Nick Holmes of Paradise Lost

by Cameron Edney
Guest Staff Writer –

Paradise Lost’s Nick Holmes Talks Soundwave, Recording and Drinking!

Nineties death/doom metallers Paradise Lost are about to embark on their first Australian tour in more than fifteen years. Hitting our shores later this month as part of the traveling Soundwave Festival, Paradise Lost are sure to make up for lost time playing a fantastic set to suit fans all of eras of the bands past.

Hailing from Halifax, England the band knew early on that they were creating music that would change not only their lives but the life’s of hundreds of thousands of music lovers around the world. Releasing albums like ‘Shades of God’, ‘Draconian Times’ and ‘In Requiem’ showcased just how talented and phenomenal this band really is!

In April Paradise Lost will release their twelfth studio album titled ‘Tragic Idol’, an album which sees the bands return to the heavier and darker sound they are known and loved for portraying. I had the pleasure of speaking with Paradise lost front-man Nick Holmes to talk about the bands long over-due return to Australia, their upcoming album ‘Tragic Idol’ and no longer partying like a “Rockstar” on the road… here is what Nick had to say!

Hardrock Haven: Nick, thanks for speaking with us tonight, how’s everything going?

Nick Holmes: Really good man, we finished the album and now we’re just going to hang around and wait to start the tour. We start off in Australia and then we’ll carry on through Britain and the rest of Europe after that, we’re really looking forward to it.

Hardrock Haven: I thought you guys actually just finished a run of shows….

Nick Holmes: We did a lot of festivals but we’ve been writing the album over the last year so we haven’t done too many shows recently. We’ve done the odd bits and pieces but the full tour is going to start when we kick off in Australia.

Hardrock Haven: You were only recently added to the Soundwave Bill, you must be really excited to finally get back to Australia for some long overdue shows?

Nick Holmes: I think we’ve done five more albums since we were last down there; we have a lot more songs to choose from! We’re going to do a good proportion of ‘Draconian Times’, we did a special tour where we only played that album and it was really successful; we know that people really appreciated that album so we’re going to do a few songs off that one. We’re going to do a brand new song; we’ve got a hell of a lot more songs to choose from since last time. I’m not too sure how long we’re going to play for so we’ll just do a best of type set.

Hardrock Haven: Fans have been waiting a long time for your return and it’s great to see that you’re on the Soundwave Line-up, how did you become involved with the festival?

Nick Holmes: I don’t know… there was a lot of talk about it ages ago. The thing about Australia is that we’ve wanted to come back pretty much since we left fifteen years ago. There’s always something that gets in the way or something that falls through, luckily it seems like its definitely happening this time so we’re absolutely thrilled, it’s great!

Hardrock Haven: When you look back on your previous Australian visit what comes to mind?

Nick Holmes: Last time I came in early and did a charity bike ride through the outback. I did that for a week prior to the tour so that was already like a holiday; it was absolutely brilliant. I have such good memories from that Australian tour it was probably one of my favourite trips, I’m really looking forward to coming back!

Hardrock Haven: One of the great things about festivals for punters is that they are thrown into one place with many bands they’ve never seen, never heard of before and there is always plenty of curious music fans wanting to discover more great music. For those people how would you best describe the band live?

Nick Holmes: Well it’s not sunshine rock that’s for sure [laughs].

Hardrock Haven: [Laughs] you can say that again [laughs]. Nick whilst on the road who’s given you the best advice and what was it?

Nick Holmes: Um I don’t think I’ve heard any [laughs], I always give advice to people. I’ve probably had advice from other people that I’ve ignored and now I give advice to other people who probably ignore me [laughs]. If there was any advice I was probably too drunk to remember it anyway [laughs].

Hardrock Haven: Do you still enjoy a drop or two whilst on the road?

Nick Holmes: I think drinking and being a travelling musician is the worst combination on earth! I discovered that in the last ten years, it just doesn’t work. I think drinking and staying awake is a bad idea, I just can’t do that anymore, I can’t do a show the next day. In my early twenty’s it wasn’t a problem but now, forget it, I try to be semi-professional! The whole rock n roll lifestyle is a bit of a mess really; most people I know, they don’t party as much as perhaps they’d like people to believe.

Hardrock Haven: I’ve always been curious to know how bands deal with living together on the road, I mean no doubt at times it can become frustrating when you share buses rooms for weeks sometimes months at a time, how do you personally find the best way to deal with other members on the road especially during those harder not so pleasant moments that occur?

