martes, 15 de mayo de 2001

EXTREME NEWS - MAY 2001

VampiriA en "Megafón"

Presentando su primer CD...

"Among Mortals"

Sábado 26 de Mayo

Chacabuco 1072

San Telmo

 

May 18th , 2001

****DEVIL´S ARTS PRODUCTIONS & DISTRIBUTIONS**********

********FROM THE TRUE BLACK HORDE PRESENTS:***********


LEVIFER: Tribute to the Supreme Beast
(DEMO - CASSETTE XXIII A.S.)

Devil´s Arts Productions has just released this
Black Death Metal Master Piece,which is being
distributed so that Evil invades entire Earth!!! Ave
Supreme Beast!!!
Musically, Levifer sounds more Bestial and Morbid
than ever, specially because of Primitive
and Insane vocals. "Tribute to the Supreme Beast" has
pure Darkness and an Abysmal feeling;
and at the same time, certain technical parts are
shown on this Evil stuff, so if you want to check the
kind of Darkness Levifer proclaims, then listen to
Black Hymns like:

1. "Evocated Goat"
2. "From the Depths, I invoked you"
3. "Majesty´s Kingdom"
4. "My Lord of Darkness"
5. "Black´s Soldiers"
6. "Levifer"
7. "Infernal Crypt"

which are included on this "Tribute to the Supreme
Beast", demo cassette XXIII A.S.

This Fuking Demo Release is on 60 minutes tape format
(same program of 30 minutes on both sides).
Original tape is pressed for both sides and cover
contains Black Hymns and Hellish Photos.
It has been released professionally With good quality
sound and design!!!

Black Metallers, "Tribute to the Supreme Beast"
contain songs that are played in the Pure Old Morbid
Style of Levifer. If you never heard this band, then
you should expect Old Black Metal with Raw riffs and
vocals!!!

This Great "Tribute to the Supreme Beast" is available
as follows:

Perú: 1 copy: S/. 10.00

World:

1 copy: US$6
10 copies: US$40
13 copies: US$50
20 copies: US$76
27 copies: US$100

For Higher quantities, additional wholesale prices
can be added!!!
(All prices include P&P)
All Black Metal Maniacs (Distributors, Zines, Labels,
Bangers,...) Feel free to write!!!
Sure reply!!!
All trades are welcome!!!

News!!!

Special Prices for Zines and Distros:
1 copy:US$5 (World)
1 copy: S/. 7 (Perú)

Send well - hidden cash !!!
All prices include P&P!!!

Official Levifer contact:

DAP
c/o Juan Nalvarte
Av. 12 de Octubre 740
Urb. Peru Lima-31
P E R U

Devilsartsprodistro@yahoo.com
Devilsartsprodistro@email.com
Kdevilsartsprod@hotmail.com
Levifer@hotmail.com

Enter to Levifer´s Official Hellsite at:

http://www.geocities.com/levifer9

Desecrating Black Pages of this Terroristic Black
Death Metal Band contain: Biography, Discography,
Bloody Vengeance Pictures,Free Mp3(scourge yourself
and send your review to
devilsartsprodistro@yahoo.com
) Fucking Interviews, Reviews and more shit!!!

 

May 17th , 2001

======================================================================

On Saturday 02/06/2001 - Doors : 23:00


Enter the Darkness presents
ENTER THE DARKNESS
Jungle - Drum'n Bass

======================================================================

On Sunday 03/06/2001 - Doors : 17:00 - Concert : 19:00


Avant 19h : 150 fb - Après 19h : 300 fb
FETE DU MAITRANK
Bardenhaut

20h - 20h45 THÄ - Jazz Folk
22h - 22h45 JOYSTIX - Ska
24h - 01h PPZ30 - Freaky Rock
Bardenbas

19h - 19h45 AVALONE - Pop Rock
21h - 21h45 LAILA KWYNE - Noisy Pop
23h - 23h45 LIGHTHIN' BUG - Blues
+ ANIMATION THEATRE DE RUE "LA FAMILLE TURIS + L'UN D'EUX"
+ DJ TOI ET MOI

======================================================================

On Friday 08/06/2001


Magasin4 presents
LOJO TRIBAN (F) (à confirmer)
Ethno World

======================================================================

On Thursday 14/06/2001


Magasin4 presents
SLACKTONE (US)
Surf

======================================================================

On Friday 15/06/2001


Magasin4 presents
CROWBAR (USA) + SLUDGE (CH)
CROWBAR (USA/Eagle Records) : http://www.spitfirerecords.com
SLUDGE (CH/Headstrong) : http://perso.infonie.fr/headstrong

======================================================================

 

May 15th , 2001

MAGASIN4 - ENTROPIE asbl


Rue du Magasin, 4 - 1000 Brussels - Belgium
Tel : + 32 (0)2 223 34 74
magasin4@cyclone.be
http://www.cyclone.be/magasin4

ALTERNATIVE MUSIC CONCERT PLACE

On Friday 18/05/2001 - Doors : 21:00 - Concert : 22:00 - 250 fb


Magasin4 presents
TAXI VAL MENTEK (CH) + MR SHIRAZ (UK)

TAXI VAL MENTEK


DiscoTrashSurfDruggedUpEasternBlocPopSongs
MR SHIRAZ http://www.mrshiraz.co.uk
Ska-punk-funk metal

======================================================================

On Saturday 19/05/2001 - Doors : 22:00 - 250 fb


African Teacher presents
AFRICAN TEACHER
Reggae

======================================================================

On Sunday 20/05/2001 - Doors : 20:00 - Concert : 21:00 - 250 fb


Magasin4 presents
QUINTRON (US) + FANTOMAS POP
on Skingraft - Cfr. Bob Log on Hammond

QUINTRON


New CD out on Skingraft "These Hands of Mine". Quintron plays rock and roll dance music on the electric organ (Hammond model D). He is like Jerry Lee, he is like Prince-absolutely the wildest, most out of control one-man-band of this generation.

