Posts Tagged “Brainfart”


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The Great Southern Brainfart recently conducted an interview with Erik Danielsson of Swedish black metallers WATAIN. A couple of excerpts from the chat follow below.

The Great Southern Brainfart: So I have to be honest. Aside from listening to VENOM as a kid, I was never much of a black metal fan, and then I gave you guys a listen, and I’m really intrigued with your songs and your performances.

Erik: That is really good to hear that you made that comparison. I wish I heard VENOM and WATAIN in the same sentence more often. VENOM is one of my all-time favorite bands, and I think if you have that sort of background, you might actually be able to relate to what we do as well. Musically, there might be a slight difference. VENOM are the originators of the black metal movement that we later became a part and we like carrying that torch onwards and uphold that legacy.

The Great Southern Brainfart: WATAIN seems to have more of that classic element than most of the other modern bands. Is that something that was intentional?

Erik: We never really sat down and discussed how WATAIN should sound. It’s pretty safe to say, though, that our own personal preferences, when it comes to black metal, have always been very traditional. VENOM are one of the most important bands ever to WATAIN and the same goes for bands like MERCYFUL FATE and even bands like EXCITER, RAZOR, and VOIVOD. We’ve always leaned towards bands like that in our own musical tastes when it comes to metal. I suppose our sound really comes from a mix of those bands and late-era black metal such as MAYHEM and DISSECTION and so on.

The Great Southern Brainfart: One of the things that intrigued me the most about Watain was the ritualistic approach to the live show using animal carcasses, lighting candles on a small alter and whatnot. What can you tell me about the live show and the background to this ritual?

Erik: If you play music of a diabolical nature, and the music that you perform is permeated by a sinister and infernal essence, of course, that will have to translate to the stage show as well and your appearance. It’s not a process that should be forced. It should come as a natural consequence of the music that you’re playing and the artistic work that you are doing. With WATAIN, it was very much that way and it evolved into this thing that it is. When we started playing, we already had that kind of extreme view of how a black metal live show should be like. It should look like the music sounds. That’s how it all began. The longer that WATAIN existed, the more we realized that the magical side of this band, the spiritual side began to come through and it just began to transform into a ceremonial thing rather than just a rock concert, so to say. It evolved into an event where we communicate with the forces that gave birth to this band and that have always been a part of this band. It became a time where we could let these things just come to life and be at one with them. It’s an ever-ongoing evolution and the live shows are constantly progressing. They have become something more and more severe and intense and that’s a very good thing to me. It’s a very inspiring context to work with.

The Great Southern Brainfart: When WATAIN takes this ceremony on the road, especially when touring in the southern part of the U.S., sometimes there are limits as to what you can and can’t do on the stage. When that does happen, how much of an impact does that have on the purpose of your live performance? Does it make things harder for you to do?

Erik: Yes, of course it does, but being in a band like WATAIN is always quite a challenge. When you take something as inhuman as WATAIN into the world, then, of course, things can be a bit strange. We knew since day one that we would have to face a lot of opposition because of some of the things we wanted to do. I think we’re always pretty well prepared for that to happen. Of course, it’s annoying and it makes me want to punch the living shit out of anyone who stands in our way, but we always find a way around these things. There’s always a way for the devil to come through, no matter what. It cannot be stopped. It’s just a fact and it’s been that way since the dawn of man. The devil always wins and the devil always finds his way. I think that in general, all of that opposition and all of the people who prevent us from doing what we want to do just makes us stronger. It makes us feel more proud and stronger about what we’re doing. We like to fight against the extreme and we like to go against the current. We like to be the enemy and that just fuels the fire of WATAIN and I actually appreciate that. I like touring in places especially the South because we always feel that tension and how skeptical they are but in the end we just do what the fuck we do anyway. [laughs]

Read the entire interview at The Great Southern Brainfart.

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The Great Southern Brainfart recently conducted an interview with GWAR frontman Oderus Urungus. A couple of excerpts from the chat follow below.

The Great Southern Brainfart: This is an exciting time to be a GWAR fan. After the passing of Flattus Maximus, it was really awesome to see the metal community pull together to support the band and his immediate family. It made me feel proud to be a fan of a band. When you saw that outpouring of love how did it make you feel?

