Label : Trisol Music Group GmbH
Review by Luisa Mercier
Black Heaven is the side project of mastermind Martin Schindler, which tried to complete the gothic rock played with Mantus through this electronic project. After the release of their last record in 2009, Black Heaven completed their fifth album and in no way they have lost the dark mood of the founder main band. “Das Tor Zu Welt”, the opener, is an up-tempo song full of keyboards and completely sung by Martin while the following “Lächelnd geht die Welt zugrunde” is haunting and the vocals are delivered by Thalia. More slow-paced, it will find its place in the gothic clubs all over Europe.
“Die Zeit Die Bleibt” is more gothic, decadent and romantic with strings and its piano break that seems coming out of a movie soundtrack. Going back to danceable rhytm, “Mensch” is maybe the fastest song on the album and once again the keyboards have a main role. Continue reading »
Interview by Alessandra CognettaSeven Kingdoms hail from the US and bring us into the world of George R. R. Martin‘s works by the means of female-fronted power metal. With three albums released (their latest effort “The Fire Is Mine” included) and a tour with Blind Guardian, we took the chance to have another chat with frontwoman Sabrina Valentine about the band, women in metal, the Eve’s Apple community and Game of Thrones. Hello and welcome to Femme Metal, Sabrina! It’s a pleasure to have you with us again. How are you and how’s it going with Seven Kingdoms?
Well Hello! Thank you for having us back!! I am great, Just back from my first over sea’s experience at Female Metal Voices Fest! Me and my Band brothers are well, just waiting to see what comes from the release of our Latest album “The Fire is Mine”.A consistent part of your music and lyrical themes was influenced by George R.R. Martin‘s works. How much did you actually take from his books and how much (and in which direction) developed on its own “inside” Seven Kingdoms?
Well, on our new album “The Fire Is Mine”, we dedicated 3 songs and 2 audio/narrative pieces to the book series. Mostly the songs lyrical content are written to fit the music, because the music is the what makes you think about the emotion we are trying to portray. The rest of the songs on our album were stories that we wrote as a group or on our own.How was it, touring with no other than Blind Guardian? And how did the two bands get in contact in the first place?
Touring with Blind Guardian was the best moment we as a band have ever experienced. What better way to learn, than to be taught by the forefathers of Metal? They are a group of the most professional and down to earth men I have ever had the pleasure of knowing. Camden and Claus (our Manager at Intromental management) had tried to work something out for us to go overseas and tour with Blind Guardian but being a fresh new band, the financial backing was not there. Camden was determined, so they both discussed if they would be coming to America. It was half the cost to do it on our own territory and more feasible. We applied and Thanks be to the Gods, we were chosen.
Interview by Matteo Bussotti
It’s always an unfathomable emotion every time we have a musician of great importance here on Femme Metal. This time we are really, really proud to have Sonja Kristina, Curved Air‘s lead singer on our website. Her answers to my questions are simply stunning, and it is an incredible opportunity to interview an artist who’s been in the music industry for such a long time. Of course I had to ask her questions about the past, but also the present and the future. Her answers are an insight about how music’s world has changed through these decades. It is with great that I, once again, introduce to you Sonja Kristina. I hope you enjoy this interview as much as I enjoyed making it.
Hi Sonja! I must say it is really an honor to have such an important musician here on Femme Metal! My first question is an obvious one: how does it feel to be back on stage?
Thank you, it feels surreal.. timeless and timely.
You are just about to release a live album, “Live Atmosphere”. Do you have any plans on recording new material, after your 1976 last album, “Airborne”? (I’m not counting “Lovechild” as your latest album because it was recorded before “Airborne”)
This band is very diverse in its influences and also respects the Cuved Air legacy. Yes we will create fine new material together. My first task is to know what I want to say in this time for these times. Each song must explore and express truthful experience – once a song is born it seems so natural but some births are easy some require more gestation.
In which ways do you think Curved Air has changed in this 40 years of career? You can talk as much as you want, feel free to say whatever you want!
