Interview by Ary R.
Considered a great icon in the metal world, Liv Kristine is one of the metal queen of the fronted metal scene. On the occasion of her new release, “Libertine”, Femme Metal had the honor of interviewing this amazing Norwegian singer.
Today I have the BIG pleasure of playing host Liv Kristine, my idol since ever. Hi Liv and welcome to Femme Metal.net. Tusen takk for din tid How are you doing?
Thank you so much, I and the rest of the guys are doing really well, veldig bra! We’ve been on tour for four weeks now, Leaves’ Eyes and Firewind, and I have to tell you this tour is the best tour I’ve ever experienced because there are only, ONLY, really nice and lovely people on board of this Nightliner.
Let me say that for me is a very big, big pleasure to interview you today. Let’s break the ice and let’s talk about your fourth studio album, “Libertine”. It has been released via Napalm Records a few weeks ago. How were the feedbacks for this new record?
The feedback from the press and fans for “Libertine” have been absolutely amazing, world-wide, actually the best ones I’ve ever had so far in my 20-years long career. I am so grateful for this, I am very moved. My inner voice tells me that I need to go on tour and play these songs live as soon as possible!
What are the biggest differences compared to your previous albums?
“Deus ex Machina” was very atmospheric, reminding you a bit about Irish Enya, a real pop-album. “Enter My Religion” was more guitar-based and earthly with many interesting exotic folk influences. “Skintight” had some influence from J. Cash, which sometimes gives the listeners a warm and here-and-now camp-fire feeling experience. “Libertine” is a back-to-the-roots album, containing the most emotional ballads I’ve ever composed, it even has a dark but sweet feeling to it, through both the piano, the dark bass lines and guitars. I see every album becoming more and more individual, just like I am getting closer to myself. I would say all of my albums are somehow indie, pop or rock.
“Libertine” is surely a fresh and a direct record and, under some points of view, it reminds some resonances of Theatre of Tragedy’s masterpieces like “Aegis” and “Musique” in songs like “Paris Paris” or “Solve Me” (I was under this impression, correct me if I’m wrong :D). Was the choice purely accidental or was it something that you wanted to do?
“Libertine”, as you correctly pointed out, is an album going back to the roots, to my years with Theatre of Tragedy. During my solo concert in German Nagold last December I just felt that the time had come to let in all the experience I gathered during my years with Theatre of Tragedy, moreover, to forgive my ex-band members and their fatal decision in 2003 to exclude me from the band. In Nagold I played the demo version of the more heavy rocker “Libertine” just to see how the audience react on it. There and then I understood that this is the right way to go. My fans showed me the way. I have to tell you that I feel truly privileged – First of all I am grateful to my fans and friends for giving me all this respect, love and good energy, some of them following me since my ex-band Theatre of Tragedy came into existence about 17-18 years ago. My fans have granted me this freedom I appreciate so much. Through both Leaves’ Eyes and my solo project I am able to live out my musical instinct.
This record has been produced by your husband (and collegue) Alexander Krull. How did you feel like working with your own husband? Why have you chosen to cooperate with him instead of collaborating with some other producer?
I actually prefer working with my husband. To tell you the truth: I like “to cook in my own kitchen”. Alexander produced the album at our own Mastersound Studio. We are very privileged to have our own studio, and it is superb having my husband next to me. He, and my guitar player Thorsten, know me the best. Both of them know how to push me just a little bit further…and in the end, I am so happy to have achieved a new goal. Their opinions mean very much to me. Of course we do have discussions sometimes, I mean, we are all perfectionists and very stubborn, however, we always come up with a perfect solution.
Would you like to say something about the concept of the artwork? For what I see there’s a lot of red in it Who has taken care of it and of the promoshoot related to it?
