INTERVIEW: Mathieu Fiset & Hind Fazazi – Manahil

Interview by Lindz Riot

When people hear of Quebec, Canada they immediately think of Montreal, but to the east lays Quebec City where many good things are happening for Metal and Ambient experimental music alike. There you will find a gem, a diamond in the rough by the name of Manahil. Arabic for “The Sources” they are a duo that describes themselves as “Ambient music for Metal Heads” and from listening to them you can hear the concept. It is very refreshing! Fronted by the soulful and exotic voice of Hind Fazazi alongside piano wiz and musical visionist Mathieu Fiset, they are definitely adding something new to the music world. During their Ontario, Canada tour I have had the privilege to house them and sit down with them to get into their minds about what Manahil is and what they are doing that is so different.

Mathieu: Great ! So far only one show down, but we played here last October with Stream of Passion and Unexpect and that was great. I can’t wait to play Toronto tonight and Oshawa next week with Mary and the Black Lamb and Modified.

Hind: I cannot judge for the moment! But at least, people here are friendly …let’s see if the Toronto gig tonight will be as nice!

Mathieu : Through a friend of ours. I asked Hind to come up to record a Steven Wilson cover song just for fun, but we ended creating music with an ambient instrumental track I had. This first song is the opening track of our first album.

Hind: I was fifteen years old at that time, and I already knew Mathieu was a great piano and keyboard player. We tried some covers together, in English first, but then we rapidly decided to experiment something new in Arabic, because we both were curious, open-minded and tired of traditional music!

Mathieu: We never planned anything really, but of course with the knowledge that she could sing in Arabic and the fact that I love exotic music, we just ended up doing lots of oriental stuff in the beginning. But later we added the pop, rock, electronic and progressive stuff.

Hind: We just ….let ourselves do whatever we wanted to. We knew that our two energies were going to give something unique. We jammed a lot in the beginning to see what we could create together, and then just continued that way until now!

Mathieu: As a kid I was in love with the soundtracks of my favourite movies and then the music of Alegria from Cirque du Soleil really had an impact on me when I was 5 or 6. I took some piano lessons then stopped because the lessons were not what I imagined it would be. Later on, when I was 14, I started listening to metal so my interest in music came back. At 15 I joined my first metal band and slowly became a professional musician.

Hind: When I was a young little girl living in Morocco, I loved…Celine Dion! Then, when I moved to Quebec, I switched radically to thrash metal, Nu Metal and female fronted metal bands! Slayer, Sepultura, Korn, Within Temptation, Evanescence…afterward, I began to listen to Opeth and opened my mind to non-purely metal music, such as Nine Inch Nail, The Cure and Indian music.

Mathieu: That would be a long list! But I can say that my favourite bands are Tool, Nine Inch Nails, Porcupine Tree, Opeth but also some other artists have had a major impact like Peter Gabriel, Rachid Taha and Hans Zimmer.

Hind: For me, singers like Amy Lee, Tori Amos, Norah Jones and Susheela Raman, a folk-indian artist, influenced my interpretation.

Mathieu: Yeah, as you might guess by now, we both listen to a lot of rock and metal music, but we need something to balance it all, so we create kind of an ambient or electronic version of the metal music we want to hear.

Hind: As I have already said, we LOVE metal and listen to metal bands, but we hate to categorize ourselves as metal heads. Also, we don’t want to get bored by doing the same old style all the time and we absolutely adore oriental music and mixing styles that every open-minded metal head should appreciate.

Mathieu: No, because from the beginning we decided Manahil was the two of us, the creative force we are, and not a musical style.So even if we often have collaborators and live musicians, we prefer to keep the basic of Manahil as the two us.

Hind: Manahil, in Arabic, means The Sources, it’s only us two and we are the sources of the music we create!

Mathieu: I don’t really know, to be honest. It’s a positive response for sure, but since it’s a really personal music, everyone feels different to it.

Hind: It’s particular! Manahil is a very introspective music and in a show context, where people are used to scream, it’s weird. It’s as if the crowd finds it special to just listen and let the music enter in their hearts.

Mathieu: I guess!

