A long, long time ago
I can still remember how
The forums used to make me smile
And I knew if he had a chance
Ramsey could showcase his talents
And maybe we’d be jammin’ for a while…
I’m not really sure what bastardizing Don McLean lyrics has to do with anything, but as a friendly reminder, links to Mars Module’s music are located at the very bottom of the post or embedded throughout the feature for your convenience.
When thinking back to when the forums were far more lively than they are today, we’re rewinding by a good 6-7 years.
Knowing what I know now, and given the ability to travel back in time, I’d punch 7-years-ago me so hard in the face to ensure that my life would be more Groundhog Day than Hot Tub Time Machine (although, even if I had to relive the same day over and over again, I’d still somehow manage to screw things up).
Talk to anyone who joined Musician Forums before Sputnikmusic launched in 2005 (anyone with a later join date and tries to tell you what’s up is just a poser who cannot be trusted), and you’ll probably get some decent information along with a lot of hilariously-distorted revisionist history.
However, this entry isn’t entirely dedicated to site history. As wonderful as nostalgia can be in moderation, the thought of reminiscing about a site I’ve frequented for 11+ years makes me want to barf.…
“Anger and frustration can be really great vehicles to propel momentum and energy in music,” confesses Erik Wunder. He’s done precisely that with his two seemingly dissimilar projects. The sprawling progressive black metal of Cobalt and the potent dark Americana of Man’s Gin may occupy two different sonic spheres, yet they share the same sense of authentic, if bleak intensity. Erik’s latest accomplishment as Man’s Gin is aptly titled Rebellion Hymns. Adroitly elaborating on the outfit’s previous output, the album represents another resounding triumph for the Colorado native, ranking among the most powerful artistic statements in music this year. Here’s an in-depth interview that not only sheds light on the oeuvre of this immensely talented artist, but also depicts him as a fulfilled musician who’s genuinely committed to every endeavor he’s involved in.
I’ve always admired musicians who are able to divide their time between different projects. What was the reason behind forming Cobalt, and what motivated you to form Man’s Gin?
Well, Cobalt started out when Phil and I got back together and started working on new music after our previous band had broken up. We are both pretty intense, angry people. Especially in those days.
We had already been playing in bands together since we were young teenagers, playing punk/crust and metal music, so we already had a working relationship and obviously a friendship. Our prior projects had dissolved, with…
After hearing about the possibility of a new No-Man record coming up soon, I contacted Tim Bowness (singer, songwriter) to ask him about his latest projects, personal favorites and the new album in the works. For those unaccustomed to Bowness’ discography, he has released (besides No-Man of course, which started as a main project all the way back in 1987, with Steven Wilson) a myriad of collaborative records such as Flame (with Richard Barbieri), California, Norfolk (with Peter Chilvers), Warm Winter (with Giancarlo Erra of Nosound, under the moniker Memories Of Machines) or his latest, the second Henry Fool record, Men Singing, among many others. He has also released a solo album, entitled My Hotel Year, in 2004 and is in charge of Burning Shed, an independent record label.
- You have been active for over three decades in the music industry now. How much has the music world changed in your opinion? What do you like and dislike about these changes?
In some respects, it’s changed massively. The business of music and the technology involved in making it are almost unrecognizable from the early 1980s when I started.
In terms of recording, it’s been a change for the better. Studios can do more yet are far simpler to operate. The technology allows a much more direct way of capturing ideas.
The shifts on the business side have meant that it’s become harder to make a living from music for many people and that music itself has…
Sithu Aye has always been a shining star in the instrumental progressive scene, standing out from the crowd for his unique flair. Oh, and that’s right– he just received his master’s in physics too. So on top of all the music the man’s released (and in only the last few years,) he’s been busy climbing the rungs of academics. The alleged romanticism of musicians devoting all their time to their craft has always rung a little hollow to me, anyways, which is why I think there’s something to be said for artists that pursue their work while tackling life’s challenges. The end product feels more urgent, since the artist went utterly out of his way to create it. So maybe that’s why Sithu Aye’s music has always struck a chord with me, because I know it doesn’t come easily. He must’ve spent days upon days fine-tuning his production methods, saving up for the perfect guitar and drum program, and writing such intricate music. That’s right– he does all this by himself, if you weren’t aware. And while he was getting all of this done, he didn’t need to put his other priorities on hold– he plowed straight ahead with them, and still came up pretty damned far in the Bandcamp metal scene. Color me impressed.