I had from the very beginning a clear idea of how the artwork should be. All the paintings you see are my own, which I painted myself. The only thing I wasn’t sure about was the front cover. One Saturday I found this lovely red dress in a little shop, and I thought it would be absolutely perfect for a front picture. Then I discovered this red umbrella…and these high-heeled shoes! All I had to do was to put on my red favorite Chanel lipstick, which I have used for the last ten years, go outside in the sun and have Alex make photos of me. Stefan Heilemann then re-worked everything to make the artwork look exactly how I wanted it.
To give your fans a little “appetizer”, you’ve played an acoustic show in Germany, “One Night With Liv Kristine” and you’ve introduced the audience a brand new song, that is the title track of your last album. Would you like to reveal some little details of this particular evening?
As already mentioned, In Nagold was this moment during my concert in Nagold, Germany, December 2011, when I first presented the demo song “Libertine” to my audience. I had also performed a handful of Theatre of Tragedy songs, because it was my wish. There and then I understood in which musical direction my up-coming album would be, more powerful, more back to the roots. Everybody was there, my closest friends and family, my fantastic fans from all over the world, Argentina, Belgium, Denmark, UK, Finland, Spain, Holland and all over Germany. I was so happy! This was a very special night for me, so special that I will do it again in December 22nd this year!
Have you ever thought of creating an acoustic album with Leaves’ Eyes or in your solo career? I think that this would be something nice for your fans. I would be the first one to buy an album like that
That’s a very good idea! I’d love to, but right now we are already working on our fifth full-length studio album.
In order to promote your new record in the best way possible, you’ve asked Patric Ullaeus from Revolver Film Company Ab to direct a videoclip of yours for the single “Paris Paris”. He already worked with “giants” like Dimmu Borgir, In Flames and many others. What could you tell about this little work experience? How come have you decided to ask him for directing your new videoclip?
I just love working with Patric and his Revolver team as he already produced two Leaves’ Eyes clips and one for my solo single “Skintight”, this is such a great honor, and pleasure! He is able to read my thoughts and ideas, he is just the best, that’s all I can say. Even when my suitcase got lost by the Airline in Paris with all my dresses, nobody panicked and Patric made a few phone-calls. His wife, Tara, is my favorite make-up artist, I am always in good hands when she is doing my make-up! I am very, very proud of the clip for “Paris Paris”.
Let’s talk about the single “Paris Paris”. It was your “first choice” to promote the album. As I mentioned before, to me it recalls some resonances with some old work by Theatre Of Tragedy. What could you tell about this new single? If I’m not mistaken, there are some verses sung in French…
“Paris Paris” was actually a demo song I prepared for Theatre of Tragedy, but it was never recorded. However, I re-wrote it for fun using the program Garage band. My co-musicians loved it and all the instruments were recorded new. It is definitely a very refreshing song! The video clip is online as well. I’ve visited Paris many times, and by and by I’ve learned to enjoy this city, with its small cafes on the street corners, serving even the smaller cappuccino. Charming.
This new record includes two “gems”. The first one is the duet on the track “Vanilla Skin Delight”, that sees the attendance of the third-season winner of ‘Deutschland Sucht Den Superstar’, Tobias Regner. What could you say about this cooperation with this guy? How did it happen?
I am so happy to have worked with Tobias Regner. His voice is amazing. He was one of the Superstar-winners in Germany, and he is definitely my favorite. We met through a common friend, luckily, as my band mates suggested that we look for a male voice for “Vanilla Skin Delight”. 48 hours later he knocked on the studio door of Mastersound Studio and we became friends straight away! We had so many stories to tell. He is a true professional and he did such a great job in front of the microphone. I really hope we will be able to perform this song together some day.
The second gem is Kate Bush’s cover, “The Man With a Child in His Eyes”. What has pushed you to revise this song?
Kate Bush and Tori Amos are truly my greatest influences vocally. Since I never had any musical education I have found my own way to prepare my voice before a concert or recording session in which I sing along to either of these wonderful voices. It was my best friend, Katja, who had this idea that I should cover Kate. During one of our girls’ evenings…parties…I started singing from the top of my voice along to Kate…the next day I was worried what the neighbors would say. Katja’s neighbors did not complain… and my friend inspired me to record the track for “Libertine”. It was recorded in a one- take session.