Nick Holmes: It’s just a matter of putting your headphones on and switching off. Everyone knows everybody else’s tolerance levels so you can see an argument coming very early on. Usually it’s me and Steve [Edmondson] our bass player that argues, it’s usually when we’re tired too so when we arrive in Australia we’ll probably be bickering then [laughs].

Hardrock Haven: Mate you’re certainly great vocalist and as we know vocalists usually do less interviews on the road, don’t party as much, stay out as late etc to keep the voice in great shape, when travelling do you do anything specific to keep your instrument in the best shape possible?

Nick Holmes: Just don’t talk, which is annoying because I do like to talk. I’ve started to listen to audio books cause when I start, I get engrossed in that and I won’t start a conversation.

Hardrock Haven: I want to talk to you about life in the studio also, in 2009 you released a great album in ‘Faith Divides Us, Death Unites Us’ and the follow up will be released this year, what can you tell us about that?

Nick Holmes: The new album is called ‘Tragic Idol’ the album has ten songs on it. I think that people seem to think that we’re going into a more Gothic direction, but it’s a very “Metal” album! I think it’s a lot more metal than the last one to be honest; it’s very dark, it’s got to be expected, we’re not going to do anything out of the ordinary. We’re really pleased with it, I was listening to it last night actually… I can’t wait for people to hear it and let us know their thoughts.

Hardrock Haven: Tragic Idol… I love the title; tell us where that came from…

Nick Holmes: ‘Tragic Idol’ is about how if someone is put on a pedestal and they somehow start to believe it, really they’re not. With the internet and the way that media are now at the end of the day we’re all human beings nobody’s better than anybody else some are smarter but that’s about it! In England people love to see people fall from grace, the bigger people get and the more successful that people get, people like to see them fall! I find that to be really sad, people help to get people to where they are and once they get there they just want to tear them down! It’s a real Northern England thing in particular, everyone wants you to fail in Northern England, and you never get encouragement for anything in your life.

Hardrock Haven: Having recorded twelve studio albums now, I would imagine the creative process in some cases would be a breeze and yet it must at times be a nightmare to come up with fresh material!

Nick Holmes: It’s weird… I found this album quite hard to write. Lyrically I quite enjoyed writing this more than some previous albums; overall though I didn’t find it all enjoyable which is a weird thing.

Hardrock Haven: Nick since first forming, Paradise Lost has been able to achieve many great things, what do you feel are your greatest achievements to date…

Nick Holmes: Well we always say this but when we headlined the Dynamo Festival in Eindhoven in 1995 there was one hundred and twenty thousand people there. Headlining that was a pinnacle moment for the band professionally, that was a real high point!

Hardrock Haven: There’s no doubt as time goes you’re always learning more about all aspects of the industry from touring to recording and the all-important business side as well. What do you feel has been the single most important lesson you’ve learnt to date?

Nick Holmes: To never take it for granted! If you start to expect people to like your music or people to stay with you then you can just forget it cause it doesn’t work like that. You have to work hard, I’m going to go into a Kiss song if I don’t keep quiet… ‘God Gave Rock N’ Roll To You’, that song is really quite inspirational, the lyrics in that song are true, you don’t get nothing unless you work for it and I think that’s good advice for life really.

Hardrock Haven: It certainly is… Just before we wrap up, you will be back in Australia later this month for the Soundwave Festivals; ‘Tragic Idol’ is out soon also what other plans do you have in place?

Nick Holmes: We’re looking into going to America this year and were long overdue to go to South America as well so we will be touring most of the year. Like I said it starts in Australia and we’ll carry on through from there and see where the touring take us!

Hardrock Haven: Well Nick I wish you all the very best with it and hope you have a fantastic time back here in Australia. Do you have any last words for our readers?

We’re looking forward to coming and playing, I hope that everyone comes out to see us and enjoys it!
© Cameron Edney Feb 2012. Not to be used without written permission.

