January 2013, Issue 1
56 PAGES { INTERVIEWS } { TRIBUTES } { REVIEWS }
BURST PRESENTS:
DIAMANDAGALÁS Christophe Szpajdel: Sketching the Underground Scene
Director’s Cut: Woody Allen
2012’S RESOLUTION
NIGHTSTALKER
SURVIVAL GUIDE FOR LIVE CONCERTS
ELUVEITIE
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BURST MAGAZINE
A little something to know us better!
BY RAPHAEL ARETAKIS
A
fter 18 months, a lot of “line up” changes and a big slap in the face, it was time for Burst to burst! Though we started nearly 2 years ago, I believe that this is our actual beginning. This is our time and we plan to leave our mark. It doesn’t matter whether it’s big or small, as long as it means something.
W
e are independent and will stay independent. Burst is true and here to stay!
issue out now!!! A
t this point I have to say a big thank you, to all the gals and guys that have made even the smallest contribution in this whole effort, to all our “fellow rivals” for motivating us in their own special way, to all the people that read our articles and support us and of course to my good friend Diamanda Galas who honored me by being on our very first front cover!
B
urst is a magazine that features the voice of the people. We are not hot shot journalists that chose to write about music or films. We are simple fans that share our opinions on what we see, on what we listen, on what we read. Through our pages you will see honest writings that come from us on various topics and fields. Enjoy reading and don’t forget to share!
akis et r A l e a h Rap
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publisher/editor in chief
Raphael Aretakis
managing editor
Spiros Smyrnis
editors
Alexandros Nalbanis Byron S. Orestis Eleni Lampraki Elias J. Kay Emm Den Evi Tasakou Frozen Angel Giorgos Kotrozinis Gogo Apostolaki Hope Vnz Jo Gogou Kalliope Tsouroupidou Matina Katsarakou Pana Cotta Sissy Dragonfly Sophie Tsekoura Sotiris Stilianos Stathia S. Pedioti Vana Valma
editor/proofreading
Marianna Kofinaki
photographers
Apostolis Kalliakmanis Byron S. Orestis Eileen Von D Jo Gogou Katerina Vlachou Myrto Cat Penelope Tripatzi Raphael Aretakis Stavrianna Rosevyone
int. photographer
BURST { music magazine }
Kalliope Tsouroupidou
Join us Do you want to be part of the Burst crew? We are looking for live reporters, columnists, news writers and photographers from around the world. Contact us now at info@burst.gr! Connect www.burstmagazine.org www.issuu.com/burstmagazine www.facebook.com/burstmag www.twitter.com/burstgr www.youtube.com/burstgr Email us: info@burst.gr
BURST MAGAZINE
UNIQUE BORDERLESS AND... DIAMANDA!
“There is no other way to express her broad spectrum of talents or the enormous shapes and forms which her distinctive aesthetic adopts.” When you try to describe Diamanda is like describing art... “What you see, is what you get”. Head to page 22 for the interview!
pages 6-23 Tributes
pages 14-15 Survival guide for live concerts
pages 22-39 Interviews
pages 40-41 2012 Resolution
pages 42-45 Album reviews
page 46 Eps
ge Page The Pa Tu rn Th Turn
Director’s Cut
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Photo by Kristofer Buckle, 2010
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DIAMANDA GALÁS:
UNIQUE, BORDERLESS AND... DIAMANDA! When it comes to Diamanda Galas there is only one word to describe her: uniqueness. There is no other way to express her broad spectrum of talents or the enormous shapes and forms which her distinctive aesthetic adopts. Born in San Diego, California and Greek by descent, Diamanda was involved into music from an early age. She retained from her classical music studies a fondness for expressing emotion, however, her depiction of articulating human pain loss or depression surpasses any rhythm restraints. As a musician performer and vocalist she released a notable number of albums and collaborated with numerous composers and artists, both from the music as well as the film industry. One of the most important turn points of her career was the creation of the album “The litanies of Satan completed in 1982. The modification of the homonymous poem of Baudelaire acBURST { music magazine }
companies the stated obscurity of human life struggle in the hellish abyss. Diamanda Galas’ vocal performance is a symbol itself, solid but borderless. There is no tiresome balance or rhythmic repetition in her interpretation of Baudelaire’s poem lyrics. “Father, adopting those whom God the Father drove in dark anger from the earthly paradise, O Satan, take pity on my long misery!”. The sound of her voice is not intended for untrained or rigid ears. Her audience will easily notice that she doesn’t follow a set pattern of expression. It is not difficult for Diamanda to find a way of limitless and multidimensional - almost at the bounds of distortion – sound. Galas’ inspirations derive from the everyday struggles of mankind, concerning injustice, political sexual or religious discrimination and illiberal speech, environmental damage, mental or physical illness and psychological fears. At the same time, poetic
Written by Aikate D. voices from the past like Edgar Allan Poe and Charles Baudelaire as well contribute to Diamanda’s influential sources. Clearly, Diamanta’s fluid voice expresses the unconscious mystery void beyond reality. The ‘harsh’ flow of her vocal motifs embraces distress and persistence, while in the meantime an ancient-like feeling reveals a hidden layer underneath the surface. Undoubtedly, there is beauty and cruelty in the sound of her music, and fragments of them both are moving in a surrealistic way across the distinctiveness of her voice. In view of this, we could outspokenly declare that Diamanda’s singing electrifies a transparent journey between the realistic and the imaginative, the bare reality and the glorified romanticism.
LA CARTA
// EXCLUSIVE SWIMWEAR //
www.argophotography.com
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STEVEVAI Photo by Raphael Aretakis BURST { music magazine }
Photos by Raphael Aretakis
THE GUITAR HERO OF THE DAY!
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“At the age of 20 he was auditioning for Frank Zappa’s group. Zappa was impressed from Vai’s skills so Steve had some solos on the Joe’s Garage album.” by Spiros Smyrnis
T
wo EP’s, two special albums, eight live albums, twelve soundtracks, twenty compilation albums,three Grammy Awards and forty other awards. These are just a few of Steve Vai’s achievements, one of the greatest and most influential guitarists of the world. Steve Siro Vai was born at Carle Place, New York, United States. Even from his 13 years old he started playing guitar. Jimi Hendrix, Jeff Beck, Jimmy Page and Brian May were his personal guitar heroes. At the age of 20 he was auditioning for Frank Zappa’s group. Zappa was impressed from Vai’s skills so Steve had some solos on the Joe’s Garage album. In 1984 he released his personal debut album, titled Flex-able. Two years later, Steve Vai appeared on Walter Hill’s (director of Warriors too) Crossroads, playing the demonically-inspired Jack Butler. Vai engaged in a guitar duel with Ralph Macchio whose guitar parts were dubbed by Vai and Ry Cooder, who played the initial slide work in the duel and Macchio’s earlier performances in the film. In 1985 he joined with David Lee Roth (singer of Van Halen) the Eat em and Smile Band. Vai, Roth, Billy Sheenan (Talas) and Gregg Bissonette (Maynard Ferguson) formed the band.” Eat em and Smile” and “Skyscraper” albums reached 4th and 6th place in Billboard 200 selling more than two million copies.
Vai joined Whitesnake in Slip of The Tongue album replacing Vivian Cambell, while he played in Alice Cooper’s Hey Stoopid album. In “Feed My Frankenstein” song he played with the other guitar monster named Joe Satriani. Vai also wrote a song for Ozzy Osbourne’s “Ozzmosis” album, which was played finally by Zack Wylde. Let’s focus on Vai’s personal career now. In 1990 he released maybe his best album under the title of Passion and Warfare. An exceptional instrumental album with guitar anthems, where Steve proved his virtuosity to vast audiences. The solo on “For the love of God” track might be one the best ever recorded in the rock history. Shredding dynamites from a riff-machine named Steve Vai. Three years later “Sex and Religion” was released with Devin Townsend (Strapping Young Lad, Devin Townsend Project) on vocals and reassured Vai’s potentials especially in songs like “Pig”, . Though personal conflicts this band split up soon. As Vai said “I was not ready for a band. You see, usually the idea of a band is to get together with people who could contribute their ideas and talents in a healthy exchange. With players like Terry Bozzio, T.M. Stevens and Devin Townsend, in order to have a band there needs to be an unconditional acceptance of everybody else’s contribution. I was not ready for
that kind of commitment on my part. Although it may have seemed unfair to the others, there were definite ideas on which way I wanted to go with the music. Those guys are really wonderful musicians, but they have their own personality. When I try to have a band together I’m too much of a control freak. I want things to be done too much of a certain way. I gave them some freedom, but the freedom musicians of this calibre need, I wasn’t able to give. Therefore, blame it on me, this project will not come together again.” In the 90s Vai also released 3 more albums: “Fire Garden”, Flex-able Leftovers” and “The Ultra Zone” in 1995, 1998 and 1999 establishing his personal music style. 6 years later he released Real Illusions: Reflections album while he was performing with the Tokyo Metropolitan Symphony Orchestra in Japan and at Châtelet Theatre in France. He was giving at the same time master classes on music schools, releasing educational dvds sharing his magic with other ambitious and promising guitarists. This year Vai released Story of Light featuring Beverly McClellan in vocals (two tracks) and this is probably the best album he recorded in the last years. Vai, who is married to Vixen bassist Pia Maiocco and have two kids will come for two shows in Greece on November 5th and 6th to entertain his Greek fans. His Ibanez JEM guitar will be on fire so Beware! BURST { music magazine }
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Meden Agan - “Nothing In Excess’”
M
eden agan (μηδέν άγαν) in Greek means nothing is too much, excessive, hyperbolic. Yet, too good not to be mentioned, not to be captured by the band’s music. In an immense sea of numerous bands, Meden Agan manage to make the difference insisting on melodic forms combined to hard worked vocals sparkled with lyricism. Is it a symphonic, gothic or progressive band? Who cares anyway... Nowadays music seems to be almost everything referring to the old,new,or the mixture of the genres. But we do care about good music. We do care about hard working artists and sincere performers,and that seems to be Meden Agan’s case. Their influences come from Nightwish & Symphony X but –allow me-there is also a part of Hellenicity not only as far as the band’s name is concerned. The band was formed in 2005 in Paris, by D. Koutsogiannopolulos.The first demo came to life in 2006, and their first full– length album in 2007. No female vocals yet. During that period they performed with Skyclad, Pain of Salvation, Within Temptation and others.
BURST { music magazine }
by Evi Tasakou
Back to Greece, Iliana Tsakiraki joined the group, and being a leggero soprano vocalist herself, a symphonic female aura blended the band. The new line up was: Iliana Tsakiraki (vocals), Diman Koutsogiannopoulos (guitars), Tolis Mikroulis (keyboards), Aris Nikoleris (bass), and Panos Paplomatas (drums). Together, they released ‘’Nemesis’’their first EP.
Then in 2011, Iliana Tsakiraki joined Septicflesh for the recordings of the album ‘’The Great Mass’’. In September 2011 their album ‘’Erevos Aenaon’’ was released. The band participated in the Metal Femal Voices Fest, in Belgium (October 2012) and won the best artwork award.
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Photos by Raphael Aretakis
How the desert sounds: A tribute to Calexico, by Vana Valma
W
ith the specificity of the, socalled, “sound of the desert” to follow them on their way to the top (probably about to touch) the Calexico is a music group that enjoys their offered fame. The band from Arizona, has caught the pulse of the Greek audience, which is among the most favorite and never fail to visit, as often as they can. This year they have released their new album «Algiers» and they are ready to present their strange guitar sounds, live on stage to the Greek audience. Their sound is unique, their music speaks to the heart and this kind of genre is located south of the USA. The town that they took their name from, is close to Mexican borders. Calexico, have their own special way to produce music with almost anything that produces sound… Introduced to the further audience in 1996 by Joey Burns and John Convertino. The style is based on American and Alternative Country music, music of the west and south, as well as in jazz and rock. As per their admission, their inspiration is the desert of Tucson, Arizona, on which they met their creative sides of old with the new culture and created an artistic mosaic. That’s why their audience have justified and nicknamed them “Mariachi”. Real Mariachi follow them in their concerts. This band is very respective to all underground community, magazines, radio stations etc. who appreciate the “diamond” folk/alternative songs that they produce. They love to be in constant search of new collaborations with many musicians among them, like Tortoise and Lambchop.
They are also busy to create new projects such as OP8 along with Lisa Germano, participate in the Friends Of Dean Martinez, Giant Sand. In the early ‘90s they formed the band called: Friends of Dean Martinez and even signed a contract with record label Sub Pop as some more projects were followed. The success for the band, however, came with their second step, «The Black Light» in 1998 and reached some of local top ten as “best album of the year”. The inspiration of the project was the desert of Arizona, and the influences of Mexican music and culture of the region were obvious. The Calexico began touring with Pavement and Lambchop, building a loving relationship with the public. In their «Hot Rail» of 2000 they added in their compositions, stringed instruments such as violin and created a more characteristic and special sound. A year later they released two collections of unreleased recordings and b-sides. The «Feast Of Wire» 2003 was their first album to appear in the indie charts. Some months later they shoot their first video clip for the single «Quattro». The song «Güero Canelo» was part of the official soundtrack of the movie «Collateral» starring Tom Cruise, something that gave a boost in band’s career. At the same time they were participated in the album of Nancy Sinatra’s self-titled, which contained entries from artists who felt inspired by the song «Burnin Down The Spark».
them a more mainstream profile. One of the best moments in band’s life was their collaboration with the well known Canadian band, Arcade Fire by recording of «Ocean Of Noise». Due to the good chemistry between of the two bands, they tour together quite often. One of Calexico band’s unique characteristic , is also that they are known for the fact that they are selling some of their recording albums only at live performances such as «Aerocalexico» and «Road Map». According to the critics, what makes them famous in Europe, is their ability to convey through their music, the atmosphere of the American West, the sounds of the desert by mixing different musical genres such as Americana, folk and the Mexican music. The leading member of Calexico, Burns, confesses in his interview, that is fond of the hidden treasures of music and he likes to hear these faint sounds at night while everyone is asleep. He believes that these sounds, in the said time, waking up and stretching their wings. There is the whole retro mood that shows in their music. He also admitted that he would like to work with musicians of rebetiko greek music in the future! On December 1st at Fuzz Club, we will have the opportunity to feel the desert sand through their special sounds… do not miss this concert!.
