Coronatus – “Best of 2007-2011” COMPILATION (2012)

Label : Massacre Records

Review by Tony Cannella

The excellent double female fronted Symphonic Metal band Coronatus has previously released four full length albums – with their first one being released in 2007. Now they have released a digital only best of album titled, “Best of 2007-2011”. Featuring 16-songs and over an hour’s worth of music, “Best Of…” serves as a comprehensive overview of Coronatus’ career thus far.

The track-listing on “Best Of 2007-2011” features a fair cross section of the bands best material taken from each of their albums. The songs are in reverse chronological order beginning with four songs from Coronatus’ latest album “Terra Incognita” which was released in 2011. The two female singers each brings something interesting and unique to the table. The current duo consists of Mareike Makosch who provides more of a rock style and Ada Flechtner who gives us a soprano voice. The melding of the two different styles is one of the best things about Coronatus and gives the songs a huge boost. The bands lyrics are sung in German and English with a touch of Latin as well. The musicianship is also played on a high level and is a perfect complement to the two vocalists and another check in the plus column for Coronatus.

For fans who already own everything that Coronatus has put out, this may not be of much interest, but anyone who would like to sample what this great band has done so far, than “Best of 2007-2011″ is well worth the time. Continue reading »

INTERVIEW: Maike Holzmann – Voices of Destiny

Interview by Ed MacLaren

Barely into their 20s, Germany’s Voices of Destiny has a musical maturity that belies their young years. With their shining debut, “From the Ashes”, Voices of Destiny is packed with massive chops and soaring vocals that match many of the premier symphonic metal bands you’re listening to right now. Vocalist Maike Holzmann joined Femme Metal to talk about the creation of “From the Ashes”.

Working with Massacre and all the great people we met during the recording process is awesome. Of course, we got some positive reviews and comments on our homepage, but we can’t tell how often the album is sold by now. We will know better in a few weeks.

Maybe just sitting down and listening to the album carefully and consciously. If you read the lyrics while listening this might also maximize the experience. You can interpret them and find out how they fit into your life.

Yes, indeed. We didn’t write the album as a concept album. Some songs already existed for 2 years or longer. But we thought they’d fit the album as well. Every single song is good on its own but concerning the whole album they reach another level somehow.

Continue reading »

CORONATUS: Special Offer @ Amazon

German Symphonic Gothic metal band CORONATUS today publish the new digital compilation “Best Of 2007-2011″

Starting today, December 21st, you can download your copy for 5€ only here: http://www.amazon.de/dp/B00A21RYME

But don’t wait too long, the limited offer ends this Sunday (December 23rd)!

www.coronatus.de | www.facebook.com/CoronatusOfficial

Ashes You Leave – “The Cure for Happiness” (2012)

Label : Rock’n Growl Records

Review by Disgraced & Luisa Mercier

From Croatia with sadness. Ashes You Leave, the historical doom-gothic metal band that started already in 1995, are back with their sixth studio album and a new, hoping solid line-up. Well, I’ll immediately say that I’m a long, long time fan of them so many of my judgements might be shadowed by my own liking of the music but two big faults, according to my humble opinion, are present as well and be sure I’ll point them out nonetheless. Kicking off with a piece of news most readers of this webzine will be interested in, this is the first record with new female singer Giada (also her first professional record ever), who marks the third woman in a three-records period in the AYL camp and their fourth singer generally speaking. Leaving apart first doomstress Dunja, who marked the mydyingbride-ish sound of their first three albums, and without being rude to Giada‘s two predecessors (one of whom was an incredibly talented keyboardist as well), it’s pretty clear since the opener “Devil in Disguise” that she’s the best choice for this band, with a quite distinctive voice which I’ll be about again later.