Currently writing and shooting for: Hysteria Magazine, Junior Magazine, Reverb Magazine, Disciples of Metal, Wicked Pix, Loud! Online, The Metal Forge, This is Rock Magazine, Utopia Records, Hardrock Haven, Rock Confidential

Rob Wylde of Teenage Casket Company

by Derric Miller
Staff Writer –

Teenage Casket Company lead singer Rob Wylde checked in with Hardrock Haven to talk about their brand new single/video for the track “Without You,” released on Valentine’s Day 2012; their upcoming EP; their “best of” compilation Best Kept Secret; what it’s like playing as a 3-piece; the small but awesome role Hardrock Haven played in the liner notes of Best Kept Secret; how they picked their “best” songs for that release; upcoming tour plans; and a whole lot more.

Teenage Casket Company is one of those fathomless bands; no one who has heard them can fathom how everything they do is not at the top of the charts. Tune in now to re-learn why these guys should be one of your favorite bands, and pick up Best Kept Secret today.

Online: www.jamsyncmusic.com

Glenn Five Former Anvil Bassist

by Alex Barbieri
Staff Writer –

No Expectations, Just Possibilities: An Interview with Former Anvil Bassist, Glenn Five

Bassist Glenn Gyorffy (a.k.a. Glenn Five or G5), powered the Canadian metal power trio, Anvil, for 16 years. In late January 2012, news hit the rock press that G5 was leaving Anvil for various reasons. Here, Glenn Five—one of the most underrated and inspirational bassists in rock — opens up to Hardrock Haven on why he left Anvil, his favorite memories of the past 16 years, and his musical plans for the future.

HRH: Glenn, thank you for reaching out to Hardrock Haven. We’re honored to be one of the websites you have chosen to talk to. Before we discuss more positive topics, let’s get it out of the way … what happened in Anvil that made you want to leave after 16 years?

G5: To begin, let me thank you, Alex, for once again opening up the pages of Hardrock Haven to me and allowing me the chance to share my words with your readers.

I wouldn’t say anything in particular happened that made me want to quit Anvil. It’s been an ongoing thing for many years. Basically, it was getting a bit stale for the artist inside me and I simply wasn’t fulfilled playing in the band anymore. As many people know there was a wonderful movie made about Anvil (“Anvil! The Story of Anvil”) that re-ignited a flame in the band, not only in the public eye, but also in ourselves. When the film started to receive critical acclaim and we started this amazing ride on the film festival circuit, we found ourselves very inspired like we hadn’t been in a long time. The success of the movie also brought with it the interest of the industry and we obtained proper management for the first time in decades—certainly the first time in my long tenure with the band.

With that management came tours all around the world and a chance to experience many new things. It was very inspirational and we found ourselves writing and recording Juggernaut of Justice, the best album the band has done to date. The truth is before the film maker, Sacha Gervasi, came back into Anvil’s life and made a brilliant movie about a great story of perseverance, the band was in a downward spiral. The music just wasn’t making a difference and creatively speaking we were at a bit of a stand still. This changed with the prospect of a film and a chance to once again record with Chris Tsangarides on the This is Thirteen album. That album, because of the movie, received a lot of attention and was picked up and distributed by “big time record companies like Sony in Japan and Vh1 in the United States.

That feeling of renewed creativity continued on with the Juggernaut album, but unfortunately the interest of the record companies didn’t, and in my opinion the album hasn’t been given the chance to shine like it deserves and Anvil have found themselves once again in a position of irrelevance. The music just isn’t making a difference in today’s marketplace. The movie was sort of a band aid over the inevitable, and in my opinion, Anvil is now on its way back to the same position as it was back in 2005 before the filming of the movie began.

HRH: That said, you have a lot to be proud from your time in Anvil. You helped sustain Anvil through periods of relative obscurity, helped fuel the success of the movie, “Anvil! The Story of Anvil,” and helped create an absolutely crushing album, Juggernaut of Justice.
What are some of your favorite memories and experiences from the past 16 years with the band?

G5: Well, it’s all been great. My entire time with Anvil has been a great ride. I’ve learned a lot, experienced some amazing things, got to travel the world and meet some amazing people along the way. Two very wonderful experiences for me took place in England.

The first was the recording of the This is Thirteen album. Not only to work with a great producer like Chris Tsangarides, but also to spend nine weeks in the village of Kingsdown where Chris’ studio is located. Kingsdown is a small village in Kent in the South East of England. The local villagers are among some of the greatest people I’ve met and they welcomed us with open arms. I made some really great friends there that I consider my extended family, and I have been back to visit a couple of times. The second was when we went to London for the London Film Festival. The premier of our movie was awesome, complete with being joined on the red carpet by Sarah Brown, the wife of then Prime Minister, Gordon Brown.

