NORWAY ROCK MAGAZINE #119
Tool Time P.O. Box 1070, NO-7446 Trondheim magazine@norwayrock.net norwayrock.net facebook.com/NorwayRockMagazine @norwayrockmagazine ISSN: 1890-5838 UTGIS AV Rockpartner Publishing AS Postboks 100 Heimdal, NO-7473 Trondheim nrm@rockpartner.no
Festival season is well underway! At the time of writing, we are just a few days away from our annual visit to Tons of Rock in Oslo, which is celebrating its 10th anniversary. The headliners will be Metallica, Judas Priest, Greta Van Fleet, ZZ Top and Tool. Today we received a photo contract from Tool to sign, with the language 'the access, right and privilege' to photograph the band. Well, Tool, as brilliant as you are (especially Mr Danny Carey), the freedom of the music press here in Norway is also a 'right', so we at Norway Rock Magazine will not be signing it.
ANSVARLIG UTGIVER Morten Dahl
Godt summer, rockers!
ANSVARLIG REDAKTØR Anne-Marie Forker anne-marie@norwayrock.net
Anne-Marie Forker
REDAKSJONELT ANSVARLIG Geir Amundsen geir.amundsen@norwayrock.net BIDRAGSYTERE Tekst: Geir Amundsen, Bjørn David Dolmen, Anne-Marie Forker, Geir Larzen, Alex Maines, Pål J. Silihagen, Shamini C. Thevarajah, Ronny Østli og Jan Egil Øverkil. Foto: Anne-Marie Forker DESIGN Anne-Marie Forker
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FORSIDE Deep Purple - Image: Jim Rakete ANNONSERING Ønsker du å annonsere i NRM? Ta kontakt på: annonser@norwayrock.net ABONNEMENT 4 utgaver: Euro 10 https://issuu.com/store/publishers/rockpartnerpublishing/subscribe NESTE NUMMER I salg fra sept 2024
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04 04 The Black Crowes 09 Mr Big 12 Lenny Kravitz 15 Kaipa
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18 Accept 24 Manic Eden 28 Airbag 32 Deep Purple 37 Nestor
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38 Frank Hammersland 46 Jennifer Batten 52 Kerry King 54 Evergrey 58 Black Country Communion 60 Cavalera
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64 Chris Summers 68 Masheena 70 Present 74 Mayhem 78 Dark Tranquility
58 74
80 Suicide Bombers 83 Skiver 96 Litteratur & Multimedia
Har begravd stridsøksen
Etter 25 år med krangel og dop ble The Black Crowes nærmest oppløst på dagen i 2015, men selv om brødrene Chris og Rich Robinson hardnakket hevdet at en gjenforening ikke kom på tale, tok det ikke mer enn fem år før de la ut på turné som The Black Crowes. I 2022 kom cover-EPen «1972», og i år kom omsider «Happiness Bastards», den første skiva med nytt og eget materiale på 15 år. Vi fikk gitarist og lillebror Rich på tråden for en oppdatering på ståa i kråkeredet. 4
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TEKST: GEIR AMUNDSEN FOTO: ROSS HALFIN
- Takk for sist, Rich, vi møttes sist i 2018 da du spilte her i Oslo med The Magpie Salute. - Stemmer, på den lille klubben (Krøsset) hvor jeg og John Hogg og Marc Ford gjorde den akustiske greia? Ja, jeg husker godt det. - Det var et knallbra band, men heldigvis viste «Happiness Bastards», den nye The Black Crowes-skiva, seg å være alt jeg inderlig hadde håpet at den skulle være. - Jo takk, jeg var veldig glad i Magpie, men veldig fornøyd med nyskiva også! - La oss starte med hvordan du og storebror Chris fant sammen igjen etter et ganske bittert brudd i 2015. Hva har endret seg siden da? - Det skjedde ganske mye. På slutten av tiden i The Magpie Salute begynte Marc Ford (gitar, også ex-The Black Crowes) å drikke tett og falle tilbake i sine gamle mønstre igjen, og jeg orket ikke det mer. John (Hogg, vokal) hjalp ham med dette, med å gi ham alkohol og drikke sammen med ham. Og jeg prøvde å si til John at: «Vær så snill, mann, Marc har et problem, jeg ser hvor dette bærer hen. Han trenger ikke en