The sound of their fifth album «Garden ruin» was more guitar style by creating BURST { music magazine }
Anneke Van
Giersbergen greets the fans! Only a few hours before her appearance in Thessaloniki, the lovely Anneke says hello to her fans on Burst. Scan the QR Code above, and see for yourselves!
Did you know...
Photo by Jo Gogou
That Anneke does not drink any alcohol AT ALL?
AherusiA
“As I Cross The Seas Of My Soul� Release date t.b.a soon! www.myspace.com/aherusia
Photos by Raphael Aretakis
Magnaturias minumquist
Facearum inullabo. Obis sa quo minum quis veris consequatet late et volorum. Epera veribus tiorumq uissit aut estes es dolo dunturis esteceaquoPosse inatem senesulturbi includem niciaedo, neque dit quam Rompecris missena, num abem te enteribem num terorei patabuncum etissis hae que nunum hemum ala noster
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SURVIVAL
GUIDE For Live Concerts by Stathia Pedioti
Lets Get started A friend of mine, once made a list of what type of people you WILL meet at a live concert -and I found this list really helpful for this Survival Guide. So, I ask for your attention, for your own good! No1. “The Tornado” The guy that his excitement is expressed through a crazy dance (“like a Saman doing a rain dancing, to calm down the nature’s elements”), but you’ve already noticed him ‘cause of his smell *yikes*. Your “lightsaber” in this case, is a big, deodorant spray. Use it wisely, but not ungenerously!
No2. “The Sorehead” No3. “The one-screaming-for-the-band’sbest-song” (...yes it’s one word!)
Well, he annoys you really much, but you want to have fun tonight, not to kill somebody -yes, he’s that much annoying.
Your weapon against this creature? Well, he will scream the same thing ‘till the end of the concert, so... knock him out with an ultra awesome uppercut! JK, better treat him like the hater. ;)
Let him to the others. He freakin’ disturbs everyone, so he’ll certainly get kicked out of the whole crowd. And you will have your hands clear, too. Now we’re getting serious!!!
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Well, I think his “name” says it all.
“shoot” with his camera every moment -in blurry pictures- and will see the whole concert through his cell’s screen, while recording it. He will blind you with his camera’s flash. If it can’t be helped -by going in another corner/tree/rock etc-, put on sunglasses. You will also look cool!
No4. “The Shooter”
No5. “The Family Guy”
The one that will
And I’m not talking
about Peter Griffin! Is the “cool” Dad who took his child in his favorite band’s concert... just to put it in his shoulders and block everybody’s view.
WTF???
The guy that grumbles about everything. The concert, the band, you, himself -everything! And of course he’s moaning and moaning and moaning about how all of the above “suck”.
Well... RUN AWAY! It’s not only the blocked view. It’s also the screams the kid will do when it’ll freak out/get bored/get tired etc. You don’t wanna mess with “cool” daddy, not ‘cause of his fists, but ‘cause he’ll probably try to give you a lesson -verbally. Do you
15 The three must-haves in a live concert are tissues, water and some money. Also a pair of comfortable shoes, ‘cause you’ll jump around and you’ll probably walk a lot (from and to the car). Make sure your feet are protected, because certainly somebody will step on you *ouch*. Another “clothing” thing. Have a jacket with you, it might get chilly later. A general “rule” is “fit everything you need in your bag”. Your cell phone and money will be in your front pockets, so put your water, tissues or a change of clothes(if the concert lasts more than one day) in your backpack. No need for needless stuff. Going with company? Better not take with you your unlucky friend (it will rain), your wannabe-singer friend (he will sing in your ear just to prove he sings “better”” than the singer), your know-all friend (he will tell you stories you’re not really interested in), your “groupie” friend, your “recently single” friend (you will have to listen him crying again and again) or your girlfriend, with whom you had a fight last night. Don’t drink a ton of beers if you’re going to drive (yourself & your friends) home. If you wanna drink, let someone else drive.
The 3 ‘Musts’
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We’ve almost reached the end! Keep Reading No6. “The Drunkard” Do I really have to describe him? Booze in both hands, a smile “thiiiiis” big, the man that loves you all -but cries ‘cause of HER...You all pretty much have a general image! He will vomit, spill his drink on you, vomit again, cry on your shoulder, vomit once more, hug you, call you “brother”, and guess what? Vomit again!!
Umbrella (for him), bucket (for you), tissues (for him -hopefully, and not for you!), and pretty much anything that will protect you from his “rockets”. p.s. Watch out for mutant hybrids of this “categories”. Seriously!
And last, but not least at all, leave your house earlier than you think “it’ll be fine”. You might get a turn wrong, not find a parking spot anywhere near the concert’s area/ place and little stuff like these that will cost you some time. And you wouldn’t like to miss the begging of the show, will you?
Well, that’s pretty much it! Have great fun at live concerts, now that you know how to “survive”!
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Ok, this was the funny side. Let’s get the other half done Now! 3 BURST { music magazine }
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Anja Franziska Plaschg: A tribute to Soap & Skin
Written by Kalliope Tsouroupidou | Photos by Raphael Aretakis
They say that those who can’t, teach. I’d say that for those who know already, school’s out early. And then there’s always … “those who can, do”. Well Soap & Skin seems have burst out of the second category and catapulted onto the later one: the do-ers. What if she quit her studies twice before she was even technically considered an adult? Who cares that her CV won’t have a degree for her to frame and place above the mantelpiece? Does she even need to write one up? Her talent is already serving as her passport to venues and festivals worldwide, with artists and curators queuing to get her presence secured anywhere the word “experimental” equals ground-breaking awesomeness. Named Anja Franziska Plaschg at birth, she is re-born on stage as Soap & Skin. The very name of her project reflects on the backbone of her music production. Two differBURST { music magazine }
ent components that come together harmoniously: the regimented use of classical training in instruments such as the piano & the violin, combined with with more abstract electronic format of computer generated sounds. She was raised in a small farm at village of less than 2000 inhabitants (Gnas), in the Southern Austrian of Styria, a state that also happens to have parented Arnold Schwarzenegger. She managed to escape to Vienna during her teenage years for an attempt at studying Arts. What followed next was at the speed of light, barely possible to keep track. Crowned the noir-pop princess of the present, she is certainly blessed with a daunting at times talent, fostering an intoxicating voice. Teamed up with composing skills, she seems to be conquering the audiences wherever she makes an appearance.
In her debut performance at the 2008 Berlin-produced play “Nico Sphinx aus Eis” she portrayed Nico herself, performing “Janitor of Lunacy” that she also recorded for her first EP. Nico had been an inspiration for her already, amongst Bjork, Aphex Twin, Tori Amos The following year was very productive as it followed with her second EP Marche Funèbre, featuring “Thanatos” (the Greek word for death) as one of its songs. One that she has performed live always dressed in the colors of death (black), in various European capitals, expressing her own obsession with death. Very typically Austrian, apparently. Death did knock on her door that same year, depriving her of her father. Still, another 3 singles were realized before the year was out, including “Spiracle” that established
17 her as a living teenage legend of the dark, the obscure and the beautiful; all encapsulated in goosebump-giving vocals and a porcelain-skinned face. With her sister’s help she has established her own label, working close on every aspect of the production, from start through to completion.
In her more recent yet more minimal album “Narrow” she is still exploring ways to demolish any boundaries between her and her faithful disciples, offering ample material to feast on and absorb. Her melancholic cover of “Voyage Voyage” here, may even be considered better than the original version.
“Lovetune for Vacuum” was the first album released in 2009, a few songs of which had already been published through MySpace, years ago. This has been acclaimed as one of the most important pieces of musical work to have come out of the Alpine country, in the last 10 years.
Anja’s journey has only just started, and so far the specimens of her loom are populating the charts and webzines worldwide. With her forthcoming appearance in Athens soon, she is only expected to spread her net of melancholic journey even further.
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Christophe Szpajdel: Sketching the Underground Scene
Written by Sotiris Stilianos PHOTOS B Y / RICHMOND LAM
I am the person that tries to believe in what it sees. Sometimes I try to convince myself that there is no fate. But fate always manages to prove me wrong. It was Thursday night and was browsing into Amazon trying to find a book to buy. Suddenly I found an amazing book named “Lord of the Logos: Designing the Metal Underground”. I sent the link to the chief editor and I told him “look, an amazing book!” He replied “I somehow know the writer and since you mentioned that book make an article about him!” Finding information about Christophe Szpajdel (pronounced “shpydel”) wasn’t an easy task. “My first interest in drawing started at the age of 3, when I drew my first Praying Mantis while I was on vacations with my parents in the BURST { music magazine }
South of France. That was actually my first reflective fascination to nature and wildlife…and the first thing that sparked my interest in drawing. Nature….a vocation was already born. A few years later, in 1977, when I was seven, I discovered KISS and that is what pushed me to the fascination for grim things in music….that is the turn that started to fascinate me doing logos, I loved the straight and almost cutting lines in the logo as I got fascinated by Gene Simmons, especially when he was pulling his tongue like a demon on the song “I was made for loving you”….The saga continued and in 1986, when I discovered Venom, Mercyful Fate, Sodom, Slayer, Celtic Frost, Judas Priest, Darkness, Protector,….my will to start drawing logos took form…”. Christophe Szpajdel
Christophe Szpajdel (pronounced “shpydel”) was born in Belgium (now he lives in Exeter, England) in the 29th of September, 1970 and he is a sketch artist mainly focused on logo designs. His work has been part of personal and group exhibitions and a book named Lord of the Logos containing his art has been published under Gestalten. His reputation has grown really big in underground art movements and he is especially known in the Black Metal culture. His interest in logos came at the age of seven when he saw the KISS logo. This was the main reason that sparked his creativity for log making. In the age of 17 he really became fascinated by designs like Venom, Kreator, King Diamond and Possessed. Being fascinated by both nature and the dark side of this world, while he
19 was growing up, he forged his vocation in art, despite the orientation of his studies, which were initially Biology and Forestry. He started being more famous for his designs as Emperor were becoming more mainstream after 1994 with their In the Nightside Eclipse album. Some of his direct influences as he states them are among others Hector Guimard, Victor Horta, Louis Sullivan, Rene Lalique, Peter Behrens from Art Nouveau movement and William Van Alen, Albert J.Evers, Timothy Pflueger and Raymond Hood from Art Deco movement. The fusion of his influences consist his personal style which he refers to as Depressiv’ Moderne. In 1987, his interest started to grow for unknown bands, and he went deeper in that domain by checking out rather obscure bands like for example Necrovore, Torture, Deadly Blessing, Blood Feast, Sadistic Intent, Morbid Angel, Nocturnus, Autopsy, Immolation... to mention US bands, Obscurity, Mefisto, Nihilist (now Entombed), Merciless, Dismember, Morbid... to mention Swedish bands, Mayhem, DarkThrone to mention Norse bands, Black Shepherd, Cyclone, Warhead, Acid, Ancient Rites, Morbid Death... to mention some of his landmates and of course South American bands like Masacre from Colombia, Sarcofago (cult band!!!), Mutilator, Necromancer, Insulter/ Sextrash, Tharithimas, Genocidio, MX, Explicit Hate...to mention bands from one of the countries that procreated one of the wildest scene... Brazil! You would never think about it but it is the truth, just listen to the inheritors like Krisiun, Rebaelliun, Ancestral Malediction, Abhorrence, Ophiolatry...the Brazilian scene is one of the most fascinating to him. The East European scene is also fantastic and some bands from there like Vader, Imperator, Hate, Lux Occulta, Behemoth, Kat, Pandemonium...from Poland or Krabathor, Pandemia, Sanatorium, Dementor, Root, Törr, from Czechoslovakia, Regredior from Lithuania, Deathvomit from Russia... you can see all these bands contribute to strengthen his fanaticism to support the underground. In 1989 he started to draw for a zine called Septicore and a comp tape called Morbid Noise. That was the
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MORE FROM CHRISTOPHE
“If Ι had the opportunity to design a logo for a known Greek band, Daemonia Nymphe, would be that band” Christophe Szpajdel
first logo he did that was used and spread through the underground. Then he did in 1990 the first successful logo for a Finnish band called Disgrace. Two years later he did a surprise for Havard Ellefsen (now Mortiis) and Tomas Haugen (Samoth)...a logo for their newborn band Emperor....and his name appeared on their debut CD cover “In The Nightside Eclipse”. He also
did logos for Blaspherion (Pre-Enthroned), Excidium (Ita), Maleficarium (Ita)... Now he is involved with a newsletter called Devil’s Elixir and I organize some small concerts. One day somewhere in 1994 he got his first interview in Fear Of Life mag (nl) and a small article in Ornament mag (nor)...Then he started to get a demand from many bands to do a BURST { music magazine }
20 logo...Covenant (nor), Arcturus (for one album), Old Man’s Child, Autumn Leaves, Falkenbach, Desaster, Horna, Tsjuder, Avatar, Enthroned, Magia Posthuma, In Memorian, First Born Evil, Goldenpyre, Seth, Bekhira, Cryptic Tales...which were executed in his very classic style. Around 1994, he started traveling across Europe by his own means (hitchhiking), in the spring, Czech Republic, in the summer, the South of France... In 1998 he went for several months to the Azores for his job (Forestry engineering) where he had the best moment so far in his life. Architecture, Natural surroundings like landscapes, forests, lakes, mountains were his principal source of inspiration. His other passion is Ecology, Wildlife Conservation and different projects that consist of the biodiversity conservation. It’s been so many years he is deeply interested in the studies of a big number of Animal species (especially Insects, Reptiles, Amphibia, Fishes, Birds and other sensational creatures..)