Hind: I really think so. The North American audience is definitely different. The expectations are different, and I think, honestly, that the cultural aspect will be positive for us. We are a non-typical band, and maybe, I say maybe, it will be fully understood in Europe.

Mathieu: I guess it’s mainly because there’s a lot more metal heads in Quebec so with a bigger crowd, you can have more bands, more shows…but I mostly feel there’s too much of the same thing. We certainly have some of the best extreme metal bands in the world.

Hind: I agree with Mathieu on that, particularly in Quebec City…Quebec, metal city! But yeah, there is too much of the same: too much black metal bands, classic Hardcore bands… it’s not very diversified!

Mathieu: I produced, recorded and mixed it myself, mostly in my home studio but you’ll like to know that we recorded the vocals in Cardinal, Ontario. Musically, it’s a new experiment, more than a new direction. As much as we love the new album, we won’t do the same for the next album, just like every recording we’ve done and will do. It’s even more “Ambient music for Metal heads” than the first album. It’s a deeper, more sophisticated production which I’m really proud of and we went in musical areas that we never dared to explore yet, opening the door for more experiments in the future. We’re growing up I’d say!

Hind: Yeah, the composition of this album was a nice and refreshing experience. First, Mathieu sent me what he had done…the musical tracks sounded less melodic and more electronic to me… I didn’t know, at first, what I could sing on that! Then I experimented to write my melodies in a totally different way, and the result is amazing: a mix of very melodic vocals mixed with dark-electro-industrial-oriental music!

Hind: No, or maybe inconsistently in a few back vocals. We both love jazz, but we already explored what we could do with that on “From Roots to Clouds”, “Alouanou Sama” is totally something else!

Mathieu: Music is my day job, but I’d say I don’t play as much as I’d like to. Doing lots of planning, booking, promotion, paper work, I don’t take much time off, but I like to change my mind from time to time playing games and watching stuff on YouTube. I’m a complete nerd, so I don’t have of a much social life.

Hind: I’m going to University, studying philosophy and politics. Those subjects are my main passions with music. I am involved in my community, and I try to be active to promote a provincial political party by the name of Quebec Solidaire. I’m a part time musician, but a full time good citizen, I think. I read a lot and love to party with friends!

Photo Credit

All the photos by Fred Laroche

Links

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Eerie Sounds Review : Rhys Marsh and the Autumn Ghost – “The Blue Hour” (2012)

Label :  Termo Records/Better Place Recordings

Review by Luisa Mercier

Third release for the English Rhys Marsh and his big orchestra. Based in Norway, the band features members from a moltitude of other musical projects like The Irrepressibles, In Lingua Mortua, The Divine Comedy and many, many others. So influences are really varied and it is difficult to fit the music in just one genre. I would say that is Prog with Jazz, Ambient and Symphonic hints, so lovers of this kind of music should enjoy “The Blue Hour”. It is a record that should be listened in the quiet, at sundown. It is made of slow tempo songs with male and female vocals that entertwine. “Broken Light” is a perfect example. Expect long instrumental parts and a lot of brass and woodwinds, relaxing moments and a little bit of psychedelia. Definitely not a release for everyone, since listening to the album can result hard for a first time approach to such refined music, but lovers of this kind of music, will appreciate it for sure.

Rating – 70/100

Tracklist

1. And I Wait
2. Read the Cards
3. The Movements of Our Last Farewell
4. Broken Light
5. Wooden Heart
6. Further from the Truth
7. The Place Where You Lay
8. One More Moment 

Line Up

• Rhys Marsh — Voice, guitars, piano, mellotron, pedal steel, organ, zither, & orchestrations
• Trude Eidtang — Vocals
• Jess Bryant — Vocals
• Åsa Börrefors — Vocals
• Nicklas Barker — Mellotron
• Lars Fredrik Frøislie — Chamberlin, hammond, moog, autoharp & celeste.
• Akira Rabelais — Electronics
• Timbre Cierpke — Concert Harp
• Gaute Storsve — Guitar
• Steve Honest — Pedal Steel
• Ketil Vestrum Einarsen — Flute.
• Mia Silvas — Flute
• Tuva Hatlelid Mortensen — Oboe
• Kirsti Jacobsen — Clarinet
• Henning Wien — Bass Clarinet
• Jørgen Vie — Bassoon
• Tetsuroh Konishi — Trumpet
• Hayden Powell — Trumpet
• Erik Johannessen — Trombone
• Kristoffer Lo — Tuba & flugabone
• Anna Giddey — Violin
• Charlie Stock — Viola
• Natalie Rozario — ‘Cello & orchestrations
• Jo Fougner Skaansar — Double & electric bass
• Francis Booth — Bass
• Andy Raeburn — Drums
• Takashi Mori — Drums
• Mattias Olsson — Drums, celeste, mellotron & orchestron.
• Iver Sandøy — Drums
• Martin Horntveth — Drums & orchestral percussion. 

