Interview by Si Smith
Rooted in 60s DC comic culture, the idead of the bizarro world has long fascinated those with the time to wonder; a place where everything has its “perfect imperfect duplicate”, a world of topsy-turvy superheroes and supervillians. Since then there have been numerous references to the concept, from Buffy the Vampire Slayer to the American sitcom Seinfeld. But now the metal world has its own take on the Bizarro theme: German melodic death metal/metalcore band Deadlock bring it straight into the 21st century with a new album tinged with the very antithesis that gives Bizarro its identity. Rough and smooth, demonic and divine, silence and noise, fast and slow, this album has it all. I spoke to superheroine Sabine Scherer for a healthy dose of alternative reality.
First, thanks so much for taking the time to speak to us, and a warm hello from all at Femme Metal.
In 2011 Deadlock can truly be said to be established as a metal force to be reckoned with, now that you have five full-length studio albums behind you.
How has the journey been across this time for you personally?
It’s been a pretty cool experience so far! We’ve been on the road with so many cool bands and played great shows, visited places I would never have dreamed of, like Japan, Ukraine or Russia.
It’s now been almost three years since the release of the remarkable “Manifesto”: what have Deadlock been up to in the three years since the last album?
We’ve played many shows and went on tours with All That Remains and The Haunted, Soilwork, Lacuna Coil, played the X-MAS Tour with Heaven Shall Burn and Caliban, played some festivals like With Full Force and Summer Breeze, as well as these great trips to Japan, Ukraine and Russia. Those were some fast three years
Not only a new album but a new logo and from the paintbrushed lines of the first through the intricate angular etching of the second, now we have the futuristic minimalism of the third. A deliberate attempt to forge a new identity, or just coincedence?
We all think that with the musical progress which we went through, it was time to underline the musical evolution in the look. We’ve had this idea earlier, but never really felt it was the right time. But with the new album, I think it totally fits.
“Bizarro World” is an album firmly rooted in its concept. For those who are not aware of the concept, would you take us briefly through your understanding of the phenomena of Htrae and the Bizarro Code? How important are these to the album?
“Bizarro World” is a place where all good is bad and all ugly is beautiful and vice versa. Sad but true, we often find that this “Bizarro World” often corresponds to the world we actually live in, way too often. It has become quite common not to question the things we’re confronted with and we’re accepting the presented solutions in a non-critical and non-constructive way. For example, we’re trying to heal so-called diseases by poisoning ourselves, states go bankrupt but spend a horrifying amount of money on weapons and the war industry, everybody is talking about saving the environment but who’s actually doing something? This is Bizarro World.
“Virus Jones” is a strong opening song: not only do you start the album with the longest song on it, it also showcases your vocals at the very start; how do you begin to prepare your voice for recording a vocal like this? Could you take us through the recording process as you see it?
I usually don’t really prepare for recording sessions, voice wise. some times I do voice excercises, sometimes I’m drinking a beer before recording one day we’re done in 5 minutes, the other day we need 5 hours, it simply depends on how much we’re going with the flow.
No rapping or guest vocals this time – just the grandiose concept! And the sharp contrast of Johannes‘ death metal growls with your crystal clean melodics. There are a couple of ballads here where you can show off your voice to the full – namely “You Left Me Dead” and ”Paranoia Extravaganza”. Of all the styles that you sing, have you a favourite style? What is your MOST and LEAST favourite thing about singing for Deadlock (if you can tell us…:-))?
There is no bad thing about singing for Deadlock, and no bad style. Of course, there are songs that are more exhausting than the others, but all of them are fun to play, sing and perform.
I notice the techno breakdowns are still there intermittently – eg on “Renegade” – has there been any temptation to leave these out to satisfy some of your critics? Or are they an integral part of the Deadlock sound?
Leave a comment
Style switcher only on this demo version. Theme styles can be changed from Options page.
- Flames of Fury – “FoF” EP (2013)
- Effloresce – “Coma Ghosts” (2012)
- Marie Fredriksson – “Nu!” (2013)
- Anneke Van Giersbergen
- Leaves Eyes’ – “Symphonies of the Night” (2013)
- Phildel – “The Glass Ghost” EP (2013)
- Lita Ford
- Sarah Teets – MindMaze
- Susanna Vesilahti – Unshine
- Trobar de Morte – “The Silver Wheel” (2012)
- Viper Venom – “In Venom Veritas” (2012)
- Via Obscura – “Gedanken” (2012)
- The Mariana Hollow – “Velvet Black Sky” (2012)
- Storyum – “Insomnia” (2012)
- Snei Ap – “Hidden Floors” EP (2013)
- Sin7sinS – “Carnival of No Tomorrow” (2012)
- MaterDea – “Satyricon” (2011)
- Rampart – “War Behast” (2012)
- Lita Ford – “The Bitch is Back… Live” LIVE ALBUM (2013)
- Epysode – “Fantasmagoria” (2013)
- Beyond God – “Dark Light of Dawn” EP (2013)
- Ayreon – “The Theory of Everything” (2013)
- Seremonia – “Ihiminen” (2013)
- Tuomas Tuovinen & Eveelina Kojo – myGrain
- TEODASIA announces European Tour with TARJA TURUNEN
- I Left the Planet – “I Left the Planet” EP (2011)
- Grimes – “Visions” (2012)
- Грай [Grai] – “О Земле Родной” ["O Zemly Rodnoj" - "About Native Land"] (2011)
- Gin Wigmore – “Gravel and Wine” (2011)
- Funin – “Unsound” (2011)