As I just said, “The Cure for Happiness” starts with “Devil in Disguise” which quickly shows you the best the Croatian have to offer; one might say that this album is a bit like “Songs of the Lost” #2, since with their previous album they had abandoned most of the symphonic temptations presented on “Fire” and on the opposite embraced again a slower, more melancholic kind of metal which certainly suits them better. But beware, there are very, very few “nu goth metal” elements here, no Delain or Lacuna Coil-like so to say. A generous solo in the opener track, and the overall heaviness are good examples of that – examples which shold be taken and learnt by many. Of course one of the trademarks of this band, aka miss Batinic‘s soaring violin melodies are always there but they aren’t part of the real own structure of the songs as they did in the past (the firtst three albums reworked the lesson of My Dying Bride‘s “The Angel and the Dark River” in a quite personal and successful way) although since being Marta together with guitarist/growler Berislav the only two founder members remained  - a couple in music and in real life, for gossip’s sake – the feeling of a classic sound will be perceived by any old fan, thanks to that subtle red line that separates AYL from most bands in the same genre. Guitarist Berislav Poje, as already mentioned, is also responsible for the male harsh vocals audible hear and there in the most traditional duets à la Theatre of Tragedy with Giada; this marks another big and good return, since it was many years we didn’t hear so much manhood in AYL vocals. His growls are deep and powerful, very much death metal alike and very fitting. Second track “Only” Ashes You Leave starts with a beautiful violin-paced movement and seems to be a little less uptempo than the opener; perhaps if Placebo ever decided to play metal they’d deliver something like this – with Molko’s already rather feminine vocals it wouldn’t be that hard and let’s remember AYL themselves did an incredible rendition of “Every Me Every You” on their previous album. Particularly notable in this song are the guitar riffs again and the groove toward the end of the song born also thanks to the work of the other new bandmember, drummer Sasa Vukosav, who really did a great work with the sticks, and Luka Petrovic‘s bass skills. 

Third track “For the Heart, Soul and Mind” has been released as an online promo single few days ago. Probably that’s because it’s a faster song with a catchy chorus; strophes are actually the best part in my opinion, with an almost stoner flavour in them and Giada‘s voice getting a bit acid. In the chorus instead she lets herself be driven by a semi-opera style which comes again in the final vocalizing. Well, this is a point worth of discussion because I think she has a wonderful, warm, natural low voice which makes some tracks simply shine. A bit reminiscent of both Flowing Tears vocalists, past and current, just to give you an idea: they are not the same but that is the what we’re speaking about. I think it would be a pity if such a particular singer were influenced by the actual trend in melodic metal and pushed herself to go higher and higher with octaves or to sing operatic-like (although this would help her delivering the “Fire” material) because there are already so many bands with women singing that way while Giada here seems to be quite good at handling lower and more powerful vocals… and there are many examples in the actual “new wave of doom heavy metal with p***y on vocals”, just think of Jex Thoth! Add that Etro shares also the same hair colour with Thoth and les jeux sont faits. Back to our review, what we have next is “The Ever-Changing”, a track more difficult to get which proves what the guys are able to do when they let their doom roots grow free in the musical ground. If Giada didn’t sing that operatic (she did it perfectly but it’s the same as above; think of Mariangela Demurtas singing old Tristania songs, she does it wonderfully but what is unmatchable is her contralto voice, making her resemble a Grace Slick in a metal band) this would be a real 10/10 track! Heavy, melancholic, f**koff guitars, also a bit of evil floating in the background and you have something Draconian would die to write.

Fifth song is “Meant to Stray”, which I admit is a song I still have to fully understand, even after dozens of listenings. It’s an average midtempo song which simply doesn’t impress me like the others, with a certain mainstream rock vibe in it. Following is one of the highlights of the album, smartly chosen as first promo single already back last April. “Summers End”, as I commented on YouTube me myself, is an instant classic, without any doubts one of the best songs the band ever created and I would like to speak face to face to both older and newer fans saying it’s a bad piece. It’s one of those rare songs that immediately grow on you AND even after you listen to it so many times like I did, it’s always like the first time. A soft arpeggio introduces Giada who delivers her most passionate interpretation, so full of emotion, in one of the most beautiful vocal lines of the whole album. Lyrics are so meaningful, yet simple and straight, proving that you don’t need complicated metaphors to let your inner feelings out: after all, anything you feel is plain and direct inside your heart and mind (and soul, according to track number three!) so why should it become complex and twisted when you give it to the world?

