Thank you!
What did you and the band do to celebrate?
First of all, we took some time home to rest, ahah, Some quality family time and great food are the best for us. No hard partying and such for sure!
I know, we’re boring…
This time around you decided on an Italian title for the album. What does it mean exactly?
“Veleno” literally means “venom”. We liked the idea of paying tribute to our home country by using our native language. Also, we love how it sounds: delicate but also menacing at the same time.
Could you tell us about the theme surrounding “Veleno”?
We address many different themes actually, from drug abuse to religion, but while writing the lyrics we realized all the songs had a phantom thread, a ‘fil rouge’ that connected all of them. That thread is the idea of ‘poisoning’, a concept that can have so many different layers and meanings. Our analysis is centered on the relationship between the man and the nature, intended both as natural environment and ‘human nature’. That ‘poison’ can be physical, like drugs, or metaphorical, like religion or superstitions. But it all starts from our tendency to establish our supremacy over Nature, overcoming our own limitations artificially or superimposing a ‘meaning’ over what’s happening around us in order to control it, to dominate it. But those are pure illusions, a series of self-generated, self-inflicted ‘poisons’ for mankind.
How does it differ from its predecessor, “King”?
This is more unpredictable in many ways.
“King” was treated as a whole song, so to speak, where you had different ‘acts’. The instrumentation, the arrangements, the overall vibe were intended to be absolutely homogenous, almost like a ‘rock opera’ in a traditional sense, as we presented a series of defined characters within a very specific story. That’s his strength, of course, and that’s why people love it.
On this one, instead, we had many different themes to cover without the restraint of traditional storytelling. Therefore, we chose to experiment with instruments, techniques and musical influences that we had never explored before. And we deliberately decided not to put any limitation to our inspiration, that’s why it’s probably the most varied album we’ve ever released.
How was the process like and how long did it take to record and compose the album?
The process was more spontaneous than ever before. As I said, stylistically we felt more free, but also our approach to songwriting was different. Before “Veleno”, we always wanted to take a break from tours to focus solely on the album. That gives you more time to compose during the day, but also puts a strong constraint on the inspiration flow, since you have to respect a tight schedule in order to release the new album and hit the road again. Sometimes you look at the blank page and inspiration is not there, but the clock is ticking… This time we decided to take our time and write when we felt inspired, in between tours or even while touring. So, unlike before, “Veleno “ has taken years to be completed. Almost three, to be more specific.
What were the easiest and most challenging parts of getting this album done?
Well, getting an album done is never really easy for us, hehe. Every bit of the process requires time, commitment and attention. That’s how we like to work, we don’t know any other way to do it. We’re truly committed to what we do.
The hardest part is probably… setting things in stone. When you realize the time is over and you have to deliver it’s always hard, because you’d keep working on things forever. We’re perfectionists, and for a perfectionist there’s nothing worse than the delivery date.
After returning to your guitar and vocal duties for the first time on an album since 2009, how has the process of writing changed for you, if at all? (The process of writing being the guitarist & vocalist vs. being the drummer)
No, the process didn’t change at all. Me and Francesco Ferrini always took care of the songwriting and creative process for the band and even when I was playing drums live I was still composing other stuff as well. Let’s say that the big change for me is in the live shows.
I’m sure a lot of fans appreciate the fact that the digipak includes a Blu-ray release of your gig in Perugia, especially for those who haven’t had the chance to see Fleshgod Apocalypse live. When did you start tossing the idea around for filming and what did it take for it to come to fruition?
I think having a live album, or video, is a true milestone, especially for a band like us. Live shows are a crucial part of our ‘message’,, they’re deeply connected with the music itself. As well as costumes, videos, photos, album art etc. We wanted to show everybody, including people who haven’t had the chance to see us live, what you can expect from us on stage. And that idea had been in our mind for years, so we’re really proud of what we achieved. It took so much time of preparation, especially because we had a full strings quintet with us, a full stage production, Co2 geysers, confetti and seven different cameras. Coordinating everything was really exhausting, but the result is worth the effort!