======================================================================

On Tuesday 22/05/2001 - Doors : 20:00 - Concert : 21:00


Brumuse présente
VEGETAL BEAUTY
http://www.cyclone.be/travers

VEGETAL BEAUTY


Antoine PRAWERMAN, clarinette basse, compositions
Laurent BLONDIAU, trompette, electronics
Luc EVENS, basse
Renaud VAN HOOLAND, batterie
Au confluent du jazz, de la pop, du funk et de la musique contemporaine, VEGETAL BEAUTY est une composition écrite proposant des développements rythmiques et harmoniques. Les formes de cette musique se sont cristallisées au fur et à mesure des répétitions, au gré des improvisations; elles restent cependant ouvertes et disponibles aux nécessités et à l'imaginaire des musiciens.

======================================================================

On Thursday 24/05/2001 - Doors : 21:00 - Concert : 22:00 - 300 fb


Magasin4 presents
THE EX (NL) Ex-music...
+ DJIBRIL DIABATE (Mali) Kora
+ PATTON

THE EX

(NL) http://www.theex.nl
Having started as a punkband in 1979, The Ex developed since then into a music-group with an own interpretation of divergent musical styles. Noise, folk, jazz and ethnic music have been interweaved over the years under one unique umbrella: "Ex-music".
PATTON http://www.prohibitedrecords.com
New CD out. PATTON is a trio composed of brothers Sam and Max Bodson along with Philippe Koeune. Their music has been described as avant-rock and as "post-rock quicksand". Guitarists Fred Frith or Derek Bailey are often cited as influences. This album is an incredible opus of electric guitars, bass, and jazz-style drumming that re-imagines rock music.

======================================================================

On Friday 25/05/2001 - Doors : 21:00 - Concert : 22:00 - 250 fb


COSTES / MARIE-ANNE / GROS 1000 (F) + AROLDE
"Vomito Negro", opéra "porno-social"

COSTES / MARIE-ANNE / GROS 1000 (F) : "VOMITO NEGRO"


FR : Nouvel opéra "porno-social", Vomito Negro est une histoire apocalyptique de l'humanité, de la jungle primitive au monde virtuel. Costes, Marie-Anne et Stéphane Androuin jouent et chantent sur des musiques préenrégistrées et dans un décor d'images animées vidéoprojectées. Un spectacle underground !
GB : Costes is probably the most famous underground artist. Active since 1988, he has produced 25 cds of obscene songs on weird broken music, and 12 "porno-social" operas, live shows being a violent crude mix of music and theater. He has performed more than 300 shows in Europa, USA and Japan.
In 2001, Costes, with Marie-Anne and Stéphane Androuin, is touring with a new porno-social opera called "Vomito Negro". It is a millenarist story at the beginning of the 21st century. An apocalyptic tale of the human fate, from primeval jungle to final big bang. All stage settings are video-projected.

======================================================================

On Sunday 27/05/2001 - Doors : 14:30 - Concert : 15:30


RPP presents
REDLINE (USA) + NEXT STEP UP (USA) + SETTLE THE SCORE (D) + SHUTDOWN (USA-NYC) + NJ BLOODLINE (USA) + FULL COURT PRESS (B)
Hardcore Festival
http://jump.to/rpp - Infos : 02/ 347 17 25

 

May 13th , 2001

Saludos desde

www.zonaunderground.com , el mejor sitio de música underground
en Latinoamérica, este correo es para informar de las últimas noticias y actualizaciones
del sitio:
Contamos con la información y música en archivos mp3´s de más de 50 bandas de
toda Latinoamérica, las últimas bandas que se unieron fueron:

-Desde Panama, Factor VIII con su información, y su canción "Crónicas de Maldad"

-Desde Argentina, Kaos Represivo

-Desde Costa Rica, Mandrágora, con su género Power Thrash, y dos canciones "Muerte
Inmortal" y "500 años"

-Desde Puerto Rico, la banda "Viuda Negra", con su ska-punk.

Los requisitos que se piden para que una banda pueda formar parte del proyecto
son los siguientes:

Una foto de la banda de unos 50k, para publicar
El logo de la agrupación, también de unos 50k
Una descripción de la agrupación de unas 150 palabras en la que definan el género
de la misma.
Los archivos mp3´s de las canciones

Los archivos pueden ser subidos ("upload") a la siguiente dirección haciend
click aquí

http://www.zonaunderground.com/htm/incluir_banda.asp O

Si éstos se encuentran en otro sitio de internet, envíe la URL o dirección electrónica
de dónde se encuentren, zonaunderground.com, se encarga del resto!

NOTICIA!

En éste momento estamos rifando un cassette de la agrupación panameña Steel
Wolves, si deseas participar en la rifa, solo tienes que registrarte en la página
principal del sitio.



May 11th , 2001

Mithras

, brutal epic death metal band from England have just signed a deal with Golden lake productions to release and distribute their first as yet untitled album! There is no release date set as yet.

The album will feature the following tracks:-

Forever advancing...... legions

Trample their works

Sloping altars

Arena sands

Wrath of god

Vae solis

Dreaming in splendour

As the wind blows

Tomb of kings

and one or two as yet untitled tracks.

The artwork is currently being arranged, and the band are entering ALPHASOUND studios in june/july to record for 2 weeks. The recording line-up is Leon Macey: - Drums/Guitars, Rayner Coss: -Vocals/Bass and new guitarist Ben White on guitars.

