Photo by Stephanie Cabral
From 1989 to 1992 Jeff "Mantas" Dunn, Anthony "Abaddon" Bray, and Tony "Demolition Man" Dolan held the moniker of UK black metal founders Venom. Starting with the sinister riffs of Prime Evil, they diligently carried the Venom name out of the 80’s. Flash forward 25 years and the three were back together under the name Venom Inc, performing classics for hungry old-school fans and kids who only dreamed of hearing these tracks live. What began as an almost casual reunion turned into a full-fledged band, seemingly eclipsing the current Cronos-led version, with the new solid-as-hell Venom Inc album Avé being released last year on Nuclear Blast.
This weekend the band returns to Canada for four shows, beginning in Toronto this Sunday September 2nd at the legendary Coalition T.O. I had a chance to speak to Dunn and Dolan (who seem to prefer being called by their actual names, while Bray is only referred to by everyone as Abaddon) about how everything seemed to work out for the best, despite there being two versions of the same band, and how their reunion led to the creation of the new album. Have a listen with the SoundCloud player below.
You can catch Venom Inc at one of their four upcoming Canadian dates. Avé is currently available at all major outlets, and you can also watch their video for “Avé Satanas” below.
Venom Inc 2018 Canadian Tour Dates
Photo Courtesy of Looters/BMG
The chart-topping American metallers have a new album and a new big rock sound.
The story of the long-running American alternative metal act Godsmack, is one of consistency. In the last two decades they’ve released six albums, with three of them hitting number one at home. North of the border, their last two albums cracked the second spot on the national charts, their highest in Canada thus far. My point is that their formula seems to be working. So it’s rather surprising to find the band going for a more hard rock sound on their new album When Legends Rise, which is out today. I spoke to band frontman Sully Erna, and described to him how I was caught off guard by their change of direction.
“The band never considered themselves a metal band,” he says matter-of-factly.
“We kind of rode the line in the past, having some tracks that were a little bit on the metal edge. We’ve always just been a hard rock band, but obviously having written songs like ‘Voodoo’ and ‘Serenity’ from the early days, it really always left this door open, the lane to pursue if we wanted to. As we get older we have to grow with who we are as individuals, who we are as songwriters. For me especially as the main songwriter, I’m not the same angry kid I was when I wrote the first record.”
Erna credits Sharon Osbourne and the Ozzfest tour, as well as their widely-broadcast set at Woodstock ‘99, for helping them initially break out to a wider audience. But it was their 2002 track “I Stand Alone,” featured in Dwayne Johnson’s first major film The Scorpion King, that would bring them worldwide attention. It was his experience writing that song, that pushed Erna into taking a chance on the direction of the new album.
“I thought back to when I first wrote ‘I Stand Alone,’ it was the first time that the band really shifted into a different kind of sound, and we started introducing harmonies, a little bit more melody in the choruses” he says.
“When that song was finished, I couldn’t even tell if it was a good song or not because it was so different and unique from anything we had done. I would play it for my friends and for my manager and the response was all the same, ‘I don’t know, I think it’s good!’ We couldn’t figure it out, and it turned out to be our biggest hit to date. It just proved to me, that whenever I hear something (and) I’m not sure if I can quite identify it, maybe that unique quality is what’s going to make it successful and break us into yet another level we haven’t accomplished yet.”
After being encouraged by his bandmates, Erna took influence from his two solo albums which were collaboratively written with blues, classical, and jazz musicians.
“I wanted to take that process and that format and apply it to Godsmack because I felt like… maybe we can start developing something that’s a little bit more unique, and not feel like we’re writing the same record over and over again,” he says cautiously.
“I’m not ‘not proud’ of the records we’ve written, it’s part of the past. But we’re in a new place in our lives right now, and we feel like there’s a rebirth happening here. We want to try and take advantage of that and run with it, and see if we can open this up to a much bigger audience.
Erna’s unabashed declaration of his desire to push his band to the front of mainstream rock is sincerely refreshing after you’ve heard hundreds of bands lie through their teeth and say the opposite. But despite his excitement for the new album, Erna is well aware that he may lose fans who prefer a “heavier” Godsmack.
“If they expect us to sound like the Awake album then they’re following the wrong band,” he announces.