Here on Power of Metal, we like to take the time to get to know our favorite musicians. Please tell us some bizarre facts about yourself?
Ahah, help! I don’t know. Well, I’ve never played a video game in my life, never watched a TV series, and I don’t know anything about soccer. That’s why Veronica, Francesco (Ferrini) or Paolo respectively have my back whenever I end up discussing something like that with someone I don’t know. All I have to do is smile and say “Yes, sure!”, ahah!
What do you do when you’re not doing anything related to the band?
If we talk about other working activities, me and Francesco Ferrini have a music production company called Midas Productions. I invite everybody interested in a collaboration to check out our portfolio and services. In my free time instead, I like to spend time with my family or wander into the wild nature. I’m a huge fan of outdoor and winter sports.
What plans do you have for the rest of the year, touring and otherwise?
We already have a few festivals in the summer, including Graspop.
This fall we’ll start our worldwide campaign for the album, starting with Japan, Australia and then Europe. We have plans for next year as well, but it’s still top secret or now. We’ll also keep working on new video clips and, of course, music for the next record. It’s never too early!
A quick message to your fans?
I want to thank everybody for the insane feedback we’re receiving on the album. It’s moving, really. We owe you everything!
Thanks again for taking the time to answer our questions, Francesco. Have a wonderful day!
]]>Furthermore into my research, I noticed that some die-hard fans have quite a few complaints about the new vocalist – sounds familiar? Palermo and Hoffman are miles apart in terms of the quality and characteristics of their voices; Palermo has a technique of grunting sharply in contrast to Hoffman‘s lower and deeper reverberations. Through my perspective as a new listener, however, I think Palermo suits their sound just fine. It matches the punchiness and grit of their music. It doesn’t just complement but, – above and beyond – interactively brings forth another layer of unpredictability to their more stable and atmospheric strumming patterns.
Their first song “Glass House” perfectly captures the sound these guys are trying to convey to you, which, from what I can tell is supposed to be the signature sound of the band. That is to say, they’re not trying to waste anyone’s time. It is laid down as “in your face” and pretty effortless to get into.
This album works for me, but I’d have to carefully cherry pick about five of the ten songs. My preferences would include “Glass House“, “The Ocean Above” and “Sanctuary“. Very different songs, strictly speaking, but they can all be found on this single album!
]]>Now I have a better understanding of Eluveitie and the music they create. After listening to Slania I would say that it doesn’t come as a surprise why it’s what kick-started their break-through and brought them to the world stage. The decision whether to like this album or not is an easy one. It is simply great! The implementation of violins, bagpipes, hurdy-gurdy, harps, flutes and whistles etc. against the wall of a heavy distortion is a feat in itself. They make the band sound distinguishable and unique. I’m mostly for the heavier songs such as “Blood Stained Ground“, “The Somber Lay“, “Tarvos” and “Calling the Rain“, but of the mid-paced and “softer” songs I think “Slania’s Song” takes the cake; the song represents everything that makes the band who they are – the Gaulish language, the aggresive harsh vocals of Chrigel (vocals, composer, whistles, harp, mandola, bagpipes), the angelic female voice of Anna (vocals, hurdy-gurdy), the overall balancing act of every instrument wrapped up in the beautiful simplicity of the song, it’s all there.
Those more familiar and grown accustomed to the originals may disagree with me on this one, but as a new listener, I’d like to think that I’m less inclined to bias when listening to both versions of Slania. Though I can understand the sentimental reasons for not liking the revamped songs, this release sounds better than the 2008 version in my opinion. Some fans are already saying that it’s “over-produced like the new Fleshgod Apocalypse”, but for those die-hard fans, this edition is conveniently packed with a lot of extras that add up to 20 minutes. The album includes the demo versions of “Samon“, “Primordial Breath“, “Inis Mona“, “Bloodstained Ground” and “Tarvos” as well as a fascinating interview with Slania herself. So at least they have that to look forward to in case they are unhappy with this edition. A nostalgic die-hard fan or not, this album is a must get to re-experience the songs from a different perspective and then some.