Steve Crompton is no longer a member of the band.

The band would like to thank all the magazines that have reviewed and supported them!

Please check out our websites below for previews of the tracks!

thanks!

Mithras (Leon, Rayner, Ben)

http://www.mithras.freeserve.co.uk

MITHRAS@Mithras.freeserve.co.uk

http://artists.mp3s.com/artists/155/mithras.html

 

May 9th , 2001 

The organization of ProgPower is proud to announce that ROYAL HUNT will play
this years ProgPower festival in Europe. The band will co-headline the festival
in Friday October 5, 2001, headliner of the first evening will be Pain Of Salvation.

At the moment we are looking for a headliner for Saturday October 6, 2001, we
hope to announce this band pretty soon. VandenPlas will co-headline the festival
on Saturday October 6, 2001, that is for sure.

Sales for weekend tickets was started last week, so far already people from Holland,
Germany, France, Ireland, USA and even Japan have ordered their tickets!

More news as soon as the headliner is booked!

Greetings,
ProgPower organization


ProgPower Europe 2001
c/o Rene Janssen
Vergelt 5a
5991 PJ BAARLO
The Netherlands


http://www.progpower.com/
info@progpower.com

 

May 7th , 2001

La banda que vos pediste ver por primera vez, hace su show completo

Lo mejor del Heavy Metal llega a la ARGENTINA...

HELLOWEEN

Viernes 15 de Junio

UNICO SHOW

20:00 hs Puntual

Invitados:

R.P.M.

BALROG

AZEROTH

En el

"EL TEATRO"

Av. Federico Lacroze y

Alvarez Thomas, Cap. Fed.

Localidades Preferenciales limitadas!!!

Ya están a la venta, las entradas anticipadas en:

RARE

( Centro ) – LA ESTAKA ( Quilmes )

LA MASA

( Belgrano ) EXCALIBUR( Centro )

LOCURAS

( Once, Morón, Munro )

ROCK DIVISION

( Flores, Belgrano ) o por sistema:

TICKETEK

 May 6th , 2001

Rebel's Mother Show Update.

How's it going all. We're excited to be playing at Modesto's sk8 3.

We'll see 4 Tooth & Nail bands, a monster skate demo from world famous skaters

as well as 18 bands through out the day. This is the 3rd annual event! We are the first

metal band to be booked so we need your support. thanks hope to see you there

May 19th Sk8 3 in Modesto

14

bands total, @ The Roller King 2000 W. Briggsmore

$5.00 cover, 11am - 9pm, All ages

Rebel's Mother takes the stage around 6:30pm:

Line-up Includes:

The Dingees, Shorthanded, Furthermore, All Wound Up, LIke David, Judah Tribe, Rebel's Mother, Shop 11 phoenix, Johnny Come Lately, Phorin, West of Nowhere, Ultimate Skateboard, Shuttle Bus, Fall Out Catchers, Preston, Shuttle #7,and more!

 

May 5th , 2001

Dear Sirs,

we would like inform you about our musical programme.
Please find here enclosed a brief description of it.


" SONAR " - The music of the night of Radio Torino Popolare

" SONAR " is the Radio Torino Popolare programme of Jazz, New Age, Contemporary, Crossover, Electronic, World Music, ....

Several appointments, all over the week, follow the wave of the most interesting new records, dedicating more attention to the most innovative ones, taking care of the history of these musical trends, with a critic point of view.

In contact with musicians, record companies, concerts and festivals promoters, national and local cultural associations, " SONAR " is the amplifier of the initiatives and musical production of these various realities in the local broadcasting world.

An appointment representing, since the 80's, the only constant local reference point for a passionate, intelligent audience following this music.




" SONAR " would like to get in touch with other "sister" radio programmes, in order to have possible information about them, and about Record Companies focusing their activity on the quoted musical genres, or other creative music of the world.
We will update their organisations, as our habit, about the broadcasting of their musical production.

Looking forward to hearing from you, we remain
With best regards

Marco Aruga


For every contact with "SONAR":

Marco Aruga
Via Severino Doppi, 29/B
10095 GRUGLIASCO (TO)
ITALIA

E-mail:

sonar.rtp@tin.it
Mobile ++39 (0) 338 5809851
Fax (+ Tel.): ++39 011 3118156


Marco Aruga - " SONAR " - c/o Radio Torino Popolare
Corso Lecce, 92 - 10143 TORINO (ITALIA)

 

May 4th , 2001

Despondency CD still available

I've just made some more Despondency "In Sorrow I Lie" CD-R's. 4 songs of extreme metal brutality (with a little bit of melody here and there) for a fairly low price. Just $6 p.p.d. checks or money order made payable to Jeremy
Whitman, or you can send cash at your own risk:

Despondency
c/o Jeremy Whitman
200 Felicie Dr.
Lafayette, La 70506
U.S.A.


On recent copies of the demo, I have included the live version of "Lost In the Demiurge", a song that was not available on this demo or the 1994 CD (which is out of print, unfortunately). Contact me at Eryschithon@aol.com for more info!

http://despondency.i85.net
Eryschithon@aol.com

 

May 3rd , 2001

MACHETAZO/BODIES LAY BROKEN SPLIT 7"-

Total ultra gore grind death massakre...Released thru Discos Al Pacino (

http://www.hagamoto.com/discosalpacino ).

600 ptas (Spain,gastos incluídos) or $5 (world,ppd).