CONTACT INFO
SCAN ME
It is estimated that he has designed more than 7000 logos since 1990. Further information shall be provided by the artist himself on our upcoming interview. Stay tuned for more...
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http://devonartistnetwork.co.uk/cszpajdel http://www.myspace.com/christopheszpajdel http://www.facebook.com/christophe.szpajdel http://www.flickr.com/people/christopheszpajdel/ http://www.flickr.com/photos/christopheszpajdel/ http://www.discogs.com/artist/Christophe+Szpajdel
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www.menios.gr
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Written by B.S. Orestis
The Art of Meaghan O’Keefe
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There are a few among us, that are generally considered to be… different. In most cases, commoners will never spot those differences since it has to do with the inner structure of them folk, considering also that nowadays pretending is the easiest thing… That esoteric influence has only one door towards the outside world: ART! Now think how many of those few can make a living out of their strange inside? Introducing Meaghan O’Keefe, who started as a decorator for haunted attractions and buildings, and is the current owner, designer and model of OpenWound FX (www.facebook.com/OpenWound), a retail makeup effects company since 2006, where you can buy: hands, fingers, heads with all the blood features you like, veins, guts, intestines, stuff you have probably seen on various movies and series on TV (you know Dexter?). The company has also a list of many fashion items like the Gartered Legs Prosthetics or the Gein Corset, making the grotesque and the macabre as cool as it can be! Since 2011 the company sells worldwide, and it looks like, along with the self-distractive wave of our generation, that business will grow even more! But that’s not the whole story about Meaghan. She is also a talented illustrator that recently gave us a marvelous graphic novel called “Identity Thief”, written by Bryant Dillon, and includes 80 pages of paintings and illustrations by Miss O’Keefe. Experimentation is evident throughout the artwork, yet solid and confident, it gave me the same feeling I got when I watched the first ‘alien’ movie, or the gory anime Elven Lied. Either way what you get is a dark and shadowy illustration of a nightmare. The handling of the light is amazing, and the figures are disgustingly beautiful! “I believe that your taste should always be better than your skill so you can keep aspiring to live up to what you think is good and thus keep improving. This philosophy has allowed me to not get discouraged and to actually be really happy with the best that I am capable of at the time, and to actually have the patience to keep doing it.” – M.O’K. I will not get into her past to try to build the artist’s profile (I’ll save that for an interview perhaps), but she without doubt has a wicked love for the creepy and ghostly horrific. BURST { music magazine }
23 Many large and small scale conventions, mostly in California for spooky miss O’Keefe, with the ‘Hyaena Holiday Bizarre’ that took place a few weeks earlier in Burbank CA and ‘Long Beach Comic Con’ earlier this year, book signing, cover illustrations, she has really been active and busy these past two years (she illustrated the cover for ‘Class’ by Kris Pierce and looks like the lust guy from the ‘Seven’ movie! Awesome!). Keep checking out her blog to witness a new flower to blossom, but know that blood runs through the veins, and the leaves are body parts!... Contact Meaghan: www.meaghanmonster.com www.facebook.com/ArtOfMeaghanOKeefe www.twitter.com/openwoundfx meaghanmonster.tumblr.com meaghanmonster@gmail.com
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“...And at that moment you end that terminal individuality, and you embrace humanity and the suffering that every person has.”
Interview by Raphael Aretakis
Over the past six months I’ve had the chance to speak and get to know this horrifying human being. She was blessed by the darkest talents in music. Her name may say it but she is indeed a dark musical diamond! She is a vocal horror story. A magnificent artist of our times and the list goes on. I feel honored and grateful to present to you the brilliance of Ms. Diamanda Galás.
“I wake up and I see the face of the devil and I ask him, “What time is it?” And he says, How much time do you want?” Diamanda Galás, The Shit of God: The Texts of Diamanda Galás
Burst presents
DIAMANDA
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A GALĂ S
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26 Raphael: During your career you have, and correct me if I’m wrong, 16 releases. Which album would you consider to be your masterpiece and why? Diamanda: The Litanies of Satan, and the reason for this is that Dave Hunt and I had six weeks to work on it - in Stoke Newington, in his house, in the cellar - with no interruptions. It was freezing and I was recording standing on a cold cement staircase; there was no heat unless you paid 50 quid in a machine, but because we were able to work for six weeks uninterrupted, it was quite good. Raphael: Your work is mostly concentrated on the suffering of mankind, on despair, on illnesses and injustice. To what degree do those topics emanate from your personal life experiences? Diamanda: I would say they all do. All of those experiences create in me a great rage and a great sadness. I saw this morning, for example, on the cover of an Antonio Aguilar record, a picture of him; and he’s standing with his horse lying down, which of course means that he has to shoot the horse. And every time I see an image like that I cry. I cry the way he cries in the record. The thing is, people say that compassion is learned and empathy is learned. I don’t know, maybe sympathy is learned, but I think perhaps you’re born with empathy and that its beaten out of you; in some cases by experiences where somebody you would have had empathy for has tortured you, and you now hate that person. That’s all I can say. I can’t think of any intellectual reason why I would do what I’m doing. It’s extremely emotional. Coming from the heart. And that’s not a hallmark postcard sentiment of self-importance. It’s just the way it is. Raphael: You have a wide vocal range. You can sing from operatic songs, up to jazz and blues. Everything that comes out of your mouth seems to have a hidden melancholy. Where does that melancholy derive from? Diamanda: Well, I think they would have said the same thing about Lenny Bruce. There’s this idea people BURST { music magazine }
have, that there’s “comedy” and then there’s “tragedy”. But we know, just from the amount of suicides of stand-up comics, that really, it’s the same thing. You know, that old idea of “Laugh, clown, laugh!”, of keeping up a kind of pinche macho bravado on the outside, is pretty much the same thing as crying. The melancholy is the same as that of the person who is so depressed she or he wants to blow his head off, and says, you know what, I better go out to a bar or a cafe and make some jokes with some people I meet. How many people do that? A lot. And so then the jokes are really lurid, crass, and insulting. And the person appears at that moment to be an extrovert, but they are not. Because as soon as he or she goes back into the house it’s the opposite. So, I think we should say that the melancholy is indeed present ... that’s very accurate ... but in order to sing, actually sing, you have to force yourself out of it. In order to make a sound -at all - you have to force yourself out of it for that very moment that you decide to sing anything. And you have to tell the story, you have to do then what Luisa Tetrazzini said, to allow the process of singing to take you from depression, from extreme sadness, to a kind of joy. And at that moment you end that terminal individuality, and you embrace humanity and the suffering that every person has. Raphael: Apart from history itself, where do you draw your inspiration from in order to write music, or lyrics, or even create art? Diamanda: Primarily from things that aren’t art. From the things that you’ve previously referred to as melancholy. Because the art is again, as I say, the extroversion of that extremely introverted suicidal state. And then once you start to create something, you become so happy that you have anything at all to offer the world when you had felt that you had nothing -and literally had nothing -that you embody the expression “Eurika!” Apart from this, certainly when I see great works of art, or read great works of poetry, I become inspired. I mean, what we see or what we hear, it gets stored somewhere in
the brain, we can’t help it, and if its great enough we want to do something equal to it. And if we work long enough, we end up finding our own voice. We can’t deny that. That cannot be denied or it’s a lie. And, you know, I don’t like it when artists lie about those things. I think that it’s cruel. Because the artists who have inspired them have suffered tremendously -economically as well -and the least thing that we could do is to give them a little bit of a compliment now and then. It may be the only thing that keeps them going. Raphael: When you are alone with your thoughts, what kind of music do you listen to, or silence is good enough? Diamanda: Silence is always the best. Not that we ever get it. I mean, if we think about what I’m listening to now ... Just sitting here, I’m hearing a weed wacker, the beautiful birds in the background, and then there is even a sound to the sun. There is! Because its so dry, such a dry heat, it has a sound. So we effectively very rarely have silence. Therefore, the last thing we need to do is then make life even harder and put a piece of fucking music on: talk about wanting to kill yourself! But that’s why I like to play Rancheros, Corridos, and Ballades music. Music like this makes me really happy because it is a part of the environment here. After all, this is Baja California, so I am a Mexican-American Greek! Raphael: What are your musical influences? Is there any major musician that you really want to work with? Diamanda: There must be at least 50 to 300 people I want to work with -a great number of people -and I’m becoming more and more inclined to do that. At first, I was very nervous about it because I want -selfishly -to realize all my own dreams before the end approaches; which could be today, or tomorrow. But then I realize that there are certain people that can actually help me realize what I’ve wanted to do, and more efficiently, and that’s fantastic. In these cases, I want to collaborate. But I wouldn’t be able to name a particular person, because if I were to do that, then I
Photo by Kristofer Buckle, 2010
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28 would have to name another one hundred perhaps. Again, this is new for me. Primarily, the people I want to work with are people who are excellent in film and audio and know things that I don’t know. Which are a million things. Seriously... I have a very poor relationship with all electronic devices. I look at them and they break. It’s fascinating.
like, “You didn’t hand me the salt therefore you love your mother and your brother more then me, but I am not going to go upstairs and blow my head off with a gun.” And then you hear the sound of the car, and he’s driving away from the house, going around the block, coming back, and asking, “What’s for dessert?” What could be more inspirational then that? If you survive to be inspired by it! Raphael: What is your relationship with Greece? Diamanda: I am a Greek, and I’m a part of the Greek Diaspora which is all over the world. And anyone who tries to argue with me at this point is going to risk a broken fucking skull. Because if we look Cavafis, Kazantzakis, if we look at Kazantzidis if we look at Marinella, if we look at El Greco, if we look at Xenakis, if we look at Frank Zappa, if we look at a ton of people that Greece claimed as Greek after their deaths, we’re going to find people who were not born on the mainland. I understand that the word varvaroi meant a person who did not speak a sophisticated Greek - the Greek of the intellectuals in Greece -or even very good Greek. Fair enough, but unfortunately, as much as I hate to disagree with that idea, there is more to being Greek then the ability to speak the language. The true language of Greek is much more than that; it’s a propulBURST { music magazine }
Photo by Alan Amato
In terms of influences, again, I can’t answer that because if I were to get going here I would have to name a million. There’s a million jazz singers, a million people that have done work in electronic music, there’s some rock people ... But primarily it’s just the environment of one’s life. I mean, the way my father would just scream over the kitchen table at night time. Something
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John Paul Jones about Diamanda
“She’s my favorite piano player. She’s just very inspiring as an artist, passionate, committed… She got me playing steel guitar again, which I hadn’t done for years”.
sion, an intravenal reality, and it’s far, far more then any one person can describe. And I’ve had fights with people who believe otherwise. But the reason that they made a big deal, and justifiably so, of the spoken language is because there was no sense of color identity or color discrimination in Greece. The only discrimination in Greece in the ancient days was based on a person’s ability to speak Greek – through this
he would be considered a Greek or a barbarian. And I think that’s pretty good. I think that’s far more interesting than the discriminations we see in other societies. Raphael: Forgive my ignorance if you have done this before, but would you consider to experiment with any traditional Greek instruments such as “Santouri” or “Klarino”?
29 alive we must pay them. We must give them respect. We have to stop asking them to do things for free. We really must. It’s an overall attitude towards the worker and the artist by the rich people of Greece that I find absolutely disgusting. We should do everything for free while they get paid. Well, I suppose that does not separate Greece from America. Raphael: What are your plans for the future? Are you working on a new release? Diamanda: Yes. On Intravenal Sound Operations (my label and production company), we are work-
ing on plans to put out some vinyls and a book or two of collections of my essays and poetry. Raphael: The last time you visited Greece for a performance was in 2010. Are you planning to pay us another visit in the near future? Diamanda: Yes, in 2013. I’ve been invited by Music Box to perform this fall or the coming winter, and I have accepted for the winter of 2013. Raphael: Thank you very much for this and see you soon D!
Photo by Kristofer Buckle, 2010
Diamanda: Of course, and especially the oud, which is claimed by every middle eastern or near eastern culture, including the Anatolian part of Greece. But I think the problem is the economic reality of Greece itself, because they refuse to financially support me to rehearse with the greatest oudist in Greece, Perikles Tsouklas. And every time I try to get a concert with him they say “Oh yeah, well, you know, we can give you three days of rehearsal, and then you do the concert.” I’m like, “Fuck you, man!” I want somebody in Greece to realize that Greek artists are alive today. They are not all dead. And in order to keep them
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Argy: The voice and soul of Nightstalker! “If you are in rock music in Greece and you face only inwards, then it’s your loss, the market is not wide at all” Interview by George Kotrozinis
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onday afternoon @ Thisio, Athens, around 16:30pm. It’s too hot to be autumn and Raphael and I are hanging out at a local Cafe, waiting for Argiris from Nightstalker.
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ust a few minutes late, Argy, a cool guy, shows up. Argy strikes as a man who wants to live a simple life, while there’s one thing he needs the most: living his life playing music. We had a nice time with him being very figurative and having a great sense of humor . We hope that he had too, and we thank him once again for his time.