I think the first album was very atmospheric and powerful and carried in it the experience of many live performances during which the songs developed. Each album was innovative due to the style and talent of the composers, Darryl Way and Francis Monkman. The second album contained “Back Street Luv” and the great show stopping piece “Young Mother” Darryl became more drawn to melodic simplicity with perfect beautiful arrangements while Francis took the music into more involved and intricate experimental places . This is how they grew apart. After Darryl and Francis and Florian went their own ways, Eddie Jobson at 17 was a perfect replacement to satisfy the expectations that Curved Air produce classic dramatic progressive music. Francis’s alter ego within the original line-up was his brilliant edgy guitar virtuosity – also a hall mark of Curved Air. Kirby Gregory took over that role… also young he kept the rock energy high and was a very exciting performer. Mike Wedgwood contributed a couple of songs which added to the album’s diversity and I am very pleased with these interpretations of my songs, “Easy” and “Elfin Boy”. This album, “Aircut” is my next favourite after “Air Conditioning”. Then when the original group reformed and we recorded our live performances something was revealed that was not on the studio album. “Live” caught me in full flight, raw and abandoned… out of control, not fettered by expectations of perfection. It is a great imprint of the power of Curved Air in the moment. “Love Child” is sketchy… my four songs were recorded as ideas for the next Curved Air album after “Aircut” but the band had disbanded, I am happy that they are available now though. “Midnight Wire” was a strange period, it had a more American bluesy influence from the new players . Darryl enjoyed this colour and his melodic pop inventions were embroidered with riffs and funky elements, I was in a dark place so my friend Norma was my voice lyrically, speaking my reality, I couldn’t write a sensible sentence at the time. “Airborne” was in my opinion a collection of diverse styles – a band with no direction, different writer’s statements, I like “Broken Lady” best, an intimate personal song.In 1990 after years of our individual projects the original band re-grouped and played two shows : the first of which, a magical, historic night was recorded through the sound desk and became “Alive 1990″. It was a confident dynamic reminiscence and it is good that it exists as a very rough recording. Curved Air today is a cauldren of potential. We are truly truly alive : new players, Paul Sax, Robert Norton, Chris Harris and Kit Morgan adding nuances and fresh interpretations of the best of Curved Air’s history and forming new masterpieces to add to the future albums and for the audiences who have welcomed us and are hungry to hear this music again played live to to hear what will be created next. This was why we recorded “Live Atmosphere”.
And…what about the music industry? How was in the ’70s? And how it’s changed now? You don’t have to be “gentle”, if you think something, tell us, I give you the permission to be as nasty and honest as you want!
In the 60s and 70s great independant rock groups and artists were very fertile but there were not so many bands and recordings available as there are today. There was a great thirst for the exciting and inspiring material that people were hearing on the new independent and pirate radio station. Radio Luxemberg was very influential and the ‘underground’ scene that spawned psychedelic, cosmic and progressive fusion bands as well as singer songwriters and folk influences. Then there was Lou Reed and David Bowie. The New York charged Punk era was a different colour of stripped down direct communication and theatricality. The Eighties were weaned on the sixties and seventies and kept the punk theatrics and pop explorations and launched the mighty robotic Art of Noise bass and snare sound, new voices. The Police, the Smiths…. The Nineties was the era of Ibiza house dance computer white label DJ music, everyone was the star at the raves and clubs, always little fringe clubs too with all kinds of genres being explored in the back ground… in the foreground rap and Damon Albarn, Nirvana and Oasis. Now there is so much diversity from Radiohead to Sigur Ros. However the media generated X Factor etcetera is a talent contest that seems to regurgitate and reproduce and never find the soul of this generation listening to the past great performers and waiting for inspiration.Today everyone can broadcast themselves, record themselves, everyone one has a voice and there is so much that is not transporting or truly inspiring : Justin Bieber and Lady Gaga and the boy bands and girl bands are charismatic entertainers amplified and adored but this in not all that people want?
Sonja, how did you get started? Why and when did you start singing?
As a young child aged 7 I used to recite poetry at school and loved creative writing. Both I found put me in an altered meditative state that I enjoyed, as a result of intense imaginings, I learned to play a little piano and then a little guitar and learned songs from a book of 101 American Folk Songs. When I sang them people became entranced and were encouraging, so it was a rewarding activity also there was much of interest in acoustic music folk styles and blues and songs and singers – I heard Buffy Sainte Marie and her passion and beautiful delivery and songs were a big revelation, the Incredible String Band later, Robin Williamson’s unique melodies especially delighted me, Bob Dylan’s word weavings. I also was a fan of Dusty Springfield and the early Rolling Stones, I learned songs I liked and began to write some of my own and found folk clubs were places where people like me could show up and sing..