drikkekompis.» Og det sporet bare fullstendig av. Vi dro til Rockfield Studios i Wales for å spille inn et par nye låter til «High Water ll», og Marc kom seg ikke ut av senga på en uke. Han spiller egentlig ikke på den skiva, og det er kjipt, for han har slitt med dette i årevis, og måten han og John håndterte dette på fikk meg til slutt til å si at: «Beklager, men dette vil jeg ikke være med på noe mer.» For dette bandet var min baby - jeg skrev låtene, produserte skivene, jeg setter sammen turneene, jeg tar ansvaret, og hvis vi tapte penger var det jeg som måtte ta den økonomiske støyten. Jeg ville ikke fortsette på den måten med folk som ikke tok ansvar og brydde seg. Det var en skikkelig nedtur, så jeg dro bare hjem etter turneen og begynte å tenke på neste trekk. - Da «High Water ll» kom ut uten noe promotering eller turnering, var det lett å skjønne at noe var i gjære, selv om det aldri kom noen offisiell uttalelse. - Nei, jeg ville ikke fortsette å tape titusener av dollar for folk som egentlig ikke ville være her. Men i løpet av den siste turneen spilte vi i Chicago, og helt tilfeldigvis var Chris også i Chicago og spilte på et annet sted, men vi var begge booket inn på samme hotell. (Historiebøkene viser at dette må ha vært 26. januar 2019, da The Magpie Salute spilte på Metro i Chicago, og Chris Robinson Brotherhood spilte på Thalia Hall i Chicago.) Så det at vi støtte på hverandre akkurat i det jeg hadde bestemt meg for å kutte ut Magpie og ikke hadde noen andre planer, var ganske spesielt. Og det norwayrock.net
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LENNY KRAVITZ Here to be Human
12 NRM 2-2024
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Lenny Kravitz released his twelfth studio album “Blue Electric Light” in May 2024. We sat down for a conversation with the man himself to discuss the new record and its youthful vibe, receiving a star on the Hollywood Walk of Fame, and just what on earth is a “TK421”? TEXT: ANNE-MARIE FORKER PHOTOGRAPHY: MARK SELIGER
Hi Lenny! Your new album “Blue Electric Light”, that’s got to be one of the best album titles I’ve heard in a long, long time. Thank you! And it instantly reminded me of a name you used early in your career, Romeo Blue – why did you choose to use that rather than Lenny Kravitz? At that time, it was something that I did, because at that time in my teens, I was not comfortable with my own name. I didn’t think that it sounded right, you know? This is the days of Madonna and Prince. And so, these guys gave me this nickname “Romeo” and I added the “Blue” to it and it became this thing – Romeo Blue. Then, I didn’t feel right about it. I felt like it was a persona but it’s not who I am, and so I went back to my own name, which was a beautiful experience, to accept it. Becoming Romeo Blue was an exercise in me finding my way home, back to myself. So, when you mention “blue” in the title of the new album, it’s not a reference to that? It’s not, but there are elements of it. I just woke up with this “blue electric light” in my head, went to the studio, recorded the song that was in my head, and for me “Blue electric light” is God, it’s love, it’s humanity, it’s vibration, it’s power. But this album has an essence of Romeo Blue, this album is somewhat the album I never made as a teenager. The sound, the vibe, the production is reminiscent of what I was doing pre“Let Love Rule”. Interesting. Like “Let Love Rule”, the album has a really youthful vibe, a joyful vibe, did you think of the influences you had back in your youth when you were making this? Not so much the influences –- a little bit – but more or less what I was then. It’s interesting that you say about this youthful thing. That youthful spirit of the time in my teens came back to me for some reason, and, I think it was because I’d written this book called “Let Love Rule” which came out in the beginning of the pandemic – I don’t know if you knew about that. Yeah, I did. Well, it became a New York Times bestseller. Great! It was wonderful. But the point is that I spent a lot of time in that book exploring my teen years, because the book was from birth till the first album, it stopped there. So I spent a lot of time exploring my teen years and I think that, then, when I started making this album, after the book had come out, that spirit came back to me. I had been in there digging and digging. So, I don’t think I’ve ever in my life, at this age, which is weird, felt more youthful, and I’ve realised that youthfulness is also a spirit, it’s a feeling. Part of it is age, part of it is how you feel, that’s why you can meet a ninety year-old woman who has the spirit of a little girl. That’s the spirit that’s within you. I hung out with some kids, I remember, when I was in school, we were ten years old, and there was this kid who would be like a little old man. He had the spirit of an old man, you know – very serious in the way he spoke and that. So, it’s a spirit. The album also represents now, with what’s going on, so it also brought that element together, with where I am. It’s got a cross-generational appeal. You mentioned that you