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Photos by Raphael Aretakis
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32 George: Tell us about your new album.
you reached the point you wanted? What’s your point of view?
Argy: It’s called “Dead Rock Commandos”. We have been recording it since early November. It was ready by the end of March, at Sachtis Sudio in N. Kifisia by Small Stone Records. It features ten songs and the artwork was created by Alexander Von Vildich, who has also worked for Monster Magnet in the LP “4-Way Diablo”. We had been working on this LP since 2009, as soon as we finished “Superfreak”. The CD was launched in August, it was on iTunes in July, and the vinyl was released in November.
Argy : Well, to be true, we didn’t thing that in 10-20 years we would be doing something. Our main purpose is music, there are bands who mostly want to get laid, others who want to get rich... Obviously, our objective is different.
George: So, your sound is the classic Stoner sound, right? Argy: I believe it sounds kind of vintage, not classic stoner though, since in that case you have distortion in the bass. We have distortion in the sound, but not on stoner leve; that was our purpose, we didn’t want too many effects, we were up for a simpler - “drier” sound. George: You mean like being more “real’’? Argy: It’s not being more ‘real’, it’s where the songs take you, they do not need so many effects. George: Where do you stand, as far as lyrics are concerned? Argy: I write the lyrics myself and I’m inspired by everyday stuff, stories of alien invasion like in ‘Dead Rock Commandos’, conspiracy theories... (laughs). In general, the album is darker lyrics-wise. I talk more about the concept of death; At first I couldn’t realize why, but back then I have been facing a health problem, so I understood why I was in that mood after all. (Then, Argy, described that problem in such a funny way that make us burst to tears of laughter! I was quite amazed of how he is able to distance himself from what happened, of how he perceives life and of how much he loves living it for real.) So, because of all I’ve been through I was in a pretty dark mood, like in the song ‘Back to Dirt’. George: All these years since 1994 - I speak in terms of record releases- knowing you are an older band, what did you wish for? Have BURST { music magazine }
George: You can tell from the musical style of every band Argy: The music of the ones who have this attitude does not stick around. Why are you listening to AC/DC? (I had an AC/DC t-shirt on. These kinds of groups do not need to go on stage for money, they do it because they feel like it and that is respectable. So, we didn’t think that we wanted to be something big but that we liked playing music. We really enjoy it, and regardless of the things that changed, our main goal is to play music. George: Maybe being a band from Greece somehow holds you back - I mean, that if you came from another country you would be more famous in the musical scene, as your music is just as good as music from non-Greek bands of the same genre. What do you think? Argy: Basically in Greece you have Greek - speaking bands, who wouldn’t have it any other way. And up to two years ago, if you had no dough no-one cared. Now, budget has changed, so record companies are looking for groups
once in Germany. After a short 14-day tour in May, we will be going to Austria, Germany, Holland and France. The competition is high out there, there are many bands and it is easier for them. For example a guitarist in Germany can find a amplifier for a rehearsal or a live more easily and more quickly. That is very important, since the audience may go to a concert and say that the band has a crappy sound without realizing what is going wrong. There is no support. And in Greece it is too hard to have everything in every live. Whoever has access to a console here is called a sound engineer; especially when you play live in the country, the sound guy there probably knows nothing, (if you don’t you shouldn’t...) but he is the man and that’s it. We’ve been through that numerous times since 1989. George: Is your label helping you with that now? Argy: The backline is always ours. We go around Greece and by the end of August we were always around. George: The first time I saw you, it must have been around 1992 - 1993. You were playing at Rodon, you were drumming and singing and when the first song ended you said “Shit”. I wanted to ask you, where did that came from? You know, for me, that is connected with Nightstalker ever since. Argy: Ahahaha, yes, I remember people calling me the shitty Argiris!!! Look, when I am at a live the first think I ask
It was at the age of six. I had gone to the movies to see ‘’A fistful of dollars’’, so I thought that I wanted to learn guitar so that I could play that song myself. I started with acoustic guitar, classical music for about four years. Then I started playing the bass when I was about 10-11 years old and I was kind of experimenting with drums - my grandfather was a drummer and we had various musical instruments. like us, with more cost-effective production. If you are in rock music in Greece and you face only inwards, then it’s your loss, the market is not wide at all. Music is a language you can communicate easier with English lyrics, especially in the case of rock music, that holds its roots in English lyrics.
is: ‘’ Are you okkkk?’’ and when none answers I say, ‘ok you are shitty’ and then they start cursing. It’s been a long time and things have changed. I went up on stage and people were yelling ‘’Argiris, curse on us!!!’’ . (laughs) You know what happens, people can tell if you are acting, they get it.
George: How are you doing abroad?
George: What kind of music do you listen to? You play stoner-rock but what are your influences?
Argy: We have been in Bulgaria twice,
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34 Argy: I listen to everything but Greek pop rock and stuff; I can listen to everything. I listen to whatever music comes to my attention. George: How come you stopped drumming? Argy : In 2000 I was diagnosed with tendinitis, it was bad, my hand was almost dead for a year, so I called Kostas from Rotten Minds. You know, drumming and singing at the same time can be hard and tricky, so I decided to focus on the vocals only.
had various musical instruments. Then, being 12, you know, my brother, a friend of his and I started playing bullshit like “Should I stay; at the age of 14 I was in a thrash band, the Ripper. When I finished serving the army I didn’t want to sing; in 1989 we released some songs in some collections and we had instrumental ones too. Then someone had to sing and they found the right victim. George: So, you didn’t want to sing, did you? Argy: No, it’s fucking hillarious!
George: Outside of music, what do you do, are you concerned with politics? Argy: No. Everything is set up and it has been for years now. Everything goes as they have planned. George: So is there a plan? Do you believe that too? Argy: I have a feeling that the joke is on us and that applies to any country in the world, not just Greece. George: It is worldwide indeed but we seem to have been the last ones to realize... Argy: Things are speeding up right now; On the flip side, let me tell you that I don’t think that not having an i-phone or ordering food is a problem... you can always cook at your own home. We have been overreacting, cars, expedia.... George: You don’t have a mobile phone either. Argy: I don’t like it; the one I had was stolen so I thought screw it. I feel more comfortable like this, plus I have a landline at home. People can also find me through the group and through Andreas. George: How old were you when you first started getting involved with music? Argy: It was at the age of six. I had gone to the movies to see ‘’A fistful of dollars’’, so I thought that I wanted to learn guitar so that I could play that song myself. I started with acoustic guitar, classical music for about four years. Then I started playing the bass when I was about 10-11 years old and I was kind of experimenting with drums - my grandfather was a drummer and we BURST { music magazine }
George: Where did you grow up? Argy: I grew up in Vironas; After quitting the army, I have moved to like 100 different places!!! George: Let’s take it back to music, how does the audience abroad respond? Argy: In Bulgaria, 1991, right after the fall of the communistic regime, nothing was there and they must have thought we we were like, I don’t even know who... Headbanging, chicks came on stage... like we were the Beatles (laughs). In 1993, there were metal fans and skinheads and they were pretty excited too. Two years ago in Germany, we were playing at 6pm, and as soon as we started people gathered and they wanted us to stay on stage, you could see they liked us, they knew us and the songs. And, during the last time we played live there, I was impressed by how many people know the songs from our new LP as well. know you; then again, anyone can upload something on youtube and become known. The standards are lower, in the old days you could not do that, you had to go to a studio and spend money. The point is to remain known; you can always burst in just for a little while.
Αrgy: It’s just as good as any when it comes to Greek bands, although they think, “ok, they are just Greeks’’... like they are neighbors and friends... George: They seem to have a different attitude towards non-Greek bands, which are no better musicwise though. Argy: Yes but the marketing process is different too. Now, in the case of our new album, the guy from the label released the LP gradually, first the cd, then on itunes.. All those things actually matter. That’s the right kind of marketing. In our previous label, we had some trouble; only now did we get the rights for the songs. That held us back for like two years. George: Are you into sports? Argy: No, gym only, walking, dumbbells, but no football. Football is a total set-up. When millions of money are involved you can see that for yourself. It is all a show. You can have more fun watching a foreign championship, but that’s it. George: Do you go out?
George: I’ll say that again... If you were a band coming from abroad you would be higher in rank. Argy: Well, they do know how to handle groups like this there. George: What do you think of the fans’ reaction to Greek bands when playing live?
Argy: I’m DJ’ing for Fox Cub in Gazi, Athens every Wednesday. I also love travelling with friends. Just going out for a drink makes no sense to me now. George: Last summer you were in Rockwave festival.. How was it? Argy: The organization, as well as the sound, were great. It went fine.
35 George: Would you have preferred to play at the metal day? Argy: To tell you the truth I don’t care; Ozzy had been playing, so many people from all over Greece were expected to come, so they wanted to even it out. And the headliner was kind of off.. Some people called Locos?...who the fuck is Locos ???? They invited us and Last Drive so that they would have something on that day, but Drive played live only a week before. George: Do you think that you would fit better in the metal day? Argy: Yes but that’s a matter of the organization. I don’t mind. George: How are your albums selling in Greece as well as abroad? How does the internet affect things? Argy: Look, the ones who want to buy music, they will. Of course most people will download, and that is good from a certain aspect. I mean, people get to know you; then again, anyone can upload something on youtube and become known. The standards are lower, in the old days you could not do that, you had to go to a studio and spend money. The point is to remain known; you can always burst in just for a little while. George: In my opinion, Greek rock is not supported properly by musical channels like Mad or MTV as a concept. They do have metal shows but they do not point out what is pure Greek rock and that always confuses me... I mean like in
awards that the best rock band of 2011 is the ‘’Mellises’’ (=the bees). That is some kind of misinformation, so that the younger get the wrong impression of what rock music truly is! Argy: It is a closed group though. George: Yes indeed, but a pop one, not rock. Argy: I believe that the ones they want are promoted, regardless of their music. The sound is polished, pop and they pretend to be rock. I simply do not care about what they are doing, and their wanting to present rock is not wrong. It is exotic rock, like we are here, all polished, all rock but not dirt. George: What did you think of Schoolwave? Argy: Very nice, excited kids. we dig it a lot, a very good experience. Raphael : Can you support yourself financially by all this? Argy: You do not live by it, you live with it. It is better now, but if you don’t play live, you do not make ends meet. We don’t do anything else and as you see rockers do not retire (laughs) You can live, rent a house, have food. No luxuries, you cover your basics. We like what we do so it is all about the balance. There are lots of expenses though, especially the fuel you need in order to travel. George: After all these years, how come no major label assisted you, by giving you what you need? In my
opinion, you truly deserve it. Argy: What you are saying, for a label to come, just forget it. Not a chance. Only gigs pay and we make our own video clips, as well as our own production. At this point it is a business, you need to save money in order to push them back in. At a point, we had some stuff, for example food when we were in studio, you got to eat something. George: What happened to your dreadlock hair? Argy: I got married and we went to Egypt on our honeymoon. Fuck Egypt... fuck, fuck, lice!!! I couldn’t get rid of them. I even sprayed my hair with Baygon for roaches.. Damn, some lice must have had special training or something! I took everything I could find in the pharmacy shop. They would not go away so I said cut it off. George: Where do you get your hair done in dreadlocks? Argy: I do it myself, it started in a beach at Naxos island, I was there for two months and learned to do it myself. George: Where do you go on vacation? Argy: Me and my wife do slammin, we go and become one with the locals, we’ve been around, we’ve been to Morocco, Egypt, Uganda... George: Uganda?? Argy: Uganda is the shits!
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Interview with Merlin Sutter & Chrigel Galnzmann, of Euvietie @ the Metro, Oakland (USA). Interview and live photos by Kalliope Tsouroupidou
It’s a rainy afternoon and I’m an early arrival at Oakland’s Metro House in anticipation of Eluveitie headlining tonight’s show. I manage to get hold of Merlin (Sutter) and Chrigel (Glanzmann) for a quick chat in between last minute set-ups, sound checks and preparations.
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Photograph by{ music Manuel Vargas BURST magazine }
38 BURST: Switzerland is most famous to the outer world for chocolates, watches and…bank accounts. Merlin Sutter: Pretty much, yeah! [laughs] BURST: Where does that leave the folk metal scene?
BURST: So, when one listens to your work, is not immediately able to understand further than the melody, because much of it is in Gaulish. Do you feel that singing in a language that people don’t understand, may create a distance and a barrier between you and your potential audience?
Merlin Sutter: Yeah!
Chrigel Glanzmann: No. Usually our songs are in English. We only have maybe one or two Gaulish songs per album. Our music, lyrically, comes completely focused on Celtic and Gaulish history and culture. So, of course it makes sense to have Gaulish language in use. But to me the use of Gaulish language is actually more – how do you say- like a form of artistry. I use it to give some flesh and blood to the narrative of the story I’m telling, give some more character to the lyrics.
BURST: You have been with ‘Eluveitie’ for the last five years, however, ‘Morrigu’ has been another project that you have been involved with. Is there anything you are currently working on with them that may be coming up any time soon?
BURST: Do you feel that because people don’t necessarily understand what you’re talking about initially (unless they are looking at the translation), you have to compensate on the melody and the music. Do you feel you have to invest more on those aspects?
Merlin Sutter: Well, it was mostly (a project I was involved with). In theory I’m still involved, but ‘Eluveitie’ just doesn’t leave me enough time any more. I record their (Morrigu’s) albums still, but live stuff is not possible at all. This is more of a side thing, so I have something to play with.
Chrigel Glanzmann: Not at all, no.
Merlin Sutter: That’s a good question. It doesn’t have too much of a scene, actually. The country’s too small for a scene of any kind, really. It’s just metal. But I guess it kinda got the Swiss music known. Swiss folk metal. BURST: That’s a great start there. Serious contenders for the Scandinavian guys, so well done there.