To get your copy thru us (Machetazo), contact us first:
torsosycabezas@terra.es

BLUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUURRRGGGHHSSSSSS
!!!!!!!!!

http://www.bludgawd.com/machetazo

 

May 2nd , 2001 

Weekend tickets for ProgPower Europe 2001 are on sale now! At the moment tickets
are only available through the ProgPower website

, http://www.progpower.com/ (European
section). The line-up is not complete yet, but because people want to book their
sleeping place already we thought it a good idea to start ticket sales for weekend
tickets right away.

Right now it looks that the confirmed bands will play on the following days (still
subject to change):

Friday October 5, 2001
??? (opening act, normaly a Dutch band)
AZTEC JADE (usa)
WOLVERINE (sweden)
PAIN OF SALVATION (sweden)

Saturday October 6, 2001
??? (opening act, probably a band from Scandinavia)
ANDROMEDA (sweden)
ANOMALY (holland)
ZERO HOUR (usa)
INTO ETERNITY (canada)
VANDENPLAS (germany)
??? (a headliner, will be confirmed as soon as possible)

As you can see, 3 more bands will be booked, under which a headliner for Saturday
October 6, 2001. We hope to confirm the headliner before the end of May, we are
negotiating details with some bands. As soon as things are 100% sure we will
announce it immediately.


Greetings,
Rene Janssen
ProgPower organisation

-------------------------------------------------------------


ProgPower Europe 2001
c/o Rene Janssen
Vergelt 5a
5991 PJ BAARLO
The Netherlands

http://www.progpower.com/
info@progpower.com

 

May 1st , 2001

 

 

EN CONCIERTO

VIERNES 18 DE MAYO DE 2001 - 22hs.

ACATRAZ (AV. RIVADAVIA 3620, ONCE)

ENTRADAS EN VENTA EN:

Capital Federal

Locuras: Avellaneda 2913 - Flores
Locuras: Av. Pueyrredon y (2da de corrientes) - Once

Rock Division: Av. Rivadavia 6743, Local 69, Galería Boulevard - Flores
Rock Division: Av. Cabildo 2136, Local 149, Galería Recamier - Belgrano

Zona Sur

La Cueva: 9 de Julio 1250, Local 4 - Lanus Este
La Estaka: Rivadavia 334/36 - Quilmes
La Estaka: Mitre 571/91, Local 20 - Quilmes

Zona Norte

Locuras: Av. Mitre 2472 - Munro

Zona Oeste

Locuras: Belgrano 19 - Morón
Rock House: Leandro N. Alem 1618 - San Miguel
X Rock: Melo y Zeballos, Shopping Moreno - Moreno

VALOR DE LAS ENTRADAS: $10 CON UNA CONSUMICION

BANDAS INVITADAS

 

lunes, 14 de mayo de 2001

INTERVIEW WITH CINICAL



From Mendoza, in the west of Argentina, from the Andes, comes Cinical, a metal band that has been fighting for a long time in this country where playing heavy music and survive is extremely difficult.

How has been "Beginning of the End" doing?

Very good, the 500 copies that were released through Sony - Chile were sold out , we sold them in underground record shops and some of them were released with a magazine from Mendoza.


"Beginning of the End" was recorded in 1999...Are you composing new material? Is it going to be released soon?

Of course, we are composing a lot, we have some new songs that sound incredible.


How has the music of the band changed since its conception in 1995 up to now?

In 1995, the line up of the band was different, and that made the music different, there were no keyboards and samplers, they had two guitars and they sounded really hard, with the new and actual lineup the music was modernized a little bit without losing the power.

How is the heavy music scene from Mendoza? Are there any new bands arising? Is the situation as difficult as in the rest of Argentina?

In Mendoza there are excelent bands, we see that unlike in the old times, the bands are trying to do things in a more professional way, before the "bands" played to have some funa and "suck" some wine.


Do you have planned to do any tour when the new material is released? For example coming to Buenos Aires or going to Chile?

Yes, in fact, in March we played in Santiago with Dogma, it was really good. The idea is going back to Chile this year and trying to do something also in Buenos Aires, we want to return also to provinces where we have already played like Córdoba, San Juan, etc.


Do you think that having your lyrics in english allows you to be spread in places where you could not do it if your lyrics were in spanish?

Totally right, but the main reason of singing in english is a phonetic matter, we like the way metal sounds in english.


How was the fact that Rodrigo Contreras (guitarist from band Criminal) produced "Beginning of the End"?

It was fundamental for our career, we learned a lot, from creating the structure of a song, to sound tricks or keys to sound in a way or another; apart from doing a first level job in "Beginning".He is a great person that we admire a lot, an incredible guitarist.


Were all the songs in "Beginning of the end" composed for the recording of it or was there some material from older times of the band?

For the recording, e preselection of songs was done, we had a lot, but for a monetary matter we had to left those that we liked most.


Why do you think that the heavy music scene from Chile is bigger than that from Argentina? Why do you think that cultural difference exists?

When we talk about Chile, we are talking about Santiago and that means that in capital cities there are more people. When we went there we were surrounded by really big and very professional bands, there the labels matter about you, there are radios only for metal music, programs and incredible places to play this music, in there the musicians study sound engineering and know what to do in a studio and to look for their sound. Here that is really different, sometimes you are an excelent band and you record and you sound like shit. I don´t really know why this cultural difference exists.


What can you tell us about the video that you are making?

We have a script, artists to work with, good will; what has stopped us a little bit is the money, but in any moment we will be on your screens.


How do you received the fact of being awarded as "Best band from Mendoza" in 1999 in the voting done by radio program "El arte de la rebelión" from the National University of Cuyo?

Serene, we didn´t know about this voting, we felt really good and we felt that the work that we have done was worthy.


Which is the role of keyboards and samplers in Cinical´s music? Do you use them to do effects and bases or maybe it exists the possibility of using them to do melodies, solos, etc.?

