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Burst Magazine, Issue 5, May 2013


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This is issue #5 of Burst Magazine with cover story on Ryan Key of Yellowcard. Also featuring interviews with Warlord, Aherusia, Joshua Adams, Bella Fuzz, Lucky Funeral and much more. Special article …

This is issue #5 of Burst Magazine with cover story on Ryan Key of Yellowcard. Also featuring interviews with Warlord, Aherusia, Joshua Adams, Bella Fuzz, Lucky Funeral and much more. Special article on the life of Kurt Cobain! On the film section read about director Lars Von Trier and 4 movie reviews!
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  • 1. May 2013, Issue 5billtsamisexposeddepechemodeastoryoffaithanddevotionlarsvontrieronthelegendaryspecialtributekurt cobainRyanKey“We never imagined that we’dreach a level like that”Theartofprovoking!977224153800005ISSN2241-5386
  • 3. 3Burst { music magazine }RyanKeyBurst MagazineIf there is a band that clearly stands out in the music worldtoday because of its uniqueness it is definitely the American poppunk/alternative rock band Yellowcard. Formed in 1997 thequintet has a rare musical connection to its fans and a signaturesound. Yellowcard comprises of five young people, very down-to-earth and extremely talented...Read the full story and interview on page 20.pages 6-18Tributespages 20-54Interviewspages 56-61Album/EP reviewspages 62-63Pop CornerKarolina PacanOn Voices of The SoulMiss Lakune“How awesome can the maca-bre be!”Turn The PageTurn The PageCover photo processby Dimitris Anastasiadiswww.artisan3.grPop CornerDirector’s Cut
  • 4. 4Burst { music magazine }Join usDo you want to be part of the Burst crew?We are looking for live reporters, columnists,news writers and photographers from aroundthe world.Contact us now atinfo@burstzine.comAdvertiseSend your request to our advertising depart-ment at and we willwork out the best deal for you and your needs.publisher/editor in chiefmanaging editorart advisoreditorscontributing editorseditor/proofreadingphotographersint. photographerspecial guestRaphael AretakisSpiros SmyrnisAikate D.Andy PhelpsByron S. OrestisCristina AlossiDimitris TsantoulasEleni LamprakiEleni LeonidaHope VnzKorina P.Pana ApostolidouSobieski SistersStathia S. PediotiDavid Anthony G.Elias J. KayEmm DenGiorgos KotrozinisGogo ApostolakiJo GogouJ.Roberto Zenteno JimenezKalliope TsouroupidouMatina KatsarakouSissy DragonflySophie TsekouraSotiris StilianosVana ValmaMarianna KofinakiMatina KatsarakouApostolis KalliakmanisByron S. OrestisEileen Von DJo GogouMyrto CatRaphael AretakisKalliope TsouroupidouKarolina us: info@burstzine.comLandline: +30 211 800 1916Mobile: +30 697 915 7815
  • 5. 5Burst { music magazine }
  • 6. 6Burst { music magazine }The youngest ones might know ChrisCornell from his solo career (that’s how Igot to know him in the first place), whilethe hardest ones surely know Audioslave.In any case, if it weren’t for Soundgarden,we couldn’t probably talk today of neitherof them. Soundgarden come straight fromSeattle’s music scene in 1984, reach theirhiatus in the mid 90’s, break up in 1997and announce their reunion in 2010. Andthe story goes on…Let’s travel back in 1984 and check outa band called “The Shemps”, which fea-tured Chris Cornell as drummer and vo-calist and Hiro Yamamoto (and after hisdeparture Kim Thayhil) as bassist. Cor-nell, Yamamoto and Thayhill will formSoundgarden in 1984. Cornell continuesto be both vocalist and drummer, Yama-moto plays the bass and Thayhill theguitar, until drummer Scott Sundquistjoined in 1985. The band continued withthis line-up for a year, until Sundquistwas replaced by Matt Cameron, formerdrummer of Skin Yard.Soundgarden recorded their first songsfor album compilations (C/Z Records -Deep Six) while touring, until KCMU DJJonathan Poneman saw them perform-ing and decided to fund their release.Poneman and Bruce Pavitt, old friendof Thayhil and Yamamoto, founded thelegendary record label Sub Pop, whichwill manage and promote almost all theimportant bands of the grunge/alterna-tive rock era. Soundgarden signed toSub Pop and released their first single“Hunted Life” in 1987. The band alsoreleased two EPs (Screaming Life/ Fopp)between 1987-1988.The release day of Soundgarden’s first al-bum “Ultramega OK” took place on Octo-ber 31 1988, now signed to SST Records.Cornell later stated that the choice of therecord label was a huge mistake becauseSTT “didn’t know what was happeningin Seattle”. The band’s first music video“Flower” aired in MTV’s “120 minutes”and the band earned a Grammy Awardfor “Best Metal Performance” in 1990.The album contained elements of heavymetal, psychedelic rock, classic rock andhardcore punk.After completing the tour of “UltramegaOK”, Soundgarden signing with A&Mrecords caused controversy and dividedtheir audience. Thayil stated at that time“In the beginning, our fans came fromthe punk rock crowd. They abandonedus when they thought we had sold outthe punk tenets, getting on a major labeland touring with Guns N’ Roses. Therewere fashion issues and social issues, andpeople thought we no longer belonged totheir scene, to their particular sub-cul-ture”. On the 5th of September of 1989,the band released their second album“Louder than Love”. Louder Than Lovebecame the band’s first album to chart onthe Billboard 200, peaking at number 108on the chart in 1990. Because of some ofthe song lyrics (mostly “Hands All Over”and “Big Dumb Sex”), a Parental Advisorysticker was placed on the album pack-aging and it was the last one to featureYamamoto on the bass. Cornell in factsaid about the recording period of thisalbum that at that time Yamamoto hadexcommunicated himself of the band andthat Cornell himself did the most writ-ing. One month before the beginning ofthe promo touring of the album, Yama-moto left to return to college and he wasreplaced by Jason Everman of Nirvana,but he was fired just after completing thetour. On this tour Soundgarden alongwith Faith No More, served as openingact for Voivod on “Nothingface” tour. Twosingles were released “Loud Love” and“Hands All Over”, EP “Loudest Love” andvideo compilation “Louder Than Live”.With bassist Ben Shepherd becomingthe newest member of the band, Sound-garden entered the studio once againfor the recordings of their third album.Shepherd brought fresh elements to theband and the other members stated thathis music and writing skills redefinedthem. “Badmotorfinger” was released onOctober 8, 1991. The first single “JesusChrist Pose” gained publicity, when MTVdecided to ban its video while manylisteners received it as anti-Christian(the band received death threats whileon tour). Cornell explained that theirintention was to criticize public figureswho use religion for manipulation. At thesame time Nirvana released “Nevermind”which gathered much more attention butthe public eye focused on Seattle musicscene and Soundgarden gained publicityas well. “Nevermind”, “Badmotorfinger”and “Ten” by Pearl Jam, brought grunge/alternative rock music closer to main-stream. Three singles came out of thisalbum “Jesus Christ Pose”, “Outshined”and “Rusty Cage”, as well as a limited edi-tion of the album containing the EP withthe palindrome title “Satanoscillatemym-etallicsonatas”, featuring three covers,a Soundgarden original and a live song.After their American tour which lasted fora month, they served as the opening actfor Guns N’ Roses twice and Skid Row.In 1992 they were invited to play at theLollapalooza along with bands like RHCP,Ministry and Pearl Jam.The band’s fourth album was meant tobecome the band’s more successful albumever. “Superunknown” was released onMarch 8, 1994 and debuted as number1 on the Billboard 200 album chart.“Spoonman”, “The day I tried to live”,“My Wave”, “Fell on Black Days” and ofcourse the band’s most popular song tilltoday, “Black Hole Sun”, were the singlesthat were released from this album. Theirsound was more experimental and thelyrics Cornell wrote, under the influenceof Sylvia Plath’s poetry, spoke of sui-cide and depression. The video clip for“Black Hole Sun” became a major hit andwon the “Best Metal/ Hard Rock VideoAward” in 1994 Mtv Awards, while theband won two Grammys in 1995: BestHard Rock Performance for “Black HoleSun” and Best Metal Performance for“Spoonman”. In 1994, the band touredfor the first time in Oceania and Japan,but after some months, Soundgardencancelled some shows because Cornellwas diagnosed with severe damage in hisvocal cords.After the major success of “Superunk-nown”, Soundgarden recorded onemore album before their break up. Theirfifth album “Down on the Upside” wasreleased in 21st of May, 1996. The bandmade the whole production of the album.However, despite the high sales and thepositive reviews, the album didn’t reachthe success of its predecessor. The soundnow varied much from their originalgrunge style and was more experimentalwith acoustic instrumentation, empha-sizing on vocals and melody. It spawnedfour singles “Pretty Noose”, “Burden inMy Hand”, “Blow Up the OutsideSOUNDGARDENA tribute to the grunge of the ‘90’s till todayWRITTEN BY ELENI LAMPRAKI
  • 7. 7Burst { music magazine }World” and “Ty Cobb”. The summer after,Soundgarden went on the Lollapaloozatour along with Metallica. Tension andstrained relationship between the bandmembers, which started during the lat-est album’s recording session, came onthe surface. At the tour’s final stop atHonolulu, Hawaii, on the 9th of February1997, Shepherd threw his bass in the airand left the stage. Two months later, theband announced their splitting up, whichwas followed by a greatest hits collection,“A-sides”.The band member had been pursuing asolo career for over a decade. On October6, 2009, all the members of Soundgardenattended Night 3 of Pearl Jam’s four-night stand at the Gibson Amphitheatrein Universal City, and were reunited onstage for the first time after their splittingup.On January 1st 2010, after months ofrumors, Chris Cornell announced viahis Twitter account the Soundgardenreunion. The band made a few re-releasesand performed its first show in April.They also headlined for the Lollapaloozafestival on the 8th of August. “Telephan-tasm: A Retrospective” a new compilationalbum, appeared on stores at the sametime and a week earlier it was featured onthe “Guitar Hero” videogame. The bandincluded a new song titled “Live to Rise”on the “Avengers” soundtrack and con-tinued with numerous live appearances.Their newest album “King Animal” wasreleased on the 12th of November, 2012.The album received positive reviews;during its very first week of release, itlanded in position No. 5 on the Billboard200 chart.Soundgarden were called “neo-Zeppe-lins”, as the influence of Led Zeppelin ispretty evident in their music. During theirevolution, they were also influenced bypost punk British bands and psychedelicmusic. Soundgarden is the first grungeband ever to have signed sign to a majorlabel, although they didn’t achieve thehuge commercial success of bands likeNirvana.
  • 8. 8Burst { music magazine }depechemodeA Story of Faith and DevotionBy Marianna Kofinaki, Eleni Leonida and Georgina PapadaOfficial Depeche mode Photos from
  • 9. 9Burst { music magazine }For more than thirty years, too much inkhas been spilled by music fans and criticsalike in order to describe the contribu-tion of Depeche Mode to the music scene,both literally and figuratively. Maybe byreading these lines you’d initially thinkthat everything is said by fans and criticsand done by the band respectively. Faithand devotion are, in my opinion, the mostinteresting parts of the band’s history,so today, ladies and gentlemen, we’ll doour best to shed some light in the least“well-known” aspects of the legendaryband. Faith would be defined as the fans’and critics’ support and encouragementtowards the band, as for devotion, itwould involve all those artists and peopleactively involved in making music citingDepeche Mode as their major influence.Here’s some food for thought: Have youever thought how many people had paidtribute to the band not only by means ofcontinuous praise, but also by means ofdirect influences in their own music?So let’s start with faith. For some peopletalk is cheap, so they can summarizetheir opinion on the band in just a short,but at the same time spot-on, state-ment: Depeche Mode became “The mostpopular electronic band the world hasever known” according to Q magazine,“One of the greatest British pop groupsof all time” according to the Sunday Tel-egraph and “The quintessential Eightiestechno-pop band” according to RollingStone magazine and MTV. I think thecharacterization that describes the hugecontribution of the band in the bestpossible way is, to quote Alan Wilder onthe birth on some of the sounds featuredon Songs of Faith and Devotion (Pulse!Magazine, May 1993), “There’s so manysounds that are created from the voicethat you wouldn’t know were taken fromthe voice, like rhythm sounds. The num-ber of times I’ve been sitting in the studioand said, ‘I wish I could get a bass thatwould just go [mimics wet, thick hip-hopbass-drum sound].’ Then I think, ‘Whycan’t I just go [repeats noise] into a micand sample it?’ It’s obvious; you spend allday trying to get a synthesizer to try andcreate this sound but you can just go [re-peats noise] and you’ve got it. Then youcan send it through some other deviceafter that, and you’ve got something thatsounds absolutely nothing like a voice,but the source was a voice. ... It is a veryinteresting process.”But how has it all started? Allow us totake you back in time for a while. Thirtysix years from now, in 1977, schoolmatesVince Clarke and Andy Fletcher formeda The-Cure-influenced band called NoRomance In China, with Clarke on vocalsand guitar and Fletcher on bass. Fletcherwould later recall, “Why am I in theband? It was accidental right from thebeginning. I was actually forced to be inthe band. I played the guitar and I hada bass; it was a question of them ropingme in”.  In 1979, Clarke played guitarin an “Ultravox rip-off band”, The Plan,along with friends Robert Marlow andPaul Langwith. In 1978–79, Martin Goreplayed guitar in an acoustic duo, Normanand The Worms, with school friend PhilBurdett on vocals. In 1979, Marlow, Gore,and friend Paul Redmond formed a bandcalled The French Look, with Marlow onvocals/keyboards, Gore on guitar andRedmond on keyboards. In March 1980,Clarke, Gore and Fletcher formed a bandcalled Composition of Sound, with Clarkeon vocals/guitar, Gore on keyboards, andFletcher on bass.Soon after the formation of Compositionof Sound, Clarke and Fletcher switchedto synths, working odd jobs in order tobuy or borrow the instruments fromfriends. Dave Gahan joined the band in1980 after Clarke heard him perform ata local scout hut jam session, singing acover of David Bowie’s classic “Heroes”;that was, let’s say, the official genesis ofDepeche Mode. How did the name comeup? It was taken from a French fashionmagazine, Dépêche mode (roughly trans-lated from French as “share/dispatch thefashion”). Gore said, “It means hurriedfashion or fashion dispatch. I like thesound of that.”  Gore recollects that thefirst time the band played as DepecheMode was a school gig in May 1980.Does this name sound somehow prophet-ic to you? Prophecy fulfilled, so if you’restill a doubting Thomas figures speakfor themselves: Depeche Mode have had48 songs in the UK Singles Chart andtwelve top 10 albums in the UK charts,two of which debuted at No. 1. Accordingto EMI, Depeche Mode have sold over100 million albums and singles world-wide, making them the most successfulelectronic band in music history. Q maga-zine included the band in the list of the“50 Bands That Changed The World!”.VH1 ranked the group no. 98 on his list ofthe “100 Greatest Artists of All Time”.Still not impressed by numbers? Let’stalk about heritage, or, in other wordsdevotion: One of the most influentialgroups over the last 30 years, DepecheMode have inspired generations of newmusicians while consolidating theirconsiderable reputation. In the processthey have sold over 100 million recordsand played to audiences in excess of30 million. Have you ever wondered howmany popular recording artists have beenhugely influenced by the band, due totheir recording techniques and innovativeuse of sampling? The list is long, you havebeen warned!Let’s start by mentioning Pet Shop Boys.The London duo, aka Neil Tennant andChris Lowe, cited Violator (and Enjoy theSilence in particular) as one of the mainsources of inspiration during record-ing of their critically acclaimed album,Behaviour. In Neil’s own words “We werelistening to Violator by Depeche Mode,which was a very good album and wewere deeply jealous of it”. As for Chris, hetotally agrees with his bandmate “Theyhad raised the stakes”.Brandon Flowers, the famous vocal-ist and frontman of The Killers, stated“Before I even thought of myself as a mu-sician, I was affected by Depeche Modeas a person. I think about Some Great Re-ward or Songs of Faith and Devotion andthey shaped me as an individual beforeI even wrote a song.” According to MattSmith, the former music director of themodern-rock radio station KROQ, “TheKillers, The Bravery, Franz Ferdinand —that whole wave of music owes a tremen-dous amount to Depeche Mode.”In August 2008, Coldplay released analternative music video for their single“Viva la Vida” which was inspired by the“Enjoy the Silence” video. On their web-site the band are quoted as saying, “Thisis our attempt at a video cover version,made out of love for Depeche Mode andthe genius of Anton Corbijn...”. The videoshows frontman Chris Martin dressed asa king walking through The Hague.“I feel more connected to Depeche Mode”(compared to other acts of the 1980s)claimed Magne Furuholmen, the guitar-ist/keyboardist of a-ha. In July 2009,a-ha performed a cover of “A Question ofLust” during a live performance for BBCRadio 2 – The Dermot O’Leary Show.In 2010, while promoting their latestalbum The Suburbs, Win Butler of ArcadeFire cited Depeche Mode as an influence.In his own words: “I grew up listening tobands like Depeche Mode and New Or-der and bands that used a lot of sequenc-es and synth stuff [...] there are songs tome on this new record that sound likeDepeche Mode mixed with Neil Young”Colombian singer Shakira is also highlyinfluenced by Depeche Mode. XimenaDiego, the author of the book Shakira –Woman Full of Grace wrote in this book:“At thirteen Shakira especially liked Dep-eche Mode, an electronic rock band fromGreat Britain. One day she was listeningto the band’s song, “Enjoy the Silence”.She noticed that not only was she hearingthe music but also feeling the music inher body. She said to her mother, “Everytime I hear that guitar riff, I feel thisweird thing in my stomach”.” When shegrew up, Shakira herself also stated thatthe best concert she has ever attendedwas a Depeche Mode one, and calledDave Gahan “the best live singer I’ve everheard”.Both Ken Jordan, member of the LA elec-tronic duo The Crystal Method and RogerRose, lead singer of Christian rock bandMad at the World, have also
  • 10. 10Burst { music magazine }declared their faith to the Depeche Modecult, as a major influence in their music.Religious or not, techno pioneers Der-rick May, Kevin Saunderson and JuanAtkins regularly characterized DepecheMode as an influence on the develop-ment of techno music during the DetroitTechno explosion in the mid-1980s. Fur-thermore, appreciation of Depeche Modewithin today’s electronic music scene isdemonstrated by the numerous DepecheMode remixes by contemporary DJs suchas Ricardo Villalobos’’ remix of “TheSinner in Me” or  Kruder & Dorfmeister’sremix of “Useless” (not useless at all, forthat matter).What now, still not impressed? We’remostly talking to you, hard rockers andmetallers of theworld! At first,let’s focus on thecase of ChesterBennington, vocal-ist and frontmanof Linking Park,who cites the bandas an inspira-tion. Chester is notthe only memberof the band toshow his devotionfor Depeche Mode.Mike Shinodahas once said,“Depeche Modeare one of themost influentialgroups of ourtime. Their musicis an inspirationto me...”. Shi-noda did morethan just say thewords above: He’salso remixed theband’s song “En-joy the Silence” in2004.Italian gothic met-allers Lacuna Coilare no exceptionto the rule. Notonly has the bandcited DepecheMode as an influence, but also performeda cover of the hit “Enjoy the Silence”.Nu-metallers Deftones also worship theDepeche Mode cult. To be more precise,the band’s vocalist and frontman ChinoMoreno has cited Depeche Mode as ahuge influence lyrics-wise. As for guitaristStephen Carpenter, he has expressed hisadmiration in his own way, with his ownquieter guitar playing in White Pony be-ing inspired by Depeche Mode. Stephenis not the only guitarist paying his tributeto Depeche Mode: According to DarrenSmith, the guitarist of the post-hard-core band Funeral For A Friend, “dark,moodier stuff” in his band’s music was“Depeche Mode-influenced.”Raymond Herrera, the drummer of theheavy/industrial metal band Fear Factoryis another devotee of Depeche Mode. Inhis own words: “A lot of different musicinfluenced the way I play now. Like theband Depeche Mode. If I could sound likeDepeche Mode, but be fast like Slayer, Ithink I might be onto something”. German industrial masters Rammstein,who covered “Stripped” in 1997, havecited Depeche Mode as one of their big-gest inspirations. Richard Kruspe, theband’s lead guitarist, said that growingup his influence was “heavy metal on theone side and pop on the other. (...) I wasafraid to tell my friends I was listening toDepeche Mode. I loved the band. I lovedtheir melodies. That’s why in Rammstein,you can hear a lot of melodies in ourmusic. (...) Personally, the band I thoughtdid the best at changing themselves wasDepeche Mode. If you follow there [sic]career, it’s excellent.”Faith received by the fans, devotionexpressed by the artists (after all, whichis a better indication of devotion from anartist to an artist than inspiration itself?)Quoting music critic Sasha Frere-Jones,“probably the last serious English influ-ence was Depeche Mode, who seem moreand more significant as time passes.” asfeatured in his article  in The New Yorkeron evaluating the impact of British actson the US market. In other words, Dep-eche Mode ended up being many artists’“Own Personal Jesus”, who saved themfrom lack of inspiration both music-wise and lyric-wise. Do you think thisstatement is too far-fetched? In March2012 issue of Mojo magazine, Gary Ny-man cited Songs of Faith and Devotion asthe album that saved his career noting,“[after listening to this album] [my] mu-sic changed dramatically. It became muchdarker. At School I was excused from re-ligious instruction because I had no faithand Songs of Faith and Devotion sud-denly gave me something to write aboutand something to be bothered about. [...]I love Depeche Mode, always will.”Last but not least, Depeche Mode has alsoprovided the inspiration for “a film aboutmusic, about those who sell it and thosewho buy it. Thosewho direct it andthose who writeand perform it.Those who just lis-ten and those wholisten and neverforget, Masterand Servant…Butwhich is which”.The film in ques-tion, premiered onApril 1st in Bad-minton Theater,Athens Greece andon April 6th onOlympion, Saloni-ca for the very firsttime on the “silverscreen”. “101” is adocumentary on agroup of DepecheMode fans, fol-lowing the bandto the very last gigof their U.S. tour.The documentaryis based on thespur of the mo-ment; its viewersget the feeling thatthey’re travellingback in time alongwith the bandthemselves: back-stage, joking, shar-ing the stress of the tour crew, getting onthe bus with them, till the very specialMoment Dave Gahan sends all his posi-tive vibes to the audience while on stage,while performing songs like “Behind TheWheel”, “Black Celebration”, “Shake theDisease”, “Everything Counts”. Gahanappears to be a singer larger than life, notjust a rock star but a true icon for morethan three decades.We, the fans, still express our devotionto the band and our faith that Dave’s laststatements that another album releaseremains uncertain will lead to his changeof heart in creating another musicalmasterpiece.