BURST: You used to take flute lessons, ended up in marching drum lessons… and the rest is history… Is that right? Did I do my research well? Merlin Sutter: I did, yeah! You did your research very well! I actually got kicked out of the flute lessons, because I used the flute to drum with. BURST: Is there another musical instrument that would be a favorite for you, if you were not into the drums? Merlin Sutter: Oh, I like a lot of them. I’d love to play the piano, for example. I tried to play the cello, but I have absolutely no talent. Beating things is my thing [laughs].
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BURST: It’s been mentioned that t you had to work with historians on some aspects of your recent album, “Helvetios”. Is that the case only for the accuracy of the descriptions or for the language as well? Chrigel Glanzmann: Its mostly about the language. If it comes to working with Gaulish language we always have been working together with scientists. If it comes to the historical stuff we do sometimes, especially in the last album we did. To me personally, it’s very very important that everything is substantiated and accurate. I also like to include the latest knowledge of science in it. I don’t think many people would care about that but yeah, probably I’m just a history nerd or something. I started this whole thing many years ago, actually. So, I don’t need to have a scientist review everything before we release an album or something. Specially for the last album, we actually have been working together with some scientists.
BURST: Experimenting and progressing sounds, children’s coirs, hurdy gurdy…How does the music get written, what is the process? Does it all begin from yourself, you pass it on and it gets enriched or…? Chrigel Glanzmann: It depends. Basically it’s me who writes the music. But I don’t have a specific order of writing it. It takes form within my head and once a song is finished I roughly record it at home adding programed sounds for the instruments I don’t play myself, like drums for example. Then I hand it over to the band. [….]Sometimes everybody just plays one to one when I write and sometimes some musicians just refine the lines of their own instruments. BURST: There’s quite a few of you in the band, it ‘s not like it’s a one or two people band. There’s at least eight people currently. Do you find it adds complexity and different layers into the production? Chrigel Glanzmann: Yeah. It adds different layers, definitely. It takes much more time to record an album, for sure. But if it comes to writing the music and all that I don’t think it makes things complicated or anything like that. It just feels right, it feels natural to me so it just has to be that way. BURST: In “Everything remains” there was some political underlines, whereas “Helvetios” focuses on a different thematic: the war between the Gaulish and the Romans. Is that theme coincidental, or did you specifically want the people outside Switzerland to know a bit more of your own history, your own background? Chrigel Glanzmann: Ha! Not exactly! Well, I mean, if someone learns about that history, I think that’s cool but that’s not the reason why I wrote songs about that topic. It’s basically a personal fascination and interest. I just want to sing about things that mean something to me. That’s basically it. BURST: Do you think that the Helvetii would have liked to listen to your music if the language and culture were still alive?
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Your India experience has been an interesting one. India is not a place many bands will put into their map of adventures and concerts. How did it make its way into your schedule? Did you actually want to go there? Chrigel Glanzmann: Like any other show, really. We were excited. We will go back next year. November. It just happened like any other show. It ‘s just been booked. That’s they way it usually works. But yeah, when we got the request and we got the offer, of course we all were really excited. Because none of us had ever been to India before, so, we were extremely excited to go there. BURST: Going through your website one can’t help but stumble upon EluTV. It comes across as a medium for your audience to stay connected to you, while getting glimpses of the band’s life and adventures. This is not something that many bands do. How does that affect your personal time and space, as an individual;
having a bit of the backstage information shown to the public eye to that extent? Chrigel Glanzmann: Well, sometimes it feels a little weird, specially when other members film something that you don’t actually want them to film and they put it on EluTV and you get f*cked. [both laugh] But I mean, no, usually it’s just something we want to do and something we think would be an interest to our fans. After all, we really appreciate our fans and we really want to show that. Our fans are the reason that we are doing what we are doing. And, so, we just try to find ways to give them something back. That’s the way to be a little closer to them. Like, them taking part in what happens behind the scenes and everything. BURST: So, correct me if I’m wrong but “Helvetios” and “The Early Years” are the two albums that are marking your 10th year anniversary as a group. That aside, you have been very busy; you have been touring a lot and will continue to be touring. What does the future bring for you? Do you have any other stuff that you’re working on? Chrigel Glanzmann: Yes. During this tour I started working on a concept for the next album, but this will take quiet
a while because we’re still in the middle of the “Helvetios” tour which started in the middle January or so, and will still go on till the end of next summer. Right now we’re doing the Northern USA and Canada run. Then we’ll have the first long break; this is three weeks, which is cool! [laughs] After that there will be Southern America and Eastern Europe, Asia, India as well, then Australia too. So yeah, we’ll pretty much be on the road till the end of next summer. After that for sure we will intensely start working on new songs and then… to the studio. Otherwise, it’s too early to say something more like when it will be done, etc. BURST: We are expecting you back in Greece, I think sometime in March. So, we’re definitely looking forward to having you back there. Chrigel Glanzmann: I didn’t get that you are from Greece! [both laugh] Well, me too (looking forward to it). I loved playing in Athens. BURST: It was a great opportunity to be able to speak to you guys. Thank you for making the time for this. Any last words? Chrigel Glanzmann: As usually, thank you very much for the interview and thanks everybody for the interest in ‘Eluveitie’.
Photos by Kalliope Tsouroupidou
Chrigel Glanzmann: I wouldn’t know! Ha, ha! I mean they are my inspiration. So, maybe the will. I wouldn’t know. I don’t’ think they would have been a lot into metal, to be honest. BURST: In a parallel universe maybe.
BURST { music magazine }
2012
40
RESOLUTION 2012 has been a very exciting and fruitful year music-wise. Burst editors Sissy Fanouraki & Spiros Smyrnis managed to gather the best and worst moments in music. Enjoy the following annual report. Ozzy vector by CaosCC
Article by Sissy Fanouraki & Spiros Smyrnis The year started with an announcement by Swedish metallers Sabaton regarding their forthcoming studio album “Carolus Rex” and tour dates of the “Swedish Empire Tour”. Few days later Meshuggah revealed more details about their new album… and its title “Koloss”. Greek fans must have laughed a lot at that title! However, the album was and still Colossal and definitely one of the best releases of the year. Another great album promotion was made by Paradise Lost on 14th February 2012; in celebration of Valentine’s Day the band offered fans a free download of the track “Crucify” from their upcoming album “Tragic Idol”. I think it was on the same date when Therion announced their 25th Anniversary Tour where Athens and Thessaloniki dates were also included. The saddest announcements were: (a) the lymphoma diagnosis of Tony Iommi and (b) the death of legendary keyboard player Jon Lord (Deep Purple, Whitesnake). Jon Lord passed away in July at the age of 71. Black Sabbath cancelled their European tour as Tony Iommi was diagnosed with lymphoma and had had to undergo treatment for cancer. The following days “OZZY & FRIENDS” live shows featuring special guests were announced. In Greece, Rockwave Festival BURST { music magazine }
officially announced the show in March. One of the “funnier” moments of metal music industry has been that of Motorhead’s “Complete Early Years Box Set” which was originally sold for more than 600 US Dollars and Lemmy himself advised the fans not to buy it. That’s right! Lemmy stated that this deal is rip-off for the fans and unfortunately the rights of those early recordings do not belong to the band, that’s why they have no power over the release. Another aspect of hi-tech-music-boom of 2012 was the smartphone applications cataclysm; Sonata Arctica, Sabaton, Kreator and Municipal Waste (yeah!) songs were available, just to name a few. We’re living in the internet era, so more and more bands upload free mobile applications, full songs, singles, teasers, lyric videos and official videos almost simultaneously with announcements of tour dates, artwork etc. We understand that this is a kind of promotion, which works just fine as a “teaser” to fans… Sometimes it gets really boring with all those teasers and samples but it’s the only way to promote your work nowadays. Day in day out Burst.gr had been posting new video uploads (including both teasers and full videos), singles to be downloaded for free etc. For example, Tankard uploaded their new album part by part (part I, II, III, IV, V… when does this end?). I love Tankard but I got bored… five parts of beers just to reveal a fat toothless girl called Cerveza (writer’s note: Cerveza is the
41 Spanish word for “beer”) arrested for beer theft… daaaah!?! However, in the year of smartphones there is still a band, which choses SEX and NUDITY over hi-tech… Cornerstone decided to go on a “Get Naked Tour” with the female member posing halfnaked… BORING!!!!! So just to go on from where Sissy left us, 2012 was a year to remember for Greek metalheads because Firewind (Gus G) managed to climb on number 1 Greek charts for two weeks leaving Justin Bieber on number two. Kiss our ass Justin! Another great moment for Greek metal scene was the sold out Planet of Zeus concert at Gagarin club (Despite Everyting were the opening act) on November 24th. Stoner rock baby! This is maybe the hottest music style in the underground nowadays in Greece. Nightstalker, the absolute “Dead Rock Commandos” fire us up with the fourth official album, as well as by throwing a party in Gagarin in October.
The most controversial live performance of the year was the WASP gig. The one and only Blackie Lawless and his gang were announced that this would be a celebrating show dedicated to the beloved Crimson Idol album. This was supposed to be a twohour show, focusing on the band’s first two albums, “WASP” and “Crimson Idol”. Instead of that, the fans watched a 70-minute show through disputes between WASP and the distribution company; even worse, we will never know if the rumors about the two sides exchanging punches were true or not. So the time has come. The world might end as Mayas’ Diary claimed. 2012 is probably the last year mankind has seen. In that case, a list of 2012 best of the best is necessary. Hmmmm.... I have always wanted to make a list that people read through Burst pages but it was proven much more difficult than I thought. As you can see, this didn’t stop me anyways. All I had to do was to challenge myself even more, so here goes:
I decided to split 2012 in two. So here’s a list with the 20 albums we really enjoyed this year commented with 1 to 5 words each: Paradise Lost - Tragic Idol: Darkness Infinite Grand Magus - The Hunt: Hunt you Down without Mercy Nightstalker - Dead Rock Commandos: This Is Rawk Baroness - Yellow and Green Post: Traumatic rock Joe Bonamassa- Driving towards the Daylight: Still Got the Blues Witchcraft - Legend: Year of The Witch Converge - All We love we left Behind: The art of sickness Walter Trout- Blues for the Modern Daze: The Blues-keeper Graveyard - Lights Out: Back in 70s Tenacious D - Rize of the Fenix: Laser off the D tattoos Slash - Apocalyptic Love: We Will Roam Cancer Bats - Dead Set on Living: Beware of the Bats The Contortionist - Intrinsic Schizoid: Inspiration Kamelot - Silverthorn: Every rose has its thorn Gypsyhawk - Revelry and Resilience: Thin Lizzy’s Bastard Sons Testament - Dark Roots of the Earth: Toxic thrash metal Royal Thunder - CVI: Doomy whispers Gojira - L’enfant sauvage: Les enfants terribles Dead Can Dance - Anastasis: Voices of the Dead Soap and Skin - Narrow: Mischief Mayhem, Soap And here are 12 moments that marked 2012: 1.Blackened Recordings: The new Metallica label. 2.ΚΑΤΑ ΤΟΥ ΔΑΙΜΟΝΑ ΕΑΥΤΟΥ: The title of the upcoming Rotting Christ is announced 3.Randy Blythe in Prison: The frontman of Lamb of God accused for manslaughter 4.The Lords of Salem: Rob Zombie’s new film soon in a theater next to you 5.Helloween on tour with Gammaray: Kai Hansen and Mike Weikath in the same stage again! 6.Celebration Day: Led Zeppelin’s outstanding performance on DVD! 7.Nergal in Court: The frontman of Behemoth playing with the law again! 8.R.I.P Mitch Lucker: The frontman of Suicide Silence is no longer with us 9.Spitfire Back to Zero: The documentary of Greek Heavy Metal Legends premiere in Athens International Film Festival 10.Bye bye Annete: Nightwish looking for the one who gonna replace Annete Ozon! 11.Haunted R.I.P: The thrash metal heroes split their ways up 12.Queensryche x 2: Geoff Tate and other Queensryche members are in court disputing over the band name rights! All you creatures of the day and night out there this was 2012 resolution from Burst! Merry Fucking Christmas and a happy yet loud 2013! Burst into music bitches!