But the best part of that particular trip was meeting the love of my life, an amazing woman who is a publicist at The Works, the company that distributed the Anvil movie. I lived the dream professionally with Anvil, but all the other things that came with it mean a great deal to me, and maybe more so at the end of the day. I don’t play in Anvil anymore but the relationships remain and I couldn’t be more grateful for having such wonderful people in my life.

HRH: Is there anything you want to say to your ex-bandmates, Steve and Robb to clear the air?

G5: Actually there is nothing that I would say to them in this forum. One day, when our paths cross again, there will be things to say. For now, I just wish them well and continued success.

HRH: What are your musical goals for the future? Do you have a new band in the works yet that you’d like to announce?

G5: Nothing I’d like to announce at the moment, Alex. I’ve got a few things on the go and I am entertaining offers. I’d like to join another band. I enjoy the band atmosphere, the brotherhood and common goal between bandmates is a strong thing.

I want to record some of my songs as well, but I’m not sure that I would want to put a band together to play only my stuff. I much rather collaborate in a band setting, than just dictate what I want. Basically at this point in time, I’m leaving my options open and having fun and feeling creative again. Something I can say I didn’t feel in Anvil for the past year or so. Other musical goals include producing and musical directing. I’ve had great collaborating moments with great producers and have been encouraged that I can in fact be a producer. Also, I would like to get into session work. That would be a great way to widen my horizons and meet other musicians and producers. Session work would be a good opportunity to play different styles of music.

HRH: You’re a songwriter with a wide taste in music. How would you describe your style of writing, and who are some of your primary influences, songwriting-wise?

G5: That’s an interesting question—I’ve never really had to describe my song writing style. I’ve always just written from my heart and soul, and what comes out is usually an indication of where I was and how I was feeling at that point in time. I’ve always believed that the song is there and you just need to find it. I think it was Bono from U2 who said, “Just get out of the song’s way,” and that’s the way I feel too. The song will write itself—you just need to guide it where it wants to go. I believe the best songs are the ones that just happen, usually quickly and effortlessly. A couple of my influences would be Paul McCartney and Sting, not a coincidence that they are both primarily bass players. I also believe that bassists make good musical directors as well as song writers, as the bass is the glue between rhythm and melody.

HRH: What non-musical activities are you into lately? Tell us a bit about the man behind the music.

G5: Well lately, I’ve been spending much more time with family and friends. I’ve been on the road a lot for the last few years, and although I have great people in my life all around the world, it’s nice to spend time with the people at home whom I always miss when I’m away. As far as activities, I enjoy going to movies and watching English football. I support Arsenal, a team based out of North London. Go Gunners!

HRH: What movies, music and books are you into? Anything you want to recommend to the Hardrock Haven audience?

G5: When reading, I go through phases between biographies and action novels. For obvious reasons, I enjoy biographies about my favorite bands and musicians. I’ve recently read bios on Dave Grohl, Dave Mustaine, and am currently reading a pretty good Metallica bio called “Metallica: Enter Night: The Biography.”

When I’m reading my action adventures, I enjoy Dan Brown and Raymond Khoury, but I mostly read Clive Cussler books. He has a few different series that he collaborates on with different writers including “The Oregon Files,” “The Kurt Austin Adventures,” and the Dirk Pitt novels. For those soccer fans out there, I’ve read a great book called “Damned United,” about one of the greatest managers in the history of the sport, Brian Clough.

I don’t have a particular favorite genre of movie, I just love a good film. If a movie can take me on a journey, then I’m willing to take the ride. Recently I’ve been finding that French movies have a certain cleverness to them that we don’t really get here in the North American blockbusters.
As far as music, that also spans a broad range of genres. Of course I love my hard rock and metal, but I also enjoy many different things other than just the hard stuff. Some newer music that I’ve been enjoying lately is Foo Fighters – Wasting Light, Megadeth – Thirteen, Mastadon – The Hunter, Elbow – Build A Rocket Boys, Coldplay – Mylo Xyloto, Pearl Jam – Backspacer and Kings of Leon – Come Around Sundown.

HRH: Let’s do a bit of word association. What are the first thoughts that come to mind on the following:

HRH: Your time in Anvil.

G5: Proud to be a big part of the history. Other than Lips and Robb, I have spent more time than anyone in the band.

HRH: The success of the Anvil documentary.

