue to receive.

Van Canto Dawn Of The Brave German “a cappella metal” band Van Canto, which consists of five singers and one drummer (no guitars, no bass, no keyboards) have released their new album via Napalm Records. The album is bigger, faster and more powerfully voiced than ever. From the drum sound of Charlie Bauerfeind, through to the choir recordings with over 200 Van Canto fans, up to the mixing of Ronald Prent.

‘Dawn Of The Brave’ is their fifth studio album, and it goes a little bit further than before. Tales of comic book and cinematic superheroes, Van Canto has also gained international attention for some excellent cover songs, most notably vocal renditions of the Metallica classics “Battery” and “Master of Puppets”. “In the mode of Finnish “cello metal” team. Apocalyptica and Dawn of

Within Temptation Hydra Within Temptation made the three-year wait between their recently released studio album “Hydra”, and 2011’s “The Unforgiving”. This is a new collection of songs vividly decorated in the signature Within Temptation sound, kick started by the menacing guitar work of “Dangerous”, which features a guest appearance by exKillswitch Engage vocalist Howard Jones. Similar to “Dangerous”, Within Temptation shows the band joining forces with another guest musician, and this time it’s former Nightwish singer Tarja Turunen who can be heard providing vocal harmonies with Adel. “Whole World Is Watching” brings yet another guest singer into the fold, Dave Pirner (Soul Asylum), who serves as a foundation for Adel’s soaring vocals during the chorus on this lighter toned rocker. Adel creates plenty of memorable vocal harmonies and captivating moments on lead. A bold compilation of progressive metal, any symphonic metal fan should have no problem enjoying this.

Reviews by: Riaan Jooste | Lucinda Villain

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Photo by: Chan Shishler

Paul’s Corner

Frame of mind Greetings everybody!

I thought I could just sit in bed with my little laptop and write

Hope you’ve all had a great February and got some

all day. Maybe take a bath later in the day. Eat my lunch in the

nice attention on Valentine’s Day. I’ve had almost this entire month free, so I found some things to fill my time, and I started

bath, kill 2 birds you know?

Well I discovered that doing that got NO work done!

with writing. I’ve done rough drafts for 5 chapters of my book

My mind was thought I was on holiday, and my body quite

on the last 15 years of The Parlotones. And those 5 chapters

happily tagged along with that idea. I messed around on

have covered from about 1998 when we first got together

Facebook for too long. I played games on my iPad. I read my

until around 2002, so I’ve got quite a way to go! There’s a lot

books and comics. I took short naps. I took baths and played

of things I struggle to remember, especially seeing as it’s been

games on my iPad and read comics in the bath. Basically, I just

more than 10 years, but I’ve found the more I write the more I

wasted the day away.

remember.

I’ve also done a few guitar workshops at a local High

So what I needed to do was get up and get dressed.

I showered and sometimes shaved. I got dressed as if I was

School, as well as local music school. By “workshop” I mean

going to be seen in public, not too smart or anything, but just

I’ve basically taught the students 2 of our songs, breaking them

something decent I could go to the shops in if I needed to. Of

down into the various sections and showing them how to play

course my idea of decent, and my wife’s idea of decent are 2

those parts. I also spoke about our life in the band, and what it’s

very different things....

like being in a band and what it takes. It’s been really cool, and I look forward to doing a few more.

So just before I go to bed tonight I thought I’d put up a short post about a few of the things I’ve learnt this month.

(On a quick detour, another thing I learnt was that those 3 dots are called an ellipses, and if you use an ellipses at the end of a sentence you need to add a 4th dot, which is obviously your full stop.)

So that’s the first thing I learnt. Even though I am sitting

The first thing I figured out about myself is that I can’t

at home working on the PC, I needed to get into the frame of

work in pyjamas or in bed. When I first realised I didn’t have to

mind of going to work. Otherwise I would just mess around the

get up and get dressed in the mornings, it was quite exciting.

whole day in my sleep shorts, and my wife would be mad with

me when she got home and the house was still a mess and I

a G minor chord instead of a G major. Simple mistake, but it

hadn’t done a damn thing.

sounds horrendous if you play it like I wrote it.

The second thing would be the ellipses rule I mentioned earlier.

The third thing I learnt was that working out and writing chords and tablature for your own songs isn’t as easy as you think. I play those songs all the time, it’s almost second

During in my transcriptions I realised with some surprise that in “push me to the floor” we had 2 rather unusual chords: C augmented, and G7sus4/D. Who knew? And they sound a lot more complicated than they actually are.

I’ve also done some investigating into self-publishing

nature. I could probably play “push me to the floor” with my

online, and it doesn’t seem as complicated as I feared. I’ve been

eyes closed. In fact, I often do!

looking at Smashwords (check them out at www.smashwords.

For these guitar workshops I did, I decided to write

com) and it seems like a good starting point. You basically just

out chord sheets and guitar tablature for the students to take

create a profile, link it to your PayPal account, and then link that

home with them. And it was hard work! It took me two entire

to your FNB bank account and you’re set. Of course I still need

days to write out all the music for “push me to the floor” and

to finish the book, but at least I know when it is finally done

I still made 2 mistakes. I notated one of the bends incorrectly;

publishing it shouldn’t be too much trouble.

instead of indicating a bend of two notes (i.e. a full bend) I

Well I think that’s about it. It’s not even 10pm yet,

wrote it that you needed to bend backwards 10 notes, which is

so I could stay up another hour and try get another page or 2

basically impossible. The other mistake wasn’t as bad, I tabbed

written for that book.... (4 dots!)