Is this human nature

Are we designed this way

To be unhappy, so uncertain

To live in fear every day

Yet in the affairs of the heart we dwell naïve

So childishly gullible and willing to forgive

And when we’re left with nothing but the choking pain

We hope it will be washed away by the autumn rain 

Aiming something straight like in this case does not take the magic of the music off, on the contrary it helps you to drown even more in the cloth weaven by the notes. In the middle of the song, before male vocals have their say, we have another beautiful, short guitar solo that comes to life again later on. Also the violin allows to build the whole atmosphere and the initial arpeggio ends the song nicely – one of AYL‘s flaws is that the end of the songs too often stops sort of abruptly. So we arrive to the seventh track “Reality Sad”, a good and heavy stone thrown at you without mercy. Berislav, Matija, Luka and Sasa produced other grinding moments that live will truly smash crowds. Oddly enough, first listenings to this track brought some similarities with Salt Lake City-based band Subrosa to my ears. I should have said “oddly to the maximum”, because Subrosa are one of those bands you just cannot describe without sounding too devoted to be objective or anyway, without failing in giving a rightful impression. If you who are reading this love doom metal, both ol’ school one and modern styles, if you like stoner/sludge, The Sins of Thy Beloved, ’80s darkwave, heavy guitars dissstorted, avantgardness and pure magic in the end, go check them out. Well, fact is that we have doom in both bands, we have violin in both bands, and female vocals too, and above all, the reason why I thought of the comparison, a similarity in the way guitars and vocals speak to each other, the emission of vocals and the sharpness of the axes, maybe it’s just me I get this because of the production but hey, that’s the impression I had. “The Cure” does not have anything to do with the new wave band but is a beautiful violin interlude; too bad it’s so short because it would’ve been quite original to have it as a full song – and please note that I usually don’t like instrumentals. Final track is “…For Happiness” which sadly sounds too anonymous than the rest of the album, definitely not a highlight for me. It isn’t a bad song, it also has a good crescendo but as we use to say here in Italy, it’s “not meat nor fish”. Personally I would have chosen some other ending, maybe with more impact but I’m glad they didn’t make any suite or whatsoever because for me it’s the same speech as for instrumentals. But hell! We don’t have pompous, orchestral metal here luckily! Even though it would be interesting to see a band this kind having their hands into a long, long track that is actually a suite and not a common deathdoomgothic metal llllooong, slllooowww song.