  • 11. 11Burst { music magazine }
  • 12. 12Burst { music magazine }Kurt Cobain was born on 20th Febru-ary 1967 in   Hoquiam, Washington DC,where he spent his early years along withhis family, till he later moved to Aber-deen.From an early age, Curt had started to de-velop a vast interest in music. Accordingto his aunt Marie, “He had been singingfrom the age of two. He had been singingsongs by The Beatles, like “Hey Jude”.He was very charismatic even in such anearly age. When, on his 14th birthday,his uncle made him choose between aguitar and a bicycle as a gift, Curt optedfor the guitar. He started taking up a fewsongs, including “Back in Black” by AC/DC and The Cars’ “My Best Friend’s Girl”,and soon he started working on his ownsongs.At the age of eight, a devastating inci-dent had a strong impact on his life: Hisparents’ divorce was something thatinfluenced his life deeply. His mother be-came fully aware of the dramatic changein his personality, with Curt being moreanti-social. During an interview in 1993,Kurt said, “I remember feeling ashamedfor some reason. I was embarrassed formy parents. I couldn’t face some of myfriends from school because I desperatelywanted to have the classic, you know, typ-ical family, a mother, a father. I wantedthis safety, so my parents didn’t feel rightto me for several years because of that.”After spending a year living with hismother after the divorce, Cobain movedto Montesano, Washington, in order tolive with his father. However, a few yearslater, his teenage revolution became toovast so he ended up being messed up withhis family and friends.In school he wasn’t really interested insports. To him, sports were some kind oftorture, since violent behavior and bul-lying became part of his everyday schoollife. Due to his father’s insisting only, hetook part in the wrestling team in juniorhigh school. Although he was good, hestarted neglecting his involvement dueto the abuse he received by other teammembers. Later, he was enrolled by hisfather in the local baseball team, whereKurt avoided playing.On the contrary, art classes were hisfavorite, since he used to sketch duringother classes, even inspired by themesrelative to the human anatomy. Cobainhad a homosexual friend in school.Sometimes, he was the victim of bullyingand harassment by homophobic students.This friendship let some people to believethat even Kurt himself was a homosexual.During an interview in 1993 for TheAdvocate Magazine, Cobain stated thathe was “gay in spirit” and that he “mighthave become bisexual”. Plus, he declaredthat he used to spray paint tags like “Godis Gay” in open trucks in Aberdeen. Inone of his personal diaries, he wrote, “I’mnot gay, although I wish I were, just be-cause I’d like to piss off people who hatehomosexuals.” As a teenager growing upin a small city of Washington, Cobain fi-nally found his way through the bloomingpunk scene of the Pacific Northwest, byattending punk rock shows in Seattle.The reason for entering the world ofmusic wasn’t far. Kurt started hangingout in the practice sessions of his fellowmusicians from Montesano, the Melvins.In the middle of tenth grade, Kurt aban-doned his father’s home and moved backto his mother’s place. Problems cameup a short while after, since two weeksbefore his graduation, Kurt dropped outof school realizing he didn’t have thenecessary grades to finish. His mother gave him the followingchoice: either find a job or leave thehouse. A week later, Kurt found hisclothes and the rest of his possessionspacked up in cardboard boxes waitinghim outside the house. He was oftenforced to stay at friends’ places and oc-casionally sneaked in his mother’s storagearea.According to his own statements, Kurtrevealed that when he had no other placeto stay, he lived under a bridge of theriver Wishkah, an experience which gavehim the inspiration of the song “Some-thing in the Way” featured in Nevermindalbum. However, Krist Novoselic claimedthat, in reality, Cobain never lived theresaying, “He used to hang out there butyou couldn’t live in those muddy banks,with the tide coming and going. That wasa version of his own.”In the end of 1986, Kurt finally moved tohis own house and he started working ina beach resort approx. 32 klm far from hismother’s house in order to pay the rent.At the same time, he became a frequenttraveler to Olympia, Washington, in orderto attend in local rock shows. Duringthose visits, he started a relationship withTracy Marander.A living sister we don’t know about, littleKimberly Dawn Cobain, still uses herbrother’s name along with her own. Sincetheir parents’ divorce, things betweenthe brother and sister were rough, sincethis break-up wanted to divide them butnever actually separated them.Kurt’s involvement in music begins inHigh School, when he rarely found some-one to practice together. His acquaint-ance with Krist Novoselic began back atthe time when he used to hang up in theMelvins’ place. Novoselic’s mother hada hairdresser salon, where Cobain andNovoselic occasionally practiced togetherin the room of the upper floor. A fewyears later, Κurt tried to convince Novo-selic that they should form a band, byborrowing him a copy of the demo Cobainhas recorded with his former band, FecalMatter. After several months of listen-ing to Kurt’s pleading, Νovoselic finallyagreed, and this is how Nirvana was born.During the first years of their collabora-tion, they have been reviewing a long listof drummers. They finally opted for ChadChanning, with whom Nirvana recordedtheir first album, “Bleach”, released bySub Pop Records in 1989. However, Co-bain wasn’t happy with Channing’sWe miss you!!!R.I.P27 bad luck“herbalabortive...itdoesn’tWritten by Jo Gogou
  • 13. 13Burst { music magazine }style, so he led the band in search of areplacement, ending up in hiring DaveGrohl. It was with Grohl when the groupreached the peak of their success throughthe release of their first album releasedby a major record company, the famousNevermind.Kurt’s struggle to bring the huge successof Nirvana, together with the band’s un-derground roots was huge and painful.It was the time when he felt pursuedby the Media, comparing himself withFrances Farmer (writer’s note: FrancesElena Farmer (1913-1970): An Americanfilm actress driven to a mental institutionbecause of too much publicity). He alsokept on showing his indignation in casesof people claiming to be fans of the band,without being at all familiar with theband’s ideology.Let’s refer to a sad event, the rape of ayoung woman by two men, while Nirvanahad been performing their song Polly onstage. Cobain condemned the incidentin the booklet featured in the Americanversion of the Incesticide album: “Lastyear, a girl was raped by two sperm andballs wasters while singing the lyrics ofour song “Polly”. I have a problem toaccept that there are such plankton spe-cies among our audience. I’m sorry forabusing political correctness but that’show I feel.”Being accustomed from his school yearsand his friendships, or should we sayhis only friendship with his homosexualclassmate, Cobain had one extra reasonto loathe sexists and he was proud ofNirvana’s live performance in an eventfor homosexual rights, supporting No OnNine in Oregon, 1992. Plus, Nirvana wereinvolved in Rock On Choice L7campaignsince its beginning. An article from hisdiaries published posthumously, declaresthat sexual revolution is only feasiblethrough the abolition of sexism.His acquaintance and falling love withCourtney Love didn’t take long to happen.It all started in a live show in 1989, wherethe couple first met. In 1991 they an-nounced being officially together.Love and drugs both came into Kurt’slife, the latter about to cause unpleasantoutcomes.In 1992, at about the time of Nirvanaappearance in Saturday Night Live, Lovefound out she was carrying Cobain’schild. A few days after the end of Nirva-na’s West Coast Tour leg, on Monday 24February 1992, Kurt and Courtney werejoined in matrimony in Hawaii. “I wasengaged during the last couple of monthsand my attitude has drastically changed”,said Kurt himself in an interview for Sas-sy Magazine. “I can’t believe how happyI am. Sometimes I even forget that I’m ina band, I’m so blinded by love. I know itsounds corny but it’s true. I would quitthe band right here and now. It doesn’tmatter, but I’m bound by a contract.” OnAugust 18, the couple’s daughter, FrancesBean Cobain, was born. Her unusual mid-dle name was given to her because Co-bain thought she looked like a bean whenhe first saw her in the ultrasound. Herfirst name was given as a tribute toFrances McKee of the British bandThe Vaselines and not as a tributeto Frances Farmer, as occasionallyclaimed by some.Love has received (and still re-ceives) her fair share of negativecriticism on many aspects, mainlydue to the fact that she took full ad-vantage of the publicity she gainedthrough Kurt. Being unknown inshowbiz herself, she was lookingfor something to make her bandfamous. Many people comparedLove and Cobain with Lennon andOno. Rumor has it that Kurt wrotemost of the songs of the album thatmade her a star, Live Through Thisby Love’s band, Hole, however suchallegations are not valid based onactual evidence and facts.At the same time, it was revealedthat one of the Hole’s songs was initiallywritten for Nirvana. The song in question,“Old Age” was featured as a secondarytrack in Hole’s album Beautiful Son.In fact, a recorded version of the songperformed by Nirvana became publicthrough Seattle newspaper The Stanger.In this article, Novoselic confirmed thatthe recording session of the song in ques-tion took place in 1991 and that “Old Age”was a Nirvana song indeed, leading tomore speculation on Cobain’s participa-tion in Hole’s songs. Nirvana had startedrecording “Old Age” for their Nevermindalbum, but remained unfinished becauseCobain had yet to finish the lyrics and thegroup was running out of time in the stu-dio. As for Hole’s version, guitarist EricErlandson stated that he believed thatthings were totally different, claimingthat Kurt was behind the music and Lovebehind the lyrics .In a Vanity Fair article, published in1992, Love admitted that she was ad-dicted to heroin during her pregnancy(before she found out she was pregnant).FarewellWhy???We love you Kurtwork,youhippie.”Thestoryofkurtcobainphoto:NicolaPittam/
  • 14. 14Burst { music magazine }She accused Vαnity Fair for distorting herwords, however this confession causeda huge conflict among the couple. SinceKurt and Courtney’s relationship hadalways been in the spotlight by the media,the couple was found chased by tabloidreporters after the article was published,in order to find out if Frances was bornas a drug addict herself. The divisionof children care of Los Angeles took theCobain family to court, claiming that drugabuse made them inappropriate parents.The custody of the two-week old FrancesBean Cobain was removed and the babygirl was given to Love’s sister Jamie forseveral weeks, till the couple won thecustody back, provided they should besubmitted for urine tests and to receive acall from a social worker on a weekly ba-sis. After several months of trials in court,the couple finally won the full custody oftheir daughter.Kurt’s life and emotional stability startedfalling apart dramatically. His first sui-cide attempt, according to Love, tookplace in 1994.After a show in Munich, Germanyon March 1, 1994, it was diagnosedthat Cobain suffered from bronchitisand acute laryngitis. On the next day,Kurt flew to Rome to receive medicaltreatment. His wife went to Romein order to be by his side on March3. On the next morning, Love wokeup and found Cobain unconsciousdue to combining a large dosage ofchampagne and Rohypnol (Love hada prescription for Rohypnol, whichshe received when she arrived inRome). Cobain was transferred to thehospital immediately and spent therest of his day unconscious. After fivedays in hospital, he was allowed toleave and he returned to Seattle. Lovelater declared that this was Cobain’s firstsuicide attempt.This mixed up game between life anddeath goes on when on March 18, Lovecalls the police to inform them thatCobain wanted to commit suicide and helocked himself in a room with a gun inhand. The police arrived and confiscatedseveral weapons, as well as a bottle ofpills from Cobain, who insisted that hehad no intention to commit suicide buthe was just locked in the room in order toget away from Love. When love was inter-rogated by the police, she said that shenever mentioned Kurt wanting to commitsuicide and that she has never seen himwith a gun.Love, being a good wife, arranged forcounseling in order to deal with Co-bain’s drug addiction, which took placein March 25. The ten participants wereCobain’s fellow musicians, record labelrepresentatives and one of Kurt’s bestfriends, Dylan Carlson. However, bass-ist Krist Novoselic turned out the ideaas “foolish”. In any case, before the daywas over, Cobain agreed in enteringrehab and he arrived in Exodus RecoveryCenter, Los Angeles, California on March30.Obstacles and negativity are obvious fromthe very first night. Stepping out of the building to have asmoke, Kurt climbed the 2-meter highfence in order to get away from the estab-lishment. He took a taxi to LA Airport,where he took a flight back to Seattle.Between 2 and 3 April, he was spottedon several locations in Seattle, althoughmost of his friends and family had noidea of his actual whereabouts. On 3April, Love got in touch with private eyeTom Grant and hired him in order to findCobain. On April 7, the band announcedthat they weren’t to participate in thisyear’s Lollapalooza music festival, caus-ing rumors to spread like wildfire on theband’s imminent breakup.On April 8 1994, Cobain’s body was foundin his home in Lake Washington by anelectrician who went there in order toinstall a security system. Except for a tinyamount of blood running from Kurt’s ear,the electrician mentioned that he saw noother sign of wound and that at first hethought Kurt was asleep, till he noticedthe gun pointing at his chin. A suicidenote was found, stating “I haven’t feltthe stimulation caused by listening andwriting music, along with actual writing...for so many years”. High concentration ofheroin and traces of Valium were foundin the body, which had remained therefor 3 days. Autopsy report states thatCobain passed away in April 5 1994.On April 10, a wake took place in a parkin downtown Seattle, where approximate-ly seven thousand people came to mourn.Recorded messages by Love and KristNovoselic were played during the memo-rial. Love read excerpts from Cobain’snote to the crowd and then fell apart
  • 15. 15Burst { music magazine }crying and cursing at the same timebecause Kurt left her. At the end of thewake, Love arrived at the park and gaveKurt’s remaining clothes to the remainingmourners.All that time, his friend, partner and bestman Michael  Stipe (R.E.M), had beentrying to figure out a solution , a help toKurt. Wanting Kurt to forget the drugsduring his attempt of rehabilitation, Stiperecommended him working on a newalbum. The song was never released andCobain gave up both inarms and in life.“Let me in” is a songdedicated by R.E.M, oneof Kurt’s favorite bands,to the fan they loved themost.Ironically enough, dur-ing Nirvana’s last liveperformance on MTV in1994, Kurt had one solerequest: he wanted theentire studio and stageto be filled with whitelilies and candles. Thisreminded of a funeral tomany. The last song forthe evening was LeadBelly’s “Where did yousleep last night”.Secret soft spots, achild’s heart and a lovewhich surely led Cobainto the inner peace he hadalways been looking for.Messages that madeKurt Cobain write hisown pages of history inmusic: Genius is a weird andinappropriate word, andhard work is underrated,but Kurt Cobain had adistinct and personaltake on the world, andgenerally, when someonestrikes a chord with hisaudience, that’s whatpeople respond to...Ihave to admit that Iwasn’t particularly a fanof Nirvana when I wasasked to work on In Ute-ro, but during the courseof making the record I came to appreciatethat they were genuine about their bandand their music, that Kurt was capable ofsophisticated thinking, and that they andtheir music were unique.Steve Albini, quoted in “Steve AlbiniDrops Anonymity, Answers Questions InPoker Forum”, Stereogum (2007-10-06).Nirvana were like...power-chord musicwith the occasional Sonic Youth-y flip-outin it. But the power of that band is KurtCobain’s voice, which is just fuckingcaramel–a beautiful rock voice.Lou Barlow, quoted by Marc Hawthornein “Interview: Dinosaur Jr.”, The A.V.Club (2005-07-20).He had a touch most guitarists would killfor.Chuck Berry, according to Kurt Cobain byChristopher Sandford, Orion Press, 1995.People were trying to call me to do inter-views on the anniversary of Kurt Co-bain’s death. They want me to say somepoignant shit about some poor guy whoblew his head off. It’s just like, “Give mea fuckin’ break, man”...Just say the guymade some good records, and let’s get onwith it.Frank Black, quoted by Scott Gordon in“Interview: Frank Black”, The A.V. Club(2006-10-19).I remember watching Kurt come throughand thinking, “God, this music is nucle-ar,” This is really splitting the atom. Theyraised the temperature for everybody.Manufactured pop never looked so coldas when that heat was around. Nirvanamade everything else look silly.Bono, quoted in Lorraine Ali, “Cries FromThe Heart,” Newsweek (2002-10-28).I was simply blown away when I foundout that Kurt Cobain liked my work, andI always wanted to talk to him about hisreasons for covering “Man Who SoldThe World.” It was agood straightforwardrendition and soundedsomehow very honest. Itwould have been nice tohave worked with him,but just talking wouldhave been real cool.David Bowie, quoted in“A Fan’s Notes,” SPIN(1995-04).Cobain was very shy,very polite, and obvi-ously enjoyed the factthat I wasn’t awestruckat meeting him. Therewas something abouthim, fragile and engag-ingly lost.William S. Burroughs,according to Nirvana:The Day-By-Day Chroni-cle by Carrie Borzillo.I’m sorry I couldn’t havespoken to the youngman. I see a lot of peopleat the Zen Center, whohave gone through drugsand found a way outthat is not just Sundayschool. There are alwaysalternatives, and I mighthave been able to laysomething on him. Ormaybe not.Leonard Cohen, quotedby Peter Howell, Ad-dicted To Noise (1995-08-06).That kid has heart.Bob Dylan, after hearingthe Nirvana song “Polly”,according to HeavierThan Heaven by Charles R. Cross, Hype-rion, 2001.The only person I have any respect for asa songwriter over the last 10 years is KurtCobain. He was the perfect cross betweenLennon and McCartney. He belted it outlike Lennon, but his melodies were soPaul McCartney. They were dead bouncyup and down - jolly melodies - but he wasa miserable fuck at the same time.Noel Gallagher, quoted in Guitar World
  • 16. 16Burst { music magazine }(1996-05).A couple weeks ago, one of my studentsgave me a mixed tape of Kurt Cobainand there was a version of “Black Girl”of great artistry. Great vocal control andsubtlety, it’s almost as good as Lead-belly’s.Allen Ginsberg, quoted by George Petrosin “ALLEN GINSBERG. GROOVIN’GURU. Beat laureate ALLEN GINSBERGgoes bananas,” Seconds, Issue 28 (1994).He’s the most talented person I everworked with because he was talentedin so many different ways. He’s a guitarplayer and a lead singer and he wrote allthe songs. He did everything for Nirvanathat it took Jimmy Page and Robert Plantto do for Led Zeppelin. Kurt also designedthe album covers and wrote treatmentsfor the videos. He even designed thet-shirts. He was really a comprehensivegenius when it came to the art of rock androll.Danny Goldberg, quoted by StephenElliott in “The Shorty Q&A with Kurt Co-bain’s Former Manager Danny Goldberg”,The Rumpus, (2009-01-30).I suddenly realized Michael [Pitt] wasmuch taller than Kurt, and much morebuff, actually. Kurt was a wee little man,with these big piercing blue eyes and thistremendous smile — and that’s one thingthat nobody can replicate.Kim Gordon, quoted by Rodrigo Perezand Courtney Reimer in “Sonic YouthRevisit Their Friend Kurt Cobain In ‘LastDays’”, (2005-07-22).I still dream about Kurt. Every time I seehim in a dream, I’ll be amazed and I getthis feeling that everyone else thinks he’sdead. It always feels totally real, probablybecause I’m a very vivid dreamer. But, inmy dreams, Kurt’s usually been hiding -we’ll get together and I’ll end up askinghim, “God, where have you been”Dave Grohl, quoted in “I still dream aboutKurt” NME (2007-10-31).Kurt really reminded me a lot of John[Lennon] in his writing, singing, and gui-tar playing. More attitude than technique,but he had incredibly strong rhythm anda great solo sense.Jim Keltner, according to Classic RockAlbums: Nevermind by Jim Berkenstadtand Charles Cross, Schirmer, 1998.And he could be a real grumpy bastard,but that was part of his power. You know,without saying a word he could makethe whole room feel like shit. You know?And he also had an intense narcissism...But he also didn’t have one ATOM of rockstar ego, and he needed it. He didn’t givehimself enough credit. I mean, he knewhe was the shit.Courtney Love, in an interview with KurtLoder, broadcast on MTV (1994-09-08).Rage and aggression were elements forKurt to play with as an artist, but he wasprofoundly gentle and intelligent.Thurston Moore, quoted in “When TheEdge Moved To The Middle,” The NewYork Times (2004-04-08).He was a revealing symbol [of GenerationX]. He called himself passive-aggressive.There was self-pity, whining. There wasa diminishment, a diminution. He wassitting there in his sweater, hunchedover his guitar, looking like a little lostboy. Compare that with the great figuresof my generation: Jimi Hendrix. PeteTownshend. Keith Richards. The greatachievements of rock--of the Sixties, infact--were done by assertion and energy.This is why I’m worried about the future.Camille Paglia, quoted in Playboy (1995-05).I went to see Nirvana at a small clubcalled the Pyramid on Avenue A in NewYork City. It was hard to hear the guitar,but the guy playing and singing had avibe; he hopped around like a muppetor an elf or something, hunched over hisguitar, hop hop hop, hippety hippety hop.I loved that. When he sang, he put hisvoice in this really grating place, and it
  • 17. 17Burst { music magazine }was kind of devilish sounding. At the endof the set he attacked the drum kit andthrew the cymbals, other bits and finallyhimself into the audience. Later I saw thesame guy passing the bar. He was little,with stringy blond hair and a Stooges T-shirt. I felt proud.Iggy Pop, quoted in “A Fan’s Notes,”SPIN (1995-04).Cobain changed the course of where themusic went. There are certain peoplewhere you can see the axis of musicalhistory twisting on them: Hendrix waspivotal, Prince was pivotal, Cobain waspivotal.Vernon Reid, quoted in The “Immortals -The Greatest Artists Of All Time”, RollingStone (2004-04-15).In Kurt’s voice I could hear his love ofbluegrass music, of Bill Monroe andLeadbelly. It’s in the twang of his voice.Patti Smith, quoted by Jim Farber in“Patti Smith still doesn’t change horsesmidstream,” Pop Matters (2007-10-13).Yeah, he talked a lot about what directionhe was heading in. I mean, I know whatthe next Nirvana recording was going tosound like. It was going to be very quietand acoustic, with lots of stringed instru-ments. It was going to be an amazingfucking record, and I’m a little bit angryat him for killing himself. He and I weregoing to record a trial run of the album,a demo tape. It was all set up. He had aplane ticket. He had a car picking him up.And at the last minute he called and said,“I can’t come.”Michael Stipe, quoted by Jeff Giles in“Everybody Hurts Sometimes,” News-week (1994-09-26).I was in Pioneer Square - I went to seesome band, I don’t know if it was the theMelvins. Kurt was there - I think Kurt wasby himself and I was by myself. I wentover to tell him how much I loved Bleach.He was very quiet and subdued. He said,“Thanks - that means a lot coming fromyou. Consider yourself our biggest influ-ence.”Kim Thayil, quoted by Greg Prato inGrunge Is Dead: The Oral History of Seat-tle Rock Music, ECW Press, 2009.I mourn for Kurt. A once beautiful, thenpathetic, lost and heroically stupid boy.Pete Townshend, quoted in “Why he diedbefore he got old,” The Observer, (2002-11-03).And like I said I love Kurt Cobain andNirvana, the lyrics are so deep--stufflike “The animals I’ve trapped have nowbecome my pets”.Tricky, quoted by David Trueman in“Tricky Business - An interview withTricky” on’s your archetypal small guy - wiry,defiantly working class and fiery.Everett True, in “Everett True Thrashes ItOut With The Latest Wizards From Seat-tle’s Sub Pop Label Who Arrive In BritainNext Week,” Melody Maker (1989-10-21).Kurt’s wounds were so deep that whenthe music floated to the surface afterbeing filtered through his soul, it wasincorporeal.Steven Tyler, quoted in “A Fan’s Notes,”SPIN (1995-04)....With Kurt Cobain you felt you wereconnecting to the real person, not to aperception of who he was - you were notconnecting to an image or a manufac-tured cut-out.Lars Ulrich, quoted in “Lars Ulrich: KurtCobain Didn’t Want to Share the Stagewith Guns N’ Roses,” know, I always thought I’d go first.I don’t know why I thought that, it justseemed like I would. I mean, I didn’tknow him on a daily basis - far from it.But, in a way, I don’t even feel right beinghere without him. It’s so difficult to reallybelieve he’s gone. I still talk about himlike he’s still here, you know. I can’t figureit out. It doesn’t make any sense.Eddie Vedder, quoted in “I’m Not YourFuckin’ Messiah”, Melody Maker Maga-zine (1994-05-21)He really, really inspired me. He was sogreat. Wonderful. One of the best, butmore than that. Kurt was one of the abso-lute best of all time for me.Neil Young, quoted in “Reflective Glory”NME (1995-07-15) Songs dedicated and inspired by Kurt:1. Kurt - Dan Bern 2. About A Boy - Patti Smith3. Love Love Love - Mountain Goats4. Let Me In - R.E.M.5. The Day Seattle Died - Cold6. Am I High - N.E.R.D.7. Devils Night - D128. I Try - Talib Kweli9. Do You Wanna Go Our Way?? - PublicEnemy10. Sleeps With Angels - Neil Young11. I’m Still Remembering - The Cranber-ries12. Dimebag - Cross Canadian Ragweed13. Mighty K.C. - For Squirrels14. Kurt Cobain - Wesley Willis15. Innocent - Our Lady Peace16. Nothing As It Seems - Pearl Jam17. Just Let Me Breathe - Dream Theater18. Coattails Of A Dead Man - Primus19. Maybe Angels - Sheryl Crow20. Malibu - Hole21. Me And My Monkey - Robbie Wil-liams22. Put Down The Gun - James KochalkaSuperstar23. Fire Water Burn - The BloodhoundGang24. Here’s To Life - Streetlight Manifesto25. Headless Boogie - Insane Clown Posse26. Creamer (Radio Is Dead) - LimpBizkit27. Hurricane Fresh - MC Lars© Seattle Rex/
  • 18. 18Burst { music magazine }If you were born and your parents gaveyou the name Declan Patrick McManuswould you keep it or not? Well, youngDeclan decided that this name wasn’tsuitable for his music career and quicklypicked up the stage name D.P. Costello;as a tribute to his father, the musicianand trumpet player Ross McManus whoperformed under the stage name DayCostello. It was his manager in the mid-70s who suggested the adoption of ElvisPresley‘s first name. And that’s how ElvisCostello appeared.Costello released his first album, “My AimIs True”, in 1977 with the independentlabel, Stiff Records, and in his picture onthe cover, his oversized glasses he wore,were set as his trademark ever since. Cos-tello wrote most of the songs late at night,in order not to wake his wife or his son,or on the way to work (data-entry clerkon Elizabeth Arden) in the Underground.The first 1000 copies in the UK containeda form asking the buyer to send the ad-dress of a friend, who then, would receivea free copy. Later, in the same year Elvisformed his permanent backing band “TheAttractions” (Steve Nieve, Bruce Thomasand Pete Thomas). Costello at that timewas characterized as a “very angry youngman”. Soon, he signed with Columbiarecords. Costello recorded his second al-bum (and first to be with the Attractions)a year later, entitled “This Year’s Model”.But it was the next one “Armed Forces”that was both a commercial success and asuccess in the world of critics.During the ‘80s Costello experimentedwith new sounds and genres from soul tocountry. Significantly he released “AlmostBlue” in 1981, an album with country mu-sic songs, as a tribute to the music withwhich he grew up with. Two years later,Elvis adopted another pseudonym “TheImposter” and released “Pills and Soap”as a political statement versus Thatch-erism, which concurred with the 1983UK general elections - Thatcher’s mostdecisive election victory. At the same timetensions were growing inside the band,between Bruce and Pete Thomas at first,and between Bruce and Costello himselflater, which led to the second’s retirementand the breakup of the band. Luckily itwas a short retirement to take. He madehis comeback two years later, but thiswould be the last collaboration with theAttractions for many years. Later in thesame year he recorded “Blood and Choco-late” and went back to his post-punkroots. Although “Blood and Chocolate”failed to contain a hit single at that time,it featured “I want you”, one of Costello’smost significant songs. The success con-tinued with his next album “Spike” (andhis new contract with Warner Bros) andhis biggest single in America, “Veronica”in 1989.The 1990’s found Elvis Costello experi-menting with instrumental, orchestraland classical music. He composed thetittle and incidental music for the mini-series G.B.H., for which in 1991, he wona BAFTA with his pair co-composer,Richard Harvey. A few years later, afteran acclaimed collaboration with BrodskyQuarter on “Juliet Letters”, he reunitedwith the Attractions in 1995, for the al-bum “Brutal Youth” (this was one amongthe six Elvis Costello album’s featured in“1001 Albums You Must Hear before YouDie”). Next year’s tour proved to be thelast for the band. Tension between Cos-tello and Bruce Thomas grew once moreand Costello split up with the Attractionsonce again. In 1998 he signed a multi-label contract with Polygram Records,later part of Universal Music Group. Hestarted collaboration with Burt Bacharachand they released the critically acclaimedalbum “Painted from Memory”. At thesame time he appeared in a couple ofsoundtracks, for the films “Austin Pow-ers: The spy who shagged me”, “TheRugrats Movie”, “The long journey home”and of course “Notting Hill” with his ver-sion of Charles Aznavour’s “She”.The new millennium found Elvis Costelloonce again experimenting with morejazzy and classical music styles. He ap-peared in Steve Nieve’s opera “Welcometo the Voice” and he also wrote music fora new ballet, as an artist and in residencein UCLA. In 2002 he toured with his“new” band, the “Imposters”, which hadthe same members with the Attractionbut a different bass player. In 2003 hereleased “North”, an album consisting ofpiano ballads, much closer to the stylewe know him for nowadays. In 2004,the song he wrote with T-Bone Bur-nett “Scarlet Tide” was used in the film“Cold Mountain” and nominated for anAcademy Award. Far away from his newwave or post punk roots, he continuedwith classical and orchestral work with “IlSogno”. He contributed to a jazz projectin 2005 and then attempted to write achamber opera which remained unfin-ished, but material can be found in 2009album “Secret, Profane and Sugarcane”.In the last decade he has made numerousappearances in television shows portray-ing himself but he never quit music. Infact we are expecting his new albumeither late 2013 or early 2014!This elvis hasnot left thebuildingelvis costelloWritten by Eleni Lampraki / Photo from Wikipedia