“But as I went through this process, it was a little bit nerve-wracking to me for a minute, because I knew it was going to be a different-sounding record. It did cross my mind, ‘Have we gone too far here?’ I spent time working with some outside writers because I wanted to hear someone who wasn’t in the struggle, what they thought we could sound like. Just to experiment, not knowing if we would use it or not. To my surprise I stumbled onto some really cool stuff that I really enjoyed. It made me think outside the box for melody, songs like ‘When Legends Rise.’ I wrote that with (ex-Goldfinger singer/guitarist) John Feldmann who usually writes for Blink-182 and 5 Seconds of Summer. I don’t categorize music in genres. I eliminated that a long time ago. I don’t care if it’s Migos, Justin Bieber, or Pantera, it’s either a good song or a bad song. Led Zeppelin’s probably the most prime example. Look at all the different styles of music that band performed, even though the majority of was a dark blues-rock, they had reggae sounds, they had country sounds. They explored the kinds of music they wanted to play.”
When Legends Rise finds Erna’s vocals in a particularly strong place. His love of the new material genuinely shines through in his performance, and it grounds the entire album. When someone says they want to make their music more accessible, it’s rarely this passionate and sincere.
“There are different goals that I personally like to aspire towards, and I think there is a lot more of audience to hit out there,” he says with an audible note of optimism.
“There’s a reason why the Foo Fighters are doing stadiums and we’re doing small arenas! (laughs) There’s a lot more people out there that appreciate music and that I feel I’d like to be able to introduce them to Godsmack. There’s a whole new generation who’s grown up since we came out with our first record, and the same fans who were in their twenties are now in their forties and fifties, and have fifteen year-old kids of their own that are discovering Godsmack for the first time. We wanted to be able to write music that’s accepted amongst the masses and amongst a much broader audience, because I’m a musician. I play five different instruments, I love to write music, compose, arrange. In the past it’s been a struggle to separate, ‘this is gonna be Godsmack, this is gonna be solo,’ I just feel like there’s a moment here to be able hybrid the two, and not lose the edge or the integrity of what we do with Godsmack.”
Godsmack’s new album When Legends Rise is out today, and you can listen to the title track below. They’re also one of the headliners of Rockfest in Montebello, QC June 14 – 16.
Photo by Kristján Carlsson Gränz
Last year Zombitrol Productions returned to Iceland’s Eistnaflug festival as a part of an ongoing project. While we were there, I managed to catch up with Max and Iggor Cavalera, who were performing Sepultura’s seminal album Roots in its entirety as a part of their “Return To Roots” tour. We spoke about Roots and it’s nu-metal influences, as well as recording the new Cavalera Conspiracy album Psychosis. We also touched on how Sepultura was instrumental in spreading heavy metal to different parts of the world, and Iggor gave us some insight into his current music-based international charity work.
Shot by Kristján Carlsson Gränz
Edited by Justin McKoy
Cavalera Conspiracy’s new album Psychosis is available now on Napalm Records, and you can watch the video for “Spectral War” below. Max Cavalera will be returning to Canada with Soulfly to perform Nailbomb’s Point Blank album on the following the dates:
Mar 01 Upstairs Cabaret, Victoria, BC
Mar 02 Astoria, Vancouver, BC
Mar 03 Status Nightclub, Vernon, BC
Mar 05 Dickens, Calgary, AB
Mar 06 Starlite Room, Edmonton, AB
Mar 07 The Exchange, Regina, SK
Mar 09 Pyramid Cabaret, Winnipeg, MB
Mar 10 Crocks, Thunder Bay, ON
Mar 11 The Working Class, Timmins, ON
Mar 12 Townhouse Tavern, Sudbury, ON
Mar 13 Mavericks, Ottawa, ON
Mar 14 Foufounes Electriques, Montreal, QC
Mar 15 Rock cafe le Stage, Trois-Rivières, QC
Mar 16 L'anti Bar & Spectacles, Quebec City, QC
Mar 17 The Opera House, Toronto, ON
Mar 18 Music Hall, London, ON
Photo by Christian Misje
“It’s not jolly pop music for fuck’s sake!” proclaims Enslaved vocalist/bassist Grutle Kjellson when I ask him how his band always ends up touring Canada in the middle of winter.