Now, I have already mentioned some major flaws here and there when I met them but now it’s time to face the two biggest ones which motivated me to lower my final mark even despite all the love I have for this band (so you see, in the end I succeeded in being impartial!). First one: this is not a doom metal album as the label or the band promoted it and Ashes You Leave are not a tout court doom metal band since ten years. I don’t know whose fault is this but if you actually look at promo stuff or statements and you don’t know the band you’ll easily expect something totally different, like Shape of Despair or Funeral, or even like early Theatre of Tragedy which is without any more words different from what it is and from what the band is nowadays. However, I must also say, especially for newbies, that doom metal is NOT necessarily slowed down to death and does NOT necessarily have to feature all those elements metalheads usually like about the aforementioned bands. Black Sabbath and Pentagram don’t use growl vocals, don’t have female fairies chanting ethereally, don’t have soaring keyboards or orchestral effects and don’t have lyrics that deal with shakespearean love. It’s a fact that too many young guys think that doom metal is restricted to My Dying Bride or early Anathema and that doom-gothic metal is restricted to Draconian or early Theatre of Tragedy which is completely false. But that is not the full point here; “The Cure for Happiness” depicts usual elements of doom metal, both old and new, but it’s simply not SO doom as one might think. It’s a different kind of sadness hehe. They’re too fast for those who have Unholy‘s and Thergothon‘s logos tattoed on their arms and too slow and heavy for most “femalefrontedmetal” (=mellowmainstreamstuff) fans. So if you like or want to explore the middle path or enjoy milestones like Theatre of Tragedy‘s “Aegis” or “Forever Is the World” or Tristania‘s “Rubicon” or “Ashes” this album is definitely worth your attention, otherwise you might be disappointed. Second big flow is, for the one who speaks, a mistake they’re doing since 2002′s “Fire” album. The production. Everything here is crystalline, polished, well done. Fact is that it’s TOO crystalline and polished. It lacks a kind of ravishness which would go along so greatly with the guitar-laden melodies (one of the best points here, don’t worry: no keys to build the songs, as it’s supposed to be in metal): actually guitars are so sharp and heavy that it’s a big pity they don’t have so much impact. I say that this was to be detected also on the two previous albums because on the slower first three ones it fitted more, it added to the decadence of the atmosphere, hopelessness and desolation matched by the sound itself. But here it just seems like attacking an army of soldiers with guns and rifles riding a horse and throwing arrows. Moreover, I think vocals are often pushed in front too much and to me (personally) it gives the impression they are not well blended together with the other instruments. Like having your singers doing their job in the kitchen with the rest of the band playing in the living room! So mostly because of this I gave this album the mark you see hereunder but I hope the review says way more than a single number. Plus, it wants to be a kick in the ass for the band to be pushed to do even better next time, so it’s because I trust them a lot that I want to force them to improve again more and more, even after all these years.

Rating – 79/100

Ashes You Leave is the most famous Croatian female fronted gothic metal band, founded back in 1995 whent the genre was flourishing thanks to legends like Theatre of Tragedy and Tristania. Their earlier releases are very doom oriented, paying tribute to their main source of inspiration: UK doom band My Dying Bride.With time they developed their sound, mixing it with more atmospheric elements and entering the realm of gothic-doom. In the meanwhile they changed three vocalists and at present an Italian girl fronts the band: Giada Etro.This is their sixth album and compared to the previous one is more guitar oriented even though guitars and violin have not been forgotten as the opener “Devil in Disguise” shows.The song is long, but the vocals are very melodic and make everything more bearable, she has got the classic pop voice and makes everything brighter. Even riffs are more melodic compared to what I have listened of their early releases.First three tracks follow the same formula: long gothic melodic songs with atmospheric inserts of keyboards and violins and growls that appear here and there to contrast Giada angelic voice. In the “The Ever Changing”, the song leans more on the doom side with flute and violins, while Giada shows that she can be versatile, using her voice in a darker, semi-operatic way.There is a beautiful atmospheric bridge with violin in the second half of the song. “Meant to Stray” is maybe one of the heaviest on the album due to great presence of growl and guitar riffs matched by violin in background. “Summers End” is more rock oriented than metal, while “Reality Sad” is a shorther song that does not offer much more if compared to the previous songs. “The Cure” is an acoustic break of a minute and a half that will leave you relived after all that metal. Closing track is “For Happiness”, classic gothic metal, very guitar oriented. The album is perfect if you are a classic gothic-doom metal lover, if you are nostalgic of the early sound of this kind of music.

Rating – 65/100

Tracklist

1. Devil in Disguise
2. Only Ashes You Leave
3. For The Heart, Soul and Mind
4. The Ever Changing
5. Meant to Stray
6. Summers End
7. Reality Sad
8. The Cure
9. For Happiness

Line Up

• Giada Etro – Vocals
• Berislav “Bero” Poje – Guitars & Vocals
• Matija Rempešić – Guitars
• Ana Torić – Keyboards & Flute
• Marta Batinic – Violin
• Luka Petrovic – Bass & Vocals
• Saša Vukosav – Drums 

Links

MySpace * ReverbNation * Facebook * Twitter * Site

Interview : Dani Nolden – Shadowside (2011)

Interview by Ed MacLaren

Brazilian thrash rockers, Shadowside have spent the last five years defying conventional definitions of a female-fronted band with their searing brand of metal. With their third album, “Inner Monster Out”, a hard driving riff-fest fueled equally by hooks and hammers, Shadowside is determine to stand toe-to-toe with the best of ‘em. Vocalist Dani Nolden took some time to talk to Femme Metal about drastic changes that resulted in a creative leap forward, the band’s work ethic and the dangers of letting her inner monster out.