G5: A wonderful experience and the greatest promotional tool a band has ever had.

HRH: Touring the world.

G5: Living the dream!!

HRH: Opening for AC/DC.

G5: Completely a thrill for me to share a stage with one of the greatest bands in the history of music. Plus, an amazing thrill to play stadiums, especially the historic Giants Stadium.

HRH: Metal fans.

G5: A brotherhood, a family. Metal fans are among the most passionate of music listeners. They choose their faves and stay with them forever. Even if their interests change and they listen to other things, metal remains in the soul and never dies.

HRH: Playing music.

G5: Something I and many other artists need to do. I’ve said it before, but we don’t choose to play music, it’s the music that chooses us to play it.

HRH: The future.

G5: I will share a mantra that has guided me well through the past few years: No expectations, just possibilities.

HRH: Glenn, thank you again for your time and for opening up to Hardrock Haven. We wish you happiness and success, and look forward to hearing your music in the future. How can fans stay in touch with what you’re up to? Any websites or pages you want to promote?

G5: Thank you for all the support Alex. I appreciate it very much. There is a website under construction at the moment, it is glenn5ive.com and people can also find me on Twitter@GlennFive and on Facebook at http://www.facebook.com/glenn5.

HRH: Thanks again, Glenn, and please stay in touch!

Like Glenn Five on Facebook:

http://www.facebook.com/glenn5

View a Glenn Five photo slideshow on YouTube:

http://www.youtube.com/watch?v=MM6mrskvGM8

Danny Tomb of 4ARM

by Cameron Edney
Guest Staff Writer –

4ARM’s Danny Tomb Talks about the new album, touring and much more.

Australian thrash metallers 4ARM have certainly done the hard yards to get to the point they’re at today! Based in Melbourne the band formed almost seven years ago and built up a strong following on Australia’s East Coast. During the past couple of years news and interest in 4ARM spread to all Australian states and people overseas started to sit up and take notice of this new breed of Australian Thrash Metal that had no intentions of sitting quietly in the background. Since forming 4ARM have released three studio albums and have had the pleasure of touring with some of heavy metal’s finest artists including Testament and Destruction.

The band who are shaping up to have a very busy year recently announced that they were signing to Rising Records for overseas distribution of their killer new album and are currently putting touring plans together for fans both in Australia and abroad. 4ARM’s new album ‘Submission for Liberty’ is the bands finest and heaviest work to date filled with blistering guitar riffs smashing drums and the amazing vocal abilities of front-man Danny Tomb. The new album was mixed by Matt Hyde and mastered by Ted Jensen who has done amazing work with heavy metal greats such as Slipknot, Machine head and Metallica. The bands amazing new artwork was designed by Brent Elliott White who has done some fantastic work with both Megadeth and Arch Enemy, so it seems that 4ARM are in very good company and on their way to bigger and better things!

I recently caught up with 4ARM’s vocalist and rhythm guitarist Danny Tomb to discuss the band’s new album, life on the road, future plans and much more! Here’s what Danny had to say…

Hardrock Haven: Hey Danny, thanks for putting some time aside to speak with us today, how’s everything going?

Danny Tomb: Hey Cameron; absolute pleasure, mate! Things are going well, I’m doing great. The boys and I are excited about the future at the moment!

Hardrock Haven: Great to hear man, let’s talk firstly about the new album Submission for Liberty; it’s set to be released this month and its unreal! You guys must be really happy with the outcome!

Danny Tomb: We are very pleased with this album. A lot of hard work went into these songs and creating an album we could be very proud and confident in. Mick and I spent nearly every day together for the better part of twelve months, bouncing ideas back and forth… if we both smiled then it was kept and we’d move on to the next section. One smile and one frown meant more work. We work very well together and have a kind of connection where we know exactly what each other is thinking and going to say, so much so that sometimes it can be a bit scary [laughs]!

Hardrock Haven: I remember back in August last year news of this album grabbed my attention, what do you hope metal fans will get out of the new album once listening to it?

Danny Tomb: I hope they get a sore neck! I hope they feel it the way we feel it. That they get inside our heads a little. I know they’ll relate but I hope it allows people to dare to think for themselves. Most of all I hope that it encourages us all to unite as a people, one big Metal family to tear down those who place themselves above others!

Hardrock Haven: This is album number three for 4ARM, how does ‘Submission for Liberty’ differ from previous releases?