Currently you’re promoting your new record and you’re also on tour with your own band. Have you already planned something new for Leaves’ Eyes or for your solo career? Will we ever see you in a “solo” tour?
When we get back from this tour Leaves’ Eyes will start the recordings for our fifth full-length album as already mentioned, moreover, we will play a few concerts in the winter. I have planned a few solo concerts, exclusive ones, for mid and end December as well, Nagold is already settled and announced for the 22.12.2012. I hope for tours for both bands next year!
As I mentioned in the previous question, you’re currently on the road in Europe with Firewind. How did it happen? What do you think, personally, of Gus G as musician and as a person as well?
I can tell you Gus is such a lovely person, very, very warm-hearted and kind. He is also an absolutely amazing musician. It’s such a pleasure being on the road and sharing Nightliner with Firewind.
You’ve played in France, UK, Germany and Belgium at the moment. How come haven’t you decided to play all over Europe? Will there be a second “chance” to see you on tour with Firewind again?
I would really hope so, also in other continents. All of us get along so well. It would be so nice touring together also in the future. Our fans also LE the package of both bands being on the same bill.
Short time ago, I’ve discovered that you’ve joined Firewind on stage during the performance of “Break the Silence”. Originally the female parts were sung by Tara Teresa. How has been the performance so far?
Absolutely amazing, I am going to join Firewind in a few minutes as I am sitting here, talking to you. The audience go crazy because Firewind hasn’t played this song since 2006 with Tara. I love Tara‘s voice, she is fantastic. I feel very honored to sing her parts.
Recent is also the news that Leaves’ Eyes were forced to cancel some dates in USA and you’ll play there next year. Could you please explain us, in short, the reason why you’ve been asked to cancel some dates of this tour?
Yes, that was south-America. I am deeply sorry. This was due to troubles with organization. I am really sorry. We will make up for this as soon as possible. In 99% of cancellations it is really not on the bands’ hands. All we want to do is to play and meet our fans and friends!
Last year Leaves’ Eyes shared the stage with Midnattsol, led by your sister Carmen. What do you remember of this experience with a big affection? How did it happen to make a tour together?
We had wanted to tour together for such a long time, and then our dream came true! It was fantastic having my sister next to me singing “Kråkevisa”, the traditional Norwegian song. I can’t wait to visit my sister in Norway again for Chistmas!
If I’m not wrong, “Meredead” included a typical traditional song sung in your mother tongue and your sister sang in it. Could you please reveal us the concept of this song? Of course we’re talking of “Kråkevisa” (The Crow Song :)). If I’m not mistaken, this song was put in streaming, right before the release of the record…
To record this traditional tune, turning it into a Leaves Eyes song was an idea of my friend Anette, and my sister, Carmen, both of them joining me on guest vocals.
You’re not “new” with duets and stuff. Among the biggest ones, we surely remember “Nymphetamine” (Cradle Of Filth), “See Me in Shadow” (Delain), Atrocity, Doro Pesch and so on. What do you remind about these duets? Is there any artist you would like to cooperate with in a nearest future?
Ozzy Osbourne! Kate Bush and Tori Amos.
A few months ago, it has been said that Theatre of Tragedy wanted to re-issue some of your old works (your self-title album, “Velvet Darkness They Fear” and “Aegis”). How did you react to this news? Are you still in good terms with your former band members?
I had no idea about this, but I appreciate it. I am still in contact with Raymond, living in Brazil since a few years.
This was my last question. Thanks so much for your time and for having allowed us this little interview. Is there something you would like to say to our readers and your fans out there? We hope to see you soon in Italy
Thank you for being there for me all these years, with Theatre of Tragedy, Leaves’ Eyes and my solo work. It has been lovely to see many of you at our European tour Leaves’ Eyes and Firewind. I also hope you enjoy “Libertine” as much as I did composing and recording it. I can’t wait to play it live for you! Love, Liv.