Basically the keyboards have the role of ding bases, there are only a few solos, the samples give the flashing touch to the songs, they are that noise that one is waiting for and that blows you away. Specifically, the keyboards and samplers create sonic atmospheres, textures.


Is there something more to add?

Thanks for this space on your site, thanks to people like you that are not trying to lucrate with art and support us unconditionally.

----HAIL TO LOS CINICOS THAT DON´T MISS A STEP FROM US----


CINICAL - DISCOGRAPHY

Beginning of The End - CD (1999)


ACTUAL LINEUP

Vaka - bass, vocals

Bruno - drums

Adrián - guitars

Uriel - samples, keyboards, backing vocals

domingo, 13 de mayo de 2001

CLASSIC ALBUM: LIEGE LORD "MASTER CONTROL"

 

LIEGE LORD - MASTER CONTROL (Metal Blade Recs. - 1988): This is a total classic of speed/tharash metal de way it used to be in the late eighties: with great riffs, screeching vocals and virtuosism (guitarist paul Nelson is great shining through all the album). What makes this album music so original are the diversity of the riffs and the rhythms that are like a razorblade cutting through all the songs. What can I say of classics like "Eye of the Storm" or "Master Control"? What can I say of the great cover of Rainbow´s "Kill The King" ? That are fantastic ! Vocals like the ones of Joseph Comeau are not common nowadays (they can be piercing, subtle or anything he wants depending on the song). I can add just one thing: I hope this band gets reunited really soon, because they would be a bit of fresh air for heavy music. Favorite tracks: "Eye Of the Storm", "Soldiers Fortune", "Suspicion" and "Broken Wasteland". Contact: Liegelord2@aol.com

sábado, 12 de mayo de 2001

INTERVIEW WITH BARRY GUY


Double bass master and great composer Barry Guy gave us a music lesson in this interview. I hope musicians that read this find it really inspiring like I did. 


Why did you choose the double bass as your main instrument?

In a way the double bass chose me. Before graduating to the instrument I played trumpet, Horns, trombone (valved) euphonium in the school wind band and a one stringed tea-chest bass in the dixie band. At one point the guys decided to upgrade the image and the number of strings on the bass instrument. So that's when I had my folks purchase a proper grown-up double bass. It all started at that point.

How big is the role of improvisation in your own compositions? Do you like to improvise over the work of other composers too?

The role of improvisation is (naturally) paramount in my compositions that are written for creative improvising musicians, but less so for players that are from a different musical tradition. I have a great interest in the writing of all composers and of course that includes improvisatory strategies.

How do you see/feel this balance between the double bass and the violin? Is that the sound that you got in your head when you compose?

Before writing anything, the composer has to visualize the soundscape whether it be violin and bass or twenty tubas! Your question about "see/feel the balance between the bass and violin" presumably refers to the duo with Maya Homburger. Maya plays a baroque violin which is a different animal to the modern instrument in many ways, but crucially the sound colours are arguably more differentiated and beautiful.These qualities I try to bring out, not only from the instrument itself but in relation to my own instrument, so I look for textures that enhance the sound spectrum of both instruments and place them in the best context of aural balance and support.


Do you think that will be possible some day for you to record Bach pieces or Telemann´s pieces, as Maya did, but with only the double bass? Would that be interesting for you?

NO. I enjoy playing some of the Bach cello suites at home, but I prefer to hear them played on the original instrument rather than the bass. There seems to be a spate of recordings at present which attests to the continuing advancment of bass techniques, and of course the problems of performance fill many pages in jounals dedicated to bass playing. In general I do not follow the line of species-hopping to fill repertoire gaps, however I can see the case for interpreting old musics that have a flexible instrumentation and invite serious thoughtful performances.

When you compose your own material, do you prefer to work on a special tonality or is your work completely atonal?

I compose in a way that is appropriate to the soundscape I am trying to envisage. The question of tonality or atonality does not really arise in terms of a method for generating musical thought. In the end it all depends on what you want to hear from the musicians that are the ultimate link in what hits the air-wave.


How different is your role in all the different projects that you have? For example on the collaborations with Mats Gustafsson/Raymond Strid or with Paul Rutherford/Phil Wachsmann...

My role is to listen, play and contribute to the music with the utmost integrity.

How is your work with the London Jazz Composers Orchestra?

I am not sure what you mean by "How is my work with the LJCO"....but let me make this interpretation: The years I have been writing for , and organising the group have been pleasurable, exh austing, frustrating, joyous, money losing, but ultimately exciting. I would not have missed it for the world. And although we are not doing concerts every year now, the joy is still there and the band is alive.

 

How do you compose your material? Do you translate what you have in mind to paper and then to the instrument or do you prefer to compose playing some instrument? Is the double bass your main composing tool?

I could write a book on this and it's not easy to answer in a short sentence.

Suffice to say that imagination begins the process, the players feature heavily in my internal questioning of what, how and why, which is often liberated by graphic gestures as a means of defining the larger picture. There after it's hard work with exhileration and depressions in equal quantities. I do use the keyboard for defining some parameters - more as a means of checking ideas, but not as the generator of music.


How different is doing solo concerts compared to working with other peopl e? Are those concerts more intimate and more experimental?

The obvious thing to say about the difference between solo and ensemble concerts is that in solo you generate the whole scenario yourself whilst in an ensemble you are part of the combined discourse. Either situation can be intimate and experimental. The focus is just different.

Why did you choose the London City Sinfonia to perform your "Falling Water" and "After the Rain" compositions?