]]>Listening to After Forever and Star One in the early 2000’s, I was blown away by Floor‘s voice. Needless to say, she’s still got it. But I remember listening to “Endless Forms Most Beautiful” kind of in dismay while friends were so impressed by it. I wasn’t bashing the music of course but being familiar with most of her bands, I was disappointed by Floor‘s output – but she was not to blame. The songs didn’t reflect her capabilities as a singer and her voice was sorely held back – even having Dawkins on the album won’t save it for me and I can’t listen to the album thoroughly (I’m sorry to say) but I’m pleased to say that her abilities are put more on display on this album. It is truly interesting to hear a clearly recognizable voice under a different sound.
Jorn adds all sorts of interesting rock elements in Northward; Being a master on the guitar, he can strum away to the tune of pop to hard rock. He also incorporates acoustic guitars to give the dramatic effects of the songs which clearly provide the softness and darker tones. The combination of acoustic guitars, dramatic singing against the distorted guitars give quite the dimensions that I haven’t heard from either of their bands before. It made the listening experience absolutely fascinating but I am not completely sold on all of their songs. Especially on the simplistic nature of several of the tracks used for their promos, which are actually the first 3 tracks on the album.
Although Northward is musically not entirely to my taste – and I mostly signed up for reasons of curiosity – I can enjoy several songs as they are. I am mostly referring to the second half of the album here. I would not recommend it for someone who is looking for their whiff of some symphonic metal but the album does well on what it was made to accomplish. I believe Floor and Jorn make a great duo, this album is hooky throughout, and they sound better than what is on the pop radio.
]]>The band’s decision to do cover songs is not paradoxical at all and actually made perfect sense after listening to the songs. The original songs are huge pieces on their own and are already symphonic by nature; multilayered with classical harmonies and a lot of rock elements. Attempting to do justice to the songs must have been a colossal job in its own right and I think Epica gave themselves a proper challenge embarking on this project.
The EP is initiated with “Crimson Bow & Arrow” – a detonating start that begins with a cinematic entrance akin to a film score that will grab you right from the get-go; something that is not at all atypical for the band. It builds and brews for some time to an inevitable concoction of a bombastic chorus that will have you moving your head around, senseless; the impact is nothing but memorable. They then progress to “Wings of Freedom” which, given the Epica treatment, feels more like a song written by the band themselves; that is, if we overlook the intro and the content of the lyrics for the moment as they confused my ears a bit; I’m just not used to hearing the band talk about “flying into victory” – a parochial idea, but it was an amusing thought. The opus is brought home with a hint of familiarity through Mark‘s intense growling over Ariën‘s blast beats and Isaac‘s leads on the guitar. Then the theatrics move on to “If Inside These Walls Was a House” which delivers a very musical and Disney-like sound, rendering the atmosphere and pace of the album to buffer and lead the tone for what is to come on the fourth track, “Dedicate Your Heart”. The song expresses a new wilderness that fans of the band have never heard of before. It is an ensemble packed with diversity and changing passages that makes one think of how talented and adaptable the band truly is, their potential to do other things. And if you have a passion for singing, then rejoice because the rest of the songs on the EP are the instrumental versions of the four songs. Having a run through them is worth it as they’ll give you a different perspective and experience of the songs. It’s a quick realization of the powerhouse of the band that is Simone and her vocal abilities to nail all those gigantic songs!
I can’t say that I’m a big fan of many covers, per se, but “Epica vs. Attack on Titan Songs” songs turned out to be superb renditions of great songs, there is nothing to complain about, really. It is nothing short of effort and has reminded me of my deep respect for this band as musicians as well as human beings – they are some of the most humble and happiest musicians I’ve ever met. Having met and interviewed a lot of musicians in metal, that is something I don’t often say.