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woke up with the song, “Blue Electric Light” in your head – All of them! That’s just how I work. Does it come to you in dreams? I’m just an antenna. So I’m just waiting to pick up what’s being transmitted. I don’t sit down to write. I let it come to me and then I put it together. So, when you go to the studio, do you have preconceived ideas? Yeah, I wait until I have an idea, I wait until I have something that’s come to me. Did you set out to do anything in particular with this album before you started it and then it turned into something different? With each album, I have no idea what I’m going to do. Never do I have an idea. If I have an idea, it means nothing [laughs], because whatever is going to happen, happens. There’s a heavy element of spontaneity in it? Yes. A lyric which really stood out for me was “I am here to be human” and I wondered what that statement meant for you – when you say it, what does it mean to you? To walk in my authenticity, to walk in my purpose, to do whatever I have to do to be in that place, you know? Also to love and to have gratitude, but it’s really about living in one’s purpose. I believe that we’re our most powerful when we’re authentic, to who and what we are. Not living a lie. So, that’s what the song’s about. We are spiritual beings having a human existence, and this is where we are right now. So, we are having this human existence and dealing with all of the dynamics of what being human is, the good, the bad, and the ugly – all of it. What is a TK421? I’ve heard Star Wars and all sorts of references. The song is about facing your fears and conquering your fears, doing what it takes to make your life better, so that you can live a better life. But the metaphor – it originally comes from Star Wars, it’s the number of
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Ringrever med 18 NRM 2-2024
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d baller av stål norwayrock.net
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AIRBAGDiskute 28 NRM 2-2024
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erer selvets århundre norwayrock.net
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Rock1s l 32 NRM 2-2024
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leg1der norwayrock.net
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Frank Hammersland
Hertugen av Bergen 38 NRM 2-2024
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“Han var et forbilde når det gjaldt estetikk, livsstil og identitet”. “The Ocean Sleeps Alone”, det uutgitte soloalbumet Frank jobbet med før han døde i 2023, slippes til høsten. I tillegg til å gjøre nye og forhåpentligvis oppklarende intervjuer med et assortert utvalg av hans bandkollegaer (og i dette tilfellet også våpendragere), hørte denne skribenten gjennom intervjuene jeg heldigvis rakk å gjøre med sjefen sjøl - Frank Hammersland himself. TEKST: STIG MYHRE
Frank Hammersland bodde noen år i mitt daværende nabolag på Bislett i Oslo. “Byen er kontoret mitt”, uttalte Frank en gang. Man observerte han jo, og jeg syntes det var litt stas at Frank Hammersland vandret rundt omkring i bydelen min. Vi småpratet noen få ganger, gjorde en håndfull intervjuer gjennom årenes løp og vi var på hils, liksom. Hyggelig nok, det. Men med visshet om at han ofte vandret gatelangs med diktafonen i innerlomma, tilsynelatende med konstant kreative tanker, lot jeg for guds skyld mannen få være stort sett i fred. Likevel føltes det som om jeg ble godt kjent med Frank via musikken, og sånn sett så jeg meg aldri tilbake etter at Pops Pops ga ut “Crash” i 1993. Selv om det tok 26 år før han flyttet fra hovedstaden og tilbake til Bergen i 2020, var Frank uløselig knyttet til hjemstedet sitt. En ting som etter hvert slår meg ved å høre på gamle intervjuer med Frank, er den veldig behagelige Bergensdialekten hans. I motsetning til Arne Bendiksen og Vibeke Løkkeberg mistet han ikke dialektmelodien på veien da han fraktet flyttelasset til Oslo. Han befant seg midtveis blant ytterpunktene. Kanskje ikke så mye POWER og gatespråk som Hans Wilhelm Steinfeld og Helge Jordal. På en annen side snakket han ikke like fornemt og nærmest puritansk som Erna Solberg. Frank (som medlem av Popium) laget