What was the main reason that got you say “Ok, let’s do this, let’s get back on stage” back in 2009?
Darryl Way had been asking for several years if we could try a reunion tour and Francis and Florian were up for it. However I was busy writing and recording with Marvin Ayres as MASK and I felt I couldn’t divide my creativity.Then in 2008 Marvin and I had finished our second album “Technopia” and Darryl asked again so I thought that it would be a positive time to try taking Curved Air out and continue what we had started so many years ago. Francis however wanted to start again with new devised material and not deliver past songs and Darryl wanted to perform the best of our old material. They could not agree so Francis dropped out. After a few months of touring Darryl found it all too stressful and became unwell so he dropped out too. However we had already a wonderful guitarist and bass player, Kit Morgan and Chris Harris, and to replace Darryl I invited two musicians I had worked with in the late ‘80s /90s., violinist Paul Sax and Keyboard player Robert Norton, this is a group of virtuoso players who are happy to tour. Florian Pilking Miksa, the original Curved Air drummer has never played better and this lineup is a godsend for both of us…
You career spans for decades. If you had to pick…let’s say 5 favorite moments of it, which ones would they be?
Playing the RoundHouse in Camden Town in 1970 and all our concerts there; The opening night of “Hair” at the Shaftesbury Theatre, London in 1968 and the entire run; Running my psychedelic wednesday nights at the troubadour club in Earl’s Court in 1967; Playing with my Acid Folk Band on the Acoustic Stage at Glastonbury Festival in 1990 and all through till 96′; Playing in New Orleans in a sweltering arena supporting BB King and all the other US stadiums in 71/72.
And what about the songs? Can you list some songs (as many as you want) to whom you’re really attached, for any reason?
David Bowie – “Five Years”, “Wild is the Wind”, “Golden Years”; Buffy Sainte Marie - ”Until Its time for You to Go”. Guess who I saw in Paris Janis Joplin: ”Me and Bobby Mcgee”, “Summertime”; Edith Piaf - “La Vie en Rose”; Jeff Buckey - “So Real”; Dusty Springfield “Snow Patrol” – “Chasing Cars”; Seal – “Kissed by a Rose”.
Back in the 70s, why did you choose prog-rock? What attracted you to this musical genre?
I didn’t chose it, it came to me. Curved Air needed a singer, I enjoyed their sound.
Can you remember the (almost) exact time when you were aware you were one of the most important prog-rock bands of your time? How did you feel at that time?
When we were rehearsing our set and Darryl played “Vivaldi”. It was exciting, I felt this music was important like I knew “Hair” was groundbreaking theatre before the show opened in London and I was privileged to be part of it. I felt the same about this band.
You had lots of line-up changes. What have you learned from every Curved Air‘s member, how did every one of them influence the band as a whole? Of course, you don’t have to list everyone (but you can if you want!), but maybe the most relevant ones (no offense intended for the other, of course!)
Francis Monkman was three things: an innovator of sound manipulation – a fearless guitarist and beautiful keyboard player; Darryl Way played violin in a true classical rock style and immersed himself in the latest technology for sound modulation for the violin and wrote great tunes; Rob Martin was a melodic bass player who also contributed beautiful pieces to “Air Conditioning”; Ian Eyre – flamboyant and dexterous bass player; Eddie Jobson - precocious brilliance, courage; Kirby Gregory – cool, hypnotic – true rock n roll attitude; Mike Wedgwood – loyal, solid great bass player; Phil Kohn - witty , quirky, funky; Mick Jacques – cool, expressive, kind, a real gentleman; Stewart Copeland – anarchic, ambitious and driven, very creative drummer.
Among your seven studio albums, what was the most difficult to record? Or, maybe, the one you’re attached emotionally the most?
The most difficult to record was “Midnight Wire” – our first recordings were rejected by RCA so producers were brought in who forced the band to rewrite and rerecord the whole album – a miserable experience.The original version was great unfortunately now lost.