You’ve unleashed “Inner Monster Out” upon the world and our ears haven’t stopped bleeding – it’s a fantastic album. You’ve really raised the bar on this one.

Thank you! This album was kinda like a “do or die” thing for us. We had to top ourselves, not because the fans said it or the press said, but we felt we needed that. As a band, you have to always search for the very best you have to offer and keep people interested, surprised. The band was in agreement that in order to surprise and impress people we would have to impress ourselves and come up with something even we didn’t know we were capable of creating. We had a great time bringing it to life and after we were done, we were absolutely sure this is the best album of our careers so whatever the results and whatever people’s opinions about it could be, we were happy as musicians. Fortunately, people love it as much as we do so that tells me to always trust our instincts and do what we enjoy doing! There’s always people to listen to what you play if you put your heart into it.

The band sounds like it’s firing on all cylinders musically and vocally. It must be a great feeling when you’re recording an album and everyone on the team is playing at the top of their game.

It is – no doubt about it. It’s easy to perform your best when you don’t have to worry about whether your band members will be able to deliver or not, or whether you’ll have to fight for the musical direction of the album at the end of the day. I knew they’d do a great job and they did. I could go out during the day sometimes and not have to sit there through the recordings of everything because I had complete trust in them, you know? We didn’t have to monitor anything, just like when they didn’t feel like watching me record, they didn’t have to. Sometimes they’d just go play videogames but not because they didn’t care, just because they knew I’d never come up with something they wouldn’t like. Raphael recorded lots of guitar solos while everyone else was asleep (laughs). It’s amazing to work like that… We were absolutely at ease and every step of the way was extremely fun!

Lyrically, “Inner Monster Out” is pretty intense and the music reflects that intensity. What took Shadowside in such a heavy direction on this album?

Before we even started working on the music, I was already playing with words a little bit… I like starting with titles and topics to write about and go from there and everything was very deep, introspective and personal, sometimes kinda dark as well. I wasn’t unhappy at all though, the band was doing well and everything was great, I was just taking a dive inside my own head and into anything that made me think. When we started working on the music, everything came together like magic. My songs were intense, the songs the boys wrote were intense as well and when we started working on them all together, they got angry, heavy, full of life and I thought they were perfect for those topics I had been playing with in my head. The songs got more mature so the lyrics had to follow and thankfully, that was exactly how I wanted to explore my lyrics writing this time. It was like everything was meant to be, you know? Like we were all reading each other’s mind and looking at the same direction. We kept it fun and melodic but we wanted it more aggressive. We wanted to capture that intensity that we have on our concerts that makes people and ourselves go crazy and unleash our “inner monsters”!

You changed your recording methods as well for this album didn’t you?

Dramatically. Not only the recording methods but the writing methods as well. We used to book a studio and get a producer, then we’d go to the studio in the morning, record for 12 hours a day and then go back home and do the same thing the day after. By the end of the recordings, we were all worn out and sick of the album to the point that we’d let some things slide just to be done with it. That’s not ideal but it’s what happened. Then after a few months, we’d all sit and talk to each other about all the things we wish we had done differently. This time, we went to Sweden to work with Fredrik Nordström as our producer and he has a studio with all living facilities in it. He has beds, a kitchen, bathroom so the 4 of us lived in the studio during the recording. Literally. Fredrik worked for 8 hours a day but he’d let us use the studio 24 hours a day, 7 days a week. So we could just wake up, go to the studio, play with the songs, experiment with them and just have fun. When we were tired, we’d leave it for a while then go back to it but there was no pressure. When it comes to recording, we just made sure that everybody in the band was happy with the songs at all times. We have very distinct tastes within the band and we figured that if we could create something interesting for the four of us, it would be unique and different with a lot more chances of pleasing people. We also did everything together. No song sounds exactly like the demos each of us brought to the studio. We all arranged everybody’s instrument and no one was overly sensitive about it. We’d use whatever good idea, so I wrote some guitar riffs, Raphael and Ricardo wrote some melodies, Fabio directed some of my vocal recordings. We happily worked as a team.