Taking stock of their journey to this release, it’s obvious that Epica is still a brim-full of great ideas and continues to remain creative and dedicated musicians. Their skills have not halted and only soared over the years. I for one can’t wait to see what they come up with next.
]]>I’ve given “Devour and Birth” several spins now to merit some kind of an opinion. I’d say that the entirety of the album flows pretty well in a way that it always seems to end so quickly. And you can hear the groove of their influences right from the get-go; Their drums are blasting away with interesting and ever-changing patterns, the vocals possess the guttural tonality and brutal screams of Suffocation and their writing, very methodical with progressive chops akin to Opeth.
“Devour and Birth” is rich and there might be a lot to digest on this album, depending on who is listening. It’s continually shifting and deviating so it’s a mixed bag of all sorts: heavy djenty guitars, odd time signatures, dissonant and melodic passages and it sounds ominous with some sci-fi -esque sounds smeared into it.
“Devour and Birth” is beautifully put together in a very listenable way but may need a bit of an open-minded approach. The album does not sit neatly in a certain mold of death metal and may require several listens to be fully appreciated. It is a modern take on progressive death metal with an overreaching technicality that is palatable to those who are looking for a more challenging and less straightforward type of metal.
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I’d say “Monuments” is quite a journey of emotions. There is something hypnotizing about the exploratory nature of the album. It’s avant-garde in all its facets; The sound is equipped with a variety of colorful instruments – it also features a female soprano singing alongside a male voice with clean vocals as well as death metal growls; Their lyrics are not restrained by a single theme but by a storm of “daunting emotions” touching upon the ethereal and real aspects of dreams. Sonically, it gives off organic elements which may make one think they are listening to the band live – not overly mixed which perfectly fits their sound and works as an advantage from the perspective of the listener. It has a captivating feat that transitions from a playful simplicity in one moment, to monstrous verses the next.
It was a pleasant experience listening to “Monuments“. The EP only contains 3 songs that span up to 24 minutes of listening so it’s not long but definitely worth the listen.
]]>As a long time proponent of Scandinavian death metal, Inferi‘s sound is familiar yet highly atypical to me. Their symphony surges in and out of this sort of finely tuned chaos and “Revenant” really bolsters upon the foundation of melodic death by giving it an enticing new face. Rummaging through this memento of theirs, I realized that their compositions were not only melodic by nature; Their music is often accompanied by highly technical passages with sparing use of powerful symphonic sounds, all implemented to create great depth and dramatic effects resulting in a massive odyssey deliberately designed to deliver a stunning blow to my poor and unsuspecting eardrums. I’m inclined to say that “Revenant” is beautifully chaotic and possesses a mesmerizing softness to it; Each song is progressively embellished to lead to engrossing stories which is the characteristic of the album. Their songs remain impressionable all throughout. This is especially true in the case of “Thy Menacing Gaze” – simply one of the best tracks on the album!
According to the band, they’ve set the bar even higher for themselves than they previously have. In my view that bar was set higher not only for the band but also for the whole camp of melodic death acts in general – Inferi has ignited a new flame into the heart of a genre that has been stale at best after its successful run of the 90s and as a result, they have definitely earned their domain on my catalogue of bands. So take a breather and strap in for a mind-bending journey because “Revenant” will undoubtedly shake you out of your melo-death boredom.
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ENCHANTYA announce new album details
After the release of their debut “Dark Rising” (2012) via Massacre Records, portuguese heavy/gothic metallers Enchantya are very proud to announce that the band started recording their sophomore abum on the 10th of February, at the Pentagon Audio Manufactures Studios with amazing Fernando Matias (SINISTRO) on the control. The new album, which will be entitled “On Light And Wrath” has 11 tracks. EnChanTya invited Ricardo Oliveira (My Enchantment, Attick Demons) to record the drums. More news will be available soon.
In the meantime watch or re-watch the video for the track “Dark Rising”, released back in 2013: https://www.youtube.com/watch?v=OaIfpmzn1r0
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