ikke bare Brannsangen “Så Lenge Hjertet Står I Brann”. Hammersland elsket også musikkmiljøet og stamstedene i Bergen. Alle viktige møter i Pogo Pogo fant sted på Wesselstuen, og på rockeklubben (og nå dessverre nedlagte) Garage var nesten Frank og musikerkollegaene å regne som en del av inventaret. Viggo Krüger (gitarist i Pogo Pops): - Starten på 90 tallet i Bergen var spesiell. Noen har sagt at denne tiden bar preg av 60-tallets hippiidealer mer enn 60-tallet gjorde selv i Bergen. Det var en tid der mange unge mennesker fant sammen i musikken og gleden over å skape og fremføre musikk. Det fantes ikke en musikkindustri i Bergen, den kom senere. I dag er musikk i Bergen en kommersiell vare, men sånn var det ikke da. Frank Hammersland:- Selv om Pogo Pops, Barbie Bones og Chocolate Overdose utgjorde den såkalte «Bergensbølgen», hadde vi ikke så mye til felles rent musikalsk. Pogo Pops var de mest kommersielle og poppete. Barbie Bones Bones derimot, de drev med nybrottsarbeid. Frode Unneland (trommer i Chocolate Overdose, Popium, Evig Din For Alltid ++) :- Barbie Bones var jo det kuleste og heftigste bandet, Pogo var popstjerner og Chocolate Overdose ville være litt begge deler. Alle kjente jo hverandre. Fester på Garage og hadde det stort sett hyggelig sammen. Det var egentlig lite rivalisering. Det var vel i så tilfelle helst for å få medieoppmerksomhet. I Popium var jo alle de bandene representert, noe som viser at vi egentlig bare var venner. Inspirert av at bysbarna Barbie Bones, som han likte veldig godt, gjorde et lignende stunt året før, donerte Pogo Pops Spellemannsprisen de fikk for “Crash” til Garage. Når du ble gammel og grå, skulle denne utmerkelsen åpenbart ikke stå på peisen som en museumsgjenstand eller et egotrofe. For å være et hardtarbeidende band trengte ellers ikke Pogo Pops å reise utenbys. I sin egen bakgård hadde jo gruppen sin egen George Martin i Yngve
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Sætre, og Yngve spilte inn musikken deres i “Abbey Road” - det vil si Sigma Recording og senere Duper Studio. Lenge etter Frank bosatte seg i hovedstaden og Pogo Pops lå i dvale, spilte han fortsatt med bergensere i Popium, med Yngve Sætre som adoptert bergenser på tangenter. I Evig Din For Alltid, bestående av Frank, Piddi Fjeldstad (Pompel And The Pilts), Petter Folkedal (Sgt. Petter) og Frode Unneland, delte bandmedlemmene broderlig på vokal og låtskriving. Fire album fra den kanten, “Evig Din For Alltid” (2013), “Åtte Minutter Til Solen” (2014), “Tilbake Til Byen” (2015) og “Snakkes I Morgen” (2016), medførte at Frank omsider tok i bruk Bergensdialekten i tekstene sine. Ifølge Frode Unneland fikk Frank et “grådig” kick av å synge på norsk, Unneland: - Syns det var veldig gøy når han begynte å skrive på norsk. Der kom det noen jækla fine tekster. Husker da han kom med sin første norske låt til Evig Din For Alltid. Den fikk han mye negativ tilbakemelding på. Da gikk Frank hjem og laget «Nygårdsbroen». En fantastisk låt. Det er stahet og stamina. Det viser jo også den enorme katalogen med låter. Det ble aldri tomt. Evig Din For Alltid hadde mer på hjertet enn “Hallaien tjommi”. For å få utbytte av de delvis lokalt forankra tekstene, trenger du ikke ta bussen fra Paradis til Sandviken eller krysse Puddefjordbroen. The Beatles skrev om “Strawberry Fields” i Liverpool, Ray Davis i The Kinks hyllet London på “Waterloo Sunset”, og Van Morrisson sang om “Cyprus Avenue” i Belfast på “Astral Weeks”-albumet. Hvorfor skulle ikke Frank Hammersland beskrive Nygårdsbroen? Vi skal fortsatt holde oss til Bergen, men nå skal vi gå litt tilbake i tid. Hvis du som meg er noe over gjennomsnittet og i overkant opptatt av Pogo Pops, kan vi vel si oss enige om Langhaugen Videregående Skole befinner seg på historisk grunn i Bergen? For det har seg slik at Frank dukket opp her på et viktig oppdrag. Etter å ha spilt i litt for mange coverband og jobbet i matvarebutikk, ville han nå satse alt på originalt materiale. Alt annet enn musikk ble bortprioritert. Hammersland: - Musikkinteressen gikk veldig utover skolearbeidet på gymnaset. Da satt jeg for det meste der og skrev musikk og dagdrømte. Jeg prøvde to år på musikklinjen, men den teorien tok helt knekken på meg. Vi befinner oss i 1987. Etter å ha blitt tipset av Even Johansen (Magnet, Libido, Chocolate Overdose) om potensielle kandidater på Langhaugens