What’s your Inner Monster and what does it take to bring her out?

(Laughs) You know what… my Inner Monster ALWAYS comes out at the worst possible moments and it can often cause embarrassment to myself and to others (laughs). The “Angel with Horns” describes my personality well… I’m usually sweet but can be a little evil at times. And it usually happens when I’m actually trying to be nice… a while back I hosted a tattoo event and one of my favorite tattoo artists in Brazil was judging the tattoo contest. He’s over twice my age and winked and flirted with me during the whole event but still I didn’t want to be mean so I just kept my distance. After the event was over, he came over to talk, gave me a card and I ended up opening my big mouth to pay him a compliment and instead said a “Dude, I’m your fan! I followed your work in surf magazines since I was a little girl!” (Laughs) He got so uncomfortable that he immediately left and I wasn’t even trying to be a jerk, I think it’s just natural in me (laughs).

The title track features Björn “Speed” Strid, Mikael Stanne and Niklas Isfeldt – a unique cast for a unique song. I guess the boys did alright on this one, didn’t they?

Hell yeah, they did great! I expected nothing less than great since they are all amazing singers but they sure did even better than what I originally had in mind. What I like the most about how the song turned out is that all the voices on it are so distinct but they all fit. It was an honour for me to perform alongside those guys. And it was great fun to take them outside their comfort zone and let them bring their own personalities to Shadowside at the same time.

Have you thought about expanding the writing style in “Inner Monster Out” and writing some longer pieces for multiple singers like a sort of “metal opera”?

There are no plans to do that right now but then again, we never make any plans. We just let things happen. Some of our fans asked us why we never had guest musicians before the “Inner Monster Out” album, the truth is that just now we wrote a song that actually needed more people singing, in this case to match the story. So while we won’t force the songwriting in the “metal opera” direction, someday it might just happen that we write a long song that we feel multiple singers should lay their vocals on. It’s surely something we would do if we all liked the song and felt it has the Shadowside energy.

Shadowside started very strong out of the gate and hasn’t looked back since. How were you able to reach this level of popularity in such a short time? Was it the music? The energy? The timing?

All that plus the hard work, I guess. I actually think the timing was horrible for us because Shadowside started when female fronted metal became popular, especially Nightwish. So there were hundreds of bands appearing every day trying to be them and lots of people thought we were just another clone band. That slowed us down a little because lots of potential fans would come across our ads on magazines or interviews or people talking about us and would say “I won’t even bother checking out this band because I don’t like these Nightwish clone bands” when we were nothing like them. It took time for them to understand we had our own thing going on and it was very different from what everyone else was doing. Many liked the music a lot when we first released a demo and I honestly didn’t expect that much. But I think we had such a positive energy on stage, we love what we do a lot and that’s usually contagious. We used the Internet a lot. We kept in touch with our fanbase through MySpace, through Orkut, which is very popular in Brazil. The work in this band never ends, there’s always something to do either regarding the music or band business, we don’t take time off, we don’t need vacation. Our holidays are the tours! We play when we’re sick, unless we absolutely cannot perform. I sing unless my voice is gone, the boys will play unless they can’t move. Fabio played the drums with a broken finger on the European tour with W.A.S.P. And being in a band is what we love the most in our lives and that shows through in the music. Sometimes the music is good but the band isn’t fully committed to making it a success or they just record, upload the music to their website and hope things will magically happen. We searched for success and are still searching. In the meantime, we keep trying to improve as no matter how good you are, there’s always something to fix and you can always be better. That’s the key to success in my opinion… respect your fans and do not stop working.