  • 19. 19Burst { music magazine }The following tickets, including the below listed range ofservices, you can acquire in advance sale. Ticket-Order or call **49.341.2120862Obsorge-Karte:Limited up to 9999 Tickets for 25,- € each (including advance salecharge), contains the following service-package:• Camping at the Treffen-Campingground (agra-fairground)• “Pfingstbote” (“Whitsun-herald”) - the Treffen-programbookPlease note:Entrance and usage of the campingsite is not possible without the”Obsorgekarte“. The ”Obsorgekarte“ is only valid in connection withthe Treffen-Event-Ticket.Treffen-Event-Ticket:4-Days-Ticket for all events within the 22nd Wave-Gotik-Treffen Whitsun2013, 89,- € each in advance ticket sale (including advance sale charges).The Treffen-Event-Ticket includes free using of public transport (tram,city-busses, regional trains, suburban trains) within the zone 110 ofMDV (”Mitteldeutscher Verkehrs Verbund”) from 17th of june, 8.00 amto the 21st of june, 12.00 am (except for special routes)Parking Vignette:For car parking at the Treffen-area you have to purchase a ParkingVignette for 15,- € (including advance sale charges). Please note:Parking at the Treffen-area (agra-fairground) is definitely not possiblewithout a Parking Vignette.Furthermore we recommend to you: three soirees at the Opera House G Richard Wagner soiree G baroque ballroom dancing G Victorian ball GReadings G videoshow G live adventure role playing G autograph-shows G exhibitions G motion pictures in the CINESTAR G concerts in sacredvenues G organ concerts G theatre & variety G Aftershow parties with well known DJs G Gothic-scene-fair in the agra exhibition hall No.1 G medievalmile “Celebrant 2013” G pagan village G horse-drawn buggy rides G knight performances G medieval acrobats G fashion shows G fetish party“Obsession Bizarre” G fetish performances G fire and light performance G esotericism More details will be published soon!©goeart2013The following artists already promised their appearance:Treffen & Festspielgesellsaft für Mitteldeutsland mbHFernruf: 0341/2120862 G Weltnetz: G Elektronise Post:<1979> (D) G A SPLIT SECOND (B) G ABNEY PARK (USA) – exclusive German show 2013 G ALEXANDER PAUL BLAKE‘SAETHERNAEUM (D) – world premiere (D) G ALTAR OF PLAGUES (IRL) G ASLAN FACTION (GB) G BANANE METALIK (F) GBLOODY, DEAD & SEXY (D) G BRIGADE WERTHER (D) G BRUDERSCHAFT (USA) G BURN (D) G C-LEKKTOR (D) G COPPELIUS(D) G CREMATORY (D) G DARKWOOD (D) G DAS ICH (D) G DESIRELESS & OPERATION OF THE SUN (F) G DEVILISHIMPRESSIONS (PL) G DIE SELEKTION (D) G DIGITALIS PURPUREA (I) G DUNKELSCHÖN (D) G ECHO WEST (D) G ENABLEDDISASTER (D) G END OF GREEN (D) G ENSIFERUM (FIN) G FEJD (S) G FIRE+ICE (GB) G FORMALIN (D) G FRANK (JUST FRANK)(F) G GITANE DEMONE (USA) G GOD MODULE (USA) G GRAUSAME TÖCHTER (D) G HAGGARD (D) G HALO EFFECT (I) GHAUTVILLE (I) G HECATE ENTHRONED (GB) G HENRIC DE LA COUR (S) G HYPNOSKULL (B) G I LIKE TRAINS (GB) G IAMX(GB) G IN MITRA MEDUSA INRI (D) G IN STRICT CONFIDENCE (D) G INCITE/ (D) G INCUBITE (D) G IRM (S)G ISZOLOSCOPE (CDN) G K-BEREIT (F) G KARIN PARK (S) G KMFDM (USA) G KOFFIN KATS (USA) G LACRIMOSA(D) G LEAETHER STRIP (DK) G LETZTE INSTANZ (D) G LORD OF THE LOST (D) G LUX INTERNA (USA) GMARTIAL CANTEREL (USA) G METALLSPÜRHUNDE (D) G NACHTGESCHREI (D) G NAMNAMBULU (D) –reunion G NAUGHTY WHISPER (I) G NIN KUJI (D) G NOISUF-X (D) G NOMANS LAND (RUS) G OBJEKT/URIAN (D) G ORANGE SECTOR (D) G OTHER DAY (D) G PASSION PLAY (GB) G PATENBRIGADE WOLFF(D) G PATRICK WOLF (GB) G PHOSGORE (D) G POKEMONREAKTOR (D) G PREDOMINANCE (D) GPROYECTO MIRAGE (E) G READJUST (D) GREFORMEDFACTION(GB) G ROBOTIKO REJEKTO(D) G – exclusive world premiere G SALTATIOMORTIS (D) G SEX GANG C H I L D R E N (GB) G SHE PAST AWAY (TR) G SHIV-R(AUS) G SKELETAL FAMILY (GB) G SLEEPING DOGS WAKE perform“Understanding“ – worldwide exclusive show (NZ/D) G SOFT KILL (USA) G SORIAH(USA) G STILL PATIENT? (D) G SUICIDE COMMANDO (B) G SUTCLIFFE JÜGEND(GB) G TALVEKOIDIK (D) G TEARS OF OTHILA (I) G TERMINAL GODS(GB) G THE 69 EYES (FIN) G THE BIRTHDAY MASSACRE(USA) – exclusive German show 2013 G THE BLUEANGEL LOUNGE (D) G THE BREATH OF LIFE (B)G THE KVB (GB) G THE MESCALINE BABIES (I) GTHE OTHER (D) G THE SPIRITUAL BAT (I) GTHE SPOOK (D) G THE TWILIGHT GARDEN(USA) G THEATRES DES VAMPIRES (I) G THUNDRA (N) G UNITARY (S) G UNZUCHT (D) G VELVET ACID CHRIST (USA) –exclusive German show 2013 G VERMALEDEYT (D) G VNV NATION (GB) G WELLE:ERDBALL (D) G WHISPERS IN THE SHADOW(A) G WINTERKÄLTE (D) G WIPEOUT (A) G X-IMPROVISO (NZ) G X-IN JUNE (D) G XANDRIA (D) G XENO & OAKLANDER(USA)
  • 20. 20Burst { music magazine }Ryan Keyburst presentsInterview by Hope VNZ
  • 21. 21Burst { music magazine }If there is a band that clearly stands out in the music world today because of its uniqueness it is definitely the American pop punk/alternative rock band Yellowcard. Formed in 1997 the quintet has a rare musical connection to its fans and a signature sound.Yellowcard comprises of five young people, very down-to-earth and extremely talented, -Ryan Key (vocals, guitars), Sean Mackin(violin, vocals), Ryan Mendez (guitar, vocals), Longineu Parsons (drums) and Josh Portman (bass).Not a typical punk band, using the violin in their music masterpieces, unusual for the genre. An almost overnight success, with theirsingle “Ocean Avenue” peaking at #37 on the Billboard Hot 100! In 2012, after signing with Hopeless Records, Yellowcard releasedtheir 8th studio album called “Southern Air”, which Alter the Press ranked album number 1, Album of the Year. We’ve had the pleasure of speaking with Ryan Key, lead singer and rhythm guitarist.Enjoy!interviewHow did you come up with yourband’s name? Does it have any spe-cial meaning for you guys?I was not in the band when that wasdecided. But I think the original mean-ing didn’t hold a whole lot of weight. AsI understand it was a last minute deci-sion before the band’s first show. Now itmeans everything to us. It is a way of lifefor us and our fans. I think it stands forour relationship with them more thananything.Do you remember the firsttime you went on stageand you said to yourselfthis is what I want to do?Well, I knew I wanted to beon stage when I played TinyTim in A Christmas Carol atage 6. But it actually wasn’ta stage but a rehearsal roomwith Yellowcard that I realizedI wanted to play music forever.I just knew somehow that itwas what I was supposed to donext.Nowadays you can findmusic all over the inter-net, music is more accessi-ble, in your opinion is thisgood or bad?Personally I think it is moreof a bad thing. I think it hastaken a lot of the magic awayfrom records. So many things about analbum are not important anymore. Theartwork, the sequence of the songs, thebuild up to the release date, all have beendefeated by the Internet. I think we areon our way back to the time when artistsjust recorded and released singles a fewtimes a year.You had such a little amount oftime to record your latest album,but the outcome was far than amaz-ing! How did you feel about that?We went into the writing and record-ing process for Southern Air so quicklybecause we felt that there was a momentwe didn’t want to lose. We were reallyinspired to keep moving the band forwardand I think that inspiration found a placein the studio in a big way. We are ex-tremely proud of this record, and amazedby the positive feedback it has received.You have mentioned that you haddecided to write about family inyour latest album. What otherissues inspired you during thatprocess?I thought a lot about all the things thathad brought Yellowcard to the placeit was. This album was something weneeded, I think, to prove to ourselves thatwe are here to stay. So I found inspirationin lots of different places, but all of themrelated to our journey in some way.Did spending a lot of time as a bandin Jacksonville, Florida affect yourwriting style?Jacksonville provided a common threadof musical influence, I think. We are allinterested in very different types of musicindividually, but collectively we willalways have the punk sound we grew uplistening to.Any experience you had together asa band and you will never forget?I think winning an MTV Video MusicAward in 2004 will always be somethingwe remember. It was such a surreal ex-perience for us. We never imagined thatwe’d reach a level like that.Tell us more about your coop-eration with your producer NealAvron.Neal has produced everyrecord we’ve made since OceanAvenue. He is very much likea sixth member of Yellowcard.We have an amazing relation-ship with him which allows usto have a high level of trust andfriendship, but also profes-sional respect. Neal knowshow to get the best out of eachmember of the band.How was your experienceof collaborating with Sil-verstein?Unfortunately I didn’t get togo into the studio with them.They sent me the song andI recorded my part while wewere in the studio for WhenYou’re Through Thinking, SayYes Acoustic. The song cameout great though. I was stokedto be a part of the record.Did you have any musicalinfluences or people thatinspired you while composing yourown music?I think our influences are always with uswhen we write. One thing about Yellow-card is that while the band was formedaround a common interest in the sametype of sound, individually our influencesare very different. I think that brings a lotof diversity into the room when we arewriting music.You have been writing for a longtime together. Does this make iteasier to create and experiment?It does. We are always progressing assongwriters, but we have learned how towork together to get the best songs we
  • 22. 22Burst { music magazine }
  • 23. 23Burst { music magazine }can over the years.Violin parts in pop-punk are a rare thing to find butyou guys do it extremely well! How do you combine itwith your sound?Sean has been a part of the band from the start. We don’t havea science for it. It comes very natural for us. The violin is just apart of what we do.Should a band always be on the alert so as not to disap-point its fans?I think honesty is the most important thing. True fans will un-derstand you if you are honest with them. You will never be ableto please everyone so you can’t get too caught up in worryingabout who is disappointed.Are you touring this period? How is that going for you?This particular tour is the longest we’ve ever done as band.It has been a full 8 weeks with no sign of home. So we are allpretty ready for a break. But I know Yellowcard and it won’t belong before we are all itching to get back on the road again.Who else, band or artist you would like to work with,even make a CD?I would love to work with Dave Grohl or Chris Martin in anyway possible. Just the chance to soak up an ounce of theirknowledge would be amazing.How difficult is it to have personal life and keep thingsprivate when you are in the public eye?It is a challenge these days with the internet. It seems some-times like fans are not happy with just music any more. Theyneed to have total access to every aspect of your life. We try andkeep it about the music. That’s why we are here, not to postpictures of our private parts to gain notoriety.What is your advice for new bands who dream of suc-cess?Hard work. As obvious as that may sound, it’s true. If you’rewilling to work harder than everyone else, then you can achieveanything you want. The only ingredient for success I cannot pro-vide, is the songs. You can work super hard but you have to havegreat songs as well. And there’s no instruction manual for that.One last question, what is more inspiring for you, longsession in the recording studio or the experience of alive concert?I love them both. Making records is such an exciting and crea-tive experience. Live shows are the fruits of all our labor.New albumOUT NOW
  • 24. 24Burst { music magazine }
  • 26. 26Burst { music magazine }WarlordAn interview with Bill TsamisBy Elias J. Kay
  • 27. 27Burst { music magazine }Hello Bill and welcome to Burst.During the last year everywhereI look I see the name “Warlord”.New merchandise, record reissues,Warlord anthology, the “Sons OfA Dream” management company,live shows for 2013, etc… how doyou deal with this publicity? Howmuch have things changed since the“Destroyer” days?Well, the demand for Warlord to playfestivals in Europe hasn’t really stoppedfor the past 10 years. We’ve been offeredto play everywhere. However, I had acareer as a college professor and therewas only a couple months during the yearwhen I could do anything apart from theacademic life. Actually, I had “no time”because even during those 2 summermonths when there was no school I wasdoing research and acquainting myselfwith the latest scholarly works. It wasn’tuntil Oct 2011 when I was hospitalizedfor a severe “digestive illness” (I lost 70pounds in one year). I personally thoughtmy life was over because I was so sick.Although my college would have takenme back no matter what and whenever(and if) I got better, during that time Idid a lot of thinking and decided that if Iwas going to survive this deathly illness, Iwould return to music and just enjoy my-self - thus I would retire from the collegelife and play music. It just so happenedthat the attention was all about Warlordso I decided to go forward with a “new”Warlord project which would incorporatemany ideas I had as well. It’s Warlord,but it’s different. More medieval and epicthan the earlier Warlord. Very dark.You’ve always dealt with religioussubjects in Warlord, from parablesto the battle of Good and Evil. Whatwas the story behind the “darker”side of the band? What inspiredyou to write songs like the “BlackMass”, which by the way is one ofmy favorite heavy metal songs of alltime?Nothing. I wrote songs like Black Massand Child of the Damned when I was18 and I just tried to use dark themes inorder to convey an image of power. Thesongs are completely meaningless andreflect my songwriting when I was at theend of my high school years.In the past, have you ever beenbadly criticized by the fans or thepress, about a song or a decisionthat you’ve made?I’ve been criticized for lots of things. I wascriticized for the song “Deliver Us FromEvil” because it was too Christian. I wascriticized for Lordian Guard because mywife wasn’t a perfect singer and the lyricswere Christian. I was criticized for choos-ing Joacim Cans to sing on “Rising outof the Ashes.” I’ve already been criticizedfor using Rick Anderson to sing on thenew album. Ironically, those are the onlytwo singers who love Warlord. I couldcare less about the criticism. People don’tknow the whole story. Metal fans are“quick to judge and slow to understand.”Warlord reunited in 2001, releasedthe “Rising Out Of The Ashes” re-cord in 2002 and played in WackenOpen Air. Sadly, this reunion didn’tlast long either and you disbandedonce more. What happened backthen?It was kind of a combination of things. InMay 2003 when I was working on somethemes for a new Warlord album, wewere driving home late at night (around11:00pm). As we were sitting at a stoplight, I looked in the rear view mirror anda Mercedes Benz came crashing into ourvehicle at 55 miles per hour. We were sta-tionary. It was a massive car accident. Mywife’s hip was shattered and I receivedsome damage to my spine. So it was verydifficult for a few years for me to evensit down for long periods and play theguitar. It was difficult for me to stand upfor long periods and play the guitar. Evento this day it is difficult but my spine hashealed as much as possible so it’s not toopainful. At the same time Joacim wasattacked and mugged in Sweden and hereceived knife wounds to the face and hewas hospitalized. So the “stars fell out ofalignment for Warlord” at that time.Personally I loved “Rising Out OfThe Ashes” record as well as thevoice of Joacim Cans. Was Joacimyour first choice for the singer’s po-sition or not? Have you ever consid-ered working with him again?I knew Joacim from the Hammer Fall“Glory to the Brave” days when theycontacted me to get my permission to do“Child of the Damned.” We were alreadygood friends at that time. I think he’s agreat vocalist. Mark and I were readyto do a new project in 2001 and Markasked me, “Who do you want to sing?”And I didn’t even think twice about it. Itold him “Joacim Cans from this Swedishband HammerFall.” *This was before HFwas well-known so Mark didn’t know whohe was. I sent Mark “The Dragon LiesBleeding,” “The Metal Age,” and “Childof the Damned” and Mark said, “Yes,this is our man.” I was shocked when hereceived so much criticism from Greekfans. Very “mean-spirited” criticism.People can criticize whoever they wantbut they don’t have to be “mean-spirited”and call musicians “terrible names.” Iwould love to work with Joacim again butI wouldn’t want to subject him to these“mean-spirited” attacks. The northernEuropeans had no problem with Joacimsinging for Warlord - they loved the“Rising out of the Ashes” album, but theGreeks basically “hated” the guy. Theythought he was a poser, when, in fact, itwas Joacim’s dream since he was 12 yearsold to sing for Warlord. Like I said, theonly other singer who loved Warlord thatmuch is Rick Anderson. Jack Rucker andRick Cunningham didn’t care or under-stand what Warlord was all about. Theywould have worked with any band thatwas doing a record. And they were just“parroting” my lines in the studio. We putthose old songs together sometimes oneline at a time. I would sing the melody forthem and then they would practice it afew times in the studio for 5 minutes andrecord it right there. I remember the song“Aliens” was done “one line at a time.”People praise the first two Damien Kingsas if these singers loved Warlord when, intruth, they could care less about Warlordapart from the fact that we were record-ing an album. They had no idea they weresinging classic heavy metal songs.How is the scene right now forheavy metal bands? Are things bet-ter than they were back in the 80sor about the same?I really don’t pay much attention to themetal scene right now although I havenoticed that many classic metal bands arebeing discovered among young peopleand, of course, greatly appreciated by theolder crowd. It may be possible that alot of young metal bands aren’t offeringthe quality of metal that the classic metalbands did. I certainly know that this isthe case with Warlord. The popularityof Warlord has grown largely becausethere has been a vacuum for this type ofmelodic power epic metal in the contem-porary scene.Lately you’ve been using a lot theinternet and social media. Thisincludes a lot of sharing, frompersonal info to file sharing (music,photos, etc). In your opinion, inter-net can help or harm a band?Definitely. In this age of ‘social media’this is probably one of the best ways tomarket your band (or music) to the mostamount of people with very little cost. Infact, back in March 2012 I was told by anold Warlord fan, who is now a profes-sor of Marketing at the esteemed LoyolaMarymount University that we shoulddo as much “social media” as possible. Ithas certainly brought in a lot of peoplefrom all over the world into our network.Further, it gives fans the opportunity toexchange stories, etc. in a kind of discus-sion forum. Although the official Warlordwebsite is, it is thelast thing we are preparing.  It only existsas a link to our Merchandise Store.  But
  • 28. 28Burst { music magazine }the real Warlord Fan Club (Warlord Bat-tle Choir) is right there on Facebook at  Anyway, ‘social media’has worked wonders in naturally promot-ing Warlord with little cost, although wealso go the conventional route with someads in magazines, etc.I know that you’re a fan of moviesand movie soundtracks. Actually,the music in your solo album “SeaOf Tranquility”, reminds me a lotof a soundtrack for some fantasy/epic/sci-fi movie. What’s the storybehind that album?Very simply, because it is a long story -around 1990-1994 I went on a personalquest to teach myself the piano.  I firststarted by transposing certain renais-sance songs I knew from the guitar to thepiano. At first, it was difficult using bothhands on the piano (it is unlike the gui-tar).  But as I became better and better,I progressed to Baroque music, playingBach and the like.  I’ll never forget theday when I was play a “Two Part Inven-tion” by Bach and I thought to myself, Ishould write “my own” piano/keyboardmusic.  With a good synthesizer andsound bank I started composing melodiesand utilizing different sounds.  I thoughtI would put some guitar leads or melodiesin there too, but it sounded so pure tome just as instrumental keyboards thatI didn’t use the guitar.  The music wastotally for myself.  I never expected any-one to hear it.  So, in that sense it is pureand full of emotion, taking the listenerto distant places of the imagination.  Therelease by No Remorse Records is some-thing I never planned on or expected.  Butin remastered form is sounds wonderful. I am happy that it was released on CD. It’s not metal, but anyone who loves greatmelodies and soundtrack type music willenjoy it.Your music work in Warlord andLordian Guard, shows that you’veexperimented a lot and enrichedyour compositions with a lot ofelements. How much have yourinfluences as a musician changedthrough the years?Well, my musical venture started when Iwas 8 years old learning “melodic” music,whether it was Simon and Garfunkel,Peter, Paul, and Mary, renaissance musicor baroque music.  In that sense I startedoff “right away” playing melodic musicand I always loved melody (even when Iwas a kid).  At age 11-12, add some BlackSabbath and Deep Purple influences. At age 14, start adding Rainbow w/Dio,early Scorpions, and some Judas Priestand I just became a metal guitarist andsongwriter but I always maintained themelodic aspect of music.  As I becameolder I was very interested in “epic” music(especially film scores) so I wanted mymusic to sound huge and powerful. Youwill hear what I mean when you listen tothe new Warlord album (to be releasedin mid-March 2013). So it was a naturalprogression for me, even adding elementsof ecclesiastical music (which I alwaysloved), whether Gregorian or Byzantine,into the mix. Some of my influences comefrom Greek folk music from when I wasa kid and I used to hear my dad playthat deep minor music all the time. So,essentially, I’ve blended all these styles,maintaining a metal sound, but I alwaysput “music” before “metal.” The more Igrow, the more the music becomes grandand epic, always retaining its melodicflavor.Between the time of the first War-lord split-up in 1985 and the reun-ion back in 2001, you had a projectcalled Lordian Guard. In this pro-ject you kept all the familiar War-lord melodies, but you’ve added alot of chants, hymns, keyboards andorchestral parts. One can really tellthat you’ve put a big part of yoursoul in this music as well. What’sthe story behind Lordian Guard?Would you ever consider playingLordian Guard songs in the future?Well, some Lordian Guard songs orthemes have been transferred onto theWarlord canvass.  “Pure” Lordian Guardcan never be done again because mywife, who did all the vocals and narra-tion has suffered from numerous failedspinal surgeries and she simply can’t do itanymore.  However, if you hear the newWarlord you will hear plenty of LordianGuard elements in the music.  Now, it justhas that Warlord ‘bite,’ with Mark Zonderon drums and Rick Anderson on vocals. However, it still retains the grand epic vi-sion that I had during the Lordian Guardyears.  Back then, in 1995-97 I didn’thave the advanced pro recording studiothat I have now so Lordian Guard alwayssounded under produced.  Now, though,things have changed.  My studio is totallypro and I’m using a lot of “virtual instru-ments” as well.  The new Warlord is dark,epic, and powerful music in a metal for-mat.  It is like Lordian Guard on steroids.I’ve always considered you to be aChristian as well as a philosopherand a thinker. However, we bothknow that Christianity condemnedfreedom of thought throughout his-tory. Have you somehow found theperfect balance between organizedreligion and free thinking?Well, I don’t want to get into a religiousdiscussion but the statement that “Chris-tianity condemned freedom of thoughtthroughout history” is a generalizationthat is representative of some of thepower politics played throughout historyby the church.  That is NOT Christianity. THAT is “Christendom.”  One exam-ple, Martin Luther, though a RomanCatholic Augustinian monk was hardlysomeone who didn’t express “freedom ofthought.”  We “protested” many of thehuman teachings of the Roman Catholicchurch when that element of the Churchwas at its highest level of power andcontrol.  Anyway, I can go on, but simplyput, Christianity, founded by Jesus, wasa completely new way of thinking aboutthe world.  I’m highly educated in theol-ogy, philosophy, history and the like and“generalizations” as the one you men-tioned are fallacies. Atheists, for instance,are NOT all “freethinkers.” They adopt a“naturalistic” or “materialistic” philoso-phy. Thus, they view the world throughcertain presuppositions and their conclu-sions are predictable. Everyone views theworld through presuppositions.  Christiantheism presupposes that God exists -that’s all. And Christianity, of all the greatreligions, though it lays down guidelines,simply gives one “free will” to thinkwithin that context. I ALWAYS examineboth sides of every issue. I know as muchabout atheism as any atheistic philoso-pher. So, am I “not allowed” the “freedomto think” because I am a Christian? Peo-ple use stereotypes and, for the most part,it’s probably Christianity’s fault for help-ing create these stereotypes.  But “trueChristianity” is not a faith where one canreign it in and give it a stereotype. Themeasure of determining true Christianityfrom false Christianity is Jesus.  If one’sfaith conforms to his teachings it is trulyChristian.  And Jesus never taught thatone should “check his brain at the door.” If anything, he invited probing andthinking - very deep thinking.  Whateverstereotype you have of Christians (fromyour comment) I can assure you that I“People can criticize whoever they want but they don’t have to be“mean-spirited” and call musicians “terrible names”
  • 29. 29Burst { music magazine }am not of that ilk.One thing that saddens me deeply isthat you’ve dealt with major healthproblems in your life. You foughtyour way through them though, andalways managed to come on top.How is your health right now?Well, not only my health but my wife’shealth. Like I said, she’s suffered fromnumerous failed spinal procedures andshe is essentially bedridden with littlemobility. However, she has a strong willand a strong spirit - plus, she is naturallyan optimistic person so she has learnedto deal with her situation and adapt.  Sheis a person of great courageand strength.  As for me, I’mmore pessimistic and moreof a complainer. My healthproblem started in Jan 2010and I discovered that I waslosing weight.  I’m 6 foot 1inches tall and I weighed180 lbs. (which is not heavy)for my height.  In one yearI lost about 60-70 lbs. andthey wanted to put me ona feeding tube. I thought Iwas a gonner, but that wasokay if it was God’s will(as strange as that mightsound to you). Anyway, aftergoing through numeroustests and specialists it wasdiscovered that I have a raredigestive illness which has“no known cause” and “noknown cure.” I am beingseen on a monthly basis bya top expert in that field(digestive diseases) and shehas helped me greatly in“managing” my problem so Ican have a decent quality oflife.  Little by little I startedgaining weight by follow-ing a nutrition regimen andgoing along with her adviceand I now find myself at 172lbs (which is perfectly fine). So, although I still havethis problem and alwayswill - I have learned how tomanage it so I can proceed with musicor whatever I want to do, although I amlimited in certain ways. For example, mydiet is very restrictive. But I was oncenear death and now I’m pretty much aliveand kicking - I can’t complain. Everybodydies sometime anyway. I’ve lived a halfcentury which is far longer than most ofthe people who have inhabited this planetso I am grateful.  I believe that “struggle”is a good thing.  I’m very much a StoicChristian. “Struggle” can either cause youto perseevere with great determination orit can cause you to “give up.”  With all theproblems we have faced over the years Ihave become a strong person with greatwill and determination to move forwardno matter the circumstances.I believe that the decision to recordnew songs and play a few concertswith Warlord, was definitely notan easy one to make, consideringall the health problems that you’redealing with. What was the mainreason that once more breathed lifeinto Warlord? Did Mark Zonderhave something to do with it?You’re right.  It wasn’t easy. Mark didn’thave anything to do with it apart fromwhen I gave the “green light” to eve-rything he was more than willing toparticipate. But it was a hard year - butlife is hard for everyone.  You just have to“press forward” like a Roman legion and“not give up.” So that’s what I’m doing. When my health fails utterly or I can nolonger do it then I will probably just dosome recording. But since there is aninterest in seeing Warlord live, and sincewe’ve been able to put together a topnotch act, we will go out and play (as wellas record). Personally, I don’t know whatthe future holds.There always was a certain fussabout the singers in Warlord. As faras I’m concerned though, the musicin Warlord comes first. Having saidthat, who is your favorite Warlordsinger?I don’t really have a favorite. As far asI’m concerned they were all just “instru-ments” that I was using. Every singleword and melody line was dictated by meeither in the studio or on a scratch track. The vocal melodies are just another in-strument presenting my lyrics. I can workwith any singer and it would be the samething. I write everything even the vocalmelodies and harmonies. As a songwriterI have always wanted 100% control overmy compositions.Looking back in time, isthere something aboutWarlord that you don’tlike and that you wouldchange if given thechance?Well, until the past couplealbums we never had theproduction quality that wewanted because our finan-cial resources were limitedand Metal Blade was a smalllabel with no money.  Now,however, we all have ourown professional studios,we use a Grammy Awardwinning engineer, so themusic is well-produced andsounds better than ever.Still, though, even thoughwe recorded the “DeliverUs” album on an 8 track for$500-800, it remains prettymuch a classic. Good metallisteners have always beenable to hear beyond the pro-duction quality. But again,“now” we are very pleasedbecause our music is sound-ing the way we envision it tosound.Last question. Judgingfrom what you’ve al-ready been through withWarlord, the currentresponse from the fanstowards the band as well as the cur-rent state of the music industry andyourself as a productive musician,how do you feel about the band’s fu-ture right now? Has Warlord risenfrom the ashes once more here tostay?Simply put, as long as fans want to hearmore Warlord, and as long as I am ableto produce it (that is, with regard to myhealth), I will continue to compose andrecord more Warlord material.