What can you tell us about your involvement in the acid folk movement in the ’90s? How did you get attracted by it?
I was relaunching my career in 1988 when my youngest child was three, I was looking for a musical scene where I belonged, to begin again in those times. I returned to the Troubadour club in Earl’s Court London where I had heard a “new acoustic scene” was happening, I watched and felt excited by these new young singer songwriters playing without amplification with personality and attitude. I took my turn to sing like I did when thirteen years old : I felt the fear of intimate exposure and began to write new songs. I was invited to play a headline set and sang all new songs accompanied by my new friends then I heard of the psychedelic scene when all kinds of weird and alternative new bands and poets and performance artists were attracting the new traveller hippies and newage punks. I asked to play and was made welcome. I gathered a band of strong improvisers – two brothers who were wild – Simon who played drums and steel drum and Tim who sang and played deep dark acoustic guitar – a brilliant violinist who a friend had seen busking with a street band – Paul Sax (now the violinist with Curved Air) a five string bass player and a fifteen year old child prodigy cellist. We played clubs and bars and colleges and festivals, sometimes unamplified – without even a mike, at other times electric and loud, with an oil wheel lightshow even in the most serious folk clubs. We toured for 7 years.
And what about your solo career? Did you get the chance to express ideas and explore things you couldn’t have done with Curved Air?
My solo career is just continuing what I did before Curved Air, writing songs… except creating with my own bands and musicians and lately with an inspiring modern- classical composer/ multi instrumentalist Marvin Ayres.
Progressive rock now is not very followed worldwide nowadays. Talking about your fans, do you see new faces at every gig, or do you have your “high-fidelity fans”? I mean, how do younger people react to your music? (Needless to say that as soon as you’ll come playing to Italy you’ll see my face among the crowd!)
I have been in Italy on Halloween October 31st at the Xroads club in Rome with your band Oak who play progressive rock of their own and also covers of other progressive songs and instrumentals, I have been their special guest and they have been playing some Curved Air songs and I have sung other songs with them.There are young progressive rock bands in the UK who have supported us at concerts and festivals. They heard progressive music when teenagers and started writing their own music, yes there are new fans and children of old fans and people who are seeing Curved Air play for the first time as well as those who have followed the band for many years.
What can you tell us about your experience with musicals? Did they influenced you as a musician, or maybe gave you “hints” on how to act and entertain the public on stage during your concerts?
I was lucky enough to be in the Rock Musical “Hair” which did transform me from a static singer into someone completely at home on the stage. I had acted and been to drama college for one year but this was completely different – it was about being free on stage rather than forma stage craft. So when I joined Curved Air it was this experience I brought with me. I think of performance as shamanistic rather than disciplined, an exchange of energy between audience and performers, working with imagination and inhabiting personas. I also played in a traveling show of cabaret style French Piaf and Brel and other beautiful classic songs with strong English translation, “The French Have a Song for It “. Marsha Hunt, who also starred in Hair, wrote a musical and I played the female lead in that in 1982, I acted and sang in a musical play for TV in 1980 “Curiculee Curiculaa”: I found these all enjoyable, not least because I love being part of a company, a group of people engaged in entertaining an audience and telling a story through Drama. I have played in theatre in straight plays also.
Now, a more “general” and more difficult and serious question. What do you think about how the world’s changed in all these years? In all these years, you’ve seen some big revolutions, both political and intellectual (and musical, of course).
Yes, we are in times of great change and innovation, on the brink of great upheaval in lifestyles and government. The 60′s hippie dream seems far away but also integrated into the present time with “green” policies yoga, Tai chi, meditation, vegetarianism and rapid social changes between now and then that now seem unextraordinary. Such as women, gay and racial equality and the and the all seeing Internet.
Now that you’re fully back on the scenes, what are your plans for the future, both as a person and as a musician? Do you have any upcoming important projects as “Sonja”? I mean…let’s say, just to make an example…maybe you’re organizing some big event? Just saying, it would actually be great to see a big festival full of important bands’ reunions, like a big prog-rock fest!
I just look to get through every next day with an open heart and clarity and joy, to be free to jump into new arenas. This Curved Air band of superb players’ development is important to me and also the potential of continuing my work with Marvin who is now the Curved Air producer too, I would like to do some quality film drama work and theatre too, plays rather than musicals.