BURST { music magazine }
ALBUM REVIEWS
42
To be honest, a few hours ago (before getting the album) I was thinking about the new Kamelot album. Actually, I was thinking how much I miss Roy Khan and how a Kamelot album would sound without his amazingly charismatic voice and talent. Oh yes, I consider myself as quite hardcore “Roy Khan groupie”. When Kamelot announced that Roy left the band I was devastated. I can’t really say that I was shocked, I was expecting such a thing to happen (after Roy’s burnout we all expected him to take a break). I was just crushed by the news and I still remember myself wondering “what will happen now”. Kamelot was/is/will be one of my most beloved bands. Kamelot without Roy Khan was just another power metal act, there was nothing special to make them stand out from other bands of this kind. And then Roy Khan joined the band back in 1997 and some kind of miracle happened: albums like Karma, Epica, The Black Halo. In April 2011 Kamelot announced Roy’s departure from the band. I even cried when I read the news on their website. Despite the fact that the band stated that they were looking for a new vocalist we (the fans) had doubts about the future of this amazing band. We were wondering if this was the end. And today I (personally) got a clear answer: this was not the end. Kamelot’s tenth studio album is entitled “Silverthorn”. Silverthorn is actually a surname of an ancient English family and obviously it is connected with the whole concept of the album which is based on an original story about a little girl back in the 19th century. The girl was named Jolee and she died at the hands of her twin brothers. The family had to deal with tragic events that lead to coverups, secrets and betrayal. The album opens with a very promising intro track (“Manus Dei”) and BURST { music magazine }
then “Sacrimony” (Angel of Afterlife) a rather typical Kamelot song. Elize Ryd (Amaranthe) and Alissa White-Gluz (The Agonist) add some nice female vocals (clear and brutal) to this track. The third track of the album is one of the strongest songs (“Ashes to ashes”) and it could be a nice choice for the next single of the album. After the fourth song (“Torn”, which contains some very impressive female soprano vocals in the beginning) follows the best song of the whole record: “Song for Jolee”. This track proves to the listener that Tommy Karevik (Seventh Wonder) does not imitate Roy Khan. Their vocal tones are quite similar but still Tommy has his own style (which is similar with Roy’s but I can’t really imagine a different type of vocalist fitting with Kamelot’s music style). Tommy Karevik was a good choice, that’s for sure. “Song for Jolee” is a powerful ballad full of emotions and it is definitely one of my favorite tracks from this album. “Veritas”, another powerful track in which Tommy sings in a quite aggressive way (that I really liked!). The choir and Elize’s female vocals give to the song a different feeling in some parts (the accordion at the end was a very nice idea by the way). Kamelot prove that they are back on track (“My Confession”, “Silevrthorn”, “Falling like the Fahrenheit”, “Solitaire”). Sharp guitar parts, some very nice guitar solos, catchy choruses and even some folk metal details. Oliver Palotai obviously took a much bigger role in the writing process this time. Also, Amanda Somerville adds some vocals in specific parts of the album and gives to the whole record a more haunting feeling. Actually, I was pleased that the band chose Elize Ryd this time for the female backing vocals (and not Simone Simons as usual). I think Elize’s vocals fit better in a way. Even this (the fact that the band decided to choose a different female vocalist this time) proves that Kamelot wanted to make the difference. In “Prodigal Son”, Tommy Karevik once again proves that he was the best choice for Kamelot. The ending song of the album (“Continuum”) left me with a great impression. The album’s artwork was created by Stefan Heilemann (Guitarist Thomas Youngblood said about the artwork: “Artist Stefan Heilemann captured the true essence of the story and the main character.)
The girl in the frontcover of the album is Jolee, the main character and angel of afterlife, as an adult. The album was recorded at Morrisound Recording Studios , USA (Florida, May 2012) and Gate Studios (Germany, June 2012) and produced by the mighty Sascha Paeth(once again!). When Thomas Youngblood was asked if Kamelot started a new chapter he answered that it is more like a continuation rather than a new start. He also, announced that they are going to shoot a videoclip for the track “Sacrimony” (Elize Ryd and Alissa WhiteGluz will appear on it). For me, as a huge Kamelot fan, nothing is the same anymore (since Roy left the band). But I am really proud that my favourite band handled Roy’s departure in a very nice, distinctive and calm way (not like the whole Nightwish vs Tarja thing for example) and actually I was happy to see that they would not give up. I am still sceptical (I still miss Roy Khan very much and I even pray to gods for his return) but I have to admit that Kamelot did an amazing job with the new album. In my opinion it’s one of their best albums (if not the best one). I tried very hard to find even a small disadvantage in this album but I failed. This album does not have any weak parts at all. This band still kick asses! “Silverthorn” totally worths the anticipation! Tracklist: 01. Manus Dei 02. Sacrimony (Angel of Afterlife) 03. Ashes to Ashes 04. Torn 05. Song For Jolee 06. Veritas 07. Confessional 08. Silverthorn 09. Falling Like The Fahrenheit 10. Solitaire 11. Prodigal Son -Part I: Funerale -Part II: Burden Of Guilt [The Branding] -Part III: The Journey 12. Continuum *The date for the album was expected in September, but has been pushed back to October on the following schedule through Steamhammer/SPV: October 26 (Germany), October 29 (rest of Europe) and October 30. by Frozen Angel
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I was walking about one of the dark alleys of Athens, in terms of underground culture, in search of newbies in the metal scene, when I stumbled to the long awaited album of Saturnus, back in 2006... “Is it nice?” I asked the salesman, and he said “unless it suits your tastes”. It took me about 3-4 hours to get home (a 15 minute drive) for I listened to the album over-and-over in my car!! It was awesome! The sales dude was right at some point… Though the outcome was exquisite, the sound of Saturnus had changed, not in the essence but in style and pace. That exactly is the case, six years later, for their brand new album “Saturn in Ascension” coming out by the end of November: a fantastic collection of songs, very thoroughly edited and performed, in the same approach as their previous album and with a more raw and profound musical arrangement. From the beginning it feels like an explanation of the change in the band on their previous album. A justification for the differences in the heaviness and darkness that initially forged Saturnus. The Litany of Rain is the opening track, paying black rites of the metamorphosis of the band! Excellent music, straight tempos and gruesome vocals! It was the first time ever that on my first listening of an album, I replayed the 1st track!! I would love to see a themed video for this one! The songs definitely test your innermost feelings… Sadness, love, silence contradicting anger, regret or even hatred. Mixed vocals, with poem reciting and clean guitar tunes, references to the past sounds, that make you lean back and forth, waiting for the riffs to bang the head to the ground! The “Lonely
Passage” is a pause after 20 minutes of grounding sounds and beastly power, with hints of female vocals that boost the atmosphere! The “Father’s Providence” that follows reminded me of Paradise Lost, and made me turn up the volume! God I love this band! A definite doom-goth track that’ll make you light up candles or something! Slow beat and fragments of piano, almost painfully crying guitars the “Mourning Sun” will be a favorite for genuine doomsters out there!
A great thanks to their Record Label (Cyclone Empire) for the prelistening opportunity. I can’t wait to see the booklet artwork and lyrics, and of course the band performing live!!
The last 3 songs give you another almost 30 minutes of black poetry, with the “Call of the Raven Moon” taming the beast within, only to unleash it in the “Forest of Insomnia”.
Recording Line-Up:
“…We now lay under the moonlit sky, in the shadows of our past, and as we become one the stars melt down whispering poetry of this withering moment…” The general feeling is that “Saturn in Ascension”, represents a genre of its own, with pure metal sounds, not thrushie or gringore, but mellow and almost symphonic! The eight tracks in total are almost 70 minutes in duration. The whole album is very easy to listen, even by non-metal folk (that are surprised by the distorted voices, but don’t turn away with repulsion as usual), mostly because of it’s depressive and at times suicidal mood.
“Saturnus is here to stay for another 20 years! 2013 we aim for a European tour and some few special 20 year anniversary shows, with a lot of surprices and old songs.” (Thomas A.G. - October 2012)
Thomas A.G. - Vocals Henrik Glass - Drums Mattias Svensson - Guitar Rune Stiassny - Guitar + Keyboard Brian Pomykala Hansen – Bass Tracklist: 1. Litany of Rain 2. Wind Torn 3. A Lonely Passage 4. A Father’s Providence 5. Mourning Sun 6. Call of the Raven Moon 7. Forest of Insomnia 8. Between by B.S. Orestis
It’s not Martyr, or “Paradise…”. You definitely know it’s Saturnus, and it kinda seems it’s a prequel to the “Veronica decides to Die” album, a transition from the rhythmic-brutal-atmospheric to the melodic-alternative-gloomy doom metal! The final track is what leaves the disk inside the player for a rerun!! The 4th full length album of Saturnus is a must-have! A European tour is due to promote it (hoping for a stop in Greece!). It was recorded at Winding Road Studio once again with the famous producer Flemming Rasmussen (Metallica, Morbid Angel, Blind Gaurdian etc.). There will probably be a bonus track in a limited first edition Digi-CD & DLP, the remastered Demo-Track from 1994 “Limbs Of Crystal Clear”
BURST { music magazine }
ALBUM REVIEWS
44 Greece has an ambitious metal scene with great bands spring up from out of nowhere, like Hedvika. Post metal is a difficult genre indeed. It demands time and focus on experimental construction of songs. You cannot listen to a post rock/ metal album driving in a highway by voluming up your car radio. Its impossible and useless. You will miss the essence of this musical genre. You have to plunge into voices, echoes and notes, by taking a deep breath and closing your eyes. Hedvika - The Evidence of Absence The link to download this album was for some long in Burst’s dropbox but due to some running business I didn’t have the chance to listen to it. My bad. Hedvika is a new venture from great Athenian Musicians like Michalis (drummer of Dirty Granny Tales) and Dimitris Spoon (Earth of Distrust, The Brightly Shining Sea), which started in the spring of 2011. Hedvika play post metal through an electric doomy prism, like Isis meet Earth and Electric Wizard. Neurosis elements are translucent in “The Evidence of Absence” too.
Aherusia - As I cross the seas of my soul
From the intro you know there is a lot of work done for this album. The music BURST { music magazine }
Tracklist: 1. Collapse 2. 100000 Years 3. The Ocean Below 4. Enceladus 5. Void/no Void 6. Last Glare 7. Shapes of Nemesis by Spiros Smyrnis
Hedvika know well the post basics. With repeating addictive lowering tempos, sharp guitar riffs and nervous bass breaks carry u away from home, to a place, where no one can save you but you. For more than “100000 years” you will travel across places you will never be before, falling into the “Void” seeking for one answer. Is all this enough? How all these shit we are leaving in are actually happening? You may not get the answer. May “Enceladus” find you and “Collapse” the fading image of yourself. Heavy, electric, with inhuman screams and distorted melodies “The evidence of Absence” is a photo-frame is evenly distributed to each song, like the sequence in a theater play: Prelude, interlude, conclusion. The story escalates along with the tension in the songs, but without forgetting what metal is all about! Heavy riffs, brutal vocals, with a folkish touch deriving from our hell-enic routs!! For all you foreign listeners, get you dictionaries dusted ‘cause you’ll hear some greek poem reciting on some of the songs, which is awesome!! The “Arbor Martyrum” track is amazing! A mixture of feelings comes right out the throat, that will make all you warmongers bang your head to the ground!
Silence, the wind, the waves of a sea… It’s been a while since I heard a themed album. Not only in track relevance, but in lyrics and spirit as well. That’s the story in the brand new album by Aherusia “As I Cross the Seas of my Soul”. Not much in official discography from them (there was a full length CD, the innovative “And the Tides Shall Reveal the Traces” back in 2009, you should definitely check out!), but they have been around the dark society since 1997 I think, mostly performing live.
of an unknown universe we walked through. Beware and listen.
The sound touches more genres than black metal. It sure is epic, with power elements, it feels like it’s orchestrated but it’s not, pure heavy metal at times, with technical solos to follow the slow lyrics, and the multi-vocal chorus to exaggerate the drama, followed by downtempo doom-like rhythms to lighten the burden! A favorite song has already become the “From Abyss”, with the distinctive lira following closely the guitars and drums to a heroic marching tune! Horns up to Aherusia!
“With nothing left to fight forsaken for the world They’re diving into fire obeying an ancient bond” This album will make you gaze out the window at a gloomy sunset, and you’ll surely remember its songs while travelling to the seven seas! Tracklist 1. Flisvos 2. Archipelagos 3. Mano Incognitum 4. Arbor Martyrum 5. Ε.Η.Θ. 6. Path of Thorns 7. From Abyss 8. Hic Hiemat Aeternatus Release Date: t.b.a by B.S. Orestis
45 Converge’s eighth official album is an excellent hardcore release. Some faithful hardcore fans may disagree and boo the clean vocals but I think that added to “All we Love we Leave Behind” a dose of insanity. Insane minds like semigods Kurt Ballou and Jacob Bannon for insane audience. Converge pushes you to a non stop sound nightmare you are begging not to wake up. Aimless Arrow spits inspiration and cutting the throats to those questioning the extremecore leaders called Converge. Converge - All we Love We leave Behind Jane Doe. I still remember that record which was released in 2001. I was 17 years old when a friend of mine, initiate me to the paranoid world of “Converge”. Back Then it was one the most extreme and complicated stuff I’ve ever listened to. Is that Hardcore? I asked. No man this is extremecore he answered back. “You Fail Me” (2004) and “No Heroes” (2006) came before “Axe to Fall” one of last decade’s best albums in the extreme sound. So I waited so long “All we Love We Leave Behind”.
The art of killing in a mix of riffs, screams, voices, breakdowns and merciless drumming. Post was never enough for Converge, as they tear all the labels apart like the other mathcore giants called The Dillinger Escape Plan. “All we love we leave Behind” is more catchy than their previous works without losing their inspiration. This album is more understandable and easier for non- Converge audiences. “Sparrows fall” and “Coral Blue” sound cruel and abusive, ideal to fuck your routine up. Hypnotizing melodies, hanging riffs from “Tresspasses” to “Shame In the Way”. Poets and madmen, soul rapists hard rocking blues is the best term to describe Graveyard’s music style to somebody who doesn’t know the Swedish Band. Rapid seventies rock worshipping the devilish blues you heard of. This is their third album from 2008. Lights Out released from Nuclear Blast Records like last year’s Hisingen Blues and is a personal bet, Graveyard win. Even “Goliath” sound like “Hisingen Blues’s” lost track. The rest songs are in a different sound direction.