  • 30. 30Burst { music magazine }How did you fall in love with mu-sic? Who cast the spell on you?Your famil, a musician, a friend ora teacher?My first inspiration to learn how to playthe guitar was from Eddie Van Halen ofthe legendary rock band Van Halen. Iwanted to be just like him, so at 13 yearsold my parents bought me an electricguitar from a pawn shop and it all started.Soon after, I began writing songs andthen singing them.Is America still the Promised Landfor musicians or are things roughthere too?I think the United States of America pro-vides many opportunities for musiciansand talented people in general. The coun-try seems to be very entertainment-driv-en. I also think the internet can provideanyone in almost every part of the worldthe opportunity to share their music andtalents. Even though I am located in theUSA, many of my amazing fans are inother countries because of worldwide ac-cess through Twitter, Facebook, my website, and YouTube.In the past you formed a band, andif you had talent and originality youstood out. Nowadays with so manyeducated and talented musicians,do you believe it is more difficult tosucceed? Is persisting your dreamenough?I think it is definitely more difficult to be-come an international mega-star like TheBeatles, Rolling Stones, Michael Jackson,Madonna, etc., but feel it’s easier to findsuccess. Labels just are not what theyused to be. Their budgets have becomesmaller and the deals are not as good forthe artist anymore. However with digitaldistribution and social media outlets, it’seasier for an artist to make a living at anindependent level.You write all of your own music;where do you draw inspirationfrom during songwriting and what’syour favorite part in this process?I try to find inspiration in almost every-thing around me...the world news, love,my own personal struggles or successes,friends, fans, etc. My favorite part aboutthe writing process is creating somethingthat expresses an emotion, feeling, andideas through melody. I love just sittingin a quiet room with just a guitar and laptop.Is there a specific background orany story behind your songs or doyou just sit and wait for the musicto come?There are times when I sit down and tryvery hard to write something great, butthe best songs happen without planning.My favorite songs come to me withoutwarning while I’m driving in the car.Are there any musicians you’ve al-ways looked up to and affected youwhile writing your own music?I definitely have some favorite musiciansand artists in my iPod, however whenwriting, I just let my fingers and the gui-tar lead me to something special. I can’tthink of specific musicians who inspiremy writing, but a few who inspire my vo-cal performances include Myles Kennedy,Chris Cornell, and Scott Weiland (toname just a few).If you could tour with an artist orband, who would it be and why?I’d love to open for some living legendslike KISS, Foo Fighters, or Bon Jovi. I’malso a big fan of what Slash is doing aswell as Alter Bridge.I’ve noticed you are taking partin the VeeWall Vocals video con-test and if you win, you are gonnadonate to Breast Cancer Research.How important do you considercharity is for a musician?I think as a human being, charity shouldbe important. If you have the opportunityto help those less fortunate, I say help. Idon’t normally do online contests, but theVeeWall Vocals contest has a grand prizeof $100,000 USD and I see that as an op-portunity to do something great for oth-ers. If anyone wants to help the cause andvote daily for my video “I Promise You”,the link is Voting ends April 29th.Tell us more about your forthcom-ing album.It’s definitely different from any ofmy previous releases with a lot moreelectronic sounds, but still very simpleproduction. It incorporates rock, pop,acoustic, dubstep, and dance sounds, soI’m excited to see what people think ofit. I also solely wrote, produced, played,engineered, mixed, and mastered all ofthe songs. It should be released in earlyspring on iTunes worldwide and throughmy web site as a hard copy.Any live shows on schedule?I played over 320 dates over the pastfew years, however there’s nothing onthe calendar at this time. I’ve decided tofocus on finishing up the new album andpromoting the VeeWall Vocals contest.Dates will definitely be posted soon, mostof which will include solo-acoustic perfor-mances at many Hard Rocks throughoutthe USA. I am also hoping to visit a fewparts of Europe toward the end of theyear.What does success means to you?How would you define it?This is a good question with a very simpleanswer. Success to me is being happy andfeeling fulfilled. Many people go theirentire lives trying to find success, butshould realize that success may be sittingon a secluded beach in the Caribbean orenjoying time at home with their beauti-ful family and friends.If you had a wish for the future,what would it be?My wish and hope is that I continue tofind success and joy throughout my jour-ney in life and music. I also hope to sharemy music and happiness with many moreamazing fans.http://www.JoshuaAdamsMusic.comgetting to know Joshua AdamsInterview by Hope VNZ
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  • 33. 33Burst { music magazine }Burst presentsVoreas FaethoNInterview by Spiros Smyrnis / Photos by Raphael and Byron AretakisAherusia is a very interesting Greek black metal band, which combines traditionalGreek music elements with the pagan essence and the frozen riffs of black metal. Theband is about to release the successor of “And Then Tides Shall Reveal”, named “AsI cross the Seas of My Soul”. We met Voreas Faethon, the front-man of Aherusia, atAbsente Cafe and talked about everything we should know about Aherusia.Read that loud!
  • 34. 34Burst { music magazine }Give us a brief bio of Aherusia.Aherusia were formed by Voreas Fa-ethon in Athens,Greece in 1997, withEvrynomos in guitars, Foibos Apollyon inkeyboards, Pontos Oceanos in pipes andbagpipes, Lyda Faesforos in female vocalsand Polypimon Damnameneus in bat-tery. During that first period of Aherusia,Voreas Faethon was the main vocalist andalso played the bass. The aesthetic prin-ciples the band holds until the presentday, were forged from the combinationof the traditional Hellenic sound and thepro-gregorian, European, folkloric tunesunder the music manifest of MajesticBlack Metal. The band played some un-derground shows and released indepen-dently the “Whispers of Moon” mini LPin 1999 for a very small number of copies.During 2000-2003 the band’s activitywas frozen, the first line up broke andVoreas Faethon entered the cult northAegean black metal band of Panselinos(based in Mytilene, Lesvos and originallycreated by Orion Arctorios). Eventually in2004 the Aherusian dawn host gatheredagain: From the ashes of Panselinos,Aherusia were formed again. Two yearslater, an unsuccessful recording of thefirst album and too many shows acrossthe entire Aegean Sea, Polypimon Dam-nameneus and Ichoria left the band, tobe succeeded by Aidhor and Charon. In2007 the band’s seat returned back toAthens, where Alchemist and Esperostook the orphaned positions of Orion Arc-torios and Ierax, since they could not fol-low the band due to serious obligations.“And the tides shall reveal” wasyour first album. Which was thefeedback you got?For our début album we worked at Deva-soundz studios. The album has great re-views and sold 3000 copies. It went reallywell. We also gave many gigs, more than80 shows around Greece with “ΣΥΝΑΞΙΣtour”, we played everywhere and thevibes we got were more than satisfying.So, “As I cross the seas of my soul”is your second album. Who did theproduction of the new album andwho is responsible for the mixingand mastering process?I did the production of the new album,while the mixing and mastering processtook place at Lunatech Studios, Katerini,Greece by a great professional and amaz-ing man like Dimitrios Ntouvras.Would you characterize “As I crossthe seas of my soul” as the musicsuccessor of “And the tides shallreveal”?You can call it that way. Each listenerwould share with us his opinion. We triedto perfect ionize the sound of “And thetides shall reveal” on our second album.As far as the lyrics’ part, we deal with thesenses of freedom and sea.The front cover of “As I cross theseas of my soul” is awesome. Whois responsible for it?I will be honest with you. When wefinished the recordings of the album, weapproached Seth Siro Anton, who didthe artwork of our first album but dueto workload, he couldn’t do it. So wecontacted Raphael Aretakis, a great pho-tographer, who took some shots and thenManthos Stergiou (mainman of TardiveDyskinesia) did the layout.Your first album was released fromEmotion Arts. How about the “As Icross the seas of my soul”?We signed with Bowel of Noise recordsthis time and we are very happy about it.Bowel of Noise is not the biggest label inthe world but they are really interestedin promoting the music of Aherusia thebest way they can. We have a very goodcollaboration with them.Din’t you think the possibility ofself-releasing your second album asyou are the ones who financed it?We just wanted someone else to run afew things for us, so we can have a betterdistribution, to book some gigs and someinterviews in order to make our music“accessible” to more people.
  • 35. 35Burst { music magazine }Aherusia is probably the only bandin black metal worldwide, whichhas a lyrist as a full time member.How would you feel about it?I really like it but I want to clear somethings out. Aherusia did not have a lyristas a full time member in their line up, justto draw attention. Lyre is vital to Aheru-sia’s music and her marriage with blackmetal is something that comes naturally.Tell us more about the con-nection f Black Metal withthe traditional Greek music.I have always felt that the tradi-tional music is the best way to de-scribe the inner thoughts and ag-onies of society. Music is the mosthonest impression of a group ofpeople. If you have to learn thehistory of a country you shouldprobably listen to their music.If you listen to Latin-americanmelodies, or Celtic melodies youcan understand a lot about thesepeople’s life. I grew up with thesound of traditional music in myears. The one someone may callas folk, like Martin Walkyier ofSkyclad, a band that influencedus. Let’s stick to the connectionbetween heavy metal and tradi-tional Greek music. No matterhow strange it may sound thereis a strong connection betweenthe American blues and the tonesof Epirus. Socrates (an historicrock group) used the minore fromEpirus in their melodies.Aphrodite’s Child too.Of course. The European musicis not far away from the heavymetal sound basics. When I wasa child, I grew up with Byzantinemusic and traditional Greek music. Ilearned tabura first and then an electricguitar. To Sum Up there are Greek tra-ditional elements from Socrates, Aphro-dite’s Child, the amazing psychedelic rockband Four Level of Existence, to Bliss,Rot and Rotting Christ and many more.The Greek metal scene has madebig steps within the last years andhas broken the underground bar-rels. How would you see the Greekmetal scene as a part of her?The Greek Metal scene is in the metalfront line nowadays. The fact that Gus Gis the guitarist of Ozzy is the proof thatGreece has guitar virtuosos. George Kol-lias the drummer of Nile is another greatexample. Even in the 80s Greece hadsome great musicians like Bill Tsamis,the mastermind of Warlord. This is whatI believe as far as the Greek musicians’quality. When I first came in touch withthe Greek metal in the early 90s herein Greece we have a great death/blackscene. The Hellenic Black Metal scene onthe other hand is along with the Scandi-navian scene the best and most historicones worldwide. The interesting thingthat Greece has broken the black metalbarrels too. Firewind, are one of the top-5power metal bands today and they areGreeks. Rotting Christ and Septic Fleshare not underground since the early 90sbut front line bands. Greek bands, touraround the world presenting their profes-sional, yet exceptional music. TardiveDyskinesia are an excellent band too.Lucky Funeral, Phase Reverse, Poem andUniverse 217 to name a few are amaz-ing bands who deserve recognition andhave gained some. If I have to changesomething in the Greek metal scene, thatwill be the misery we fell into comparingourselves with foreign bands. We lack oforganization here in Greece, as well aswe lack of major labels. The last one I canrecall is Black Lotus, which is “broke up”many years ago. There is also a wrongperception of not supporting the Greekbands from our audience.I think that this is has changedwithin the last years.I think that this perception is still goingon. The metal press here in Greece leav-ing aside bands like Rotting Christ andSeptic Flesh, seems unwilling to make afront cover another Greek band. If youread an issue of Terrorizer, or Kerrangyou will realize that foreign magazinesgive excellent reviews to a newcomerband from Greece, while the Greekmagazines and web-zines didn’t. Swedenof 6 million residents support their localbands, so the musician could focus ontheir artistic vision and also could makesome money from it. Here, things aredifferent.To me music of Aherusiais Hellenic. We said beforethat you have filtered sometraditional Greek ele-ments in your music, butyour black metal riffs alsobring up the Hellenic BlackMetal Wave as we learnedit fro Early Rotting Christ,Thou Art Lord, Varathron,Necromantia e.t.c. On theother hand you choose touse corpse-paint, a Scandi-navian Black Metal charac-teristic. To me this is a bitcontradictory.I like the term Hellenic, be-cause as you said I am influ-enced from the Hellenic BlackMetal , and the tradition ofour country too. I don’t feelSwedish or Norwegian, Danish,I am Greek. It is also true thatthe Scandinavian Black metalbands used to put corpse-painton their faces, while the Hel-lenic Black Metal bands didn’t.The reasons that Aherusiachoose to put corpse paint onare different. I wanna say here,that Scandinavian people usedto put corpse paint as a ritual,when they worshiped Odin. Itwas a war tactic so they couldbe better adjusted to the misty climateof their countries. Not many of us knowthat there were European people who didthe same thing at war-time. Celts put thecommon blue color on their faces, whileancient Greek painted black their eyesand mouth when they put their helmet onso they couldn’t be recognized from theiropponents. Aherusia put corpse-painton because we are fans of horror rock,or stage rock as well as of Ancient Greekdrama. We do it for stage-show reasons.You cannot play ecstatic themes andmelodies where dark atmosphere rulesyour music and named your band Tralalaat the same time when your singer’s nameis Little George. When you seek methe-xis, corpse-paint gives an extra effect onscene and on your performance. We fol-low the motive of Ancient Greek Tragedy.Apart from that, there are matters oflighting that corpse-paint serves too.
  • 36. 36Burst { music magazine }The music of Aherusia hasa theatrical approach that ismore suitable for old theatersthan rock clubs. What do youthink about it?I would be very glad if Aherusia,played in an ancient Greek theateror in a catacomb of a medievalcastle, but unfortunately somethinglike this is not easy. I think that themusic of Aherusia could be pre-sented the same great way on smallclubs too. That happened for tworeasons. The first one is personalcause if you know your music, ifyou know how to present it aes-thetically then you can do it evenyou played on Diogenes Jar. On theother hand if you don’t know thisstuff it makes no difference if youplay in Wembley. There is some-thing special playing in small clubsin front of 100-150 people. Youfeel them so close to you. There isan intimacy among the band andthe audience, a special, magicalconnection. I know my music andI know how I could take advantageof the equipment I have. We alsomake a video-art film for everyalbum, which accompanies ourmusic as an extra visual effect.How did you come up withthe idea of making a video artfilm?When we were in Mytilini we usedto deal with video-art process. Itis also very interesting to watch ashow, where the band performed infront of the audience while there isa recorded video we made our-selves behind us.How would you support yournew album on stage?We’re gonna do it the way we did it withour first album. Back then we gave 81shows. We played everywhere, overcom-ing distance, stage difficulties and manymore. It is natural that we are going tofocus on “As I cross the seas of my soul”.We are going to play everywhere they askfor us. We wanna give some shows but ifwe gonna do it, we are going to do it inour terms. I am not going to kneel downin front of anyone, just to give one show.Thank you very much man!Thank you too!
  • 37. 37Burst { music magazine }Give us a small bio aboutChthonian AlchemyWell, the first approach ofthe Chthonian idea came upin 2006. A year later, thedebut demo cd was released,entitled “The Awakening” thatincluded 2 tracks, “Moirai”and “Renaissance”. In 2008,the first line-up of the bandwas a fact. New songs wereready and the first live showsin summer festivals and ven-ues came true. The next twoyears the band concentratedin the production of the firstalbum and after the fulfilmentof military obligations theband came back by signing acontract with “FM Records”and finally the album “Beyondthe Acheron” was released.Influences and favoritebands?The truth is that we havemany influences from manydifferent genres. For suresomeone can understand thatwe like black, gothic or deathmetal but in our music youcan find many other elementsreflected through our melo-dies and atmosphere. So, Ican’t mention specific bands.Besides, each of us may havea little bit different answer onthis, something that is usuallyinteresting in a band.What is the story behindband’s name?The initial concept of theband was the synthesis ofdark metal riffs and melodiesenhanced with lyrics referredto the alchemy of the under-world. A way of occultism inthe name of chthonian deities,who were the gods of theunderworld according to theancient Greek mythology andwere deciding about mortals’luck, mainly after their death.So, Chthonian Alchemy wasan ideal name for us thatdescribes this concept.Is dark metal the appro-priate term for someoneto describe your music?Yes, we could say that. Thereare many elements in our mu-sic, black, gothic, even deathbut the whole atmosphere andfeeling is sure dark.Your debut album Be-yond the Acheron is avail-able from FM records.What is the feedback yougot so far?We are very satisfied fromthe feedback we are gettingfor “Beyond the Acheron”.We receive many e-mails andmessages from people thatfind something unique in ourmusic and this is the best feel-ing that a band can get.“Beyond the Acheron”.More info about thisone!!! Production, mix-ing, mastering, music andlyrics. Tell us everything.The album was recorded,mixed and mastered by JohnMakris at BaseLine Studiosand the whole production wasmade by the band and JohnMakris. The music in the firstalbum was mainly writtenby Andreas as also the lyrics,but every member had itsown contribution to the finalresult.Are you satisfied by yourlabel?Nowadays the contractsbetween labels and new bandsare pretty similar. Most ofthe times bands sign DIY(Do It Yourself) contractsthat contain manufactur-ing and distribution and insome cases basic promotion.We were about to release thealbum ourselves after manyexpensive offers by otherlabels but FM Records gaveus an interesting offer andwe finally signed with thishistorical label.You have a woman be-hind your drum-kit. Notthe most usual thing foran extreme metal band?It’s true that you don’t seewomen behind drums often.Of course Mechblastess couldcope with the needs of theband from the beginning soshe gained her drum thronerightfully. Unfortunately, dueto personal reasons she won’tbe with us in our next steps.You have shot an officialvideo for Mortal Lustsong. Any stories or triviafor this shooting?Yes, we wanted to make avideo clip that would show thestory of the chosen song like ashort film. We didn’t want tomake just a static video show-ing the band playing indoors.So, Mortal Lust was a songthat seemed interesting to beshown as a story. The videoclip finally filmed, directed &edited by Vangelis Yalamas/ Fragile Studios. We had areally great time at the shoot-ings even though the wholeproject was exhausting.Any tour plans for theupcoming future?At the moment the band isworking with new membersthat will be announced soon.After that, some gigs will fol-low for sure.The last words areyours...We would like to thank youonce again for this interview.We wish you all the best.Hope to see you soon in ourupcoming shows. Take care.Andreas of Chthonian Alchemy on burstInterview by Spiros Smyrnis
  • 38. 38Burst { music magazine }Marianna Kofinakichatting withMinas Tsigosthe voice ofDanger AngelPHOTOS BY MANOS KOUKAKISDANGER ANGEL
  • 39. 39Burst { music magazine }Welcome to Burst magazine andthank you in advance for your time.First of all, could you please pro-vide us with a brief bio of the band?How everything started back in2006? How have the lineup changesaffected the band?Well as you said it started in 2006 witha lineup quite different to what DangerAngel are now. The structure of the bandwas different (2 guitars), the sound wasdifferent, almost everything changed.After the debut album, when I came onboard, the band moved to a more mod-ern, contemporary direction, the new mu-sic was more suited to what I can do andwhat they wanted me to do in the firstplace. Besides, with one guitar less, wethought of “upgrading” the keyboards asa first-line instrument for the band whichalso affected both the sound and theband’s on stage image. Things will keepevolving, you know, that’s how we see it,more of an evolution than a change.So, Danger Angel…How did youcome up with the name? Do youthink your music is a “dangerousbusiness” especially in the hardtimes we live in now in Greece?I really don’t know, this was decided waybefore I came into the picture but fromwhat I can understand the guys likedthe controversy between the “angel”and the “danger” down to the words’core meaning. No real story behind it, Iwould know, I’m sure haha! No, musicis not dangerous; it’s a really happy andcompelling place for all of us. How ourmusic takes form definitely has to do withwhat’s going on in our lives and in ourfriends’ and families’ lives but that’s howit goes, you just sing for what you feel andfor how you feel.All the band members have beenan integral part of the Greek musicscene for years even before the“birth” of Danger Angel. Could youshed some more light on that? Doesthis mean that you have a diverserange of influences music-wise?Indeed, all of us have a background thatgoes back a while, several bands anddifferent styles. I believe that this showsin the new album. “Revolutia” is some-thing that happened as it was written andconceived, opposed to the debut albumthat had several songs written way beforeit was released. Personally I had a moreclassic heavy background and I was sing-ing a lot of Greek stuff before I joined theband, Ahas is a funk/soul die-hard fanwhile he loves the 70s rock bands, Tony isa Beatles aficionado but also loves otherstuff like disco or glam rock and evenswing, Rudy has a strange thing for Span-ish heavy metal but also hard rock whileEthan is all into classic heavy but alsovery into things like Nickelback, the FooFighters, 30 seconds to Mars, Muse andall that stuff. I suppose that this diversityis what makes “Revolutia” interesting.You can find all (or most of those things)in there and as our sound evolves intowhat we really want you will pick up moreof those influences.Anger, Melancholy, desperation,protest and yearn for a change dur-ing the hard times we’re currentlylive in are the feelings that come tomind when listening to your music.Which are the sources of inspira-tion for your music and lyrics?Just those: As I said before, we feel andsing and express ourselves influenced andinspired by what’s going on around us.We’re a rock band and a rock band hasan obligation to speak for what’s going onand for those who can’t speak their ownvoice about what’s happening to them. Nomatter how compromised rock music canbe in our days, it still is and will always bea voice for revolution and protest and so-cial awareness. It can’t be any other way.Either it is “Street Fighting Man” and“Power to the People” and even “DeadBy Christmas” or “I Wanna Know WhatLove Is”, it always has that radical qualityin its core, that strong social influencethat inspired a series of generations intospeaking their minds. Of course there willbe protest songs, angry songs, love songs,stupid songs but it all takes form withinthe social circumstances of its times. Sodid “Revolutia”. We spoke of our lives
  • 40. 40Burst { music magazine }and the lives of our own people, of ourfriends that took their own lives, of ourfeelings as a band, of stories that seemednice or appropriate at the time. It’s abouteverything we live for, everything we livethrough and all things we hope for.Tell us a few things about “Revolu-tia”…Do you consider it a “revolu-tionary” album? In what way?Yes we do actually, again in the way that Idescribed above. It is “revolutionary” forus because it points to that new directionwe want to move towards, it is also evolu-tionary because of that. It is “revolution-ary” because of its message and its story;it’s a concept if you prefer that term. It’salso revolutionary because it is one ofthe albums that come at a time that theGreek rock scene is booming with bandsthat really shine and have things to say.Look at the Greek bands out there touringEurope and the world, from establishedbands like Firewind and Rotting Christ toDanger Angel and 4Bitten to Redrum andWild Rose, to Nightstalker and SuicidalAngels and Outloud and Junkyard 69 andso many others that are out there or beenthere or will follow, signing for interna-tional labels and touring and playing theirmusic to the world. This IS a revolutionand people had better watch out for usbecause we’re on our way.Did the album fulfill your expecta-tions? Are you satisfied with theoutcome?Totally. It’s exactly what we wanted to doin the first place and it came out won-derfully. We had a plan and it workedout perfectly. There was a plan when wearranged the new lineup, there was a planwhen we asked Jeff Scott Soto to produceit and John Ellis to mix and master it,there was a plan when we tagged alongfor the tour where we are right now as wespeak. It’s all part of a big, hopeful, crazyplan. The first part of the plan has beendone and has been done well. When wecome back we will move on to the nextpart and so forth until we reach that pointwhere we will need a new plan. And we’lllet you know when that is haha!What’s the feedback you’ve receivedso far by fans and the press?We were a bit held back as far as thefans were concerned, with the changein the sound and so on but in the endwe see we needed to worry about noth-ing. “Revolutia” is welcomed by all thosepeople that discovered us with the debutalbum and it attracts a “ton” of new fansas it seems. As far as the press, feedbackso far is excellent, either it is reviews orpress people we meet these days duringthe tour. We understand, though, that wecan’t be favored by everybody, it’s onlynatural. The most encouraging thing,though, is that now that the tour startedwe see people coming to us after the showto shake our hands and buy our CD andour merch and they want autographs andphotos and all that stuff we were not usedto. You know, people in England andGermany (so far) that had no knowledgeof us whatsoever, now come to us andtell us how pleasantly surprised they are,how they would like to follow our thingand that they will tell others about us.This is absolutely fantastic for us becausewe knew we had something good in ourhands and we were nervous and anxiousfor other people to see it.You’re embarking on a Europeantour. Can you share a few moredetails on this tour with us? Whichwas the best live moment so far?Well, we’re only starting, we’ve played acouple of dates in the UK and we’ve justwrapped up the first German gig. It’s agreat experience, we’re playing alongJeff Scott Soto who is not only a force tobe reckoned with and a fantastic artistbut also a great person to live with and agreat friend. He supports us in a way wecould never hope and we are most thank-ful! And then there are his bandmates,BJ and Edu and Dave Z and Jorge Salan,a bunch of amazingly talented musiciansthat we’re proud to share the stage with.Jorge’s own band is with us, exceptionalmusicians as well, Carlos Exposito andLuisma Fernandez, Carlos being one ofthe best drummers you could ever havethe luck to see play. We’ll be coveringmost of the continental Europe apartfrom the UK, which is something reallyinteresting and land in Greece, Thessa-loniki and Athens, for the final two