Label : Season of Mist
Review by Luisa Mercier
“III”, as the title says is the fourth studio album by Eths, French metalcore band (with multiple influences going from gothic to death metal). Maybe the modern metal definition is more suitable for them, it embraces all of their styles starting from the opener “Voragine”. In the first track and the second “Harmaguedon”, there is more melody than extreme metal and the vocals by Candice switch from growl to clean singing with no effort. “Adonai” is the first single and it is sung in English (at least in this version) and here things start to be a bit more extreme always paired with a lot of melody. Spoken part is very sexy. “Gravis Venter” is another catchy song where melodic vocals are to be sung-along and the result is quite interesting, with a symphonic ending. Same for “Inanis Venter” where harsh vocals juxtaposed to clean ones appear. In “Sidus” some black/death metal hints show up with keyboards and symphonic elements, while “Proserpina” has some electronic melodies. You understand that they have a lot of styles they draw from and “Proserpina” is just another sound example. There is no risk getting bored listening to them. Again violence in “Hercolubus” while closing track “Anatemnein” is haunting with a touch of growling. So, if you like metal with so many influences, female vocals or maybe you just like Eths, you will love this record!
Rating – 75/100
- Gravis Venter
- Inanis Venter
- Candice Clot – Vocals
- Stéphane “Staif” Bihl – Guitars, Sample
- Grégory “Greg” Rouvière – Guitar
- Guillaume “Yom” Dupré – Bass
- Damien Rivoal – Drums
Label : Season of Mist
Review by Luisa Mercier
The death-metalcore French band Eths has recently released their fourth effort, which I highly enjoyed, and in the meanwhile has also re-released their debut album with the addition of four demo tracks. I have to say that even if it is the debut, the record still sounds fresh, the vocals by Candice are still brutal and the bass is powerful. Back in those days, the band was less melodic than now (in “III” you can even find some symphonic elements and more clean vocals) and drew most of its inspiration from nu-metal scene, especially Korn with the addition of extreme metal, death and thrash above all. Candice is an impressive vocalist, she is so sweet in appearance, but able to deliver harsh vocals, melodic vocals in the same song. Compared to the last album, this one maybe it is a little less varied, the tracks are very similar among them, but still is a solid album. The demo tracks in the end are a mere curiosity, that lovers of the band will love for sure, as the fans always appreciate this kind of initiatives. I can only warn that “Soma” is very long, sixteen tracks, so it may result hard to understand completely at first listen, but if you love real metalcore, you cannot miss this album.
Rating – 70/100
- Détruis moi
- Septum lucidum
- Le fruit des anges
- Je vous hais
- L’instant sourd
- Ailleurs c’est ici
- Elle s’endort
- Crucifère (demo)
- Détruis moi (demo)
- AlepH (demo)
- Je vous hais (demo)
- Candice Clot – Vocals
- Stéphane “Staif” Bihl – Guitars, Programming
- Grégory “Greg” Rouvière – Guitar
- Marc “Roswell” Burghoffer – Bass
- Guillaume “Yom” Dupré – Drums
Review by Tony Cannella
From France, Soulmaker play technical heavy metal with some elements of Thrash metal mixed in. Their debut full-length is titled “Discordances” and the band really shows off their heavy riffs and melodic songs throughout the course of this 12-song 49-minute album. On “Discordances”, Soulmaker offer up plenty of crunchy riffs and melodic songs. Many of the lyrics are sung in the bands native French language and the band provides plenty of aggression and intensity to go along with the melody. “Married to a Ghost” is a strong opener that draws you in from the very outset. From there, “A Vide” and “Sing” keep things chugging ahead at full speed. “Requiem for a Creep” is another highlight with some of the riffs reminding me a bit of early Iron Maiden. Also impressive are the multi faceted vocals of Marina Viotti. She has the ability to go from a clean singing style to aggressive often times in the same song. There is simply no coming up for air until the final song, “I Remember” which is a beautiful, haunting ballad. On “Discordances”, Soulmaker creates an enjoyable metal experience that leaves quite an impression on the listener.