Graveyard - Lights Out Graveyard’s third full length album was one of the most expected of 2012 for me. The “Goliath” single prepared us for the Swedish Rockers intentions. Axel Sjoberg on his exclusive interview on burst.gr a month ago said that: “it’s gonna sound new. It’s gonna be a bit harder and rougher from Hisingen Blues.” So yesterday “Lights Out” came on stores in Athens. I bought it in a limited digipack vinyl-look cd including an awesome patch. In the next 35 minutes and 40 seconds my speakers drowned in hard rocking blues sound. I know most musicians hate to label their music genre but I think that
“Lights Out” is not ravenous, nor angry enough as their past works. Calm before the storm? Who knows? It really doesn’t matter. This is an album to remember in the next years. Nilsson’s vocals are more clear setting the ideal scenery for Graveyard to share their rock masterpiece with us all. Classic guitar riffing staring at the blues side influence the whole album, while growling bass lines underlines the 70s atmosphere through “Lights Out”. “Endless Night”, “Hard Times Lovin” and “An Industry of Murder” are the songs I stick out, though the whole album is amazing. The songs have a special identity like stories once spoken. Depression, loneliness, love and death compete with each other in a rock soundtrack. Bluesy, groovy, solid with psychedelic drumming and cutting
Converge prove that art exists beyond insanity. Where core meets emotional overdose and madness find her soundtrack. If you stop talking and stay silent you will hear the mental explosion in your head too. It is “All we are We Leave Behind”. Tracklist: 01. Aimless Arrow 02. Trespasses 03. Tender Abuse 04. Sadness Comes Home 05. Empty on the Inside 06. Sparrow’s Fall 07. Glacial Pace 08. Vicious Muse 09. Veins and Vails 10. Coral Blue 11. Shame in the Way 12. Precipice 13. All We Love We Leave Behind 14. Predatory Glow by Spiros Smyrnis
guitars “Lights Out” oversteps the darkness. Save your breath. Tracklist: 1. An Industry of Murder 2. Slow Motion Countdown 3. Seven Seven 4. The Suits, the Law and the Uniform 5. Endless Night 6. Hard Time Lovin’ 7. Goliath 8. Fool in the End 9. 20/20 (Tunnel Vision) by Spiros Smyrnis
BURST { music magazine }
EP REVIEWS by Spiros Smyrnis
46
E.V.E - EP
Seed of Sadness EP
E.V.E means Equations Vanquish Equality and is a band- project from American-Greek singer Vicky Psarakis started in 2010. E.V.E have written prog rock interludes with fusion and jazz elements. I have to admit that the main reason I’ve listened carefully to this E.P is the fact that the drums were recorded from the one and only George Kollias (Nile, Nightfall). I respect the fact that E.V.E are diversified from the most female fronted metal bands with the metalcore background and female/ opera like vocals.
Melodic Metal. A replete genre. Melodic metal with female vocals. An even more replete genre. Seed of Sadness came from Greece and this is their first EP with five tracks. Stellaria on vocals, Johnny Nore on guitars, Mike G. on bass and Johnny K. on drums decided to form a band in order to make known to us all their exceptional skills. Featuring Bob Katsionis (Firewind, Outloud) Seed of Sadness EP sounds as it should be. Especially the “Final Dance” and “Remnant of a Dying Smile”.
Vicky has a wonderful, soft voice which reminds me in some parts the goddess Anneke (The Gathering, Anneke). The E.V.E Ep is “adapted” to Vicky’s voice and performance, framed by excellent musicians like Elias Nousis (bass,guitars, saxophone) and George Kollias (drums). Translucent melodies in a dreamscape, it was the first think I thought listening to “Perpetual Dreamers”. I loved the successful combination of saxophone with electric guitars. E.V.E managed to sound not awkward at all. EP’s introduction “Poetic Injustice” is “stolen” from a futuristic soundtrack, while acoustic guitar solo on “The Planet’s Cry” is anothe reason to enjoy this EP. The lyrics dealing with human corruption and stuff we are all passing through these days. A tender approach to reality with enchanted melodies and addictive vocals. Give em a shot. EVE certainly worth it.
Seed of Sadness avoid this road. Seed of Sadness have all that it takes to fulfill One Band’s dream, paraphrasing the title of their EP’s last track.
Dimebag’s death from his old buddy Phil. Two years ago “Diary of A Mad Band” prove that they kick asses live too. 2011 Rex Brown left the band and Pat Bruders (Goatwhore, Eyehategod, Crowbar) replaced him. Nowadays The Purple Ep (the first one of the four finally the band release) came out in stores. Six tracks are not enough for their fans. We want more and we cannot wait anymore.
Down IV Part1 - The Purple EP There are bands. There are also BANDS. Down are BAND. Period. 1995 the supergroup released one of the 90s’greatest album, NOLA. Phil Anselmo (singer of Pantera) and one of metal community’s semi gods joined forces with Huge Pepper Keenan (Corrosion of Conformity) Kirk Windstein (Crowbar) Todd Strange (Crowbar) and Jimmy Bowen (Eyehategod). Seven years later the Bustle in your Hedgerow leaved us admiring the best band alive in those days. Rex Brown (Pantera) replaced Todd Strange. In 2007 “Over the under” confirmed their name, an album dedicated to
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The participation of a hi-class player like Bob Katsionis gives the extra credit to Seed of Sadness’ work. Excellent guitar themes, riffs and solos “bring back melodies to the house” of heavy metal. Shredding guitars meets a solid rhythm section while Stellaria’s voice range is impressive. I’m not the biggest fan of melodic metal, but I really enjoy listening to this EP. The biggest problems of melodic bands, though they have been constituted from great players is that their sound is so complicated. So many meaningless solos, hi-pitched screams and boring choruses.
Back from New Orleans’ swamps they begin their journey through muddy waters. “Witchtripper “ is going to bewitch you like a spell. Levitation though is my personal favorite. A riff machine with a groovy bridge that’s so heavy. The Curse on the other hand is the only cursed you beg to find you with a great guitar solo by Kirk. This Work is Timeless has a rhythm section like a punch in your face in a fight without end. Anselmo sings, screams, cries like a maniac in a room with no exit. Rough, heavy, southern, dirty the Purple EP sounds as it should be. Rise from the dead like the “Misfortune Teller” said. The wooden cross on the album cover pays the tribute to Black Sabbath, the fathers of us all metalheads. Obey their sons, Down.
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Karolina Pacan My dear friends, I decided to write a short essay to tell you, that it is our responsibility to take care of Mother Nature. We all take benefits from her, but... what do we give in return? We all like to go to the forest, or listen to birds singing, we like to watch wild animals, and relax in a meadow... but how many of us, ever said.. thank you! We take, we go, that’s it... But... try once, go alone to the lake, and watch with your heart, (not with your eyes), all that is around you, listen to the water, listen to the wind.. We are so busy enjoying our selves, that we forget... we are guests on this earth :) And if you are a guest some-
Lead singer of Skeptical Minds, on Voices of The Soul: “Love and Protect...”
where, you should behave properly and with respect ;) The difference between humans and nature is, that humans take what they want, but nature only takes what she needs;) Example: When an animal is hungry he hunts and feeds, when he is done, he doesn’t continue to hunt till he feels hunger again ;) As humans, we eat, and we eat more, and we want more, and we throw half of it away... Now imagine, that there is no more forest, but only shopping centres, no more real lakes, real flowers, wild animals, do you really want to live in world where there is no fresh air? I agree that we live in modern world, where progress is unstoppable, but... we can make
some good changes too ;) we have many possibilities.... Remember, when you go to the forest, you are the guest ;) so behave like a guest;) Mother Nature won’t ask you to pay for breathing the fresh air that her trees produce, she wont scream at you, if you throw a plastic bag on the ground, but one day, when there will be nothing but empty fields, and no birds to sing you a lullaby, when there will be only shadows, and despair... Then you will hear your own inner voice ‘’WHAT HAVE I DONE’’!
that way?...’’ well, the tree did nothing bad of course... I ask, what is the point in destroying something so beautiful, that could give us one day shade, if the day is too warm...? :) Think about it ;) Dear friends, we can make the good change :) Lets start now! :) Love and protect nature and she will love you back :) Karolina :)
Wake up before is to late, be greatfull for what nature gives you, listen to the rain, how soft and gently it falls on your window, how relaxing is that?:) Once I saw broken tree, broken by human, not by strike... And I only ask myself... ‘what did this tree do, to be treated BURST { music magazine }
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e g a P e h T n Tur
by Hope Vnz
Seven Deadly Sins by Corey Taylor
Wrath, Greed, Sloth, Pride, Lust, Envy, and Gluttony.....The seven deadly sins.....we all have heard about them....we all have experienced them in one way or another ....but how many of us have the bravery of admitting it, how many of us have the courage to question them? The frontman of Slipknot and Stone Sour, Corey Taylor, analyzes and contemplates on the argument of whether we are born bad or in the course of life situations and events turn us into a sinner. In his book he presents mainly the 7 deadly sins, stressing on the fact that actually these are not sins, but different traits of one’s character and behavior. Taylor strengthens his position with his typical humor and by using realistic arguments. In each chapter, he analyzes in detail one of the so-called 7 deadly sins, combining them with his personal experiences. Noteworthy however is the fact that Corey gets you to think about both what is happening in the world and in our personal life, making you realize that greed and jealousy are always on the edge of our minds, while laziness and anger are situations we face daily. Taylor’s personal opinion is that any behavior that does not hurt other people should not be considered sin. Particular reference is made to the fact that people pay so much attention to these common behavior sins, while sin is in essence, murder, theft, cowardice and lack of respect for our fellow man .... While reading the book you can’t help feeling as if you are having a personal conversation over a beer and as you browse through the pages Corey’s soul opens for you. You see the human, with all the flaws and the pain as he shares with us the difficulties he went through during childhood and adolescence, when instead of having a normal life in a tranquil family environment he had to leave home and seek an outlet in ‘other pleasures’ like drugs, alcohol and unsettled lifestyle. Thus, he had to lose his innocence at a very young age and grow up rapidly. But thanks to music, he found salvation, and all these hardships he went through, have become just an incentive to keep on and have made him the man he is. One of the most inspiring musicians of his time and a role model. Without doubt an example of how a man with such a dark past can not only survive but develop and triumph! The Seven Deadly Sins: Settling The Argument Between Born Bad and BURST { music magazine }
Damaged Good , a book with no sense of a beginning, end or middle, attention grabbing, with Corey’s personality evident in his way of writing. A best seller, a controversial issue through blogs over the world, but sincere and real. So if you are a book lover, believe me, reading it is quite an adventure.
Photo © Dave Lundberg
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www.in2music.gr
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50 mian lifestyle of the period, Morrison gives Manzarek his poetry and that’s how “Doors” are firstly formed. Robby Krieger and John Densmore are introduced and while we watch a rehearsal at Ray’s apartment they play “Break on through” and “Light my fire” for the first time. Robby always thought that Morrison’s lyrics are very weird, but he could go on with that. Doors are having their first performance at a club in L.A. and people seem to like them, although Morrison is reluctant to see the audience and sings with his back on them. From the beginning of the film drugs are highly mentioned. Pamela is talking about LSD trips, Morrison wants to have an LSD experience with the other band members at Ray’s house and they are shown in the desert, smoking peyote. There in the desert, all band members and Courson, have hallucinations and considering Morrison’s obsession with Shamans and the dying Indian, he sees that figure again and seems to follow it. The scene closes with another concert, while their song “The End” comes to its crescendo. The Doors sign their first contract. The band becomes more and more successful.
Written by Eleni Lampraki
We are in 1967. The Doors are performing on National Tv and Ed Sullivan’s show. Although their asked to change the lyrics of “Light my fire” due to its straight refer to drug use, Morrison makes a provocative version of the song, shouting the lyrics “get much higher”. Several events show the growing fame of the band as well as Morrison’s even stronger addiction to drugs and alcohol, his unstable relationship with Pamela and their emotional breakdowns. The feeling of the era is set by an Andy Warhol party and some cameo appearances by Warhol and Nico from the Velvet Underground. The rest band members leave the party, implying that people there are strange, while the same titled song plays in the background. Morrison is alienated from the band and left alone to struggle with his drug and alcohol habits. “The Doors” is a 1991 biopic, directed by Oliver Stone, which portrays the story of the rock band with the same name, and emphasizes in the personality of their lead singer Jim Morrison. Val Kilmer plays Morrison, Meg Ryan plays Pamela Courson, Morrison’s longtime girlfriend, and the rest band members are played by Kyle MacLachan, Frank Whaley and Kevin Dillon. Although there are a few dramatized events, that didn’t happen the way they are presented, the movie is highly based on real people and situations. Throughout the film, we can hear more than a dozen of the Doors songs. Stone uses some of their most significant songs, adapting the storyline to their meaning. The film opens with “Riders on the storm” and shows Jim in 1949, at the age of four, witnessing a car accident somewhere in Mexico, including a bleeding Indian in the side road. The actual event is said to have taken place in 1947 and Morrison’s memories of it conflict with those of his father’s. It’s not certain if young Jim saw a dying Indian or it was just an imagination, but Morrison always encountered this scene as one of the most formatives of his life. Oliver Stone picked that, and used the form of the Indian Shaman as a recurring hallucination.
The storyline becomes more and more dramatic. Morrison meets Patricia Kennealy, who introduces him to a kind of pagan magic and starts a sexual relationship with her which will attribute to a lot of consequences. Not much later he is arrested while being on stage in New Haven, Connecticut for uncontrollable behavior. Following that, we are shown a very violent relationship with Courson, and Morrison’s continuous flirting with death matters. On the same time, the rest band members, take some decisions without him, for example allow “Light my fire” to be used for commercial purposes. In 1969, everyone is against them, a reporter is referring to them as a “circus”, while Morrison admits he has a clown in his soul that makes him act the way he does. On 1970 Morrison goes on trial for his multiple arrests due to his provocative behavior on stage. After a nervous breakdown, he abandons everything and flies to Paris with Courson. The film closes with a shot of Morrisons grave in Père Lachaise Cemetery, saying “Jim Morrison is said to have died of heart failure. He was 27. Pam joined him three years later from a heroin overdose in August 1974, and she was also age 27 when she died.”