How do you respond to that kind of early success? It must be tempting not to mess with a formula when it’s working but then again where does that leave you to grow?

That’s exactly what we think. After we released “Theatre of Shadows”, which received high praise in Brazil, we had that discussion for the first time. Should we continue what we did on “Theatre of Shadows” or should we keep exploring? I believe that if you don’t surprise your fanbase, they’ll eventually get bored and you won’t reach new fans either. Then when “Dare to Dream” was really well accepted even though it was a big change from the debut album, we got even less afraid to try new things. We keep the band’s roots, of course. The energy is there, the melodies are there, music comes before musicianship, but why not try new things we learned or that are very different than what we grew up listening to? We need to shock people, we need to wow them, otherwise we just give them more of the same and they’ll go look for the freshness elsewhere. It’s a real challenge to do that while still maintaining Shadowside‘s identity and I love it, it challenges me as a musician and I think the guys will agree with me on that. That’s how we responded to that success… we felt that if we didn’t top ourselves, nobody would be impressed either and instead of getting cocky thinking we are the next big thing, we got humble and thought we should work twice as hard to actually deserve all the praise we received.

In Brazil, Shadowside is a big deal. What are your goals for expanding that popularity beyond the Brazilian borders?

We just hope to go as far as we can possibly go. We’ll tour a lot, keep in touch with our fans online, I think the Internet is a huge tool that many musicians still don’t know how to use very well. Now that we have history to show in our own country, we’ll try achieving the same things worldwide.

How does Shadowside differentiate itself from its Brazilian metal contemporaries? What do you do to make Shadowside unique?

There’s nothing specific that we do, we just don’t label ourselves at all. Many people call us a power metal band but we don’t so we don’t get trapped in the genre. If we wanna play something that sounds more like thrash metal, we can. Why not? So we mix together thrash metal, power metal, hard rock, modern stuff, whatever we like and try to make it flow together naturally. But we don’t think, “We HAVE to add all these elements.” We just have so many different influences inside the band and we don’t necessary try to sound like them. Raphael likes Pantera and Fabio likes Slayer, but they don’t wanna play Pantera and Slayer, they wanna play their own thing so when they start playing together, something interesting and unique comes up. I notice most people starting a band look for band mates with the same tastes as theirs. We embraced and used our different ideas, views and tastes. I don’t think you’ll ever see Shadowside changing the lineup due to musical differences.

Many female power singers look to male singers as influences instead of female ones. Are you the same way?

I am, but that’s only because I grew up listening to the guys. When I was a child, I listened to what my parents listened and that was Queen. Then my cousin showed me Guns n’ Roses and Skid Row. After that school friends showed me Judas Priest and Iron Maiden. By the time I found out about females in rock and metal music, my voice and musical personality were pretty much formed. Nowadays I like many female singers, a lot. I love Lana Lane‘s voice for example and if I had heard that woman singing when I was a child and early teenager, she would have definitely been one of my major influences. The Skunk Anansie singer is amazing too. I like unusual, unique voices, male or female.

You sing like a force of nature. Where does all this power come from? Did your voice always sound like that?

It must have been all the screaming I did when I was a baby (laughs). But it did, yes… it was always quite loud and strong, it was way easier for me to learn how to scream and power sing than to sing like a girl (laughs). Until not much long ago, I had trouble singing songs written for female voices or holding back on volume. I only realized it wasn’t common for a woman to sound like this when I noticed how much it surprised people. Before that it was just natural, a voice that I hated but it was the only one I had (laughs). So I worked with it.

Even with all that vocal aggression, you can still soften up your voice on tracks like “A.D.D.”. It’s a beautiful contrast. Have you thought about using that part of your voice more extensively?