Well…there would be lots of other things to talk about, but I think for now it’s all! Thank you so much for your time, good luck for everything…and I hope to see you soon in concert!
Thank you Matteo – Curved Air “Live Atmosphere” has been released on 12th of November .
Review by Tony Cannella
From Barcelona, Spain, Stoned by Truckers brings rock n’ roll back to basics on their debut 2-song single. Make no mistake about it, this is not epic, dramatic metal, this is just straight-forward, to-the-gut rock n’ roll. Stoned By Truckers, lists as some of their influences, Guns N’ Roses, AC/DC, The Ramones among others, so that should day a lot about where they are coming from musically. The first of the two songs provided here is the track “Pussy N Gasoline”. The song has an AC/DC vibe to it led by a strong Angus Young style, simplistic riff. The second track “The Color and the Shape” is the band going all out, playing with reckless punk-like abandon and energy. Sure the single only clocks in at about 9-minutes, but still it gives you an idea of what Stoned By Truckers is all about.
Rating – 75/100
- Pussy N Gasoline
- The Color and the Shape
- Elisa – Vocals
- Germán – Lead Guitar
- Jahdry – Rhythm Guitar
- Judith – Bass Guitar
- Toni – Drums
Interview by Miriam C.
For the second time we give space to one of the most eclectic act of the last years : Diablo Swing Orchestra. This time we have had the pleasure to have a nice SkyPe chat with Daniel Håkansson for unleash more details about the third album “Pandora’s Piñata”.
Hi Daniel, first of all how are you?Do you mind present your band telling a little about the Diablo Swing Orchestra‘s history?
Our ancestors performed orchestral works in defiance of the ruling church at the time. The orchestra was forced to go into hiding, performing in secret, with the assistance of oppressed peasants during the era. After years of performing for the pleasure of these peasants, the story claims that the church put a bounty on the performers lives, and that this bounty was so high that the orchestra knew they would soon be captured, and thus chose to play a spectacular final show before becoming martyred to the church. We got letters back in 2003 and did some research to find each other and since that day we perform as Diablo Swing Orchestra.
We are here for speak and introduce “Pandora’s Piñata”, DSO third album. What you can tell about its genesis? When you have started composing it?
The songs on the new album I started to write for back in 2010 but we didnt start seriously to arrange the songs until 2011.
Ok.. who’s like the recording process an a DSO album? I mean you have first the music and after you compose the lyrics or it viceversa?
First normally comes a rytmical idea (beat or riff) and if it’s interesting enough I start to try and find a melody that fits. When that is done I normally start to find the “theme” for the song (arrangemets etc) Then me and Pontus (guitar & FX) do demos for the others to take part of to start working on their parts. too.
And when Annlouice comes in?
When the demos are send out. I normally check the key of the songs with her before we finish them so that the intervals are suitable for her voice.
So connecting to this question.. What you reply if I ask to say more about her – I mean her musical background and stuff like that? And how she got involved in this project?
She is a classically trained singer and works full time as an opera singer here in Sweden. She was introduced to the band when we started to look for a singer by the opera house’s PR department. She got to hear a demo and she liked it and the rest is history =)
So she sing in the theatres as full time job?
Yes, indeed. We gain a lot for all her experience on stage even if it’s a bit different.
Well, I think that something different from the usual singer helps to get more people to like your music and be noticed, I mean people get curious.
Yes, it gives the band a certain flavour also a different flavour that after can attract different people from different musical ambients
At your concerts I bet we can find a metalhead, someone who likes jazz and why not opera… but the metalhead but be really openminded.
Sure, we seem to have a mixed crowd.
And talking aboout crows and live gigs… it sound strange to me that, according to the press release that I have in my hand, it’s hard playing gigs in US and Northern Europe. Why? On the contrary, for DSO music it’s very easy planning tours in South America. What the differences between the 2 continents? I mean, in my point of view since you’re close, should be more easy organize concerts in Europe instead in SA…
Well, we do have a much bigger following there which the promoters have picked up upon. It’s starting to get better in Europe and we’ve signed with an italian booking agency so we will do a full blown tour in italy in the future. Also more gigs in europe will follow. They are just not finalized yet. It’s probably the latin vibes in many of the songs that makes it work really well over there.