  • 41. 41Burst { music magazine }shows, April 25th and 26th. Best thingso far is the reactions of the people thatcome to the shows. Right at the frontfrom the beginning, (something we’renot so accustomed with…), cheering andclapping and wanting to meet us and getto know us… The life on the road, on thetour bus, a new city every day, It’s great, amarvelous experience all around, one wehope to re-live very soon.Do you prefer performing in smallvenues or in big festivals? Forexample, you performed in the his-toric “Underworld” pub in CamdenTown, London a while ago (April 6),one of the favorite venues of manyrock and metal bands for decades.It’s Camden man, the craziest, the mostrock ‘n’ roll place in the world! TheUnderworld was simply amazing in itsraggedness and old fashion! It’s a minuteRoman arena of sorts in its roundness,the smells, the surroundings and decora-tions and carvings on the walls; the vibeis so classic you think you’re travellingback and forth in time! In that sense,playing in such venues and having thempacked is something so intimate that it’shard to replace with anything. On theother hand, festivals provide you with ahuge stage, big crowds, a rock star feelingthat lifts you up, even though we havedone a couple of such big stages in thepast, we haven’t done a real, proper festi-val yet and we are surely looking forwardto it!How do the new technologies affectyou?We use every bit we can lay our hands on.Either in the studio or on stage, we’re notso much classic when it comes to that. It’samazing what technology can give you tobetter your sound and the whole experi-ence you give people. On the promotionfront, we would be naïve to deny the helptechnology gives to bands big and smallalike. It affects us big time. And you knowwhat? If people go and download oursongs and albums, so what? Of coursewe would like to sell more CDs but thereare people that can’t afford to buy all theCDs they might want and others thatdon’t even have a CD player anymore.And at the end of the day the more peoplethat listen to our music the better for us.And, you know, if they appreciate whatthey hear and if they like us a lot, someof them will go and buy the CD to have itas their own and they might as well buya t-shirt or something else. Even bet-ter, they might come to a show, which iswhat will give us incentive to move on.So, for example, we urge people duringour shows, to get their cameras out andfilm the show and put in on youtube orwhat have you and show their friends andfacebook pals and whatever and spreadthe word of Danger Angel and have morepeople come to the next show and have agood time.The final words are yours. What’syour message to the fans?Well, it’s so much fun and we are soblessed that even a small bunch of peoplelike our music and take the time to comesee us or even buy our music and havea good time with it, we’d like to thankeach and every one. So, please, come toour shows, we’re going to have so muchfun and create some cool memories too.And get those cameras rolling and showeverybody that you had such a good time.And after the show come and meet us andtalk to us and let’s get to know each otherand make plans for the next time we’ll bethere to play for you. Let’s get the partybigger each and every time! It’s the bestthing we can wish for!New albumOUT info
  • 42. 42Burst { music magazine }6stringsfrom the landdown underJoe Materaon burst!by Eleni LeonidaLucky Funeral is one of the most active Greek bands of the “heavy” music of today.Forget the labels. They don’t care about them and so do we. We met them in theirown new studio somewhere in Aigaleo City, Athens. We talked to Mikebass (vocals)and Lizard (bass) about their upcoming album, their own new label, vinyl, Beatles,Amanda and so much more.Read that loud motheruckers!Lucky FuneralInterview by Spiros SmyrnisPhotos by Penelope Tripatzi
  • 43. 43Burst { music magazine }Give us a small bio of Lucky Fu-neral.Lizard: The band was formed in 2007.Since then we have released two fulllength albums and three splits. We havegiven many live shows during the last sixyears,. We have went on three Europeanand two Greek tours, we have playedin big festivals like Rockwave and havesupported great bands as opening acts intheir gigs. During the last year and a half,we have been focused on our new album,mainly giving our attention to the compo-sition and preproduction part.So you are about to release yourthird official full length album,after the Dirty History of Mankind.More info please.Mikebass: We have to organize ourselvesso we can present ideologically and philo-sophically what we want and then playit musically. The fact that in this albumhe didn’t need to read the lyrics from thebooklet so he could understand them is anew experience for us, as well as for thelistener.Lizard: If you wanna make a bigger stepwith your music you have to work harderand harder. As time goes by, you startto mellow. When we formed the bandwe took the way other bands had al-ready taken. Nowadays, however, in theinternet era, the listener has to listen informs, because there is so much stuff hecould listen to. Musicians do it too! Theyeither wanna make some money or theyjust wanna make their music well known.Sometimes you have to stick to forms,but, when you grow up, you stop think-ing that way. You “create” your music notcaring about the feedback you would get.Mikebass: We don’t want to be a bandwith the typical artwork, the typical lyrics,and the typical vocals, because each oneof us has great influences, so we can makesomething brilliant. The worst thing fora band is labeling its music. When westarted the band, we have made such mis-takes too, like screaming we are a sludge/stoner group, but this is past and we haveleft it behind us.Lizard: Our split releases have sound dif-ferences one from another.We are in your own studio and thenext question has to do with thetechnical stuff of new album: Pro-duction, mixing, mastering…Lizard: We will do everything here. Wewanted to make our own studio, so thatwe can rehearse. This studio will help usin the song-writing part as well. As wemoved ahead, we felt the need to make itall on our own in order to have time andexpress the things we want, leaving asidethe technical issues that might occur.You save much time, by having your ownstudio. The preproduction of the newalbum started two years ago, when he hadsome ideas. George Leodis will be ourproducer, while Bill Scouras will be thesound engineer. We have some vocals torecord and we will be ready. Mixing willtake place here and mastering too.What about the release of the newrecord? Have you found a label?Lizard: As for the release we have found-ed our own label, Lyknopolis Records.When we find the money we will cut thecd and vinyl copies. We hope that wecatch the release date of May 17th.Is self-release a one-way street foran underground band these days?You have already collaborated withGreek and foreign labels alike.Which are your thoughts on thismatter?Mikebass: If you are not promoting yourrelease yourself you cannot do anything.You are going to miss it among the thou-sands of releases.Lizard: Sometimes, labels make your lifeeasier, but we have made our decision.Deciding to release the new album onour own was a tough one. I wish we had alabel which was going to pay the “cd andvinyl cut expenses” and give us some cop-ies. As you may already know the band’sincome is supported by the merchandiseselling. There is no other income, leavingaside the live shows.Mikebass: It is tragic to me for a musi-cian to buy his own music. That’s whywe thought of paying the new albumourselves and if a label gets interested inre-releasing it, then we will sell them therights. *Our* terms. Acting this way wedon’t leave on somebody else’s hand ourwork.Lizard: Besides that, we can decrease thecost for the listener. According to sched-ule, the new release will be available in a2 in 1 package of a vinyl and cd combo atthe price of 12 Euro. So everyone’s goingto be happy.Nice. Let’s stay in the vinyl release.You are vinyl lovers as far as I un-derstand, right?Lizard: Right. Someone who’d like tolisten to our music, he’d naturally gofor the vinyl. I personally grow up withcds, but I think that vinyl supports theunderground bands and vice versa. I findit strange that Foo Fighters and Red HotChili Peppers remembered to releasein vinyl. “The big Guys” smelled moneybecause the underground bands sell morecopies in vinyl. The sound in vinyl is
  • 44. 44Burst { music magazine }fucking great, the artwork too. Thereason why we choose the vinyl/cd 2 in1 release is to show someone who didn’tknow what vinyl means.Which was the feedback about yourlast split with The Vagetarians?Mikebass: To tell you the truth, wehaven’t promoted it very much becauseits release took so long. The song hadbeen recorded more than a year ago, butwe couldn’t afford cutting it in vinyl, soit had already been available through theinternet. However the most commentsI get insisted on our best songs beingthe ones featured in the split releases.You could realize a sound turn from ourprevious releases. When we finished onealbum, we have two or three tracks thatshow the way for the next one.We live in an era of severe eco-nomic crisis. The music industryis strongly affected by it. Could thecrisis deter an underground band?Mikebass: The process of making musicis much more difficult without money.There are “rich” bands that play greatmusic and “poor’ that play ass-kickingmusic as well. Generally speaking, theincome of an underground band is muchless than the expenses.Lizard: Another thing I’d like to men-tion is that the new trend in music is topromote and sell the idea of rebellion.Greek bands are going to share with theaudience something different. A rebellionthat aims in the head, not in riots like theones we see in video-clips, artwork etc.The last one doesn’t make any differencein our lives.Sludge, stoner, heavy rock gainmore and more fans in our country.Fuck labels…To me is heavy musicbased on Black Sabbath. Why doyou think that this type of music hasbecome more popular these days?Mikebass: We have great bands inGreece, that’s why the scene becomesmore popular.Lizard: Nightstalker are the veterans ofthe scene, the ones that showed the way,but in my opinion the outbreak started inthe mid-2000s, whem every week therewas a new live on every corner.You are definitely a live band,which has given hundreds of shows.Which is the gig you will neverforget?Mikebass: Definitely Rockwave was a spe-cial gig to us, cause we played alongsidemany of our heavy metal idols. I enjoyvery much the road trip experience. Youcannot choose easily. There were gigs,where we played in front of many peopleand it was fucking amazing and there areothers playing in front of 5 guys, wherethe atmosphere was very intense. Theawesome thing in live shows is whensomebody from a foreign country knowsthe lyrics of your songs.What about Amanda man (writer’snote: Amanda is a plastic doll headthat pretties up the gigs of LuckyFuneral)?Mikebass: Amanda is everywhere man. Itbelonged to a friend of the drummer’s, ahairdresser who make her look like my exgirlfriend. It started as a joke but now is apart of every Lucky Funeral gig.Lets get back to the new album.What’s the title?Lizard: Find your soul in beautiful luna-tics.More info about the style of Findyour soul in beautiful lunatics? Is itgoing to be the first Lucky Funeralalbum with clean vocals?Mikebass: Correct.Lizard: This record will have some pro-gressive, post and avant-garde elements.To me is a “progressive” album.Mikebass: There will be of course someclassic Lucky Funeral stuff.You are a band with “AmericanSound” coming from Europe. Is thisa restraining factor for a band likeyou?Mikebass: That’s why we decided to goto the more “English” sound in this way.There is a myth about that. Bands likeKylesa, for example, have more fans inEurope than in the States, where theycome from. It’s much more difficult for aband to stand out in U.S.A.Lizard: Europe is friendlier for sludge/stoner/heavy rock bands.What about the future plans ofLucky Funeral?Mikebass: We have to complete the pro-duction of the new album and then we aregoing to promote it with many gigs. Weare going to make a video-clip too.Thank you very much guysThank you too man!
  • 45. 45Burst { music magazine }holinessfrom the amazon to the worldHello Stefanie and welcome toBurst. Tell us a little bit about Holi-ness, what have you guys preparedfor this year?Well, we are working on new songs, a newalbum and exploring some possibilities.There will be a tour in Latin Amer-ica? If so, when? What’s the luckycountry?Yes, we intend to. We’d love to visitArgentina, Chile and all countries fromSouth America. Hope everything goeswell with this tour.Have you considered doing a duetor a collaboration with anotherband in a musical project?We admire lots of bands and sure wethink about it, but I guess for now wewon’t do it, it’s too soon. We have to focuson our next album.How will Stefanie Schirmbeck be onyour next album??? More brutal ordarker?I guess I’m changing as a singer, and as aperson. Everyone changes, I am explor-ing other sides of me I didn’t know, andI want to be soft, dark and brutal at thesame time.A single from DeadInside, tell us alittle about it. How did it come up?“Dead Inside” is about people that are do-ing nothing about their own life, but loveto criticize other people’s work. Internetis full of this kind of people. They arefaceless and feel safe behind the com-puter’s screen.Who wrote the lyrics? What’s theidea behind the lyrical theme?I did, I was thinking about Cyber Bullyingand all of these horrible things; how it’seasier to destroy someone than getting alife.Are you going to release anothersingle, a new song?Yes, and it will be released soon.This song is a sample of your nextalbum. Is the new album going tobe similar in terms of rhythm andlyrics?Each song is unique and we intend toexplore lots of subjects, but still, all ofthem related to our reality, things we seeevery day.Tell us a little bit about Holiness’next album. What awaits us?You can wait for heavier songs, I guesswe are more mature, learning new things,and the way we see life today is different.It will be reflected on the album.What emotions will the new albumbring out, which are the subjects ofthe songs?A little bit of everything, but we alwaystry to bring a positive message, no matterwhat.Are there going to be other videosof songs featured in the new albumor Beneath the Surface???Yes, we’ll make videos from the newalbum. Actually, we are finishing one.What is the meaning of DeadIn-side’s artwork?The skull on the cover represents thosepeople who have nothing inside them butrage and envy.How can we classify Holiness,Power or Goth??I don’t like to say “we are this, we arethat”, because we have a lot of influences,not only from Power or Goth, but fromHeavy Metal, Alternative, and Progressiveas well. We’re whatever you like, hahaha.Some final words for our readers!Thanks for your attention, hope you guysenjoy our new stuff! Rock on!Behind the microphone and leading to thesuccess of Holiness, is the magnificent voiceof Stefanie Schirmbeck. recently, We hadthe chance for a quick talk with her... enjoy!interview by J.Roberto Zenteno Jimenez
  • 46. 46Burst { music magazine }A few months ago, Mahakala released their first full length albumwith the cool name “Devil’s Music”. The album was a finest exam-ple of heavy metal (fuck labels, this is heavy metal) so we askedJim (bass, vocals) clarify a few things on Mahakala’s debut album,which is another proof that the Greek heavy metal scene is kickin’some serious asses.Read that loud! You, the devil’s children!Interview by Spiros Smyrnis
  • 47. 47Burst { music magazine }Jim, give us a small bio about thestory of Mahakala.Mahakala “kicked-off” in 2005. Me andNick (guitars) are the only foundingmembers who are still in the band. We re-leased our self-titled debut 5-track EP in2007 by the Spanish independent label,Parade Records. Back then, we were somekind of a sludge metal band –as far asthe press is concerned-, mostly becauseof our everlasting love for fast kick-in-the-nuts crust/ punk structures andslower-than-death Sabbath-ic guitar riffs.In 2009 we released our second 3-trackEP named “Pact With The Devil”, whileour sound was turning into a Sabbath-icamalgam of heavy rock, heavy metal and‘70s rock. There’s been a few days sinceour first full length album, “Devil’s Mu-sic” was out by SMC and Secret Port Recs.I believe that this one is probably themost complete and characteristic pieceof work in our inventory, so I challengeeveryone to listen to it and make up hisown opinion!So, this is your first full lengthalbum. You have released two EPs.Why did it take you so long to re-lease a full length album?A lot of line-up changes occurred over theyears, plus we had to face lots of finan-cial problems (just like everyone else inGreece nowadays). We feel lucky even forhaving the opportunity to release a fulllength album at all! The fact that it alsosounds the way we wanted it to sound -inall aspects- is no less than a blessing.There is a sound gap between Ma-hakala EP, your first official releaseand Devil’s Music. From the sludgyheavy rock style of your first EP youmoved to heavy-occult metal. Howdid that happen?First of all, I’d like to clarify that I don’tconsider Mahakala as an “occult metal”band. We have nothing in common with–let’s say- Ghost, In Solitude or TheDevil’s Blood. The fact that The Devil ispart of our lyrical concepts has nothing todo with the musical categorization of ourmaterial, even back in the days I neverconsidered us being a sludge metal band.That’s what the press and the audiencethought. I mostly thought of us as a hard-core band. I can say for sure that we’llkeep playing whatever feels right. Don’tbe surprised if our next album soundslike Mercyful Fate or even Blue OysterCult.The biggest achievement of Ma-hakala to me is that despite the old-school feeling in your music, yoursound is in the 2010s and I meanthat in a good way!As I told you before, we play whateverfeels right. We all have a “rich” musicalbackground and a lot of influences aswell. I personally love the mystical soundof the late ‘60s and early ‘70s, Nick likeswhatever sounds Venom-ish, Steve is intomodern metal and Kostas is a fan of anygood-old-heavy-metal band that is. Allmerged in one make our music sound socomplex and unique. We combine all 5decades of heavy metal music in one!Be my guest and speak to us, therest of the devil’s children, abouthis music. Did The One himselfinspire you?The One himself inspired us a lot, not asan entity but mostly as a mythologicalfigure. We have always been admirers ofthe dark arts and dark mythology. The us-age of ritualistic sigils and satanic figuresis mostly allegoric though. You have to bevery shallow to think of us as Satanists.What we are is sick of any religious belief.Our music is somehow the gateway to thebrand new belief that one can live his livewithout being religiously motivated, thatone can achieve a lot if not controlled bysuch close-minded beliefs.The band broke up in 2008 and reu-nited a few years later with a newguitarist and drummer. Did thesedecisions help the band?All that we’ve done in the past had animpact in the present as it always hap-pens in life. We’re pretty satisfied withthe present, so as an overall rating, onecan say that we made the right decisions.What’s done is done though. Now we’rehere to stay!What is the feedback you’ve re-ceived so far?The press and the people seem to beenjoying “Devil’s Music” but “It’s a longway to the top” as sung by AC/DC. Weneed to present the album to the peopleby playing all kinds of gigs and we defi-nitely need to go on with composing evennewer material. Things seem to work forus for now but if we stop working on it,we’ll probably go back to where we beganfrom. There is no real success withoutduration.The album is released by SupremeMusic Creations and Secret PortRecords. Are you satisfied by yourlabels’ work?SMC and Secret Port are owned by ourgood friends Antony Livanios and Theo-dosis Moiras. They are in no way the ma-jor labels that all bands dream of havingtheir material released on, but they arewilling and helpful. They’re doing greatin promotional and distributional aspectsand that’s what the band needs right now.We’d even think of releasing our nextalbum with them too!Who thought of this cool title andwho did the amazing front cover?The title was my idea and it’s a parody ofthe stereotypical beliefs and accusationsthat heavy metal is the Devil’s Music.I’ve also come to think of our music asthe Devil’s Music itself. I find the insist-ent usage of pentatonic scales, blue notesand groovy rhythms in our music prettyintriguing. It makes me wanna do “badthings” if you know what I mean. If thealbum has the same impact to others aswell, then maybe I’m right… The frontcover was designed by Anestis Goudas(, a great artistand a great guy too. We only had a talkor two about the album’s concept and hecame up with the cover idea in zero time.We tried a lot of artists before we endedup with him. He appeared out of the blue.I think that maybe he was destined todesign the cover. It probably was a divineintervention. We’ll never know.Devil’s Music is also available in vi-nyl. I guess that you are vinyl loverslike me. What intrigues you when itcomes to vinyl?I’ve always dreamt of my music printed invinyl LP. I’m a vinyl lover and so are ourlabel owners. This was meant to happentoo! After all, Satan would not be equallysatisfied otherwise.The Greek scene gets bigger andbigger as the time goes by. Do youthink that the time is right for aGreek metal outbreak or has theoutbreak already happened?The “outbreak” comes steadily and slowlyjust like all things happen in Greece rightnow. There are a lot of great bands hereat the time, maybe the best ones that everwere in Greece. This is not the propertime for outbreaks or breakthroughsthough. The sociopolitical and economi-cal situation sucks globally! What we cando is compose some nice tunes and in-spire as many people we can. Somethinggood will definitely come out of it.The last words are yours man!That’s an easy one: Destroy everything.Live forever.
  • 48. 48Burst { music magazine }new zero godIs the “artist” a special kind of man,or any man is some kind of an artistafter all?I believe that we are all some kind of art-ist in our own way. Some people are moretalented in doing this and some othersare more talented in doing that. Given theopportunity, we are all artists…Who is “New Zero God really”?Which “virus polluted its cells” andforced the band to use music crea-tion as an “antibiotic”?We just wanted to have some fun. Thatwas all… Just play music without hav-ing any expectations. We didn’t have aname until our first gig. The same thinghappened with our first album. We wererecording it just for old time’s sake.It turned out that the sound engineerplayed some of our songs to PuzzlemusikRecords… and the rest is history. Wesuddenly found ourselves on Englishradio charts, as “Video of the Week” onDominion Magazine [UK], having anEnglish record label, English manage-ment… We only did it for fun and we stillsee it that way…All four members of the band havebeen around for a long time in theGreek underground music scene.Please tell us a few things aboutyour musical background.I (Mike Pougounas) was singing for theFlowers Of Romance from 1981 to 1998.Somewhere around 1985 Harris Stavra-kas joined the band as bass player andended up being with us for 13 years. Laoalso joined during the 80’s and remainedas our guitarist for about 5-6 years.When The Flowers Of Romance split upI formed Nexus. This is where DimitrisSteves, former drummer of The Dropsjoined me and after releasing four albumswe put the band on hold.In 2006 we formed New Zero God and to-day the four of us are together and about3 weeks ago released our newest album,“MMXIII”.You’ve just released your secondfull length album through SecretSin Records [UK], which is called“MMXIII”. Do you feel that the out-come lives up to your expectations?Does this signify a clear return toyour gothic rock origins?I think we did a good job with “MMXIII”.People like the songs, so I guess we prob-ably made a good album…haha… It is afast-selling album. I don’t think we evergot away from our gothic rock origins, tobe honest...Which were the main sources of in-spiration in the making of MMXII?Love, hate, life, and death… The waythings are right now, it’s a very inspiringera. Just look around you… You can comeup with a song in no time…It is announced that you will playsome gigs to present and promoteyour new album in Greece and inthe rest of Europe. How do you feelwhen you are up on the stage? Howimportant do you find your liveshows?A live show is like a party! You are alwaysstressed out, asking yourself “Are theygonna like this? Is there something miss-ing?” And when you are on stage, youenjoy it. You have to enjoy it. If you don’t,you better do something else and get anew life… The audience is getting thevibe of the stage. If you are having a goodtime, the audience is having a good timeand that’s important! Do you rememberany boring parties? Why should you? Weall want to make a party to remember…We are expecting confirmation for tour-ing England, probably with Grooving InGreen, Last July, Hollow Eve, and maybemore bands. We might do some dates inGermany and Switzerland…then back toGreece for more gigs…“There are some things that nobody can take from us and this is priceless.Art is life and living is an art“Interview by Stefanos Manousis
  • 49. 49Burst { music magazine }How important do you find work-ing with musicians such as WayneHussey of the Mission and playingthe gig circuit with Sisters of Mercy,Christian Death, New Model Armyand The Legendary Pink Dots?We also worked with a lot of other musi-cians. For “Second Chance”, for example,we worked with Will Crewdson, whoplayed with Adam Ant, Johnette Napoli-tano, Tom Jones, Celine Dion, supportedAerosmith and Alice Cooper and others.We recorded with a lot of musicians fromthe U.K., U.S.A., South Africa, Spain, Ger-many… It expands your horizons. A musi-cian can learn by working with artistsfrom other countries. You are exchangingculture, kindness, and it gives you peaceof mind. It is very important to do it. Italways lifts you higher…How difficult it is for a Greek Eng-lish-speaking underground band toovercome the lack of financial sup-port and communicate their music?Do Social media and new technolo-gies give a helping hand?The Internet helps a lot. It’s the mosteffective tool when it comes to promo-tion. A lot of kids found a solution withcomputers and stuff. Nowadays, someonecan sit in his bedroom and record analbum just like that. It doesn’t mean thatit will be a good one, but who is to judgethat? By expressing himself, he is makinghis point.Now, regarding the lack of financial sup-port... when you want to play music justto take it out of your system, you will findthe way. Financial support is neededif you want to be a star ‘cause stars arecreated, promoted, and make money forother people who put their money onthese “stars”.Usually you take what you give. But let’snot forget that our main purpose is musicitself and expression. The way the worldturned out to be we all need a way outand music is the way of the musician…Can the “cultural product” calledGreek English-speaking “Alterna-tive” song stand “competitive” inthe large music markets all over theworld?First of all, the Greek scene is completelyunknown abroad. Back in the 90’s I wasasked if Greek bands use electric guitarsin order to play rock’n’roll. Exportingjust a couple of bands is just a drop in theocean.On the other hand, there are excellentGreek rock bands that release excellentCDs. But since you use terms like “com-petitive” and “markets”, which brings usto the cold-blooded “business” point ofview, Greek bands are: 1. far away fromthe “markets”. A Greek band, apart froma couple of black metal bands, is not tour-ing the world in order to promote a newrelease. 2. Usually there is no promotionat all ‘cause either the artist doesn’t careor there is no financial support to do that.So what “competition” are we talkingabout? The “product” is fine and this iswhere the story ends…There was never a serious rock “musicindustry” in Greece and Greek musiciansnever felt/saw/experienced someoneclose to them making a living by playingrock music… Rock musicians were alwaysconsidered “fruit cakes” in Greece andthis is putting you down since day one…Greek English-speaking musicscene ...Is it characterized by mutu-al support, collegiality and respect?It’s the same everywhere. While somebands support each other, there arealways others who say shit about otherbands. You can’t win them all. The samehappens in Greece…Greece 2013: Economic, social,institutional and cultural crisis. Asfar as making music is concernedcan this crisis become a spring-board for something else?The first thing I have to point out is thatthe “Arts” are not our strong point, isn’tthat so? This cultural crisis has beenhere for years. We all know that. Thereare good Greek artists out there, in allforms of art, which were considered andtreated as lepers. That was during the“good days”. So, you can imagine how itis now…On the other hand, it’s during difficulttimes like these that the arts blossom.People need to dream and to escape fromreality and this is when we are gettinggood at it. In other words, don’t expectGreek society to embrace what you aredoing BUT be sure that great artists willcome out of it… To get out of at least thiscultural crisis we have to search for themand support them… We won’t be rich butwe will be rich inside ourselves…Finally, would you like to send amessage to all of the readers ofBurst Magazine?If you are into some form of art, keepdoing it. If you like some artists keepsupporting them. There are some thingsthat nobody can take from us and this ispriceless. Art is life and living is an art.Thank you very much for this interview.Take care and be safe!!!