So when Aye posted about a new release on his Facebook page, I was pretty surprised. I mean, this specific brand of progressive seems like it would take awhile to brew, right? And…
Steve Roberts (drums, keys) / Darran Charles (vocals, guitars, keys) / Dan Nelson (bass)
Wales-based Godsticks is one of the best new progressive rock groups. The trio’s unique symbiosis of jazz fusion, rock and pop is in a class by itself. Their second full length The Envisage Conundrum continues to expand on the outfit’s style, embracing a heavier sonic approach while retaining the distinctly melodic qualities of their excellent debut. I’ve approached Darran Charles (vocals, guitars, keys) and the new member of the band, Dan Nelson (bass) to discuss the process of putting the new album together, their inspirations, future plans, and more.
- As most SputnikMusic users may not be familiar with Godsticks, could you tell us how your musical path started? What inspired you to play progressive rock in the first place?
Darran: I don’t think we ever had a plan to play a specific kind of music, and even today we never attempt to write in any particular style. I think categories are forced upon bands for marketing purposes which, to be honest, can be quite helpful to the potential listener.
We formed around 2006 after I placed in an advert around the local music shops, advertising for musicians who were interested in playing some 70s-inspired fusion music. As you can imagine, the response was a little underwhelming but eventually a local bass player by the name of Jason Marsh (the…
I’ve recently interviewed Steve Colca, the frontman for up-and-coming doom metallers, Destroyer Of Light. Hailing from Austin, TX, the outfit released their well-received debut EP last year, and now they’re just about to hit the road for their most extensive tour to date.
Could you tell me how your musical path started? What inspired you to play music in the first place?
When I was younger, my sister’s ex boyfriend left his CDs, and I took them because he never came back. In that pile was Alice in Chains – Dirt. At this time, I hadn’t heard anything so melodic, dark, and heavy; it blew my mind. Jerry Cantrell’s guitar work inspired me to head into a heavy music direction. So, my sister’s now husband gave me his first ever guitar, and I started to write my own songs until I finally found my voice.
I know that you’d played in the stoner metal project before you formed Destroyer Of Light which is a traditional doom metal affair. What inspired you to change your style?
Poor Bastards Revolt! was old high school friends that had great chemistry and enjoyed playing with each other. We wrote some cool songs and we had a lot of fun. In fact, PBR was the first band that I started doing vocals in, before that I was just a rhythm guitar player.…
Wellington-based Beastwars are already a powerful force in the realm of sludge metal. The quartet’s second full-length Blood Becomes Fire continues the path taken by their audacious debut with the colossal sound that makes their contemporaries look insignificant by comparison. On top of that, the album is told through the eyes of a dying traveller from another time who finds the contemporary world destroyed, which places the band’s style in an intriguing futuristic context. I’ve recently approached Nathan Hickey who plays the drums for Beastwars. We’ve discussed such issues as the origin of the band, the process of putting out the new record, internet piracy and the new means of music distribution among others.
As most SputnikMusic users may not be familiar with Beastwars, could you tell us how your musical path started? What inspired you to play sludge metal in the first place?
Me and Clayton (Anderson, guitarist) met in a bar and formed a friendship over red wine and stoner rock. We wanted to form a band that sounded a bit like Kyuss, but with the big hooks of The Cult. When James (Woods, bass) and Matt (Hyde, vocals) joined that plan went totally out the window. James’ massively distorted tone shaped the sound of the band just as much as Matts vocals did. We pushed harder, played louder and it all came out heavier than we had imagined it would. We were just 4 guys that…
Australia’s black/death/industrial metallers The Amenta released their third studio album, titled Flesh Is Heir, on March 22. In celebration of them releasing their third record in 13 years, I had a little chat with the driving force behind the group, Timothy Pope (lyrics, samples, programming). Even though he describes himself as an arrogant bastard, Tim’s actually a very down to earth guy who gladly shared with me his views on the band, the hard-hitting new album, touring, and life in general.
Hello, I’m Magnus Altküla from Sputnikmusic and I will be conducting the interview. How are you doing and what have you been up to lately?
I’m very well, thank you. I’ve basically been doing this sort of thing (interviews). The album’s been out in Australia and near it almost a month, so we’ve been doing a lot of interviews. A couple of them have been live interviews, but there have been a lot of e-mail ones as well. I handle most of them, so that has basically been my life for the last few weeks.
Which kind of interviews do you prefer: the e-mail ones or the live ones?