Since 1973 I played principal bass in the City of London Sinfonia. I new the players well, the conductor and the general attitude of the orchestra, which was refreshingly open and of considerable ability. "After the Rain" was written for the excellent strings of the orchestra (as a commission) and "Fallingwater" (another commission from them) was not only a celebration of the orchestras 25th year as the CLS, but also it represented my last concert before moving to Ireland and therefore terminating my principal bass position.


Do you record all your improvisations and performances to have refreshing material to work with? Or do you prefer going to a studio and letting the music flow in there?

Recording improvisations is not a high priority in terms of the need to document everything. Depending on the circumstances we record live or in the studio, whatever seems appropriate to the concept. Often people record concerts for their own archives which sometimes works out to our advantage since we can negotiate for the tapes retrospectively.

Every musician has its own approach to music (specially when they play different instruments). How does the vision that other musicians have affect the final result of your compositions?

As I said earlier , I have a clear picture of the musicians I write for when composing, so their own individual musical signatures are important. In fact, I would say vital to the original structuring of a piece. Luckily these strong voices have also generated strong compositional ideas which in turn has allowed other musicians to enter the soundscape. I use the word lucky, because not every composer has the fortunate scenario of world class players interpreting the music.


BARRY GUY - DISCOGRAPHY ON MAYA RECORDINGS

Barry Guy/Barre Phillips - "Arcus"

Connie Bauer/Barry Guy/Paul Lytton/Evan Parker/Barre Phillips/Irene Schweitzer Elsie Jo

Barry Guy - "Fizzles"

Evan Parker/Barry Guy/Paul Lytton - "Imaginary values"

Barry Guy & The NOW Orchestra Witch Gong Game II/10 - "Study"

Evan Parker/Barry Guy - "Obliquities"

Paul Rutherford/Phil Wachsmann/Barry Guy Iskra/Nckpa - "1903"

Barry Guy/Mats Gustafsson/Raymond Strid - "You forget to answer"

Paul Plimley/Barry Guy - "Sensology"

Mats Gustafsson/Barry Guy - "Frogging"

REVIEW: ENTWINE - GONE

 

ENTWINE - GONE (Century Media - 2001): This is the second album of this finnish masters of gothic and melancholic melodies (The first one is called "The Treasures within Hearts"). The album has a great sound and it was mixed in the famous Finnvox Studios by Mika Jussila (yes, the same guy that has worked with Stratovarius, Nightwish and Childresn of Bodom). Great melodies and power are what flows in this recording since the beginning with "Losing the Ground". Some guitars parts are reminiscent of Paradise Lost ("One Second" era) for example in "Snow White Suicide". The amazingly beautiful keyboards of Ritta Heikkonen open one of the best songs in the whole album: "Closer (my love)" a slow depressing ballad where singer Mika Tauriainen can expand his vocals. In fact Tauriainen has a good voice and knows how to express what he wants through his voice and lyrics. What I liked a lot of this album is the great orchestration fundamentally between the guitars and the keyboards that conform a big part of Entwine´s signature sound. My favorite tracks: "Grace", "New Dawn", "Closer (My love)" and "Thru the Darkness". Contact: www.centurymedia.com and www.entwine.cjb.net


viernes, 11 de mayo de 2001

REVIEW: EMPEROR - EMPERIAL LIVE CEREMONY

 

EMPEROR - EMPERIAL LIVE CEREMONY (Candlelight Recs. - 2000): This is Emperor´s first live album, recorded on the tour of their album "IX Equilibrium"on 1999. Here you can see the total essence of the band, a band that if it sounds powerful in their studio albums here sounds one thousand times better. Also you can see how important is the band for the black metal genre (there are in there countless of inferior quality imitators). Ihsahn and Samoth are at their best here playing all the complex parts that you can hear in their songs without any difficulty. It is a pity that they say that they are not going to play live for a long time to concentrate on other projects because this band sounds great in this environment !! They open with a great rendition of "Curse You all Men following into a version of one of their best songs "Thus Spoke the Night Spirit". It is amazing!!. "I am The Black Wizards" succeeds in making you feel the darkness and depression on it. This CD has a great sound that helps to emphasize the whole performance. "An elegy of Icarus" follows with its enchanting melody and powerful keyboards. This recording has also great renditions of "Inno A Satana" and "Ye Entrancemperium". Emperor is a classic!!.Website: www.candlelightrecords.co.uk

jueves, 10 de mayo de 2001

INTERVIEW WITH BACTERY


This band from France is formed by four young musicians who are trying to open their own way in the rock/metal scene. Their album "Price To Pay" is a rocking one! Yoann Ciclet, singer and guitarist from the band explained us about the band.


Would you describe Bactery´s sound as classical heavy metal? Why?

NO, I think our sound can be defined as a Rock/metal sound .

But the next recording will have a more powerful sound; more metal I guess.

 


Are you composing the follow up to "Price to Pay"? Have you any plans of recording?

Yes.But it's not really a new album , it's a kind of "BEST OF" WITH 3 NEW SONGS.we want to record some of our previous songs again, with a best sound to obtain a worldwide distribution by a major company.

The recording starts on 4th June and ends up at the end of the month. (or a few weeks later if it's necessary)


Since the band was formed when you were very young...how do you think you have evolved as a band? And how do you think you will continue to evolve in the future?

At the beginning it was just for fun; come and play with friends, make some noise, a few jokes and go home. But as the years went by, we became more and more"serious", we started believing in our music (and still do) and 3 years ago, we decided that our music should become our job.

And about the future ? Who knows......We know what we want to be but we don't know what will happen.


How was that Rock Contest that you won in 1998 (over 40 other bands) ?

It was a non prodessionnal contest ; there were 40 rock bands and a lot of other bands ( 30, I guess ) of other categories. We won some days of recording in a studio and one of our songs was broadcasted on TV.