musikklinje, møtte han opp der i rekrutteringsøyemed. Frank kapra trommeslageren Nikolai Hamre fra Sotra og gitaristen Viggo Krüger som stammet fra Loddefjord. (Viggo og Nikolai gikk i samme klasse på Langhaugen) På første øving, da kunne du telle fem mennesker i rommet. På andre øving var de to andre borte vekk og forduftet. Kjemien mellom Krüger, Hamre og Hammersland virket så sterk at powertrioen åpenbart ikke trengte passasjerer i bandet, Viggo husker at Frank så ut som en utpreget artist, og noen og enhver kunne se ut som en boms ved siden av den ekstremt pertentlige Hammersland, Krüger:- Frank var et forbilde når det gjaldt estetikk, livstil og identitet. Han var min personlige stylist, og kjøpte ofte skjorter til meg han mente jeg burde ha på når vi spilte. En gang kom jeg på lydprøve med noen gamle joggesko. Da bar det sporenstreks ned til sentrum og inn i en
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JENNIFER BATTEN
GUITAR GODDESS 46 NRM 2-2024
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We sat down in a café in England with Jennifer Batten to discuss her remarkable career, where she travelled the world with Michael Jackson several times over, and was hand-picked by her idol Jeff Beck to play in his band, after he listened to her solo record and drove her back to her hotel “like fucking Batman”. TEXT: ANNE-MARIE FORKER FOTO: SAM EMERSON, NIC SERPELL-RAND, JIM DOROTHY
How did a guitar end up in your hands? My sister had a guitar and I was pissed off that I didn’t have my own, so its between that and seeing The Beatles on TV. In my little town of 100 people or something it was Beatlemania. You would pick up a new single and then everybody would go to each other’s houses to listen to it and memorise the album covers. I was one of millions of people sat in front of the black and white TV that only had three channels in the 60s, and just seeing The Beatles live was so exciting. That was what the family did at night. Everybody would watch the variety show. The Beatles was a huge deal and their hair was such a controversy and you know, at that time. Yeah, far too long… “You look like girls!” What inspired you to become a professional guitarist? Thankfully, my parents paid for lessons. The first teacher taught me the notes on the board and how to read sheet music. And then the family moved. So, I got my guitar when I was eight and I had a year of lessons. Then we moved to San Diego and ended up with a different teacher who was teaching me folk music and finger picking. We were in a rental house for a year while we’re having a house built, so when we moved again, when the house was built, I ended up with another teacher that was into blues. It’s really random when you get a teacher at a music shop. It’s just the local cat that wants to make money making lessons. You don’t have to prove shit to be a teacher. Just say that you’re a teacher. But at that age, I absorbed what was given to me and I was pretty diligent about my lessons. My mother was President of the Arts Council in New York before we moved to San Diego, and she would bring in artists and they would stay at our house because we had an extra bedroom. One of the artists that stayed was Jorge Morel. And he was just a brilliant classical player. He did something very risqué for classical lead, to cross over, he did the soundtrack to West Side Story on guitar. His music was in heavy rotation in my house. My dad was really into Jazz and when he was home from work there was always a soundtrack of jazz. It was in my subconscious somewhere. And then to have Jorge at our house and watch him practise for hours. My mother said I would watch him for two hours, but I can’t believe it, at six or seven years old, I don’t have that patience. But it was an influence. So then you signed up for GIT? Yeah. That was after I graduated high school, several years after. I had been working at Burger King for several years and experiencing living on my own. I saw an ad in Guitar Player magazine. I would always take my allowance and take my bicycle down to the music shop, and get the Guitar Player magazine every month. There was a big ad for a Symposium that the school was doing. That was a weekend long thing. So, me and my mate drove up for the weekend and everything was over my head. It was all these jazz players: Howard Roberts, Jackie King, Joe Diorio, and they all gave seminars and I’m just listening going “I have no idea what you’re talking about”! I took a test to get in and flunked because all those years at the music shops, nobody ever taught me scales, they just taught me songs and techniques. So, I went back to San Diego and studied with a jazzer named Peter Sprague who’s a really phenomenal player and he kicked my ass. He got me prepped. Six months later, I went to the school and I was probably the only kid that had never played a gig before,