I think they both have their benefits. The live ones are probably better because they’re quicker. Sometimes you can be a lot more clear in text, though, so I guess both of them have their own benefits. But I prefer personal contact because you can work a bit better with questions that way –…
Double Disco Animal Style has completely taken me by surprise. Practically unknown Paris-based Loading Data teamed up with renowned producer Alain Johannes only to churn out one of the most distinctive desert rock releases of the last couple of years. It’s supremely produced, groove-laden heavy rock that just reeks of unadulterated fun. That’s why, I’ve seized the opportunity to interview the mastermind of the band, Patrón.
For SputnikMusic users who’ve never heard of Loading Data, how would you describe your style?
It’s definitely rock. It’s groovy. It’s sexy. It’s dark at times, much lighter at others. Heavy riffs, catchy riffs, melodies. I insist on melodies. We’ve always been too heavy for a pop audience, and too pop for metalheads. Our sound is heavy but we have melodies. Nothing symphonic, just good old melodies like The Beach Boys or The Beatles who knew how to write them. I regret that in this musical genre a lot of people forget how important melody is. Headbanging to heavy riffs is fine, and you can do it to some of our songs, but being able to whistle tunes is what I go for.
I’d love to hoist up this type of music out of the stereotypes of the genre. I’d love to have a sexy crowd, well groomed, not just metalheads and hardrockers. We should give out tuxedos and three piece suits at the entrance of our shows, and have free hairdressers as well. …
“Go big or go home” is the maxim that the Western Canadian band KEN mode apply. Their fifth album Entrench (out this week on Season Of Mist) continues the evolution of their unique fusion of ferocious noise rock, tense hardcore punk, and boisterous sludge metal. In support of that release, the trio is currently on intensive tour across the US and Canada delivering one formidable show after another. Luckily, amid all the fuss around the band the guitarist and singer Jesse Matthewson found a moment to answer my questions.
1 – KEN mode is a rather controversial name. What inspired you to name your band like that? Why do you think it fits your style so well?
KEN mode is a tag line that Henry Rollins used to name the psychological state of mind that Black Flag was in while touring for the My War album. They’d been tied up by legal battles with a major for several years and were unable to release the album, and thus to properly tour (being that touring gets stale with no new music to sell). They were finally free again, had a new record, and were taking the stage with a ferocity HOUR dubbed “Kill Everyone Now mode” as that was their agenda. They were in KEN mode all the time.
We tend to approach the band in a similar way, and I’ve even taken it that step further to have the phrase relate to a way that…
Based in Aarhus, Denmark, the band BOIL plays an ambitious style of music that properly balances polyrhythmic modern metal with melody-driven alternative rock. Their third release aXiom is both technically intricate and highly accessible showcasing a large step forward in an ongoing evolution of the group. Krisitian Outinen, who plays the bass in the band, has agreed to answer our questions.
As most SputnikMusic users are not familiar with Boil, could you tell us how your musical path has started and what exactly inspired you to be the member of an alternative metal band in the first place?
For me personally, I study classical guitar at the conservatory in Aarhus, Denmark. Soon after I moved to the city, I saw an ad from a local progressive metal band looking for a bass player. I listened to the songs (mainly from the second album, A New Decay) on their myspace and was blown away. I could hear tremendous potential and there was already a mature, yet original style I hadn’t heard before and immediately wanted to be a part of. I started practicing bass like crazy and successfully auditioned for the spot. I’ve been driving the entire band crazy with my love for Finnish melodic power metal and baroque classical guitar ever since and I expect them to be admitted to a mental institution within the next year (haha).
aXiom is your third full-length and it surely showcases your rapid growth as an outfit. How…
Newcombe and his shifting band of acolytes in the Brian Jonestown Massacre have been steadily and stealthily releasing records that that are revered and reviled in equal measure. As one of music’s more outspoken characters, Newcombe cares not for public opinion, nor would he have it any other way. Taking time out from a lengthy world tour, Newcombe spoke with us about his life in Berlin, thoughts on U.S. culture and cynical Hollywood sharks.
JV:The title of your latest LP, ‘Aufheben’, is a word that has multiple meanings. It can be used to mean ‘to lift’ or ‘to abolish’ among others. What meaning did you have in mind when choosing it to represent your music?
AN:I love the concept of destroying something to preserve it. I read a book once about a Sufi institution of learning…maybe it was in Iran hundreds of years ago. At some point a new ruler decided that Sufi art and teaching were against more conservative Islam, so mobs of angry orthodox people were going from village to town to attack and destroy these schools of learning and art and purge these mystical sects. The master of one school, upon learning of a mob heading in their direction, ordered his students to grab all of the texts and art they had created in the compound and take it out to the street and burn it; all of the rugs and tapestries etc. A student…