  • 50. 50Burst { music magazine }bellafuzz...go figureInterview by Evangelia VoriaPhotos by aRGo Photography
  • 51. 51Burst { music magazine }Please give us a brief background ofyourselves.I grew up in Thessaloniki, studied VocalCoaching and Performance at Rotter-dam’s Conservatory/Netherlandsand currently I am living in Athens.What has impressed you most fromyour trip to Czech Republic Trut-nov Open Air Festival 2012? Wasit a valuable experience and if yes,why?It was overall an awesome experiencebecause it was the first time to play ata festival abroad with so many peopleattending and participating with suchwarmth! We met some great musiciansthere and had a blast with all the peoplethat came after the gigs to talk with usand buy our merch.Your music genre is electro-pop. Doyou think you could fit in anothergenre as well?Our music in not the “typical” electro popmusic that one expects to hear from 2girls on stage and this is something thatwe are told at each and every gig we give.It is considered of course electro popmainly due to the fact that we have prerecorded material at our laptop (drummachines, synths and some back upguitars), but it is clear that the music isbased in heavy rock with many industrialand metal elements.Of course we havepoppy songs but the base is aways heavy.Any future recording plans?We are recording new ideas but we arenot in a rush actually because we’verecently released our 2nd ep plus we haveside projects that we work on.Whom would you like to performwith in Greece and abroad?Faith No More, Nine Inch Nails, Tena-cious D. and Tolis Tsimogiannis.Do you seek a career in Greece orabroad? Is there something in par-ticular keeping you home?It would be an ideal situation to have acareer with Bella Fuzz and if we ever havean opportunity to do so, we will grab it. InGreece it’s rather unlikely to do anythingat this point, even to have the basics tolive decently so we don’t even think aboutit. What keeps us here is our families andfriends... Isn’t this the case most of thetimes?You are very energetic and happyduring your lives. Where is thisenergy coming from?It’s our psychotherapy really. It helpsus reload our energy levels and not gettotally insane!Someone can easily tell that youexaggerate through fashion styling,using vivid colours. Do you try toachieve something through your ap-pearances or is this your everydaydressing style?It is mostly the way we are. But some-times when we want to emphasize on ourmood or specific feelings or anger, wemight wear costumes or something reallyout of the blue.How did you start enabling profes-sionally with music? Is somethingthat you’ve always wanted to do orit just happened? For example, didone of you have plans to become anastronaut??I personally always wanted to be a musi-cian. But like many people of my age, Iate the crap that having a higher educa-tion level diploma would secure me a“normal” job which means money to liveand be able to have music as a serioushobby. When I realized that this is allbullshit and that I would be a full timemusician no matter what, I quit from myjob at a travel agency and went to studySinging at The Netherlands.What is your relationship withChristian traditions and especiallywith Orthodox fasting?The only relation I have is that my IDsays that I am christian orthodox.What do you fear most?That I don’t have enough time to do eve-rything I want to do.Chrysa tell us a good and a badthing about Aggeliki’s personality.The good thing about Aggeliki is that shelives at the same sphere of science fictionas I do so we can communicate. We areconstantly having serious conversationsof a gazilion things that one would thinkthat we are total freaks to even discussthem, but we aren’t..I think..The bad thing is that when she is boredit’s like you’ve pulled her out of the plug,totally nothing!Is there anything that doesn’t fit inyour aesthetics?Almost everything that surrounds me.But in this whole mess, there are reallybeautiful people that try to make a differ-ence, and then awesome things happen!What do you dislike most aboutyourself?Let’s say that sometimes I would like tobe able to stay calm when I hear peopletalk really really stupid and not fantasizethat I am cutting their throats.Is happiness out there? If yes,where can someone find it?Happiness is indeed out there and mostof the times is right beside us (and NO,this doesn’t happen because the wholeuniverse conspires in it!)What do you feel about the wordsbelow? God, Luck, Power.Innerstrength, Work, Fearless.
  • 52. 52Burst { music magazine }Happy Deathday DearAn interview with SadDoLLs by Sissy FanourakiPhotos by Penelope Tripatzi
  • 53. 53Burst { music magazine }For those who don’t know you, Iwould like you to introduce your-selves. You started as a HIM Trib-ute band and then you became a“real” band. Could you tell us howthis transformation happened?G: Actually the band SadDoLLs wascreated for one night only, for thatHIM Tribute night. After that, its nameshouldn’t have been SadDoLLs... It wasdecided to have another name and havea band with totally different sound. Forsome reason though we kept the nameand started writing our lyrics and music;that was our initial goal after all, to cre-ate a band and play Finnish metal (weare great fans!). In time we evolved thatmusic adding industrial elements, screamvocals (which are not very popular inFinnish Goth Metal) and we created ourown style.What about the name SadDoLLs,how did you came up with it?P: I just woke one morning and it strokeme... [Laughs]... It’s not the result of anintense research or a certain emotion ordisappointment.So, it was a thought and a decisionon the spur of the moment?P: I thought it was an appropriate namefor a band that plays melancholic music.I knew that it didn’t exist so I said whynot?G: We selected and used a name that isregistered to us, it’s solely ours. If yougoogle SadDoLLs you’ll find us and somepuppets.Paul, are you the commercial ge-nius of the band?P: Of course. The band relies on me asI’m the commercial genius... [Laughs]...and I’m the manager too.So, are you the manager and pro-moter of the band? (Meanwhile ourphotographer Penelope arrivedand the interview was smoothlyinterrupted with laughter) Didyou handle such matters from thebeginning?P: I handle booking and management ofthe band and I’m quite busy. From thevery first day I’m responsible for bookingand management and promoting as far asmanagement is concerned.What’s your procedure for compos-ing a song? Do you have a melody inyour head and you start composingit alone or in the studio with theothers or both?P: We used to keep an idea or riff, collectother ideas and riffs during rehearsal andthen we were trying to make a song outof them. In time, the procedure of writingand composing evolved. We quit the old-fashioned rehearsal thing; with the useof some music production programs forpc we now create songs from our homesand share with each other through email.So, any additions or corrections are madefrom the comfort of our homes and whenwe go in a studio we know what to playand how to do it.Who’s behind the lyrics of thesongs?P: It’s mostly George who writes lyrics...G: and Paul of course...Nice! And the themes of your inspi-ration are...?P: Child molesting ...[Laughs]... Of courseI’m joking!!! Themes such as the experi-ence of a terrible break-up or the deathof my dog or the blood on the razor frommy careless shaving never inspired me towrite a song... What I mean is that I don’texpress my deepest emotions and innerfeelings with each song. When it’s time towrite a song you just go for it.G: Generally, we don’t consider ourselvesGOTH. Our everyday lives have nothingin common with SadDoLLs on stage. Welive as simple people; we do not go outwearing Goth clothing, black nails andeyeliner, drinking absentee and sleepingin coffins. It’s just the music style thatexpresses us. We could easily prefer blackor death metal...Your lyrics come from everydaylife. It’s not grief, melancholy andmisery that move you.P: Apparently not. The style and soundof music is melancholic and our lyricsshould be similar to that. We cannot writeagainst-the-system or the police lyrics.We write lyrics that match the music styleand tone.There have been multiple line-upchanges since 2008. From the origi-nal members of the band how manyof you are still in SadDoLLs?P: Only George and I.And the current line-up of the band con-sists of...?G: Five members.P: You mean six!Five or six? And who’s the sixth?G: It’s a beautiful beautiful iPod as thekeyboard player.P: For the samples. It’s 2013 and it’simpossible to find someone with 8 hands,playing in 4 different keyboards! So, wethought it’s better this way.G: And its name is Manolis... [Laughs]...SadDoLLs have now two albumsand an EP. You’ve recently signedwith the Italian Record Company“Lunatic Asylum Records”.G: It’s not that recent, we signed in 2011and we’ll remain there for the time being.Our new album “Valentine’s Breakup”will be released sometime in early 2014.Meanwhile in your 2nd album“Happy Deathday” there are a lot ofguest appearances of various metalmusicians and for which you’vedone an excellent job by the way. Ihave to ask you though, were thesecollaborations a result of your owninitiative or were they recommend-ed by a promoter or your recordlabel?P: No, no, no... I pulled the strings tomake it happen. I personally knew someof them, not all of them but they were allvery positive and without any financialmotivation. This is something we have toput emphasis on. People might think thatwe paid them... Don’t be shocked if I toldyou that everything took “flesh andI met SadDoLLs in 2008, after having released the 1st EP “Dead in the Dollhouse” in 2007. Back then the band had a completelydifferent line-up... The same year SadDoLLs signed with Emotion Art Music (Greece) for the release of their debut album “AboutDarkness” in 2009 and two video clips for the songs “Watch Me Crawl Behind” and “Misery”. In 2011 the band signed with LunaticAsylum Records (Italy) for the release of their second full length album “Happy Deathday”. The album was released in 2012along with one video clip for the song “Bloodred”. “Happy Deathday” was and still is an album with marvelous songs, both lyri-cally and musically, great production and great guest musicians such as Juska Salminen a.k.a. Zoltan Pluto (Ex-HIM), RoberthKarlsson (Scar Symmetry), Manos Fatsis (Dark Nova), Alex Flouros (Seduce The Heaven/Fragile Vastness) and Jape Peratalo (To/Die/For). Let’s start from scratch though... Just a while ago, I met the two founding members of SadDoLLs, George Downloved(vocals) and Paul EviLrose (guitars) for an interview and a beer and we kept talking for hours...
  • 54. 54Burst { music magazine }blood” with the blessings of facebook!And how did you do it practically?Did you send the songs and theyadded their part?P: There was a time when we were mak-ing the pre-production of the album. Atthat time we had the entire album in ahome-made-edition. Some were onlyinstrumental and some others had onlyvoice-guides we sent them to those whohad agreed to “help” us. Consequently,they added what was needed in their ownstudios and sent them back.George, can you think of a collabo-ration that amazed you the most?G: Musically speaking, I was amazed byJape (To/Die/For), as I’m a huge fan ofthe band. When I listened to the trackI had a feeling I can’t describe; hearingyour voice and then the voice of a singeryou cherish the most in UNBELIEV-ABLE! Maybe To/Die/For is not awell-known band inGreece but for me,as a fan and a singerit was significant.As a person andas a professionalmusician I considerRobert Karlsson ofScar Symmetry tobe the coolest per-son ever. He helpedus so much. Herecorded everythingfor both the trackand the video clip inhis studio and sentthem to us ready tobe used! He neverasked us to payhim; we’re honoredto have met himand worked with him.Did the guest artists promote the al-bum? Did they respond positively?P: Of course they did. They shared thetracks in their official social networks.Our fan base suddenly augmented. It’s anatural process.G: Especially from To/Die/For fans, be-cause two members of the band took partin our songs; both the keyboardist andthe vocalist. So, two tracks were “pushed”all over internet and many fans checkedus out!! But, there was also a HIM tributelive in Athens and our guest was JuskaSalminen and as you imagine, that wasanother event that promoted SadDoLLsin Europe even more.So far you have shared the stagewith bands as Paradise Lost,Xandria, Lacrimas Profundere inAthens and Moonspell in both Thes-saloniki and Athens, correct?G: Yes, correct. Last year we supportedLacrimas Profundere for the second timeand of course the live gig with JuskaSalminen.After these years in the Athenianmetal scene, have you seen anydifferent behaviors in live stages,audience or promoters?P: It’s going from bad to worse. Crisismade things more difficult than before.We’re deeply disappointed by bookers orpromoters, live stages which lead to thegeneral discouragement of both musi-cians and fans. Now with the crisis it’sdifficult to convince somebody to pay aticket of 10Eur...G: I think nowadays fans prefer to buythe CD than coming to a live show. Assimple as that... These days, buying a CDis getting more appealing than going to aconcert. Instead of improving we are go-ing... down to the bottom...Let’s change the subject. Who’sbehind your CD artworks?G: Myron Design aka Myron Theodoridis,who has designed the artworks of all ouralbums and EP. He’s the man behind ourphotography, video clips etc. He’s ourman and we’re not going to change himEVER!Looking back, to your live perfor-mances so far, which are your bestmoments?G: My finest experience was the HIMtribute live show with Juska. Apart frombeing the man who played the keys in“Join me in Death” he’s a truly amazingguy, with a great personality whom I nowhave in my heart and I consider him as afriend. Ever since, Juska frequently visitsGreece for a holiday. He’s just a greatfriend.And your worst moments are...? Asfar as live shows are concerned...G: [Small pause, Ehmmmm...] Our lastshow with Lacrimas Profundere. Wemade the appropriate arrangements forthem to come to Greece again. Howeverthe price of the ticket was a bit expensivefor some fans and the concert was notnearly successful the first one. It was abad experience for both bands, and I hon-estly believe that was their last appear-ance in Greece... Did the political sceneryaffect the show? No, the price of the ticketis the one to take the blame! Personally, Iblame neither the fans nor the band; it’s awell-known band and the ticket should beof equivalent value.Let’s go back to your recent release,“Happy Deathday”. Was it a self-financed effort?G: All our albums,including the EP, areself-produced and self-financed. John Makriswas the producer of ourlast album. But all theexpenses were coveredby the band members.Our new album “Val-entine’s Breakup” isalso self-produced andself-financed and it willbe released either by ourcurrent label or another,we don’t know yet.But you still have acontract with Luna-tic Asylum Records,haven’t you?G: Yes of course we have. WhateverLunatic Asylum promised, was realized100%. However, we need more things tobe done. These are some “big steps” that asmall company might not be ready to do.But we want to do something better in thenear future.[While talking with George, Paul was out-side talking on the phone... When he re-turned I was distracted by his ridiculouscomments and forgot the last questionto wrap up the interview... So, when Paulnoted that I hadn’t asked them abouttheir zodiac signs (horoscopes), I decidedto record it and put it in the interview!!Paul is Capricorn ascendant to Virgo,George is Pisces ascendant to Gemini,J.Vitu (guitar) is Taurus..., G.B (drums)is Scorpion ascendant to Sea Urchin, G.B(bass) is Virgo ascendant to Snake (akaFidias)!! I can’t describe it in words, butwas an exceptional closure!!!]
  • 55. 55Burst { music magazine }Absinthe Cafelocation: Herakledon 19, Thiseiotel:
  • 56. 56Burst { music magazine }Clutch - Earth Rocker“I may not got a lot of mon-ey, But I got self-esteem.”There’s a song stuck in myhead since I received my“Earth Rocker” copy a fewdays ago. Hmm... I’d bet-ter write this down again.There’s only one album Iwanna listen to again andagain, since I’ve receivedmy “Earth Rocker” copy.You got that right. This is “Earth Rocker”, the last album, theGods Incarnate, also known as Clutch. I am a huge Clutch fanmyself so I cannot be objective with them. However, I will give ita shot by admitting that their previous album, Strange Cousinsfrom the West is my least favorite among the Clutch albums.Neil Fallon, sorry for that!So I was a bit curious about what Clutch’s next step would be.Now I hope that Neil Fallon forgives me for my losing faith.There goes: “Earth Rocker” is an ass-kicking album, a recordthat only bands for the likes of Clutch could release. AlthoughClutch is one of the best rock bands of their generation, un-fortunately they haven’t received the credit they truly deserve.I totally respect their attitude, the ironic lyrics of Neil Fallon,their inspired riffs, everything. “Earth Rocker” is full of all thosethings. The very first notes of “Earth Rocker” song prepare youfor what is about to come. I personally wanna scream from thetop of my lungs: Let’s dance motherfuckers. Let’s dance with“Cyborg Bette” and wonder why she’s gotta run so hot.“The Face” and “Book Saddle and Go” are not songs; they aremore like micro-chip implants in your body and brain. Thereshould be no other rational explanation since I cannot get themout of my head. To sum up, the masters of groove deliver usanthems like the closing track “The Wolf Man Kindly Requests”and “D.C Sound Attack!” teaching us all how we should move.As for the blues dynamite “Gone Cold”, this one reveals theblues roots of Neil Fallon’s gang. This is the album that will rockthe Earth.Spiros SmyrnisStone Sour - House of Gold & Bonespt 2Few months after their previous album,House of Gold and Bones Part1, StoneSour came up with its sequel - Houseof Gold and Bones Part2. After gettinga taste of the first part, we were quiteprepared for what was going to follow onthe second one. The album was releasedon the 9th of April, once again by Road-runner Records and contains 13 tracks.Maintaining their previous album style,defined mostly by hardcore music and al-tering between clean vocals and scream-ing, Stone Sour came up with an albumthat could be pretty much considered assimilar to their previous one.On the other hand, it is also true that Co-rey’s other band, Slipknot ,haven’t put outan album since ‘All Hope is Gone’ (2008)which was followed by the death of theband’s bassist and Taylor’s best friend,Paul Gray. So, we could say as well thathe concentrated mostly on his other bandsince then. Pessimistic but still hopeful,Corey Taylor burns down his dark past,willing to move on the next chapter ofhis life that seems to offer him the peacehe never got in touch with. Also, Corey’sconcern about religion and God are clearand expressed directly through his songs.While the majority of the songs are moreharsh and heavy, there are also somesongs like ‘Red City’ and ‘Stalemate,which are more about melody and con-tain some piano parts too.However it is quite a miracle for a bandto come up with two full albums in lessthan a year and still retain the inspirationthey have, no matter whether it reachesup to the audience’s expectations or not.Standing on his feet, letting go of every-thing that has hurt him, Corey Taylor, theaggressive beast with his hidden wounds,stands for what he believes and speaksout to everyone’s hopes and fears.Hope VNZHogg - HoggSupport your local musicscene! I’ve just finishedthe third, oh no, the fourthtime listening to Hogg’sfirst album. In other words,Hogg the new Greek heavy/stoner/rock group I’m keenon during the last few days.As I have already statedin “It’s Not Greek To Me”column, the Greek heavyrock scene (I’m sickof labeling a sound that pays respect toBlack Sabbath with different names) is so fucking great. Bandslike Nightstalker, Planet of Zeus, 1000 Mods, Lucky Funeral,Lord 13, Potergeist, Phase Reverse are the living proof of that.And it gets better: The most encouraging thing is that there isalso a new scene manned from bands like Stonebringer, HalfGramme of Soma, Hidden In the Basement, Audiobreed, DrunkMotherfuckers, Godsleep and … Hogg. I recommend you eachand every band of the ones I mentioned above but, for now, let’sstick to Hogg.Hogg, a quartet from Salonika released the debut album inquestion, by choosing the DIY (Do It Yourself) path. The albumis available via bandcamp, where anyone could order it just bynaming their price. You could contact the band and get yourcopy instead. Do not waste your time! Just listen to these guys!Beware of those giant heavy rocks that will be thrown out ofyour stereo. Full of mud and sludge, they’re gonna soil yourroom. If you are a nice guy with a tidy room, you’d better thinkagain before you put this record on…And a story about Hogg: There are four men who had a “Smok-ing Tree” in their backyard and took really good care of it. Theyare hanging out drinking “Cheap Beers and Albanian Weed”.They are just trying to get back on their feet and leave behindthem this “Sick Love” they were into. How? They are gonna“Figure it Out” really soon. Sometimes you have to take animportant call, a “Death Call” probably. Hogg decided to roll the“Loaded Dice” and set our “World on Fire”. Listen Carefully!Spiros SmyrnisALBUMREVIEWS
  • 57. 57Burst { music magazine }Device – DeviceWhile Disturbed’s futureis quite uncertain, DavidDraiman remains in thespotlight with his newproject called Device.When Disturbed revealedthat they are going to takea long break, Geno Le-nardo approached DavidDraiman. Filter’s formerguitarist was alreadyworking on some songs for the new Underworld soundtrackand asked Draiman to collaborate with him on a song. Thetwo artists decided to enter the studio and work together on aproject of their own instead. They called this project Device.Finally, on April 9th the band released their self-titled debutalbum, which features many guest appearances by well-knownrock stars: Geezer Butler (Black Sabbath), Glenn Hughes (DeepPurple, Black Sabbath), M. Shadows (Avenged Sevenfold), SerjTankian (System of a Down), Tom Morello (Rage Against theMachine) and Lzzy Hale (Halestorm).Draiman had stated that he always wanted to do a cover versionfor Lita Ford’s and Ozzy Osbourne’s original song “If I CloseMy Eyes Forever”. Well, his dream came true and the result isan amazing duet with Lzzy Hale full of passion and emotion.Plus, “Out Of Line” is definitely a signature track performed byDavid and Serj Tankian in each one’s unique vocal style. As for“Opinion”, Tom Morello offers us his signature guitar riffs aresignature ones. “Through It All” features a breathtaking vocalperformance by Glenn Hughes, which is the best possible way ofclosing an album.“Device” was produced by David Draiman and Geno Lenardo,mixed by Ben Grosse and mastered by Ted Jensen. The lyricsreminded me a little of David’s days with Disturbed. Fromthe first until the last minute, the album reminds me of asoundtrack for a dark/action/fantasy/horror movie, so, sinceI consider myself as a sucker for such soundtracks, I could nothelp but totally enjoy this album.Korina P.Gamma Ray – MasterOf ConfusionAfter 3 years Gamma Rayare back with their brandnew album entitled “Mas-ter Of Confusion”. Theirprevious studio album,“Master Of Death” was avery good album so, let’sdig a little deeper and seewhat we have here.First of all, it should benoted that Daniel Zimmerman (drums) left the band and he wasreplaced by the renowned Michael Éhre. “Master Of Confusion”gives us a sign/taste of its follow-up Gamma Ray studio albumwhich is set to be released by the end of 2013. According to theband, they have already started working on their new studioalbum however they did not want to embark on their worldwideHellish Rock II tour (along with Helloween) without releasingany material recorded in the studio.“Master Of Confusion” features 10 songs: 2 new ones (“EmpireOf The Undead”, “Master Of Confusion”), 2 cover tracks whichare Gamma Ray’s favorites (“Death Or Glory” by Holocaust,“Lost Angels” by Sweet) and 6 live versions of Gamma Ray’soriginal tracks performed and recorded live in Bochum. In fact,“Master Of Confusion” does not include any new stuff for fanswho have already purchased the “Skeletons And Majesties” liveDVD which includes these 6 live tracks but this is the only draw-back of this album. The first song of the album (“Empire Of TheUndead”) is a powerful song which features a rather aggressiveriff in the beginning and gives the impression that had not beenwaiting in vain for about 3 years. It is a very good compositionand Kai Hansen’s singing is supreme. The title track,“Master OfConfusion”, follows and it is more than obvious that its lyrics arereferring to the Gamma Ray’s opinion on deadlines. The songreminded me of the “good old days” of Gamma Ray, it is actuallya melodic song and one of the signature songs of the band.Now we simply eager for their next studio album!Petros XatzistilianosMe and Myself - Last WishMe and Myself are a band, which wasformed on April 2012 by Nikos Palivos(bassist) and Dimitra Vintsou (singer).The band introduced themselves as amelodic heavy metal band with alterna-tive elements. Me and Myself won thebig buzz competition by music wave,where their song “Me and Myself” wonthe first place. “Last Wish” is their debut,full length album, released some time agoby IKKPRODUCTIONS records. I havesome notifications to make about Me andMyself, but first let’s clear some thingsout. I am not the biggest fan of alterna-tive melodic metal with female vocals, soI ‘m gonna write down what I think as asimple listener.So let’s get back to notifications I’vementioned before. Number one: Strangename for a metal band. Number two:Nice and soothing voice by Dimitra.Number Three: Very interesting guestson “Last Wish”. We’re gonna take acloser look now. The 9-track album isfull of melodies, which lean on Dimitra’swonderful voice and capture the listener’sattention. The songs I stick out are “Iwonder how far” featuring the singer ofthe amazing POEM, George Prokopiouand “Last Wish” featuring the Closer’ssinger Johnny Camp. I think that thefemale/male vocals alternation helps theband to sound more stable.The songs are in their majority well-constructed, while some of them, like theones I mentioned above have the poten-tials to be hits as they are radio-friendly(I don’t mean that in a bad way). Somepeople may like it but I am not into bal-lads and “Last Wish” has got some. I per-sonally would like them a little bit harderand rougher, but generally Last Wish isa nice effort and the melodic metal fansshould check them out!Spiros Smyrnis
  • 58. 58Burst { music magazine }ALBUMREVIEWSChthonian Alchemy - Beyond theAcheronLet me introduce you to Chthonian Al-chemy. Quoting from band’s bio: Chtho-nian Alchemy were formed in early 2006by Andreas and Grigoris, who combinedtheir thoughts by exhuming some dustyideas from the past. The concept behindthe band was the synthesis of dark metalriffs and melodies enhanced with lyricsreferring to the alchemy of the under-world. A way of occultism in the name ofchthonian deities who were the gods ofthe underworld according to the ancientGreek mythology and were decide aboutmortals’ luck mainly after their death.If we wanna put a name on Chthonian’smusic the most appropriate one will beatmospheric death metal. Walking in thesteps of Paradise Lost, early Sentencedand My Dying Bride, Chthonian Alchemyfilter the characteristic sound of Greeklegends like Rotting Christ and SepticFlesh and present a professional workfeaturing interesting songs. I will person-ally opt for “Ourovoros”, the snake thateats its own tail and its beautiful guitarmelodies, “Curse of the Erinyes” with themajestic female vocals and the aggressivehit of “Eggelados”.There is an epic feeling throughout theentire “Beyond The Acheron”, touched bythe ancient Greek spirit, something obvi-ous by the frequent use of Hellenic wordslike Eggelados, Ourovoros, Erinyes.Chthonian Alchemy are capable of mak-ing the next big step and they seem toknow how to play this game. They focuson the atmospheric parts, without forget-ting the principles of extreme metal,which are the man growls, the cruelblastbeats (there’ a talented woman be-hind the drum kits) and the unholy riffs.Marked by the sign of Zeus and his crew“Beyond the Acheron” here’s a descent toHade’s underworld you should try.Spiros SmyrnisAherusia - As I cross the seas of mysoulSilence, the wind, the waves of a sea…It’s been a while since I heard a themedalbum. Not only in track relevance, but inlyrics and spirit as well. That’s the storyin the brand new album by Aherusia “As ICross the Seas of my Soul”.Not much in official discography fromthem (there was a full length CD, theinnovative “And the Tides Shall Revealthe Traces” back in 2009, you shoulddefinitely check out!), but they have beenaround the dark society since 1997 Ithink, mostly performing live.From the intro you know there is a lot ofwork done for this album. The music isevenly distributed to each song, like thesequence in a theater play:Prelude, interlude, conclusion. The storyescalates along with the tension in thesongs, but without forgetting what metalis all about! Heavy riffs, brutal vocals,with a folkish touch deriving from ourhell-enic routs!! For all you foreign listen-ers, get you dictionaries dusted ‘causeyou’ll hear some greek poem reciting onsome of the songs, which is awesome!!The “Arbor Martyrum” track is amazing!A mixture of feelings comes right out thethroat, that will make all you warmongersbang your head to the ground!The sound touches more genres thanblack metal. It sure is epic, with powerelements, it feels like it’s orchestrated butit’s not, pure heavy metal at times, withtechnical solos to follow the slow lyrics,and the multi-vocal chorus to exagger-ate the drama, followed by down-tempodoom-like rhythms to lighten the burden!A favorite song has already become the“From Abyss”, with the distinctive lirafollowing closely the guitars and drumsto a heroic marching tune! Horns up toAherusia!This album will make you gaze out thewindow at a gloomy sunset, and you’llsurely remember its songs while travel-ling to the seven seas!B.S. OrestisNekkar - NekkarThe band was formed in 2011 and theyhave been in league with Satan eversince. The Greek underground scene hasalready shown her teeth, it’s a fact. Plus,the fact that more and more bands appearand release excellent works is the proofthat we are ready to make the next bigstep. At least Nekkar are for sure. This istheir first full length album; it is self-released, recorded and mixed at EsoteronStudios by George Emmanuel, while themastering process was made by Chris.The album is available for free download-ing via the band’s account on bandcamp.Nekkar is a doom metal band with blackmetal elements, mainly on vocals. Downtempo melodies burst from your speakersas you put your record on. The melan-cholic sound of Nekkar is underlined byThomas’ saxophone, which beautifullyaccompanies the cutting riffs. The start-ing instrumental track, “In your Absence”is the introduction to the music world ofNekkar. Quoting the title of debut Hedvi-ka album, this is the evidence of absence.We have to do with a professional work,a finest release. The light is fading, it’strembling and you’re trying to walk awayfrom “This Ordeal”. Shameless smilesand tearful eyes may trick you ‘cause thisis their game and they know how to playit. So you choose this “UncomfortableSilence” (This is my second favorite song,featuring the one and only Sakis Tolis be-hind the mic, that could be a bonus trackin Triarchy of The Lost Lovers album).Sometimes you prefer not to say toomuch. Sometimes words are not enoughand the music speaks for itself. The earlydays of Paradise Lost and My Dying Bridetouched Nekkar’s music and lyrics as theyapproached delicate matters like shat-tered hopes and broken dreams, withoutfollowing the easy way of weeping butwith writing songs like Solemn Mind.Give em a chance and they will invite youto their battle with Satan.Spiros Smyrnis
  • 59. 59Burst { music magazine }Hypocrisy - End of DisclosureI was sixteen years old I think. I had aHypocrisy patch on my jacket and I wasvery proud of it. Years passed by, andnowadays, I cannot call myself a Hy-pocrisy fan. Although I lost them afterthe Catch 22 release, I still believe that“Abducted” is one f the most interestingrecords in the long history of death metal.When we discussed with the Burst crewabout who will be the one to write thereview of “End of Disclosure” I said “Me.”and hopefully I wouldn’t regret it. WhenI finished the first listening of the “Endof Disclosure” I just screamed. Hell yeahHypocrisy are back man! Let’s clarifysome things first. “End of Disclosure”is not the best Hypocrisy album, so youshouldn’t to expect an album that is goingto change your life.Nevertheless, the twelfth album of theSwedish Metallers is a more than a sat-isfying example of melodic death metal.Peter Tagtgren (one of the most influen-tial producers of extreme metal soundtoo) and his gang released an album thatpays the honor to Thy name of Hypoc-risy. Even by the starting track “End ofDisclosure”, the flaming death metal riffsand the bombastic drumming welcomethe listener. The Swedish Death metalpioneers managed to keep my inter-est through the whole album while theymade me bang my head with my personalfavorite, 44 Double Zero. This chorus ismeant to be sang and I am sure that willbe the song that fans would ask more atthe live concerts.Nostalgic and melancholic melodies dressthe music universe of “End of Disclosure”while fused and disturbed riffs set thecherry on top of the cake. The messageis delivered my friends, Peter Tagtgrenhad great fun in the recordings of his newalbum and this is more than obvious. Iam glad for his “Return”, four years afterthe weaker “A taste of Extreme Divinity”.The band showed its teeth and I’d love tobe bitten!Spiros SmyrnisFall Out Boy - Save Rock And RollTo be completely honest, I haven’t seensuch a musical variety in an album formany years now. Save Rock n Roll by FallOut Boy was released at the 12th of Aprilby Island Record and consists of 11 trackswhich are considered both as alternativeand experimental rock.As soon as the album was released I wasdefinitely enthusiastic about it, mostlybecause the band stated that it was asclosest to them than all their previousalbums. They preferred to record it se-cretly from the music industry, the critics,even the fans and they consider it the newchapter of Fall Out Boy. Unfortunatelythough, Save Rock n Roll is not quitewhat most fans would expect. Althoughthe band used to have a more pop punkpast, they preferred to stay on pop thistime and develop on this kind of sound.The first track of the album, ‘Phoenix’,is with no doubt a song that you willprobably expect to hear in various remixversions at clubs any minute now. Apartfrom that though, Save Rock and Rollalso contains pop duets with femalevocals such as Just one Yesterday or Rata Tat featuring Courtney Love stating:‘It’s Courtney b*tch’ in the beginningand reminding us something of BritneySpears. But the most unpleasant andunfortunate song of the whole albummust be The Mighty Fall featuring BigSean as nobody expected to see an RnB/Hip Hop song in this album. Last songof the album is Save Rock n Roll whichis also the album’s name and this time itfeatures Elton John.Having a more pop-friendly approachthan we are accustomed to, Save Rock nRoll will be either loved or hated by theband’s audience.Hope VNZMax Lilja – Plays Electronica ByOne CelloMax Lilja is a well-known artist. Hefounded the Finnish neo-classical metalband called Apocalyptica (along withEicca Toppinen, Paavo Lötjönen andAntero Manninen) back in 1994 and herecorded 3 studio albums with them. In2002, Max joined Hevein, a Finnish trashmetal band with symphonic/neo-classicalinfluences. Also, I guess we all knowthat Max Lilja is a recording and touringmember of Tarja Turunen’s solo band.Not to mention that he studied for severalyears in Helsinki’s prestigious SibeliusAcademy!Max Lilja’s first solo album finally cameout and I have to say that it was a realpleasure listening to it! It actually fea-tures 10 instrumental electronic songs,all performed by Max. He declared thathe got the idea of a solo album since heleft Apocalyptica (about 11 years ago).He created this special album in order toexpress himself and also express his lovefor electronic music (he is a huge fan ofMassive Attack’s, Moby’s and Kraftwerk’smusic). Through the years Max wanted to“colour” his cello sound with some inter-esting effects and he finally reached thepoint of composing a whole album. Oneof his biggest dreams is to introduce thecello to the listeners in a totally differentway. According to him, producing his firstsolo album ever was a really big challengeand he is totally happy with the result.During March a music video was releasedfor the song “I Sound My Sound”. Thevideo features Antti’s paintings that Maxdiscovered in an exhibition. You can alsofind the same paintings in the album’sartwork.“Plays Electronica By One Cello” is aself-financed album produced by MaxLilja himself. By recording this albumMax wanted to create something new andtake his instrument to a new level. “PlaysElectronica By One Cello” is a really calmand smooth album. Max managed tointroduce us in a totally new and innova-tive sound!Korina P.