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because my mother wouldn’t let me go play with strangers at night. You were the only girl there? I was, yeah. That was shocking. The first day of school, I’m looking around. What the fuck? This is not like public school where it’s 50/50. So, that was kind of weird. There were some assholes in the class that did some damage as they do, mentally. It was a hard school, God damn it. It was hard to keep up because week one diatonic scales, week two, harmonic minor scales, week three, melodic minor scales, and it takes a long time to integrate that into your system and be able to see it all over the fingerboard and especially to be able to improvise with it. Most kids only knew the pentatonic scale when I went in and that worked over everything in pop radio. Then a couple years after I graduated they changed the whole thing. So that curriculum now took a year and a half instead of one year because people were dropping out. Too hard to keep up. They were losing money. Once a month they would bring us a different monster player that would do a seminar. There was 60 students at that time, broken up into two classes of 30. We had Larry Carlton, Lee Ritenour, Tommy Tedesco. Pat Methany came one time and the airlines had lost his guitar, so he was checking out other people’s guitars for a gig that night. I should have taken that as a sign because that’s happened so many times to me. One month, it was Emmett Chapman who invented the Chapman Stick. 59 of the guitar players are going, “you know, that’s cool, but we’re not gonna buy one, we’re working on these six strings right here, and we’re a long way from getting it”. But, Steve Lynch, it planted a seed in his head to see what he could do with the right hand. I would check in with him every once in a while and I was just amazed at how cool it sounded, the stuff he was coming up with. I knew that I couldn’t put time into it during the school year because I’d get really behind, but as soon as we graduated he did a Freddie Hubbard song, called “Little Sunflower” where he had worked out this tapping thing for graduation, and it was just stunning. So I asked him to send me a demo of stuff he was working on and I tried to do what he was doing, and I was using one finger of the right hand and it sounded terrible, and I had a blister and so I said “Dude, I need a lesson person-to-person”. At that point, I was back in San Diego, and drove up to LA and had a lesson. He was working on his “The Right Touch” book at the time which turned into a series of three and eventually a DVD. And from that one lesson, I understood the concept of what was going on and started experimenting on my own, with chords and percussive ideas and single note, a lot of single note tapping stuff. That stuff ended up on my first record. You made a book also? I ended up doing a book called “Two Hand Rock”. I was developing, for my own students, a way that they could suss which was the right hand and which was the left-hand, a big tab and I put a box around the right hand and a circle around the left hand. But there was enough people calling it “tapping” that that’s what it ended up being. It was really exciting because it was new. Steve came up with that stuff before Van Halen was really well known for it, so he had a completely separate approach to it. Steve was using, at that time, three fingers on the right hand. Not four and four? He may have eventually added the pinky, but not at the time I took the lesson with him. Within a year I thought “I got a whole other finger here, what the fuck?!” I started working out arpeggios specifically to strengthen the pinky and it came together pretty quickly. Then I got into looking for string dampers, because when you have all eight fingers going, with
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