“It’s a suitable environment for such music. We just have to bear with a blizzard or two” he says reassuringly.
The Norwegian progressive black metal icons have just kicked off their trek on The Decibel Tour with Wolves in the Throne Room, Myrkur, and Khemmis. This is quite possibly the largest headlining tour the band has done in North America so far. Their reputation in the West has been growing steadily in the last decade, and Kjellson says he knows how that got started.
“The best support tour we did (in North America) was obviously with Opeth in 2009” he says.
“That was perhaps the biggest eye-opener for many of our current American and Canadian fans. In the years that followed we did some good headline tours as well, and we brought some pretty cool bands (with us) like Pallbearer and Yob. We really enjoy touring there.”
Going to an Enslaved show is an unique experience. Although you’ll hear plenty of songs from their last few albums, you’ll also get a dose their very early material. It’s the middle period of their catalogue that gets ignored, albums that many seem to credit as the roots of their modern sound. Last year the band played their entire 1994 debut Vikingligr Veldi at the Beyond The Gates festival in Bergen, and they’ll be returning this year to tackle their second album Frost. This early work seems at odds with the Pink Floyd and Tool comparisons the band gets today, and that contrast doesn’t seem to be lost on Kjellson.
“Sometimes we tend to go back to the roots” he says after some consideration.
“You can hear the thread, kind of the red line through all the way back to the early years. At concerts, people like to hear one or two, let’s call them ‘old classics.’ It seems to be more from the very early days, it kind of feels like playing cover songs. (laughs) Many of the songs we haven’t actually been playing them since we recorded them. (Beyond The Gates) was more-or-less like playing a full cover song set. It was like just sitting around for days in my cabin trying to figure out what we’re playing, it was weird. We kept one of those songs in the current live set. There ain’t that many requests from (mid-era) albums like Mardraum, Monumension, Blodhemn, stuff like that.”
Although Enslaved are not afraid to embrace the old days, Kjellson is not a fan of new bands trying recreate the nineties underground black metal sound.
“The recording devices back then, they are totally different than the recording devices nowadays” he says.
“People record at home. They’re not able to capture the sound of an analogue recording from 1992, that’s not possible. I mean, why bother? In 2018, trying to sound like ‘True Norwegian Black Metal,’ it’s a bit precious I think. (laughs) Back then to do a recording you needed to borrow money from your friends, parents, and whatever. You had like one hour for the recording of the bass, drums, and guitars, then you have like two hours for the vocals. Everything was done in a stressed environment. There was a lot of factors that made those recordings sound the way they do. You had to do much of the work in the rehearsal space, you had to be ready.”
Enslaved are quite well-regarded at home, even having already won a number of Spellemannprisen awards (the Norwegian Grammy). But reading and watching older interviews, it seems like the band weren’t always as accepted in the black metal scene. Kjellson reveals that it was the very musical elements which would bring them international attention, that rubbed some people in that scene the wrong way.
“In the very early days, there weren’t that many bands, and all the bands that were around there at the time were actually really, really different than one another” he explains.
“Everybody back then respected each other very much I think. But we’re talking about 1991-92. It was Immortal, it was Mayhem, it was Darkthrone, it was Enslaved, Emperor. As the scene grew, maybe it become more stereotypical black metal. Since we were kind of on the side of that, maybe some people (laughs nervously) were not comfortable with our little experimentation, the directions we took.” Kjellson pauses for a moment, chuckling to himself.
“But as a band we have never given a flying fuck (laughs), what others think anyway. It never bothered us as a band, no it hasn’t.”
Enslaved’s latest album E, is available now on Nuclear Blast, and you can watch the video for “The River’s Mouth” below. The Decibel Tour is underway, and you can catch the band in Canada at the following shows.
Sunday, February 18 – Montreal, QC – Corona Theatre
Tuesday, February 20 – Toronto, ON – Phoenix Theatre
Friday, March 2 – Calgary, AB – MacEwan Ballroom
Saturday, March 3 – Edmonton, BC – The Starlite Ballroom
Monday, March 5 – Vancouver, BC – Rickshaw Theater