Now talking a little about the lyrics — I quote the press release about the album’s theme – “The theme of ”Pandora’s Piñata”, are the seven cardinal sins that one can imagine falling out of this like-no-other-audio-visual-piñata”. Well, you can explain to us the real concept of the album because I haven’t really caught the sense, maybe it’s my fault but I haven’t really understood it and I for this I want to give you free speech and hear directly from the mastermind the truth hahaha….
Yeah, that theme is more in the artwork than lyrics. The lyrics are of a more personal level and based on my own experiences.
Mmh.. interesting so are you gonna unveil more details about it? Because you have really anticipated my next question…
The only differnet one is “Guerilla Laments” which I wrote based upon many email and letters we get saying our music has helped them though tough times.
Nice to know it, for the artist (in these case you) should be like heaven reading those letter and emails…
Well, I’m glad that the music can help them but I’m quite horrified what people have to go though not very nice stuff and most time I don’t feel qualified to answer
It’s quite common that people tries/finds something to attach on because those words/melodies helps them not to give up I think that no one is qualified for the replies.
True, but I am glad that what we do can help peole. I truly am.
You know, the reality it’s so brutal that sometimes we need to get away for it and sounds sweet be embraced by the music.
Yeah, it’s one way to have a brief excape from everyday life.
Exactly..turning back to the artwork side.. I know that Peter Bergting for the second time is working with you for all the “Pandora’s Piñata” graphics but who’s Peter Bergting and can tell us more about him and his work to who don’t know him yet?
He’s quite well know here in Sweden and thoughout the world in come circels as a illustrator and have done some high profile jobs. He used to be Anders’ teacher in university and they have kept in touch since then.
Interesting.. never imagine that, really! Congrats to him and Anders. Watching the site we get a preview of the album artwork with this 2 childrens and the snake. Can talk you more about its visual concept?
We always want to wrap up what the music is a bout in titles and art work. The music has both a playful and an aggressive/dark side to it. The name “Pandora’s Piñata” kind of encapsulates it. It kind of shows how someone is tricked into let some malign out that is wrapped out in a pretty package.
Sounds like the reality to me and the everyday society.
Yeah, good point
Well, you know I haven’t imagined that I was thinking something more fantastic and unrealistic the meaning of the title..
Yeah, we wanted a title that both wrapped up the album and piqued the listerer’s interest.
Well I was talking about the previous album and that’s it – If I recall well, your last album that you publish was on 2009 with “Sing Along for the Damned and Delirious” under Ascendance Records. Why took you so long to publish a new platter?
It seems that it takes us about 3 years to write and record an album, it was the same amount of time between the 1st and 2nd record as well (2006-2009-2012) so next time is 2015 then =)
Yes, but this sounds so funny like the three time table haha.
Yeah, I wish we were faster but it seems we dont really control it.Songs are done when they are done.
And “Pandora’s Piñata” is your first album under Candlelight Records, finally I’m so happy you, you’ve reached the ambitious deal with a prestigious label. How was the first approch with them? I mean who contacted who, when happened the first contact?
Actually we first realeased the first record it ourselves and later it picked up by Candlelight and but this time we had the deal with Candlelight figured out form the start and they seem to do some good work with the promotion.
Let me understand before to sign properly with them you have only a distribution deal?
Well, we licened the album to the one year after we released the “Butcher’s Ballroom” ourselves.
Reading the 2012 live line up I’m noticed that the only real change is the drummer: why Petter Karlsson is not coming on tour with you?
Petter decided to leave since he wanted to focus on his own music.
Still talking about line ups that are changing, can you talk more about the new members Martin Isaksson and Daniel Hedin? What are their musical background?
They are both classically trained and were brought in as session musicians for “Sing Along for the Damned and Delirious” and we got along really well and they added so much to the band so we decided they should join the band
Any plans for a DVD/live album? It should be an interesting release to buy…
We’ll do it as soon as we feel we’re good enough and have the money to do it properly .
Daniel, we’re at the end. I really thank you for everything!! Thanks so much for the interview!!!!
Thanks for a nice one yourself.
Style switcher only on this demo version. Theme styles can be changed from Options page.
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