Danny Tomb: Submission is a very direct album, down-right relentless and very aggressive. We achieved what we set out to achieve as far as writing is concerned. We’ve grown so much over the years and learned a lot about how to crescendo music… how to drive things and push things, what works and doesn’t work. There is an art to writing music -it’s almost a science, it takes a while till you get it right…

Hardrock Haven: Let’s talk a little about the songwriting; some of the tracks on the new album include ‘Raise a Fist’, ‘Taken Down’ and ‘The Warning’… where did you draw inspiration from when it came time to write?

Danny Tomb: ‘Taken Down’ was written about that sick piece of shit that threw his daughter off the Westgate Bridge in Melbourne a few years ago, I won’t mention his name only because it shouldn’t even be remembered, he then tried to plead insanity for his crime, but it was found that he did it because of a custody battle with his ex wife, his other two children were in the car watching him while he did this, when he returned his eldest son said “Dad you have to go back and get her…. She can’t swim”. I looked at what was around me and how sickened I was, and am by the shit we are fed by our governments and media -the “correct” way to live our lives, the things we can and can’t say or do, the cost of trying to live the way they say is the ideal way and everything in between. It’s ridiculous and absolutely pathetic. We really are as free as they will allow us to be… we can’t think for ourselves, even though people will tell you they can. Most people will babble shit that they have been fed or heard, or whatever is the mainstream thing at the time. Meanwhile the fat prick in the suit or in our case the bitch who has the personality of a stone sits back smiling at what they have achieved on our backs and how much they get you to spend, how much more you will work only to pay more tax and how 99% of us will waste away doing shit we hate to make somebody else rich just so we can try and keep a roof over heads -which is something that a lot of young families are having A LOT of trouble doing. All this to one day die of some shit disease that they themselves have antagonized with the results of mass produced foods and all the rest of it… There’s plenty of inspiration right in our living rooms…Or as soon as we open our doors.

Hardrock Haven: Danny congratulations are in order also having recently signed to Rising Records for the overseas releases. That’s fantastic news mate, what’s this mean now for 4ARM… one step closer to taking over the world?

Danny Tomb: Thanks mate! We’re very pleased about the signing. It certainly feels good to have a label understand or ‘get’ what it is you’re trying to do. To have someone else believe in you and what you do is a very satisfying feeling. Though it also means that we’ve jumped out of a river of unsigned bands, into an ocean of signed bands! It means a hell of a lot of hard work, dedication and a ‘never take no for an answer’ attitude… Anything is possible isn’t it? [Laughs] We’re not afraid of hard work mate; anyone that knows us well will tell you that!

Hardrock Haven: Over the past twelve months or so the band name has been circulated quite a lot but you’re certainly no new band on the scene, having started almost seven years ago, in your opinion how has the Australian metal scene changed since the band first formed?

Danny Tomb: To be honest mate I think if anything it has gotten a little stronger. I think mainly due to just more people doing things out there and really trying to do things for the scene. We’re not the most populated nation in the world so you would assume naturally that the scene would struggle a little but over the past few years people are becoming passionate about metal again and that’s just awesome! And the amount of bands out there at the moment is phenomenal …that adds to the scene in a big way.

Hardrock Haven: Tell us about the band name, where did that come from and what other names were you considering?

Danny Tomb: [Laughs] Actually the name really started out as a tongue-in-cheek kinda thing that ended up sticking really. When we first got together we always played everything so much faster than any of our recordings and without realizing it, our forearms would be so built up with lactic acid that we could barley move em by the end of a set. I remember it was thrown around ‘we should call the band Forearm Dismobilizer.’ We could never really work out what we wanted the band name to be, we just knew we wanted to play. Eventually 4ARM stuck but only after we found that it actually means to ‘be prepared for war’ …to for-arm yourself before battle…

Hardrock Haven: You put on a fantastic performance, for those metal fans that haven’t had a chance to see you live yet, how would you best describe the band live?

Danny Tomb: Our music is very energetic, aggressive and fast paced. Our live performance really is the visual aspect of that. We basically feed off the music and let out what it makes us feel… we are all about impact and energy, we thrive on what we do and nothing will stand in our way while we are up there doing what we do, you’re either with us or against us!

Hardrock Haven: With the new album hitting shelves in a few weeks, do you have any new dates locked in that you can share with us?