Oderus: Well, it made us feel very proud to have such awesome fans. They weren’t going to let us fail or stop and they were going to support us every step of the way. They all came out and showed us how much they really love us and it really meant a lot to us. We couldn’t have done it without their strength and we may have never made it through that period. There’s not a day that goes by that we don’t miss Flattus but somehow we’ve made it through and Pustulous Maximus is settled in his new position and he’s kicking fucking ass. Life goes on.

The Great Southern Brainfart: What can you tell us about Pustulous Maximus and what can we all expect to see from him?

Oderus: Well, he’s a little bigger than Flattus. He’s a little more obnoxious and meaner. He’s a little more rowdy on stage and he breaks more stuff. His guitar playing is a big more vicious as well. He’s a different player than Flattus. Flattus has a smoother shredding style whereas Pustulous is just all over the fucking place. He’s capable of playing the smooth shit but yet he can play incredibly vicious as well. His sound has definitely taken GWAR into a new direction musically. I’m not exactly sure what that direction is. Maybe even a little more like our old-school thrash metal kind of sound. It definitely doesn’t sound like “Bloody Pit Of Horror”, that’s for sure.

The Great Southern Brainfart: I’ve been listening to the new album, “Battle Maximus”, a good bit and I fucking love this album. It sounds more like the old-school stuff than anything GWAR‘s done in years. Was that intentional or was this brought on by the new blood, pun intended?

Oderus: [laughs] No, it just kind of happened naturally. We just kind of let it kind of rally behind Pustulous‘ playing and we didn’t try to make it go in any direction. We just let it kind of organically suggest itself. That’s the way Pustulous sounds when he plays guitar so there for GWAR followed right along with him. It’s got the sound of those old GWAR albums but it has the additional excellence of the fact that it sounds better. We’ve been in the studio longer and we know what we’re doing now. We’ve got our own studio and we know exactly how to get the best sounds out of it. It’s got that old-school GWAR sound that everyone likes, but it sounds better than all the old records.

The Great Southern Brainfart: Looking back on GWAR‘s vast catalog, is there anything you look at and say, “I wish we would’ve done that differently?”

Oderus: Nah, I wouldn’t change a fucking thing. If you change anything about GWAR, you might ruin something that was incredibly perfect. I’m not really how GWAR started to begin with, but I do know that it’s hard to change or mess around with it very much. You could ruin that balance that made it so great to begin with. I’ve been completely satisfied with everything we’ve done. I wouldn’t change a goddamn thing.

The Great Southern Brainfart: GWAR not too long ago released a great cover of ALICE COOPER‘s “School’s Out”. Are there any future covers that we can look forward to hearing GWAR unleash on us?

Oderus: Right now we are working on a cover of “Get Out of My Dreams, Get Into My Car” by BILLY OCEAN for The AV Club. We did KANSAS“Carry On My Wayward Son” last year, so we’re doing this one this year. Matter of fact, I wouldn’t be surprised if you see an entire GWAR covers album at some point.

Read the entire interview at The Great Southern Brainfart.

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MAYAN — the band featuring EPICA guitarist/songwriter Mark Jansen alongside Jack Driessen (ex-AFTER FOREVER) and Frank Schiphorst — recently entered the studio to begin recording 11 new songs for its sophomore album, tentatively due in January 2014 via Nuclear Blast Records. The concept for the CD is based on “the current state of the world which is going totally insane,” according to a press release. “For example the explosive situation in Syria, governments who constantly accusing each other of lying, spying and using tricks to revoke their own population.” As a very special guest, Floor Jansen, singer of both REVAMP and NIGHTWISH, will contribute her enchanting voice.

Says Mark Jansen: “I am very happy with the songs.

“The first album was one big (cool!) experiment, but I have the feeling that the new material is more coherent and in balance.

“The philosophy of MAYAN is to let things happen intuitively and be totally open-minded for each other’s ideas. This resulted in music that I can’t stop listening to myself!”

MAYAN‘s debut album, “Quarterpast”, was released in Europe on May 20, 2011 and in North America on July 12, 2011 via Nuclear Blast Records. The CD was recorded and mixed by Sascha Paeth (EPICA, KAMELOT).