Why did you include the "Marche Turque" by Mozart? It was a really special version...

Because I love this piece and I have the chance to know a fantastic piano player :Michael Guido, my cousin. So, we thought "hey! why not?"

The idea was to combine a clasical approach with a rock feeling and we found the result was quite good so we included it in the record.


Why are some of your lyrics in french and some of them in english?

For the lyrics, it's very simple. If it sounds good in French, we sing it in French. If it sounds better in English, we sing it in English. If both sound good we make 2 versions.

Are you going to use the collaboration of Michaël Guido again? Can he become a stable part of the band?

I don't think so. It was a very cool experience but Michaël is a great classical musician and he needs time to work. Moreover,since the beginning (1993), Bactery is a group of 4 friends and that's it ; I think there 'll never be another person in the band except for punctual collaborations.


Is the band going to play some shows in Europe to support de new material? What about going for example to America?

For doing shows we need to finalize a deal with a major company. The decision will be actual after the recording sessions.

Play in America ?? Of course, if the record is distributed.


How has received the media (radios, fanzines, etc.) the album "Price To Pay"? And how has the people received it?

Most radios and fanzines have a good opinion about this record but it's people's reaction which is the best. Many people come to our concerts, they know the lyrics, and they sing along, it's a very nice feeling.

 

Which is the equipment that you used to record "Price To Pay"? Has this equipment changed since that recording?

During "Price to pay" sessions

Guitars:GODIN artisan st1/ LAG rockline avenue

Bass: Leduc Drums:Pearl master, Paiste, DW

Amps:Hughes Kettner, Attax 100, Ampeg SVt3

Effects:Rocktron, Sans AmpGt2

The new equipment :

Amps: Yamaha DG130ha Preamp:mesa boogie


Is there something more that you want to say?

Thanks a lot for talking about Bactery on your website and in your country.

We hope we'll come and play for you.


BACTERY - DISCOGRAPHY

Price To Pay - CD (1999)


ACTUAL LINEUP

Yoann Ciclet - guitar, vocals

Marc Durieux - bass

Frédéric Heyraud - drums

Lionel Terrier - guitar, vocals

REVIEW: EMBOLISM - ...AND WE ALL HATE OURSELVES


EMBOLISM - …AND WE ALL HATE OURSELVES (Erebos Prods. - 2000): Death/ grind coming from Slovakia! Thius band has been playing in the underground since 1997. This release has also some touches of black metal on it, specially on some speed riffs and in half of the vocals (there are two types of vocals, a grindcore-type growling and a more trollish vocal). After some demos and split CDs the band has finally arrived to the debut CD. I liked the beginning of the CD with the song "Have you fear?" with a rhythmic riff before the blast beat that remembered me of old Entombed. Second song "The thorns of Hatred" starts with a blast beat with black metal vocals before getting into a really interesting riff (0:42) and a stupendous break with only drums and bass. In fact I think that if the band makes more use of this type of things they will be considered a really original band: riffs like the ones in "The Wreckages of Life" (2:22 and 2:40) or the ones in the end of "Are you sleeping?" (1:29) (with an interesting double bass drum pattern), or the distorted bass break in "Fight" (1:10) are not found in most of the bands in black metal. My favorite tracks: "The Thorns of Hatred", "Fight", "Money, life and love" (killer vocals and drumming !) and "Death Causing Pleasure". Contact: embolismsk@hotmail.com

miércoles, 9 de mayo de 2001

REVIEW: DISINTER - WELCOME TO OBLIVION

 

DISINTER - WELCOME TO OBLIVION (DeadSun Recs. - 2000):  "The Sleeper Awakens" a really apropriate title for this song that opens the CD: it is like receiving a kick in the stomach ! It can awaken a dead !!This death metal combo is a really good one (specially the drummer with his double bass sounding through the whole album). This guys know how to create dark moods with fast riffs (see as an example "Welcome to Oblivion", the title track (02:10)). There are certain passages that I find more interesting than others like the riff in "Followed From Death" (0:50) that repeated through the song gives a great mood or the first riff in "The Sleeper Awakens" (before the first blast beat appears). "Descendant of Darkness" is a slower number with an interesting double bass drum pattern and I think is the heavier song in all the album because is darker, it is like a beast crawling in the shadows…interesting riffs. This is a really good CD for lovers of death metal !! My favorite tracks: "Descendants of Darkness", "Holy Parasites" (the slowest song…almost doom) and "Earthen Interment/ Torn from the grave". Email: gurkkhas@aol.com


martes, 8 de mayo de 2001

AZEROTH INTERVIEW

 


Coming from Russia where a great metal scene is developing this band of extremely original music delivers their first live album. "Live in Polygon" is a great album. We talked to them to know more about the band.


So, how is the promotion of the "Live in Polygon" album going?

The usual way. We try to invade the whole world with it, spreading a lot of promo packs worldwide. Till now we haven't had any negative review on it, so we hope a lot of people will try at least to get acquainted with it. So far about 500 copies sold in Saint-Petersburg, and we are looking for worldwide distributors, some negotiations already began. But anyone interested can contact us directly via e-mail and get a copy right now. Distributors are welcomed as well.



Was the debut album recorded with a drum machine? Why?

In summer 1997, when we had enough material for full length album, we decided to record it the same way as the first demo "Daturas Portal To Transcendentis", i.e. at our rehearsal base - as much live as it possible, plus adding second guitar and keyboards tracks later. But the result did not satisfy me and Ivan at all - not soundwise, but because of Grigoriy's crappy drumming (at the moment he was much more into money making and girls, than drumset playing). It was impossible to find new drummer good enough for us in short time (though even if we had time, it would never be easier at all - in our city, you can count skilfull drummers, devoted to heavy music, by the fingers of one hand. That's why we found new drummer only 4 years later, although we never stopped searching all the time). We decided to use drum machine instead, and that's why three first albums were recorded that way.