Now that I learned how to do it, yes (laughs). Maybe not too much more because what I really love to do is let it all out but it’s always important to be able to perform different things. Like you said, that contrast can be interesting. I want to have a range of choices regarding what I can do with my voice so the band’s creativity doesn’t get limited, you know? People might see more of that soft and beautiful stuff if it fits the music in the future or maybe until then I’ll learn how to do something that I never tried before and mix that all together!

Americans can get a little jealous when the top European femme metal bands pass over North America heading to South America. What is it about metal that South Americans respond to so well?

I think it’s the passion… metal is such an intense genre. I’ve seen grown man cry when hearing their favorite song. And not a love ballad, an all-out metal tune and the guy is there, screaming, fists in the air, tears rolling down his face and his kid on his shoulder with a band t-shirt! And South Americans are very passionate people, warm-hearted so it hits us right in the guts. It’s purely about the music, because most Latin Americans don’t speak English at all. But they know what everyone’s singing about, you bet they know… they feel it.

You’ve made several visits to North America and Europe as well. How do the crowds there differ from those in South America?

Eastern Europeans and Latin Europeans, like Italy and Spain, are very similar to what I’ve seen here. They go absolutely crazy! In North America and countries like Germany and Finland, I noticed people tend to watch the concert more but once they decided they like you, they start screaming and responding really well when you try to interact with them. When we played in Finland for the first time, they were insanely quiet and we thought they hated us! I was afraid to ask them to scream and throw fists in the air because I thought I’d just look dumb there doing it by myself (laughs). In the middle of the set list, I thought to myself, “To hell with it if I look like a fool, let’s have some fun!” (Laughs) To my surprise, they started following me and came to talk to us after the show and said they liked it a lot, so I think it’s just a matter of getting used to the local behavior. My experience is that Latins and Eastern Europeans respond to the music faster and in a more intense manner, but North Americans, Germans, Finnish, Estonians, British… they will come talk to you a lot more, buy a CD and tell you personally what they thought of your music. That’s not always the rule though… We had some of our loudest crowds in the UK, they were just as intense as the Lithuanian, Spanish, Hungarian, Italian… maybe they like us Brazilian folks (laughs).

What kind of relationship do you have with your fans? How important is that relationship to the success of the band?

I’d say it’s key to the success of any band. You have to respect your fans and be good to them. Send a personal message every now and then to those who are more active on your social networking websites. Take some photos with them after the show. If there are too many of them, organize meet-and-greets before the show. Give them something nice and for free when they like you so much to the point of buying your entire discography and a t-shirt on top of it. Don’t ever forget the fans put you where you are. That’s the relationship we have with them. Musicians want people to understand how hard it is being on the road but we also have to understand that the fan might never have another opportunity to come close to you and take a picture with you. They wait hours in the cold for you sometimes. A little respect and appreciation is always in order.

With the new album out, a tour is a forgone conclusion. The live sound is going to be crushing with these new tracks. What can the fans expect on stage?

A band that’s on fire! The mood inside the band has never been better and we wish we could play the whole “Inner Monster Out” album live, along with the best of our old material and that’s just what we might do on our headlining shows! We love to play and interact with the crowd, sing for them and with them, the new material is sounding extremely intense and the old stuff is sounding heavier live since we end up playing them the same way as we play the Inner Monster Out tracks. It’s a show to head bang and go insane!

Where is the “Inner Monster Unleashed” tour going to take you?

Everywhere we’ve been so far and beyond, I hope! We’ll play everywhere we can, we were waiting for feedback on the album to make plans and it seems the fans and press really approved this material so it’s time that we start getting this show on the road. And hey, that’s actually a cool title for the tour… can we use it? (Laughs)

(Famous) Last words?

“He who fights monsters should see to it that he himself does not become a monster. And if you gaze for long into an abyss, the abyss gazes also into you.” – Friedrich Nietzsche, the very first inspiration for the Inner Monster Out concept. My own… “Dare to dream, it just might come true!”

Links

MySpace * Facebook *Twitter * Site

Latest Multimedia