  • 60. 60Burst { music magazine }Avantasia – The Mystery Of TimeAvantasia, a super group/rock opera pro-ject created by Tobias Sammet (Edguy),came back with a new album entitled“The Mystery Of Time”. It features 10songs (plus two bonus tracks includedin the limited edition) and guest appear-ances by well-known metal “heroes” like:Bruce Kulick, Oliver Hartmann, ArjenAnthony Lucassen, Joe Lynn Turner,Michael Kiske, Biff Byford, RonnieAtkins, Eric Martin, Bob Catley, CloudyYang, Russell Gilbrook. In addition, thealbum features the German Film Orches-tra Babelsberg which plays a main rolein the final result of the orchestrations ofthe album. “The Mystery Of Time” wasrecorded in parts at VOX Klangstudio(Germany) and of course it was producedby Sascha Paeth (and Tobias Sammet) atGate Studios (Germany).The album was released on March 30 viaNuclear Blast in many different formats.The artwork was hand-painted by thefamous British fantasy artist RodneyMatthews who has also cooperated withrock legends such as Thin Lizzy, Mag-num, Asia, Nazareth.But let’s dig a little deeper into the album.Although, “The Mystery Of Time” fea-tures an all-star line-up, Tobias Sammetdid not succeed in composing anythingremarkable or extraordinary or different.It seems to me that he is getting “trapped”as a composer. The lack of inspirationand the predictability are more than obvi-ous in this album. However, there are stillsome good songs (“Invoke The Machine”,“Savior In The Clockwork”, “Death Is JustA Feeling” –which is one of the two bonustracks in the limited edition-, Sleepwalk-ing”). “Sleepwalking”, a duet with CloudyYang, is the first single released out of thealbum and also a video clip was filmed forthis track.Overall, “The Mystery Of Time” is analbum which features quick power metalriffs, mid-tempo moments and ballads.In my opinion, the album features somevery nice vocal performances by MichaelKiske, Ronnie Atkins and Cloudy Yang.Maybe the fans who were expecting a fan-tastic album will get a little disappointed.But we can still hope for something muchbetter in the future from Mr. Tobias Sam-met’s side!Petros XatzistilianosDelain - InterludeDelain describe their new album entitled“Interlude” as the perfect introductionto the world of Delain. In fact, it is! Firstof all, the title of the album (interlude)actually means a musical compositioninserted between the parts of a longercomposition, a drama, or a religious ser-vice or an intervening/ interruptive pe-riod of time. The title of the album isquite characteristic: Delain released thisalbum in order to point out the new eraof the band. Their previous studio albumrelease, “We Are The Others”, had beendelayed due to issues with their previouslabel (Roadruner Records), so the banddecided to search for a new label withwhich they would cooperate in a betterway. This is the story so far and finally, in2013, Delain signed with Napalm Recordsand released their new album.The album includes some brand newsongs (“Breathe On Me”, “Collars AndSuits”), some cover versions of well-known songs (“Such A Shame” by TalkTalk, “Cordell” by The Cranberries,“Smalltown Boy” by Bronski Beat) andsome live versions of songs from theirprevious album which were recorded inMetal Female Voices Festival 10 (“MotherMachine”, “Get The Devil Out Of Me”,“Milk And Honey”, “Invidia”, “Electric-ity”, “Not Enough”). Also, new versions oftheir previously released songs “Are YouDone With Me” (brand new single mix)and “We Are The Others” (ballad version)are included here. We should mentionthat “Are You Done With Me” is Delain’snew single. Regarding the lyrics of thenew songs, Delain’s frontlady, CharlotteWessels, stated that “Collars And Suits”is a song written for their previous label,their frustration about the managers andthe way the labels are treating the bands.Also, “Breathe On Me” is a song dedicat-ed to Nick Cave (Charlotte is a huge fan ofhis!) and it includes many references toNick Cave’s songs. The song was actuallynamed: “Breathe on Me: Things I Wantto Do with Nick Cave.”, but Charlottedecided it was just too much.The new tracks were actually recordedduring the recording sessions of their pre-vious album “We Are The Others” (whichhappened at TriPod Studios and AtlantisStudios, Stockholm, Sweden, during2011) and produced by Jacob Hellner(Rammstein, Apocalyptica, Clawfinger).Also, the album includes a special bonusDVD which features the songs which wererecorded (and filmed) in Metal FemaleVoices Festival, backstage footage and of-ficial video clips. The artwork once againis created by Glenn Arthur. The “WeAre The Others” ballad version is totallyheartbreaking, the 3 cover songs are alsocool and “Breathe On Me” is a totallyfresh track which should be their nextsingle in my humble opinion.To be honest, I really enjoyed this album!I was a Delain’s fan since their first studioalbum (“Lucidity”, 2006) and “Interlude”will keep very nice “company” to me untilDelain are back with a new studio album(something that will happen very soon asthe band declared that they are alreadyworking on a new one!).Korina P.
  • 61. 61Burst { music magazine }EP REVIEWGreek, music portalwww.in2music.grAtrocity – OkkultThe word atrocity actually means cruelty,monstrousness. Okkult is a German wordand it means something of, relating to,or dealing with supernatural influences,agencies, or phenomena. After being anactive band for 25 years, Atrocity decidedto enter a brand new era by recording andreleasing a special album trilogy. “Ok-kult” is the first album out of this albumtrilogy. Actually, the title of the albumdescribes the whole concept as the lyricsare related to occult magic, mysteriousplaces, conspiracy theories and mysteriesthat are still unsolved.Regarding the music itself, the albumfeatures melodic death metal anthemsmixed with symphonic metal elements.Actually, while listening to the record,I got the feeling that I was watching adark horror film and the credits for thisatmosphere created definitely go to theCanadian sound designer named KatieHalliday (she worked for movies like“Saw V”, “Saw VI”, “The Devils Carnival”,“Todd And The Book Of Pure Evil”) whocollaborated with Atrocity for this album.Also, the orchestral parts were recordedby Victor Smolski (Rage) and the LinguaMortis Orchestra in Minsk (Belarus). Thealbum was produced by Alexander Krullat Mastersound Studio and the cover ofthe album was created by Stefan Heile-mann.To be honest, I did not have very highexpectations as I stopped following theband after the release of “Atlantis” (whichis my personal favourite Atrocity album).Alexander Krull literally spits out everysingle line, Thorsten Bauer and SanderVan Der Meer give their best selves andof course Joris Nijenhuis adds manypoints to the totally bombastic outcome.The orchestral and choir parts appearonly to add extra points to where it isnecessary. The only drawback of thisalbum is its cover which, in my humbleopinion, is not very representative of thematerial of the whole album. In fact, Mr.Alexander Krull seems to have workedvery carefully on this album. And hefinally gets his reward for his hard work:“Okkult” is definitely one of the bestalbums of 2013!Korina P.Omega Monolith - Black CampaignE.POmega Monolith is an instrumentalheavy rock duo from Athens - Greece.Their music is mainly driven by liveguitar loops and all chaos is controlled bythe heavy drumming creating a mono-lithic, melodic and claustrophobic result.This is a brief bio of Omega Monolith,available on bandcamp, where everyonecan give their first EP a listen. I have tocongratulate the band on their decision torelease Black Campaign on cassette. We,the cassette lovers, thank you guys fromthe bottom of our hearts. As for thosewho may laugh or wonder about a cas-sette release, I’d like to inform you thatthe black cassette of Black Campaign hasalready been sold out and Catch The Soaprecords have re-released it on grey tape.This is a difficult listening to start with.Besides the fuckin’ cool name, OmegaMonolith has two members, bothveterans of the Greek Metal scene: Ex-members of Violet Vortex, Noiselust andTenderness of Wolves the Duo of OmegaMonolith is experienced with the limits ofheavy rock. We have to do with an excel-lent work that sets the bases for a brightfuture. The amazing artwork by ViralGraphics trips you in the post-industrialenvironment of Omega Monolith: 3tracks, 30 minutes of instrumental postheavy rock, a stream of noises, echoes,and heavy riffs. Inspired, anti-radiofriendly, shaped in black and white, sharpand doomy. Put your earphones on andenjoy!Spiros Smyrnis
  • 62. 62Burst { music magazine }Pop CornerBritain hasn’t placed such influential musicians and art-ists as Adele in the foreground for quite lot of time now.She was the one who managed to do an incredible break-through, along with an unprecedented success in theworld music scene that no British could even imagine.Adele Laurie Blue Adkins was born in Tottenham, northLondon in 5th May, 1988. She grew up to a single par-ent family after her father abandoned her when she wastwo, an incident that she still hasn’t got over nor has sheforgiven her father for. She remembers starting sing-ing at the age of 4 and always experimented with voicesthat made impact to her. Adele has stated her first maininfluence towards her love and passion for music were theSpice Girls and while watching Pink, in a live show whenshe was 13 made her realise what she wanted to do in herlife. She moved with her mother in south London andthat was the period she discovered R’n’B. It was when ac-cidentally, in the jazz section in the local record store, shestumbled on artists such as Etta James and Ella Fitzger-ald. Their great voices got her so obsessed with them soshe started singing their style. After she graduated TheLondon School for Performing Arts & Technology shedecided to publish two songs in an online art magazine.They were from a 3-track demo she had recorded for aclass project. A close friend of hers also posted the demoon MySpace where it became unexpectedly successful, sosuccessful that it caused the music label XL Recordings tooffer her a deal. She got her very own representative man-ager and the support needed to accomplish her dream.The road for her was now open.In the autumn of 2008, after some vocal contributionsto other artists of the same label, she completed andreleased her debut album titled “19”, a name taken fromthe age she was when wrote most of her songs. What itcame down to was that it resulted in receiving the entireBritain’s recognition by the BRIT Awards Critics’ Choice,whilst simultaneously was named as the number-onepredicted breakthrough act of 2008 in BBC Sound Of2008 -an annual poll of music critics. At once it enteredthe charts and won 2 Grammy awards. Up till now it hasbeen certified 4 times platinum in the UK and doubleplatinum in USA. Her success seemed just like a dominoeffect, while she literally conquered the sceptical USaudience and critics with her talent and voice, especiallyafter making her TV’ appearance in NBC’s Saturday NightLive show. Her second album, “21”, which was released inearly 2011, sealed her phenomenal and illusory success.“21” was welcomed by the critics with great excitement, amore mature work that became even more successful andsurpassed her debut’s glory breaking one record after an-other: first of all at the 54th Grammy Awards in 2012 shewon 6 Grammy’s in all six categories she was nominatedequalling the record of a female artist winning so manyawards in one night. Also Adele was the first artist ever inthe UK who sold 3 millions copies in one year.She had as well as 2 top-five songs in the charts of singlesand albums both in UK and US, something that only TheBeatles had achieved since 1964. Last but not least, Adeleis the first female artist in the history of Billboard Hot 100to have 3 singles in the top ten the same time. The abso-lute musical domination of Adele came with the GoldenGlobe awards in 2013 for the music theme song for the33rd James Bond film “Skyfall” were she performed, asong that rightfully could only be sang by Adele and asshe said, that was the thing she has been the proudestfor so far in her career. Everything she has been doing issimply magically successful and her sequence seems morethan promising in the near future, of course any com-parisons with legendary R’n’B and Jazz Divas of the pastwould be just unfortunate but she definitely has made thedifference amongst many other female artists worldwideand so she deserves all the focus of both the audience andmusic industry even with the exaggerations and overes-timations that have been reported at times for her talentfrom the mainstream music press.The white R&B DivaADELEBy Dimitris Tsantoulas
  • 63. 63Burst { music magazine }The phenomenon of Lily Allen in theinternational music scene has been veryremarkable some years ago with musicpress and tabloids to focus onto herprovocative and marginal in many casespersona which she portrayed through hermusic and helped her become famous atboth coasts of the Atlantic. Of course hertalent as a singer, musician and song-writer is unexceptionable with direct, out-spoken and true songs taken out of dailylife. That, along with her unconditionaland out of respectability speech was whatmade her lovable and familiar to thepublic gaining recognition and success toall her attempts in discography.Lily Allen was born in Hammersmith,West London and grew up in an artisticfamily, her father Keith Allen, a knownBritish comedian and musician and hermother Alison Owen a film director. LilyAllen since her birth lived and grew upamongst artistry and famous people, justlike Joe Strummer the legend guitaristand singer of the punk band Clash a closefriend to her father- though she onlyconsidered Strummer as a huge artistafter his death which warmth her passionto music, in fact the influence of Strum-mer is so obvious in her debut albumwith the ska and reggea music genres. Atthe age of 15 she decided to quit schoolbecause her tameless and uncompromis-ing personality. Since her bad habits indrinking and smoking inside the schoolcaused her repeatable expels from severalschools, she believed it was useless tocarry on with school and waiting until shecould accomplish her dreams, and thatwas music. For years all her attempts tofind a label were unsuccessful somethingthat she attributed to her addictions.Finally in 2002, thanks to her father’sconnections, London Records signed withher, but soon they lost interest on her andforced her to leave.In 2005, she signed with Regal Record-ings on a £25,000 contract deal but shehad not the support she expected to haveand her album remained unfinished.Allen then created an account to the verypopular back then social networkingservice MySpace where she began postingdemos she recorded in November 2005.To her surprise her songs attracted thou-sands of users and listeners, which en-couraged her to produce herself a limitednumber of singles and mix tapes. Soon“The Observer” magazine made coverageon her and the success was just a matterof time. Her label at last got convincedand moved on completing and releasingher debut “Alright, still” in July 2006which gained great reception with satisfy-ing sellings and taking high positions inthe charts (No. 2 in UK and No. 20 inUSA). Also, she received positive critics,the American magazine “EntertainmentWeekly” named and listed her work asone of the best 10 albums of 2006. Threeyears later in February 2009, she releasedher second studio album titled “It’s NotMe, It’s You” with even greater successand despite the new music style changesshe presented, it was a more mature LilyAllen than her debut both musically andlyrically and as was expected topped atnumber 1 in UK and number 5 in USBillboard 200. By December 2009, thealbum had sold over two million cop-ies worldwide. Ever since it has been along hiatus for Lily Allen in music stuff,except of some friendly collaborations. Itwas her own decision though as she gotdisappointed from music industry andshe wanted to focus onto her marriageand motherhood and out of music’s cruelcommitments. She gave birth to a son anda daughter and got occupied with her ownfashion rental clothing store she openedwith her sister. But, the biggest bet forher is the record label she is launching.On her official account on Twitter sheconfirms that she is in the studio withproducer GregKurstin and in the making of a newalbum but it is uncertain when this willbe out. We don’t know if her hiatus willcontinue for a long time but her absencein the music scene is visible and everyoneis really missing her.Traditionally Greek Dance music scenehasn’t been popular before with repre-sentative bands to lead such a movementdespite the fact that dance music fits theGreek temperament. There have been abunch of Greek pop/dance bands around,though musically were all based on loopsand samplers without any real compos-ing, nor orchestrations with a beginning,middle and end structure. But in theface of the 2-member band of Slick BeatsGreek dance music at last seems to havefound its deserving ambassador with nicemusic and songs that can keep tirelesslythe interest of a listener.Slick Beats are consisted of Gabriel Rus-sel and Issy, although they started tobecome known as a band just the last 1,5half year, they have been involved withmusic for more than a decade and theyhave been equipped with many musicalstudies abroad, in order to get knowledgeand skills to do what they love most: gooddance music.The recognition for them came with therelease of their 1st single entitled “JustDo Me Right”, featuring Crystallia -singerof another pop band, the Otherview. Atotally different track with elements closeto EBM genre, a bit strange from the fa-miliar pop/dance productions the Greekmainstream audience is accustomed to.In winter 2011, they released their 2ndsingle titled “Rock The Beat” that hadwas gladly welcomed by dance musiclovers, with countless airplays on theradio and TV, as well as top positions inthe charts. The successful sequence ofthe band seemed unstoppable, their 3rdsingle “You Say” a summer house trackwas also a big hit which put them forgood on the map of the most successfulGreek pop bands. In autumn 2012, theyreleased their 4th single, an erotic danceballad with Greek lyrics titled “KsereisKala”, something they dared for the firsttime as they felt the need to make musicfor fans who fond Greek lyrics too. Itwas also followed by the English versiontitled “So Beautiful”. Earlier this year,the duo announced a collaboration withthe known Greek dj Dino MFU and co-wroted the dance hit “On Your Name”. Inthe meantime the duo is working as djsand producers, writing songs and doingremixes for other pop artists as they didwith Shaya and Vegas, cuz’ as they claimthey love writing songs and sharing withfriends.It is really hopeful that we see such seri-ous productions and projects made outfrom Greeks and in the case of Slick Beatstheir horizon is open widely for them withmuch potential, even for an internationalcareer.LILY ALLENSLICK BEATS The Greek Dance scene has a nameThe uncompromising rebel of pop
  • 64. 64Burst { music magazine }“The Doctor is in... Sane”, opens the first chapter, followingpages of warnings not to trust and not to take anything seriouslybefore we enter the world of Doctor Ozzy. The one and only mu-sician with the infinite number of fans all over the world, hun-dred of million records sold, numerous awards, the husband,the father of 5 children, the man who broke his neck, survived anear direct hit by a plane, had been declared clinically dead, hadswallowed a bumble bee at 70 mph, had tested every possibledrug on earth. Ozzy Osbourne is here to surprise us, once more.This time by giving us….. health and heart advice, suggestingtips on How to Cure almost anything; even explaining Geneticsand giving prescriptions! Who else but John Dr Ozzy Osbournewould dare to do this!Trust me, the most unusual book by the most unusual person,the musician, the artist, the absolute survivor! Quite prejudiced,I had the book in my bookcase for about a month until one day Idecided to browse through the pages, and that was it! I couldn’tput it down. The book is actually based on the advice columnsin The Sunday Times and Rolling Stone and is divided in topicswith chapters devoted to general health, nutrition, personalgrooming, family, sex, pharmacology and a plethora of otherissues.Trust me, I’m Dr Ozzy comprises of a huge variety of questionspeople askDr Ozzy and the surprising fact is that most of the time he givespretty good advice.Humorous, witty, clever answers to the most outrageous ques-tions one can imagine.And always emphasizing, never follow my bad example! Asurvival manual of tips no sane person should follow. Eachchapter ends with a quiz related to the topic and with referenceto Ozzy’s own life experiences. This is an “advice book” from theultimate survivor, the person who dared to map his own DNA in2010 and to become the subject of scientific research. The manwho lived through numerous near-death experiences, a 40-yearhistory of drug abuse combined with extreme hypochondria,and who himself can’t believe he is still alive and calls himself “agenetic anomaly”.“-We all know about the bat incident - but is there any animalyou definitely would not consider eating?-Actually I don’t eat much meat at all these days: I’m morelikely to bite the head off a f**king lettuce than a bat - or anyother animal for that matter. That’s what happens when youget to the age of 62: you order a medium-rare steak, and youcan’t shit for a week, man. Pills don’t solve the problem, either.You’d need a couple of sticks of dynamite to unclog the Princeof Darkness after a plate of rib eye.”Besides the questions and the funny advice there is also a lot ofmaterial on Ozzy’s past and life experiences, his personal strug-gles, abuse, childhood wounds, anxiety, depression, dreamsand his infinite love to Sharon. “The prince of Darkness” hasan answer for everything, health issues, relationship issues,even home remedies, and also careful to humorously add “Ifyou write to Dr Ozzy to ask if something is right or wrong....youknow it is wrong.”I enjoyed this book more than any other. It is clever, witty,funny, fresh, and sincere and I would dare to say, even educa-tional. There is quite a lot to take from this book, a bit extreme,but very Ozzy-like, beyond any limits. Get it! It will be the expe-rience of a life time!Turn The PageTurn The Pageby Hope VnzTrust me, I’mDr. Ozzy:Advice from Rock’sUltimate SurvivorOfficial Press Photo
  • 65. 65Burst { music magazine }GentlemanandLadyKarolinaPacanMy dear friends,Today I wanted to share with you my thoughtsabout being a Gentleman and a real Lady ;)I know we live in the 21st century and our modernworld has put courtesy on the side.Many of us like to be kind to others and to receivesuch behaviour but... yes, there is but...Our times want to “teach” us that such manners arenot “cool” and are only for old fashioned people...Well, here I disagree ;)As a big fan of medieval/baroque/Victorian times,I must say, that etiquette will always have specialplace in my heart and I do respect all people whoare real in this and practice such a beauty. :)When I was in Ireland, I was shocked! Most of thepeople were so kind, friendly and helpful!The greatest thing was that no one expected thingsin return!An older man came to me as I was lost in the townand he kindly asked if he could help me.Well, first you can think: “Run girl! He can be dan-gerous!”But I let him show me the way, after he just wishedme a nice day :)Everyday there, I received a “good morning, howare you?” without some evil hidden behind!So, as you can see it is possible ;)I know that many of you are just scared of receiv-ing kindness because of thinking “why the hell he/she is kind to me?”I understand that but...let’s give a try? Ok? Withoutexpecting nothing in return ;)Guys...please open doors for a girl.Even for the one you don’t know or don’t desire andjust wish her nice day!Nothing bad hidden, please ;)If you think that she looks beautiful, don’t say “youare hot!”, but say “I like the way you look” or ”youlook beautiful, I appreciate that” and leave :).If you just want to say a compliment, do it and notjust when you have expectations…If you don’t see visible signs of attraction, don’tbother women ;)Use safe words like “goodmorning”,”goodbye”,”how are you Madame?” in-stead of “yo girl , how ya doing?”Show respect and you’ll also receive it back ;)Ladies, if men open doors for you, please be kindand say thank you!Maybe he just wants to be kind? You don’t have togo for a date straight away :PIf a man tells you good morning, reply to him kind-ly and leave if you want. You don’t have to make awhole conversation with a man you don’t know ;)But receiving respect is beautiful isn’t it? ;)When you have dinner instead of “cheers that wasgreat”, say: “thank you, dinner was very nice. Ienjoyed it a lot”. Doesn’t that sound better? :)Don’t give up so easy. Make some efforts and showto others that you can be a Gentleman or a Lady ;)Most importantly: be real with what you do, fakebehaviour won’t have such a beautiful charm ;)LET’S MAKE THIS WORLD BEAUTIFUL ANDCHARMING AGAIN!!! :)Got inspired ? ;)Karolina (your messenger of hope: D)
  • 66. 66Burst { music magazine }MissLakuneWritten by B.S OrestisHow awesome can the macabre be!