Links

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Interview : Katra Solopuro – Katra

 Interview by Ed MacLaren

Finland’s Katra made a big impact in 2007 with its debut album, the folk/symphonic metal hybrid “Beast Within”. Originally conceived as a solo effort by the band’s namesake, Katra Solopuro, she carved out a fine niche for herself in the metal world. But instead of continuing down that same path on her next album, she expanded Katra to include the band full-time to augment her own considerable songwriting skills. Together they retooled an already unique sound and returned with an even stronger sophomore effort – the aptly titled “Out of the Ashes”. Femme Metal got the chance to chat with the lovely Katra on the key changes, musically and personally, that combined to create “Out of the Ashes”.

“Out of the Ashes” hits the ground running with the pounding track “Delerium”. It’s heavy riffing sets the stage for the rest of the album. Were you trying to make a statement right away that you were going a different direction with this album?

Yes. We felt that “Delirium” was one of the best songs to represent this album.

On “Beast Within”, you called the shots and now with “Out of the Ashes” you’re working as part of a group. Why did you make the decision to change Katra from essentially a solo project to a full band?

Well, during that time we’ve kind of sealed together as a band. We’ve been a full band on stage and on tour for a long time now and every one of us wanted to change the settings to be a full band on paper too. 

How did you go about selecting each band member? What musical qualities and personality traits were you looking for?

I wanted to gather good guys and musicians that I already knew before Katra. It was important for me that we get along well on the stage and also behind the scenes. Musically, I wanted the guys to have their own sparkle and visions about music overall and, of course, good skills technically.

How would you describe the chemistry between you and the rest of the band?

We co-operate really well, we all know how to have some fun and we enjoy a similar style of humor, which can be quite black sometimes. (Wink)

Did you have any problems getting used to the new dynamic? Was it difficult to relinquish an element of control over the music? Did you run into any problems at first?

I think everything worked out without problems.We’ve found a good way to co-operate and everyone has their own important role in a band. Democracy rules.

How did your creative process change with the input of the band?

Now the whole band composes and arranges; there’s at least one song from everyone on the album. Usually the basic structure and idea of song is made by one of us and then everybody arranges their own parts. I write the vocal melodies and lyrics. Riffs, chord progressions and song ideas are usually done before and then we build it up together.

You can hear new energy in the harder-edged sound of “Out of the Ashes”. You toned down the symphonic and folk elements and cranked up the guitars. How has Katra’s sound evolved between albums? How would you describe your new musical direction?

“Out of the Ashes” is a more mature and powerful album if you compare it to “Beast Within”. We wanted to take our sound in a bit more straightforward direction with less orchestration, but with a more intimate feeling.

Interview: Jackie Perez Gratz – Grayceon

Interview by Si Smith

Grayceon are the perfect blend of metal and classical – with a mixture of jazz, doom and prog thrown in. Proving suitably elusive to pin down, they nevertheless have managed to land a deal with Profound Lore records and a third album that has blown the critics out of the water. We spoke to front-woman and cellist Jackie Perez Gratz.

First of all, thanks for this interview – and welcome to Femme Metal.

Hi.

When I first bought your album I was, to be frank, quite overwhelmed. The balance between the beautiful classical element and all the other influences thrown into the melting pot is what really impressed me. It would be so easy to get it wrong, to overdo one element at the expense of another. How on earth do you get that balance “just right”?