Rating – 89/100
- Married to a Ghost
- A Vide
- Requiem for a Creep
- Les Mouches
- In Nobody’s Heart
- Maux D’Adieu
- Inch Allah
- Rise to Fall
- A L’Encre de Ton Sang
- Tu Ne Fais Rien
- I Remember
- Marina Viotti – Vocals
- Salva – Guitars
- Sébastien Tchoryk – Guitars
- Samuel Salvador – Bass
- Nicolas Colotte – Drums
Label : Abstraktsens Productions
Review By Tony Cannella
The style of the French duo known as Life’s Decay is difficult to put a finger on. They play an eclectic mix of Dark Wave, Ambient, with one or two other influences thrown in to create an interesting sound. The band is made up of two members: Alea is the vocalist and Lykwasst does everything else. In listening to their new Cd “Dysrieuses” it is difficult to believe that there are only two members involved, but that is exactly the case. In researching this band, I was very surprised to learn that they have been in existence since 2003 and “Dysrieuses” is actually Life’s Decay‘s sixth full-length release. Talk about being under the radar. The 12-songs and 45-minutes worth of music on “Dysrieuses” have a very avant-garde feel to them and I am not sure if I have ever heard a band/project such as them before. The majority of the lyrics (which are also written by Alea) are sung in French and the band incorporate some non traditional metal instruments such as accordian and trumpet, which adds to the different feeling you get on this CD. I was really interested in the melancholic nature of some of the songs, such as: “Viversie” (my favorite track), “Eabelia” and “Ambrause”.Life’s Decay are a band will be impossible to nail to one genre or one sub-genre. Even if you are not necessarily a fan of music such as this, you still have to give them their due. “Dysrieuses” can be a challenging CD to listen to at times, but this band is multi-talented and multi-faceted and if given the chance “Dysrieuses” is a Cd that can quite possibly grow on the listener.
Rating – 75/100
- Alea – Vocals
- Lykwasst – Acoustic Guitar, Bass, Violin, Accordian, Trumpet, Organ, Drums and Percussion
Style switcher only on this demo version. Theme styles can be changed from Options page.
- Unleash the Archers – “Demons of the Astrowaste” (2011)
- Unleash the Archers – “Behold the Devastation” (2009)
- Mark Jansen – Epica
- Se Delan – “The Fall” (2014)
- Tuomas Holopainen – “The Life and Times of Scrooge” (2014)
- Anna von Hausswolff – “Ceremony” (2013)
- Introducing Margaret Berger
- Zuberoa Aznárez – Diabulus in Musica
- Xandria – “Sacrificium” (2014)
- Arkona – “Yav” (2014)
- Asami – Voice of Divine Children (Japanese version)
- Hanna Pakarinen – “Olipa kerran elamä” (2013)
- Stream of Passion – “A War of Our Own” (2014)
- Leah – “Otherworld” EP (2013)
- Nina Persson – “Animal Heart” (2014)
- Cristina Scabbia – Lacuna Coil
- AkromA – “La Cene” (2014)
- Temperance – “Temperance” (2014)
- Rebekka Karijord – “Music for Film and Theatre” (2014)
- The Floating World – “The Apparition” (2012)
- Still Corners – “Strange Pleasures” (2013)
- Magistina Saga – “Two-Facedness of A Tale” MINI ALBUM (2013)
- Lacuna Coil – “Broken Crown Halo” (2014)
- Heart – “Fanatic Live From Caesars Coliseum” (2014)
- Eths – “Ex Umbra In Solem” EP (2014)
- Wallis Bird – “Architect” (2014)
- Revontulet – “Hear Me” (2014)
- Louna – “Behind a Mask” (2013)
- Shear – “Katharsis” (2014)
- Memoira – “Memories, Tragedies, Masquerades” (2013)