  • 67. 67Burst { music magazine }Now, let’s all take the moment to think about…art. They say art can last forever, and that art can beonly for a few seconds, only for the keen eye. I say timeless and living.After such thoughts I stayed on the ‘living’ part so at first I started looking into tattoos. I even gotone myself. In the quest for the rare and weird I stumbled upon someone totally different and Iwas fascinated: Miss Lakune!What I saw was not body art. Not prosthetic. Not inked. It was makeup! The concept of her facialart is to bring out the beauty of a living dead face. It’s really hard to describe, and I would suggestthat you stick to the text, use up all your imagination with what I’m about to say and then turn thepage to see some photos…Even today when someone dies, there a specialist who tries using make up to give to the diseaseda warm look so that the rest of us remember him/her/it(?) as best as possible. But what if the facewas a wee bit deformed? What would you do in such a case? I would hire Miss Lakune!She has an amazing talent to make the grotesque look sexy and beautiful. She has the vision to seethe dead trying to look good for a cocktail party! The variation in colors, the styles and the haircutsall blend together in her own canvas: herself! You should see the ‘stripe queen’, the ‘golden’, the‘flowers of evil’, the ‘divine mercy’. How awesome can the macabre be!!That along with great photography has given us some of the best portraits out there that make youlook into every little detail, from the eyebrows to the lipstick/blood on the mouth, and from thehollow eyes to the misplaced cheek dragged by wiring towards the ear! Faded surroundings withfocused details of bleeding eyes or pearl vomiting all brought to a level of sensational aesthetics!At first, as usual I thought I’s look her up, to figure this out, how she came to be, what was the firstimpression, what gave her the idea, but the I saw a saying of her that sums up all of the above:“Permanently in love with Manson, Bowie, Helnwein, Biork, Tarantino, Burton and many more -don’t even try to understand. It’s a lost highway - to hell.”On the road to hell you will also bump into Magdalena Piwosz the photographer of Miss Lakune.I will leave you to that mystery: is Magdalena, Miss Lakune? The model and the photographer arethe same?? Since that’s the case, think how rare a talent in makeup, photography, digital designand modeling can be…All her works have depth, in story (especially if you have a vivid imagination like yours truly) andin technicalities making one stare for hours. I spend a lot of time in front of each and every photoof hers, trying to visualize the manner in which she applied the mechanics, the wiring, the eyelin-ers, the blood, the fake skin, the shadows on her own head, to accomplish a result that words arelesser to describe.What we have here is one of the most creative and gloomy styled artist, with elements of the Vic-torian gothic era, with skills on photo manipulation and drama that captivates the eye, giving youwomen ghost figures to enrich your nightmares!There is a small teaser throughout the internet that you should definitely not miss and of course beon the lookout for any exhibitions by that 24 year-old Polish girl to have the chance to sail with hervessel to the stars…(Magdalena Piwosz)
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  • 72. 72Burst { music magazine }It was one of the big-gest hits for this year’sAcademy Awards, with 8nominations, includingthe big 5 (Best Picture,Best Director, Best Actor,Best Actress, and Screen-play). “Silver LiningsPlaybook” is an Americanromantic comedy-dramafilm adapted from thesame named novel byMatthew Quick anddirected by David O. Rus-sel (“Three Kings”, “I <3Huckabees”). The leadingroles are played by Brad-ley Cooper and JenniferLawrence (who won theAcademy Award for “BestActress”) and the support-ing ones by Robert De Niro and Jacki Weaver.Pat Solitano Jr (Bradley Cooper) is released from a mentalhealth treating center after eight months of treatment for previ-ously undiagnosed bipolar disorder. He returns home to findthat his, also ill-tempered, dad has lost his job and has becomea professional gambler in football games of his team “Eagles”,in order to win the money needed to open a restaurant. Patconstantly avoids taking his medicine and -unsuccessfully - triesto control his violent outbursts. But, his is determined to gainhis life and his wife back. Pat makes a plan of self-improvementthat includes regular jogging and fitness exercises and readingAmerican literature, the one that Nikki teaches to her students.In fact the reconciliation with his wife has become an obses-sion to him. After a convention with his psychiatrist he explainsthat he lost control when he had found his wife making lovewith a colleague of hers, while listening their wedding song. Hewent mad and hit the other man severely, something that led tohis hospitalization. From that incident and after he continueshearing that song on his mind and cannot control himself. Afew days later, during a dinner at a friend’s house he meetsTiffany, who suffers from depression and hyper sexuality afterher husband’s death which caused her loss of job. Through their“madness” and neuroses they build a strained at first place, yetstrong relationship. Pat tries to communicate to Nikki throughTiffany and Tiffany , as a favor, makes Pat her dance partner fora dance competition. At the same time his superstitious fatheralmost forces him to attend the Eagles games with his brother,because he thinks that time with Tiffany is a loss. However, lateron he will see that Pat is really finding himself again through thedance lessons…Despite being an American romantic movie, it resembles more akind of “Eternal Sunshine of a Spotless Mind” than a Hollywoodromance. It achieves a close look to neurotic people and their ef-fort to act normal and win their lives back. An all star cast playsits best and Jennifer Lawrence is just irresistible in this role.Don’t miss it.“Great Expectations”is a 2012 British filmadaptation of CharlesDickens ‘ novel. The filmwas directed by MikeNewell, with the adaptedscreenplay by DavidNicholls, and starredJeremy Irvine, HelenaBonham Carter, HollidayGrainger, Ralph Fiennesand Robbie Coltrane.“Great Expectations isDickens’ thirteenth novel,a classic of VictorianLiterature genre whichhas many film and TVadaptations within themost well known is the1998 film directed byAlfonso Cuarón.Young Pip is a six year old orphan who lives with his abusiveolder sister and her good mannered husband Joe in an Englishvillage. On Christmas Eve, while wandering around the church’sgraveyard he meets an escaped prisoner who scares him andconvinces him to steal food from home and deliver it to him. Atthe next day the prisoner is caught again and sent back to pris-on. A few days later Pip’s uncle “Uncle Pumblechook” is askedby Miss Havisham to find a young boy in order to play with MissHavisham’s adopted daughter, Estella. Pip is introduced to the“Satis House”: Miss Havisham – a weird middle aged lady wholives in one room and is dressed up with her wedding dress andher astonishingly beautiful stepdaughter Estella, with whom Pipfalls in love with immediately. Estella has been raised by MissHavisham to have no feelings and break other peoples’ hearts,so she is proud, arrogant and offensive to Pip, who starts feelingguilty about his humble origin and blacksmith future and ex-press the feeling to become a gentleman. When Miss Havishamnotices that Estella becomes more kind to Pip, she pays him andtells him that she doesn’t need him anymore, so he won’t comeagain.After some years Pip is grown up and is trained to be a black-smith but is very dissatisfied with his life. He wants to becomesomething better and always thinks of Estella. Then one nighthe has a visit from Mr Jaggers, a lawyer from London whoinforms him that he inherited a great amount of money from abenefactor who wants to remain unnamed, with the conditionto leave Joe and go to London to become a gentleman. Pip ofcourse accepts and he assumes that Miss Havisham is his ben-efactor. Soon he learns Mrs Havisham’s story, she was left in thealtar on her wedding day and that’s why she taught Estella tohave a heart of a monster. As time passes Pip becomes arroganthimself. He and Estella will meet again and Pip will also shock-ingly find out who is his real benefactor.“Great Expectations” is a film about wealth and poverty, loveand rejection, and the eventual triumph of good over evil. Excel-lent scenery, photography and costume, very faithful to theoriginal writings of Dickens.WrittenbyEleniLamprakiWrittenbyEleniLampraki
  • 73. 73Burst { music magazine }Argentinean director Ben-jamin Avila made a solidstart with his first filmentering Cannes Film Fes-tival, winning the Casa deAmerica Award at the SanSebastian Film Festivaland becoming Argentina’sofficial submission for theAcademy Award for BestForeign Language Film.With Luis Puenzo (“TheOfficial History”) in theproduction, “ClandestineChildhood”, an autobio-graphical, historical filmset during the Argen-tinean Dirty War, wasembraced by critics andaudience.1979. Horacio’s family is returning to Argentina after 3 years ofpolitical exile, to continue armed resistance. The family of Mon-toneros, including their children, lives in secret locations, cut offfrom families and acquaintances, using forged identities as theyare persecuted by the cruel dictatorship still ruling the country.Their oldest son, Juan, is starting attending school again, with anew name, Ernesto.Their 12-year-old son is the vehicle of the story. The directorchose his narrative angle in order to depict those dark timesfrom a curious, instable and adolescent point of view. This am-bitious move led to a well-aimed perspective. The “kiddo” hasto respond to a double life: Juan is illegally living in a countrywhere his parents are persecuted for their political beliefs andhe is watching their daily routine being at stake. He is witness-ing gunfights, meetings and rituals with blindfolded people,a secret room is waiting for him in the imminent case of anemergency, his relatives are getting killed by police. He is in themiddle of a war, but he is too young to deal with it. He realizeshe is different from others and growing up seems to be the onlysolution. But what is going to happen to his innocence? He hasto keep up his second identity as well, as he also is Ernesto andhe is in love with a classmate of his, Maria.The highlights: Natalia Oreiro is impersonating the mother ofJuan, renouncing her soap opera image, as she successfully per-forms her double role as well: from a sweet and caring mothershe transforms to a tough partisan. Avila is illustrating thestrongest moments using graphic images and comics to high-light the reception of cruelty from a young mind. The artisticdirection of the 70s aesthetics is perspicuous. And what moredo we need than an honest experiential deposit of a creator whowitnessed a nation getting eaten by its own people?In a dystopian city peopleare born to be unhappyand miserable. The urbanenvironment is so grey,unpromising and smoth-ering that almost none isdying off natural causesanymore. Suicide is themost typical cause ofdeath and it has becomealmost a biological need.A family started convert-ing this necessity intoa commercial productand ended up runninga successful business.The suicide shop is theonly bright and colorfulplace in this dark state.Mishima and Lucreceoffer all kinds of equipment designed for a successful death.Because a decadent life deserves –at least- a remarkable death.And they are proud of their services; no customer has evercomplained…This business needs desperately to continue toprosper. But Lucrece gives birth to their third child who has thecharisma to smile and grows up to be a happy rebel. It turns outthat happiness is insuppressible. A radical revision of life valuesis gradually developed in this family.The versatile French director Patrice Leconte (“The Widowof Saint-Pierre” and “The Hairdresser’s Husband”) is mak-ing an ambitious effort. His first musical animation is highlycompared to Tim Burton and Sylvain Chomet’s (“The Tripletsof Belleville”) work; dark, poetic and pessimistic (which endsup to be educative and optimistic). For this reason, the film isdespised and not acceptable; wrongfully in my opinion. Theirobjections are based on the childish structure of the secondpart of the film and they are not taking into account that eventhe most astonishing animation movies involve naiveness as amajor feature of the genre. Such contracts are the key to theirsuccess. I am sorry if I am wasting your time being judgmentalto judgmental opinions, but in my humble perception of the filmraises current issues, such as the incapability to cope with dailymisery and alienation, in an unconventional way. Using suicideas a motif does not mean that the director is trying to deal withthis phenomenon in terms of sociopathology, or detect thegrounds leading to this.The songs are the only weak part of “The suicide Shop” butthey balance with really good direction of photography whichstrongly proves that the French are really good at making ani-mation films. A really cute and underrated movie, not suggestedfor children, but for adults who need a push to smile in thesedesperate times.WrittenbyPanaApostolidouWrittenbyPanaApostolidou
  • 74. 74Burst { music magazine }Written by Pana Apostolidou & Spiros SmyrnisPhotos by Christian GeisnæsDirector’s CutLars VonTrierI swear to the following set of rules drawn up and confirmed by Dogme 95: 1. Shooting must be done on location. Props and sets must not be brought in. 2. The sound must never be produced apart from the image or vice-versa. 3. The camera must be hand-held. Any movement or mobility attainable in the hand is permitted. 4. The film must be in colour. Special lighting is not acceptable. 5. Optical work and filters are forbidden. 6. The film must not contain superficial action. 7. Temporal and geographical alienation are forbidden. 8. Genre movies are not acceptable. 9. The film format must be Academy 35mm. 10. The director must not be credited.Furthermore I swear as a director to refrain from personal taste. I am no longer an artist. I swear torefrain from creating a ‘work’, as I regard the instant as more important than the whole. My supremegoal is to force the truth out of my characters and settings. I swear to do so by all the means avail-able and at the cost of any good taste and any aesthetic considerations.
  • 75. 75Burst { music magazine }
  • 76. 76Burst { music magazine }Are you familiar with the vow of Chastity?I think not. However, most of you, knowthe provocative persona of Lars Von Tri-er, probably one of the greatest Europeandirectors in the history of cinema. Howwould anyone describe this unconven-tional, inspired, avant-garde, anti-con-formist, Danish bastard? L’enfant terribleof Cannes festival made his debut withthe “Element of Crime” film. This was thefirst part of Europa trilogy, a nightmar-ish, Kafk-ish feature that some named itas a post-film noir. A detective plagued byheadaches goes to a hypnotist and reliveshis investigation into a serial killer case inLars von Trier’s first feature, The Elementof Crime. Fisher (Michael Elphick), a re-tired policeman, returns to Europe at thebehest of his mentor, Osborne (EsmondKnight of The Red Shoes). Osborne, theauthor of an influential textbook calledThe Element of Crime, has given up hisinvestigation into the Lotto Murders, inwhich a number of lottery ticket salesgirlshave been killed and mutilated. The filmis influenced by the German expression-ism, while futuristic and surrealistic ele-ments are translucent through the film.The sepia photography is astonishing andTrier introduced himself to the world filmcommunity in the better way.Trier seems not to care about others’opinion, especially when the discussionreaches to film critics. “I am the best filmdirector in the world,” stated at CannesFilm festival, while many critics bowedhis entrance in the press conferenceroom after the screening of Antichrist.“This knowledge I have that I am the bestdirector, I see it as true, I am sure otherdirectors may feel the same, [but] maybethey don’t say it,” he said, never raisinghis voice. “I am not sure I am. I just thinkI am.’ The Danish film-maker continued.Von Trier has mapped the changes thatmatter in cinema. It was the crucial year1988, when Trier decided to direct hisversion of Medea, based on Carl TheodorDreyer’s adaptation of Euripides’ playMedea. The film was shot for the DanishTV and is one of the most artistic worksof Trier. Every cut is wonderful, everyscene is delicate, every photo-frameis a piece of art. Trier shot a symbolicancient tragedy, inspired by the story ofEuripides and delivered an intense film,with unmemorable scenes like the poeticdeath scene of Medea’s children. A truemasterpiece, indeed could be more thana reason for someone to explore into theprovocative work of Lars von Trier.Epidemic is probably the most experi-mental version of Trier’s cinema. To methis is the weaker moment of “Europa”Trilogy yet a very interesting film. TheDanish film-maker is sarcastic at the artof making films. Trier, himself plays oneof the two protagonists, screenwriters.Europa is one of the most underratedfilms in the history of cinema. Theylucky ones who did explore through thescenes of Europa, they still remember thesensational voiceover of Max Von Sydow,the rebellious perspective of Trier and theavant-garde photography. Europa is anintense film, a post film-noir with 1940atmosphere, probably the most academicmoment in Trier’s filmography. Hard towatch indeed but imaginative is an exam-ple of transgressive imagery.Lars Von Trier is a distinguishable direc-tor. A classic love it/hate it case withhardcore fans and sworn enemies. Sowe’ve reached “The Idiots” where Trierintroduces us to another provocativestory. A seemingly anti-bourgeois groupof adults spend their time seeking their“inner idiot” to release their inhibitions.They do so by behaving in public as ifthey were developmentally disabled. Theyintervene on common people’s lives and“mess with” their ethical values. Idiotswill create chaos by their actions, theywill fool themselves as well as others.Obeying to Dogme 95 principles Idiotsis an unconventional manifesto, realisticyet tough, which takes the viewer off thehook.Breaking the Waves is probably the ulti-mate Trier’s masterpiece, praised by fansand critics too. The touching story of BessMcNeil, a pretty young Scottish womanwith a history of psychological problems,is one of the most interesting female por-traits, filmed in the history of cinema. Shemarries Norwegian oil rig worker Jan,despite the apprehensions of her commu-nity and Calvinist church.Bess is somewhat simple and childlikein her beliefs. During her regular vis-its to the church, she prays to God andbelieves God answers through her usingher voice. Associated by the unbelievableperformance of Emily Watson the Danishdirector uses the magnificent landscapeof Scotland, as a canvas to draw the great-est love story ever told. A breathless filmexperience, a piece of art, annoying andperverted, “Breaking the Waves” markedthe European Cinema once and for all.Trier chooses to “dress musically” thefirst film of The Golden Heart Trilogywith classic rock songs a different one forevery movie chapter.Although, they have blamed Trier, as amisogynist and misanthropist he createda film about love’s nature. Unique, seek-ing for redemption, the story of Bess mas-tered the viewer, by capturing his eyes.Honestly words cannot describe this film,cause there won’t be enough, they won’tbe accurate. That’s the reason why youshould dive into “Breaking the Waves”universe. Violent and controversial the
  • 77. 77Burst { music magazine }cinema of the notorious film-maker is ad-dictive. Once you’ve been in Trier’s world,there is no easy way out.When “Breaking the Waves” enteredCannes Film Festival, Trier could notattend because he is afraid of flights! Theprotagonist of the movie, Emily Watsonhad to call him during the projection ofthe movie in order to hear the reactionsof the audience. Once “The Idiots” and“Dancer in the Dark” were the officialentries in Cannes, the director decided tocross Europe with a trailer…“Golden Heart History” trilogy is com-pleted with “Dancer in the Dark”. Trierchose a melodramatic/musical orienta-tion which fits Dogme 95 principles. Aworking class woman, an immigrant, amother who suffers from a degenerativedisease that is also affecting her son, aninmate sentenced to death...All theseroles are undertaken by an almost blindand fragile existence who finds comfort indaydreaming. Bjork is using the unique-ness of her physique and attitude and (ofcourse) voice and she reaches her charac-ter on the best level expected.The Danish director is approaching hispermanent obsession: a world seekingfor salvation completely denies recognis-ing its sins. Half-shot with a hand-heldcamera to depict colourless reality andhalf-shot in bright colours while singingand dancing prevails, the film under-lines a major fact of life: happiness andmisery come from the same place. Theycoexist and complement each other. Youcan always have fun with your sadnessand sadness often comes along with toomuch happiness. Allow me to confessthat I have a tiny objection on this movie.Trier is going too far with the ending. Hepushes the audience to its limits, usingevery kind of melodramatic trick to crushour souls, ignoring the fact that the storyitself has already much power. But that iswhat he does every time... That’s the wayhe rolls and that is why he is probably thedirector with the most fanatic admirersand haters.“Dogville” is the peculiar first part of thetrilogy “USA - Land of Opportunities”.Using theatrical structures and hav-ing a minimalistic spirit, he created adramatically flawless piece of art wherean environment of violence is graduallydespoiled. The well-aimed director isusing means familiar and legitimate: theinstitution of work and the most cunningversion of it, volunteering. Slowly, with asadistic pace, the film results in the mostloathsome and cruel form of oppressionand human demoralization. The aimof the creator is to have us revise whatmakes us feel secure. But first of all wehave to accept the theatrical conventionand get used to this form of narration.And then, for once again, we have to diveinto our darkest thoughts and explorethem. It is the only way to renouncethem.Using the same aesthetic lines in “Man-derlay”, he teaches us a part of the historyof America, whose dirty past is basedupon the exploitation of slaves. Cor-relations to today are obvious. Equivo-cal questions are rising: Is there actualfreedom or are we dealing with a twistedform of slavery in any case? Is there ac-tual freedom when we have to enforce it?Innumerable comments about the natureof the human being are put side by side…Although many critics are arguing aboutwhether this film is anti-American or not,I will just approach it as educative and –of course- captivating.After all this “heavy” filmography, Trierdecided to make a…comedy. I was a bitconfused when I first found out about“Boss of it all” and I thought “whatis Trier’s perception of comedy?” Myanswer was that Trier has nothing to dowith comedy. To my surprise the filmwas really good. Overly good. Typicalsituation comedy is mixed with Trier’sobsessions concerning cinematographicnorms. What is comedy? It is moral whenyou make fun using art? In the openingscene we see Trier’s reflection comment-ing his work. And he does that manytimes during the film. His voice is pop-ping out, either apologising or indicatingsomething.An eccentric actor with egocentric ideasabout acting and drama is being hired to“play” the boss of a company. The realowner, unable to cope with his status,(especially when he has to announce thatthe company is being sold), is hiding un-der the identity of a simple manager whojust execues the orders of the “big boss”.Trier does not afraid to satirize theatre,the history of Danish people, stereotypes,even the comedy itself. His intellectual“brain” humour is making the viewerlaugh unexpectedly from deep within. Ithink that the only reason he made thismovie was just to prove that he is equallygood at making comedy.Antichrist. Paranoid, claustrophobic,stressful, sick. From a technical stand-point, it is flawless. The direction,photography and acting are astonishing.It almost feels like the devil himself madeit. It did not manage to earn an awardfor Charlotte Gainsbourg’s outstandingperformance in Cannes, but it did man-age to become the major topic of debatingand booing, it caused awkward commentsand ambiguous reactions and left theaudience and critics divided. A couplespeckled by the death of their child, isresorting in an isolated house to exploretheir traumas. The bodily pleasures areexcommunicated but being unable toresist in them, they are taking drasticmeasures to cut them out. The woman isimpersonating the Evil which is enforcedby strictly male-dominated societies.Trier may as well be the Antichrist, sug-gesting that religion is the only limitation.Nature is responsible for our sins and freewill.Von Trier was declared “persona nongrata” at the 2011 Cannes Festival. Atthe “Melancholia” press conferencehe expressed sympathy for Hitler andtherefore he is forever excluded from theFestival. “For a long time I thought I wasa Jew and I was happy to be a Jew,” heclaimed, “then I met (Danish and Jewishdirector) Susanne Bier and I wasn’t sohappy. But then I found out I was actuallya Nazi. My family was German. And thatalso gave me some pleasure. What can Isay? I understand Hitler…I sympathizewith him a bit.”His last film “Melancholia” is an apoca-lyptic themed movie and the directordeals with the destruction of the world.Planet Melancholia is about to collidewith the Earth. Two sisters with totallydifferent temperaments are experiencingthe imminent destruction and the direc-tor is showcasing his ability to presenta parade of emotions, from composureand optimism to apathy and panic. Theclimax is just shocking. The viewer issurrounded by stifling emotions, poeticimages, evocative music, which onlymake him suffocate. I clearly remembermy cinematic experience, when I almostcried… Not because I felt sad but becauseI felt the weight of the circumstancessmothering me…“I am the best film director in the world,”Lars Von Trier proclaims. “I am sureother directors may feel the same, [but]maybe they don’t say it,” he said, “I amnot sure I am. I just think I am.” LarsVon Trier is not interested in beingneither conciliatory nor conventional.And I firmly believe that his provocative-ness kinda makes me accept the abovestatement. Ok, maybe not the best, whatdefines the best anyway? But one the bestand one of his kind.
  • 78. 78Burst { music magazine }Written by Spiros SmyrnisIn Greek mythology, Acherusia, was a name given by the ancients to several lakes or swamps, which, like the variousrivers called Acheron, were at some time believed to be connected with the lower world, until at last the Acherusiacame to be considered to be in the lower world itself. Aherusia is a black metal band from Greece. Aherusia was formedby Voreas Faethon in Athens, Greece in 1997. The aesthetic principles, the band holds until the present day, wereforged from the combination of the traditional hellenic sound and the progregorian european folkloric tunes under themusic manifest of Majestic Black Metal.Greece has an extended tradition in black metal, while the Hellenic Black Metal wave in the mid 90s drew more andmore metalheads’ attention. The pioneers Rotting Christ, Necromantia, Varathron and Deviser just showed the way toyounger Greek black metal bands, Ravencult, Enshadowed and Aherusia. Aherusia is a different case from most of thebands mentioned above. They combine elements from traditional Hellenic music with the sharp riffs of Hellenic blackmetal wave and the majestic atmosphere of Dimmu Borgir. In 2009 Aherusia released their debut album, titled “AndThe Tides Shall Reveal The Traces”. They worked together with Christos Antoniou, the guitarist of Septic Flesh andChaostar, who was behind the helm of production, while the one and only Sakis Tolis of Rotting Christ was the master-mind behind the mixing and mastering process.Working in Devasoundz studios for that end was a totally professional process, ending up in the sound on “And TheTides Shall Reveal The Traces” being flawless. Seth signs another beautiful obscure horrific artwork. The album fea-tures 7 tracks, all of which are 5 minutes plus, so “And The Tides Shall Reveal The Traces” has an epic, majestic aura.“Birth of Immortals” is the opening track of the album, and the most characteristic one. Hellenic folk black metal is forme the right term to describe the music of Aherusia. Frozen black metal riffs balanced with the lyre melodies and pre-sented to us in an unprecedented extreme metal sound. Just a year before the debut album of Aherusia was released,Rotting Christ released Theogonia, which has the first seeds of Christ’s turn to the different sonic landscape, whichis completed on KATA TON DAIMONA EAYTOY album. I think that there is an obvious connection between the twobands.Lux Occulta and Methexis that followed the first track are among my favourites. Mysterious and dark atmosphere,haunting whispers by Faethon and warlike drumming set a nightmarish landscape. Through the paths of abyss,Aherusia glorify the mighty “Archangels” who stand “Beyond Death and Time”. The spirit of Ancient Greece conquersthe album, since the band was honouring their ancestors. The deep knowledge of paganism and black metal principlesis responsible for a great album, a dive into darkness, into Hade’s underworld. You might not find peace there, butcatharsis.
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  • 80. 80Burst { music magazine }195 million children worldwide suffer fromthe effects of malnutrition. In 2011, MSF treated 408,000children in more than 30 countries.Copyright: Francesco Zizola