Plot moves to 1965, and finds Morrison studying at UCLA. A screenshot focuses on a book by Antonin Artaud. Morrison did in fact enroll in a class on Antonin Artaud in UCLA. While studying he made a few short films. He is seen to be highly criticized from his fellow classmates about his artistic, tough and surreal film, with the exception of Ray Manzarek, who find Morrison’s work awesome. Morrison though, quits cinematography. Later on he meets Pamela Courson, his future long-time girlfriend. We hear “Love Street”, one of the songs he wrote about her and the street they lived in California. After a few shots of the California Beach and the nearly boheBURST { music magazine }
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51 als that promote homophobia, human alienation and Semitism. However, due to this morbid environment, her entity is divided by the end of the movie. Naïve and willing to help everybody at the beginning, ambitious and cynical at the end, Sally is predisposing us about the shape of things to come.
Written by Pana Cotta
Bob Fosse trusted the composers of the Broadway show, John Kander and Fred Ebb, to ‘’give a hand” with the song writing. The film soundtrack album became gold , outselling the original Broadway one. Pay attention to Liza Minnelli’s entrance with “Mein Herr”, where she spectacularly states her ego and what she stands for. She is a wandering soul, who wants to have fun. This simplistic point of view makes us justify her lack of interest in what is happening around her, socially wise. I cannot leave behind the academy award winner, Joel Grey, the impresario of the Kit Cat cabaret, who had the same role in Broadway as well. Their duet “Money, Money” does not refer to this materialistic kind of consumerism, but to the biotic human need to live, to eat, to protect himself from the cold. The sounds of the flipping coins, the sarcastic face of Grey and the rain of paper money strongly disapproves the world’s main desire: Money.
“Money makes the world go round, the world go round, the world go round…” echoes in my head everytime I recall Cabaret. Bob Fosse created a masterpiece that even had the courage to compete Godfather, one of the most notable films in world cinema, in 1972 awards. And it did pretty well. Cabaret won 8 Oscars, including best director, best actress (Liza Minnelli) and best cinematography.
Soundtrack titles 1 Willkommen 2 Mein Herr 3 Maybe This Time 4 Money, Money 5 Two Ladies 6 Sitting Pretty 7 Tomorrow Belongs To Me 8 Tiller Girls 9 Heiraten (Married) 10 If You Could See Her 11 Cabaret 12 Finale
The script is based on Christopher Isherwood’s novels, Berlin stories, published in 1945. Broadway adopted the story and in 1966 Cabaret became a major musical hit. Numerous theatrical revivals followed. The story takes place in prewar Berlin and portrays the provocative, extravagant and forever-happy life of a cabaret dancer named Sally Bowles, who has an extreme obsession with becoming a theater actress. She dreams of the day Max Reinhardt (existent in real life, distinguished director, who worked in various German theaters before World War 2) passes by the cabaret and chooses her to be his rising star. Meanwhile, a newly arrived British student, Brian, becomes her roommate. His orientation cannot be identified, even when their relationship turns from friendship to passion. Weird circumstances are rising: Maximilian, a wealthy baron with the same life perspective as Sally, enters their love game. At the same time, a non-promising love story between a wannabe gigolo and a Jew is stealing Sally’s and Brian’s happy end. Love is in the air and nobody seems to care about the storm which is coming. Nazis are about to take advantage of all the political unrest and commit some of the most violent crimes in the history of mankind. The movie, which has entirely been filmed in Germany, is a tribute to the decayed atmosphere that precedes the Nazi rise. Sally’s pure soul contrasts all these obsolete and flagitious mor-
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by Spiros Smyrnis & Eleni Lampraki
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Director’s Cut
Woody Allen
“I write using my camera as a pen”
Interestingly, according to modern astronomers, space is finite. This is a very comforting thought - particularly for people who can never remember where they have left things. Well, that’s how the story goes: Raph suggested a tribute to Woody Allen for Director’s Cut column on Burst. Who’s willing to do it? Helen and I stepped forward. “This is gonna be our thing”, we said. So I opened a new word page in my laptop. I asked myself: What more could possibly one write about Woody Allen? Everything has been written, I guess. Staring at the blank word page for a couple of minutes, I decided to put a vinyl in my record player, so I pulled the album “Popa Chubby’s Back to New York City” out of my collection. As you might already know, Allen loves New York, that’s why he has given us some amazing cinematic images of The Big Apple. He shot Manhattan, Annie Hall and many of his movies in this majestic metropolis. For those who haven’t lived or ever afforded visiting New York, Allen’s movies are the ultimate guide of cursed loves, laughter and tears. Let’s get back to New York City, as Popa already said. It was the 1st of December 1935, when Allan Stewart Konigsberg ( the real name of Allen) was born in The Bronx, NYC. He was raised in Brooklyn. It was at the age of 17 when he started calling himself Woody Allen. Back then , he was young and he was used to be savagely beaten and bullied by kids of all races and creeds. A comic persona even from his youth, Allen started writing scripts for Ed Sullivan’s Show and for the humorist Herb Shriner. His career as a comedy writer was full of compliments and success. Candid Camera, S. J. Perelman, George S. Kaufman, Robert Benchley and Max Shulman are just a few of his collaborations. His first screenplay about cinema was the Charles K. Feldman production” What’s New Pussycat?” in 1965, a year after Allen’s first directional attempt under the name “What’s Up Tiger Lilly”? Right after he directed and co-wrote with Mickey Rose, “Take the Money and Run”, Woody BURST { music magazine }
gave the audience his first characteristic works like “Bananas”, “Everything you ever wanted to know about sex” and “Sleeper”. 1977 was a transitional period for Allen as “Annie Hall”, maybe the most well-known Allen movie, hit the theaters and won 3 Oscars for Best Director (for Woody Allen himself) , Best Original Screenplay (for Woody Allen and Marshall Brickman) and best actress (for Diane Keaton). This was the fifth time Keaton and Allen worked together. They were a couple in real life, and of course they both act great as the special couple in “Annie Hall”. Probably one of the best romantic comedies on the silver screen for the last 35 years and still is a great example of Independent American Cinema. Thumbs Up for Annie Hall. Interesting story: Woody Allen didn’t receive the Oscar for “Annie Hall” himself because, like every other Monday, his jazz band played at Michael’s Pub. “I couldn’t let the guys down”, he said. In 1979, “Manhattan” continues from where Annie Hall left us. A touching portrait of New York though a nervous yet humorist guy with huge glasses. Naturally, “Manhattan” is much more than that; This was the movie, which first established the term “Woody Allen Cinema”. Allen broke up with Keaton; it was in 1980, when he found his new muse in the face of Mia’s Farrow. They worked together in “Zelig” and “The Purple Rose of Cairo”, as Allen adopts a more personal style in his films; let’s put this in his own words: “This movie is fairly close to what I wanted to do”.”
Hannah and her sisters” (1985 Oscar winner for Best Original Screenplay)) is a cutting family drama which Allen forbade to release in South Africa opposing to apartheid tactics. 2 years later, Allen became a dad when Mia Farrow gave birth to his first son, Satchel Farrow. Before Satchel, the couple had already adopted Dylan and Moshe Farrow. I’ll say that again: It is difficult to write a tribute to Woody Allen. For this reason, we prefer to focus on some important trivia of his life.” I write using my camera as a pen”, he said another time. In “Husbands and Wives” he made another interesting story about marriage, his sworn cinematic enemy. In my opinion, the 90’s was the least interesting period for Allen. From a fan’s perspective, most of the films he gave us back then fall lack
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ore than any other time in history, mankind faces a crossroads. One path leads to despair and utter hopelessness. The other, to total extinction. Let us pray we have the wisdom to choose correctly.
Photo Credit: Courtesy of the Academy of Motion Pictures Arts and Sciences classic moments, except for “Husbands Well the interesting part about this and Wives” plus the underrated superb tribute to Woody Allen, is that Spiros crime film “Bullets Over Broadway”. knows a lot about him and his movies and Well, it’s time for us to reach 2005 and he is a fan, while I didn’t. After having “Match Point”. New York is now gone; watched “Celebrity” before, I found out London took her place. Diane Keaton and what pissed me off. In his “American” Mia Farrow are gone too. Scarlet Johansmovies he made me very nervous, very son’s beauty and Jonathan Rhys Meyer’s anxious and I really disliked the persona frozen look have created an extraordinary thriller about humankind in the 2000s. Another favorite film is “Midnight in Paris”, starring Owen Wilson, for which Allen won another Academy Award for Best Original Screenplay. Jean Cocteau, Ernest Hemingway F. Scott Fitzgerald, Luis Bunuel, Pablo Picasso and Salvador Dali met Gil Pender in Paris in this absolute sensational delirium, where colors and words mixed magically in a Cinema screen. So what do I think of Woody Allen? Words like Writer, Actor, Director, Clarinetist, Visionary, Producer, Artist ,Cinema, Theatre, Comedy come to mind. And what about the words Woody has used to describe himself? “My one regret in life is that I am not someone else.” “I don’t want to achieve immortality through my work. I want to achieve it through not dying.”:
he created for himself, the psychotic guy with issues etc… However, I changed my mind when somebody persuaded me to watch “Vicky Christina Barcelona”. Probably it’s not his best film, however I loved his point of view. It was the exact look of a lover. The curious American director came to Europe and made a tribute to beauty. The main film star was neither Javier Bardem, nor Scarlett Johansson (although the roles were written on them) but the city itself. In this case, however, he had an amazing Penelope Cruz, who won the Academy Award as a supporting actress. His dipole was clear. European vs American culture, or as he insists, American lack of culture. And that dipole continues even more romantically in “Midnight in Paris”. Owen Wilson, probably another character, who reflects Allen’s general dissatisfaction with American skin-deep attitude, deals with “golden age thinking”, and gets lost in time. A little bit funny, a little bit nostalgic, with all those great people passing on screen, Allen made it once more. He is, undoubtedly a great story teller and he knows how to do it.
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Written by Spiros Smyrnis
The leading horse is white The second horse is red The third one is a black, The last one is a green
narrator in the track Ophis. “Ophis” is the ancient Greek word for snake or Temptation, if you prefer the religious term used in the Book of Revelations.
This is the four-line chorus from the “Four Horsemen”, maybe the most popular song by one of the best progressivepsychedelic rock bands ever existed. The legendary Aphrodite’s Child was formed in 1967 by Demis Roussos (bass, vocals) Vangelis Papathanassiou(keyboards), Loukas Sideras (drums, vocals) and Silver Koulouris (guitars).
There’s no way you can resist to this temptation, and that’s a FACT. The band tried to create a musical interpretation of the Book of Revelations by means of progressive rock creations, an ambitious venture indeed. And guess what? They did it! How? The unique voice of Roussos, combined with the exceptional skills of Vangelis, Loukas and Silver results in an album that keeps on haunting you just the same for forty damn years! Inspirational, revolutionary, pioneer , this album is still is a rock monument. Costas Ferris (the famous Greek director of the “Rempetiko) participated in writing the lyrics along with the rest of band. Their main inspiration: the Book of Revelations. No one ever tried to include such thematology in their lyrics before.
In my opinion, Aphrodite’s Child and Socrates are undoubtedly the most interesting European rock groups of the 1970’s, not to mention the most remarkable rock bands in Greece. Five years after being formed, after releasing a series of many singles and two official albums, Aphrodite’s Child decided to make one of the most controversial albums ever recorded: Unlike any other albums, the album in question didn’t have a name, but a number instead: the number of the Beast, 666 (as Iron Maiden some years later sang). 40 years later, this album has proudly earned a place among the ultimate masterpieces of the ‘70’s. In our attempt to present this masterpiece, we noted some trivia unknown to most people. The front cover was designed by the famous Greek painter John Tsarouchis, who is also the BURST { music magazine }
And of course, don’t forget that the Greek society and the national religious leaders have always been very sensitive even to a hint of a slight disrespect of the symbols and beliefs of their faith. In other words, the release of 666 (the alternative title was The Apocalypse of John, 13/18) was more than just a risky move for the band .In fact, they took the
risk of introducing us with something completely new: A psychedelic voyage through feelings, colors and sounds. Ethnic instruments, piano, vibraphone, flute, congas, percussions, keyboards, trombone and saxophones just to name few of the instruments, which result in this unique progressive sound. “The Four Horsemen” is a rock hymn with a great guitar solo from Koulouris and an unmemorable performance from Roussos. Vangelis raped his Keyboard players using the synthesizers to compose some jazz- fusion interludes, which prepare the crowds for his future personal works. Cinematic, progressive yet intricate, 666 is the lyrical approach to one of most controversial books ever written. Some may think that Aphrodite’s Child is too “pop” for It’s not Greek to me column (after Rotting Christ, Necromantia and Varathron tributes.) They surely underline the “sound distance” between them and the metal bands we presented in the previous articles. I really don’t care. Mark my words, there is no rocker out there who ever gave a listen to 666 without being impressed. Ethereal, aesthetic “666” has been the ticket to immortality for Aphrodite’s Child. The album will always be mentioned as an occult treasure. Irene Papas ( the Greek actress) gives an unbelievable performance tearing her throat up in a amok whispering “I was, I am , I am to come”. Paraphrasing her, “They were, they are, they are about to come”. Aphrodite’s Child carrying the Seventh Seal with the number “666” Personal favorites: The Four Horsemen, All Seats Were Occupied, The Lamb, The Beast, Infinity. A true masterpiece.
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195 million children worldwide suffer from the effects of malnutrition. In 2011, MSF treated 408,000 children in more than 30 countries. Copyright: Francesco Zizola