All three of us have large variety of musical influences that often overlap but it gives us a large collection of styles to choose from when writing songs. I don’t want it to sound contrived because we don’t sit around and decide which element we want to use just to mix things up or keep the balance right. The balance happens naturally because we are always trying to make the songs challenging and fun to play for ourselves. If all our songs had only one or two musical influences we would probably get bored and not want to write as much. If that were the case, we would be much more easy to label as [insert given genre here].

The cello sound is particularly deep and sonorous. Do you have to adjust the cello in any way to fit with the metal parts?

I have spent a lot of time getting my cello tone right to fit with Max and the type of music we play. It tends to be a bit more punchier and grittier than I would normally like the cello to sound if playing solo, but in the context of Grayceon it works well. I try to make it not overpower the guitar but still cut through and, of course, still sound like a cello and not like another guitar. I also put a lot of thought into what I should play during the very metal parts, I like to mix it up. Sometimes more chugs are needed to make the section over the top metal so I’ll join in with Max, but sometimes a smooth melodic or dissonant line over the top of pinch harmonics will be more interesting and unexpected for a metal section. It really just depends on how I’m feeling that day. 

Credit Photos

Photos by Dary Darko

Links

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Indie Zone Review : Beth Hart – “Bang Bang Boom Boom” (2012)

Label : Mascot Records/earMusic

Review by Davide Torresan

I confess that I knew nothing of Beth Hart, until yesterday. Bad, very bad. Searching for a bit of information about this singer, with surprise I found a very good voice, and a genre that I never thought that I would have liked. Yes, because Beth‘s songs are truly unique and original. During her musical career she was good enough to surround herself with talented musicians to match her lyrics at times painful, sometimes happy and carefree. They perfectly describe her life, her personal experiences, both positive and negative, suggesting all with influences that range from pop to rock to jazz and blues. Fame and success came thanks to the smash-hit “LA Song (Out of This Town)” which aired during Episode 17 of the 10th and final season of the telefilm Beverly Hills, 90210. In 1999, her career was stopped by drug addiction and an unmedicated bipolar disorder. As a result of this bad period, redemption came, thanks to a new love, and of course her music . A live DVD, some albums, and the collaborations with famous artists such as Slash, in the beautiful “Mother Mary”, and with famous guitarist and rock/blues singer Joe Bonamassa in the album “Don’t Explain” in 2011, have contributed to spread her charismatic voice and her talent as a musician in the whole world. “Bang Bang Boom Boom” is her eighth album and gives us a broad overview of her potential. Piano, guitar and drums accompany her voice, at times soothing, as in the song that gives the title to the album, other stronger, as in “Caught Out in the Rain”, which shows off her versatile voice, a voice very strong and powerful. It’s definitely worth mentioning the work of guitar and Beth’s keyboard that “lull” the listener languidly. The atmosphere is that of a dark, gloomy room, at the bar, with a glass of whiskey in front of us. The melodies of songs like “Better Man” or “Swing My Thing Back Around” with its jazzy rhythm are easy to listen to and addictive. “Spirit of God”, with its easy-going rhythm is definitely the best track of the lot, to which is impossible to stay indifferent. Every time I listen to it, I am not able to stand still on the chair, moving my head to the music. The gospel insert is very nice. But there also some sweet and quiet songs like “Everyday With You” and “There in Your Heart”, in which Beth clearly speaks of love. It’ a new subject for her, as in previous albums she had never written about it. They are hymns to love. I can recomend you to take a look at the video of “Bang Bang Boom Boom” to realize the enormous work behind this album. A work full of shades and colors, sad and lively. Those of the life of Beth Hart.

Rating – 80/100

Tracklist

1. Baddest Blues
2. Bang Bang Boom Boom
3. Better Man
4. Caught Out in the Rain
5. Swing My Thing Back Around
6. With You Everyday
7. Thru the Window of My Mind
8. Spirit of God
9. 9. There in Your Heart
10. The Ugliest House On the Block
11. Everything Must Change

Line Up

• Beth Hart – Vocals, background vocals, keys & acoustic guitar
• Jon Nichols – Electric & acoustic guitars & background vocals
• Tom Lily – Electric & acoustic bass guitars & background vocals
• Todd Wolf – Drums & percussion

Links

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