How was recording "Doctrine of Dark Forest" as a duo? Was the material composed very different than what you are doing this days?

We recorded «Doctrine of Dark Forest» in the following way:

Ivan was writing piano parts, after that I was making arrangements for guitars and drums, (programming drum machine at the same time, to let Ivan write bass parts), also doing some keyboard parts (not piano kind). Actually, it is our distinctive feature, I think: all the compositions are being written on piano in the beginning, and all other parts are written after - as it was before, and it is now, when Ivan left the band. The only difference is that piano parts are written by our present keyboard player Alexey. Well, after we have written and arranged all the songs for «Doctrine of Dark Forest», we recorded it approximately in a week, using rented PC, but everything, except MIDI drums, was really played, not programmed. Due to limited memory resources we had to record all tracks for one song, after I've been mixing it to 2 tracks, all intermediate tracks were deleted, and we started it anew with the next song. So, we did not just write the album as a duo and recorded it, but we have done all the studio engineers work as well. As for differences for writing material nowadays, as I said before, there are not much of them, maybe, the arrangements are just more thoughtfull and are being done by all the musicians.


How different are the new musicians than the original ones (maybe this question should be for Denis)? What did they bring to the band?

The essential difference of new musicians is their undoubtfull professionalism. This is exactly what they brought to the band, raising it much higher, as especially could be seen at the live acting. Regarding new winnowings... it's difficult for me to discuss, as I am always watching the band from inside, and it seems to me that there are no drastical changes, Azeroth remains Azeroth, easy recognizable. And changed approach to arrangements is natural process of band development.



Which is the relation between Azeroth and Painful Memories?

Ah, it is pretty clear. After Ivan left the band I was looking for new lineup, and at the same time Painful Memories were searching for second guitarist and singer. We have talked a bit, and decided that I'll be playing guitar in Painful Memories, and they all will complete Azeroth lineup. After that PM played 2 times without a singer and splitted, so we all concentrated upon Azeroth activity. Some time later drummer and bass player decided to leave the band, being not capable of playing fast and technical material. They were replaced by musicians from other bands very soon. I.e. nowadays Azeroth lineup includes two musicians of Painful Memories - guitarist Konstantin Drabkin, and keyboard player Alexey Dvoretsky (played viola in PM).


What can you tell me about "Mosquallica"?

Not much to say. We don't like Metallica and participated in this just to let more people to get acquainted with our band. We made the cover of Metallica song in our own Azeroth manner, treating it like Azeroth song, instead of many other bands, just being stupid copiers, so we think that if someone likes our cover version, he would appreciate our own material as well. The only bad point is that the cover turned to be pretty long and moody, opposite to our own songs, but this is not our fault, but Metallica's (though we still regret we didn't shorten this song). As for album in overall, I don't like the tribute as much as I don't like the original, and of all bands participated, I liked a few (2-3) that made really original and interesting covers, but in whole it is really dull album. I won't call the names, since I don't want to spoil relations with anybody.


Has the band found a new label to distribute their music?

Not yet, we are still working upon it. There are some negotiations, as I mentioned before, but we are still accepting proposals.



Are you starting to record new material? Is it very different from the last studio album?

We did not begin record sessions, but we have written most of the material for the next album, already played some amount of songs live, and - rehearse, rehearse, and rehearse. The last studio album was recorded by myself, almost alone, so the arrangements were conducted without any limitations, layed by live performances, and we do not play songs from this album because of that (except first and last ones, that we do not like to play anyway). New material, without losing symphonic and polyphonic features of third album, is 100% live oriented and is composed at rehearsals, instead of «Gallery of Dreams», that was written in studio and never played live before recording.


How different is playing drums in Azeroth compared to Ora Pro Nobis?

Well, the Azeroth approach to the music in whole is really different from Ora Pro Nobis. My previous band was more amateur and, at the same time, experimental - I mean, we never thought as much about the final product, just wanted to make things interesting for us only. And it was not good for music and, thus, for listener. So, I'd name the following differences - much faster and technical parts, much more attention to details, much more consistent drum parts (we had a lot of improvising in OPN, and do not have it at all in Azeroth). And I think that in summary it is more professional approach. I'd like to add that between leaving OPN and joining Azeroth I've been attending drum class of one jazz/fusion drummer, and rudimental technique I learned gave me the ability to play what the band needed. I mean, I had to improve my technique drastically to had an opportunity to play in Azeroth, though, of course, I never thought about it, when I started to learn again.


Are there plans of touring when the new album is released?

It is kinda much too early to talk about it, fitrst we have to record this album at very high technical level, after we have to find good contract with some record company to release it worldwide, and just after that start touring the western countries, since in Russia there are not much opportunities for such an activity,

 

Any final words for people in Argentina?

We hope that our music will reach you, even if you are so far away. Hope to see ya on our gigs at Argentina once! You are welcome!

Visit our website:

http://azeroth.spb.ru


AZEROTH - DISCOGRAPHY

Chasma Pelorion - Cassette (1997)

Doctrine of the Dark Forest - CD (1998)

Temple of Shadows - CD (1999)

Live In Polygon - Cassette (2000)



ACTUAL LINEUP

Evgeny Trefilov - drums

Denis Devichensky - guitars, vocals

Konstantin Drabkin- guitars

Alexander Kulikov- bass

Alexey Dvoretsky- keyboards