In an interview with The Great Southern Brainfart, Mark Jansen stated about MAYAN, “It started as just something for fun but soon it grew into something that had to be perfect as well. I thought it was just for fun to make music with old friends but now it’s as serious for me as EPICA is. Of course, EPICA remains my priority band and that’s the band that’s doing the most of the tours but MAYAN will fill in the gaps.”

When asked if the MAYAN material is — conceptually and lyrically — similar to EPICA, Mark replied, “Lyrically, you will find a lot of comparisons because it’s my style of writing. I didn’t attempt to write about completely different stuff. It could have been lyrics for an EPICA CD as well but music-wise it’s completely different. It contains way more grunts and it’s way more heavy. It is still symphonic because I love that kind of music. It’s like a mixture of SYMPHONY X and OPETH style. That kind of direction.”

MAYAN is:

* Mark Jansen (EPICA, ex-AFTER FOREVER) – Guitar, Vocals
* Jack Driessen (ex-AFTER FOREVER) – Keyboards
* Frank Schiphorst – Guitar, Vocals
* Rob van der Loo (ex-SUN CAGED, DELAIN) – Bass
* Isaac Delahaye (EPICA) – Guitar
* Ariën van Weesenbeek (EPICA) – Drums

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The Great Southern Brainfart recently conducted an interview with Tom Keifer, best known as the singer/songwriter/guitarist of the Philadelphia-based blues-rock band CINDERELLA.

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Don de Leaumont of The Great Southern Brainfart recently conducted an interview with John Corabi, former lead singer of MÖTLEY CRÜE, THE SCREAM and UNION.

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Don de Leaumont of The Great Southern Brainfart recently conducted an interview with Thomas Youngblood of American/German/Swedish symphonic metallers KAMELOT.

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Don de Leaumont of The Great Southern Brainfart recently conducted an interview with vocalist Andrea Ferro of Italian heavy rockers LACUNA COIL.

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Black Sabbath Reunited…not with Vinny though.

 

Former Black Sabbath and Dio drummer Vinny Appice has commented further on the rumours that he was set to take over from Bill Ward for this year’s reunion shows….

Appice tells The Great Southern Brainfart: “It was kinda funny to see this big deal about Black Sabbath coming back, and then suddenly Bill’s not doing it. Then I read all these posts saying: ‘Vinny should be next in line,’ then others saying: ‘Fuck Vinny – it should be Bill.’

“Then I read Tommy Clufetos from Ozzy’s band is thrown in the mix and they’re like, ‘Fuck Tommy. Vinny should be up there.’ It’s like the gossiping housewives of Jersey Shore or something.”

“I think the first choice should honestly be Bill Ward. At this point it’ll probably be the last Black Sabbath tour. The fans honestly want to see the real band. I would like to see it too – they play unbelievably together.

“I guess the whole problem with this thing is money. It’s a shame to see that. If they end up doing it with another drummer it’ll be the second-best thing.”

Appice also reveals some of the frustrations of working with Iommi and co – including the strangest touring experience of his career.

“Black Sabbath toured the States and Bill was actually playing on that tour,” he recalls. “But I was on tour with them in case Bill had a problem. He didn’t have any issues, so I went the whole tour without playing. It was ridiculous. I felt like I was getting out of shape from not playing.”

And he explains the reason behind his understated playing style on Heaven and Hell’s 2009 album The Devil You Know, for which he took a good deal of flak from fans and critics: “It was written with a friggin’ drum machine.

“It was stupid. I wanted to go into a rehearsal plane and jam, and work the shit up loud. That’s the way we did Mob Rules and Dehumanizer. But instead it would up with us working in Ronnie’s studio with a drum machine.

“It wasn’t inspiring. You can’t hang or swing on a drum machine – it’s hard to work that way. If we’d been in a room rehearsing, the music would have been a lot more aggressive and a lot more Sabbathy.

“When the album came out I got feedback like, ‘Vinny didn’t play shit on the drums.’ I was like, ‘Okay, but you guys don’t know the whole story.’”

So that rules him out. Er…again.

Black Sabbath play Download in June.

Download tickets

 

 

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Don de Leaumont of The Great Southern Brainfart recently conducted an interview with legendary drummer Vinny Appice (DIO, BLACK SABBATH, HEAVEN & HELL, KILL DEVIL HILL).

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Don de Leaumont of The Great Southern Brainfart recently conducted an interview with vocalist Simone Simons of Dutch symphonic metallers EPICA.

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