Danny Tomb: Dates are being locked in as we speak but I can’t give any out just yet. I can tell you we are doing our very best to get to as many places as we can!

Hardrock Haven: Having been around for so many years now, whilst touring who’s given you the best advice and what was it?

Danny Tomb: To be honest, we’ve never really been given any sound advice, aside from “never give up, keep pushing and work hard” etc. But pretty much everything up to this point has been trial and error for us…

Hardrock Haven: Mate we’ve hit the part of the interview where our readers find out more about the real you… what was the first concert you attended and how much of an impact did that have on you musically?

Danny Tomb: The Motley Crüe Dr. Feelgood tour was my first ever concert. I remember Metallica were touring with the Justice album at that time and I so wanted to go but wasn’t allowed. My parents said “heck NO” to Metallica but yes to Motley… I’m sure it made sense to them in some way [Laughs]. I loved everything about that concert as far as an aspiring musician was concerned -the atmosphere, the crowd, the stage, hearing the first notes or beats, the whole thing was a rush and it was something that I just had to have for myself. Music is a long hard road of one-step-forward and ten-steps-back, but when the reward for your efforts comes in -whether it be someone who really appreciates what you do or a record deal or touring with a band you have loved your whole life, the satisfaction you get from that fuels the hunger and fire to do more. You know what they say, when you love something, there ain’t much you wouldn’t do for it…

Hardrock Haven: Growing up did you always want to be in a band or were your goals different?

Danny Tomb: Growing up ah the memories! I always wanted to play music; it was the only thing that I could find solace in and the only thing that made sense to me. I remember when I first started playing guitar, my parents both worked at that stage so during the day I would ditch school and go home and play for hours I think it was about six months before the school felt they should call my parents in for a meeting to see what was going on. I had a few other talents that I could have pursued and possibly become successful with but I always saw them as hobbies and just things that I could do well. Even though I was heavily encouraged to pursue them as a career and to not rely just on music, I just didn’t listen …and still don’t!

Hardrock Haven: Do you come from a musical family?

Danny Tomb: Actually my father was a great saxophone and clarinet player who did some really cool things back in the day. One of my sisters plays the violin, and my brother plays guitar, piano and is also a vocalist we actually used to play in a band together many years ago called ‘Iniquity’. Mick [4ARM Drummer] was also in the band for a while. We released an album and an EP but it never really took off. I still enjoy some of the songs though, brings back good memories.

Hardrock Haven: Having been in the business for a few years now, there’s no doubt you’re always learning whether in the studio or on tour or learning the all important business side of the industry. What do you feel has been the most important lesson you’ve learned to date?

Danny Tomb: In this industry you never stop learning, there are a hell of a lot of sharks and liars -people who will piss in your pocket for God knows what reason. Believe me; some of the bullshit I have heard is just ridiculous. The most important lesson I’ve learnt thus far would be learning how to read people. It doesn’t take long to figure out who is the real deal and who isn’t. There’s the ‘hangers-on’, I call them vultures, they’re the type of people that only talk to you and pretend to want to know you because they think they can get something out of you. Then you have the industry wannabe’s… these are the guys that promise you the world and deliver nothing but shit, just washed up has-beens trying to palm themselves off as the greatest and most powerful people in the industry. A lot of hard work goes into running a business and to really know who you’re dealing with is a good lesson to learn and can save you a lot of time and effort with unnecessary shit.

Hardrock Haven: Just before we wrap it up as we mentioned the new album is out soon! What other immediate plans are in place for yourself and the band?

Danny Tomb: At this stage we are getting all our touring organized and locked in. We’ve a lot of dates coming both nationally and internationally.

Hardrock Haven: Mate, thanks again for your time and best of luck with the new album… do you have any last words for our readers?

Danny Tomb: Thank you to everyone out there that has ever taken the time to listen to our music we appreciate you all …see you all on the road soon!

Photos appear courtesy of Cameron Edney

Karl Demata

by Alissa Ordabai
Staff Writer –

Best known for being a member of the British prog-rock outfit Crippled Black Phoenix, Karl Demata has also recently been receiving acclaim as a solo artist following the release of his début album Cross the Mountain. The classic-rock-inspired record released in 2011 got the attention of the UK guitar magazines and webzines with its ruggedly elegant, tasteful mixture of blues, country and rock – a melting pot of genres Demata delivers with earnestness of a seasoned pro. Unsentimental and going below the surface, this record shines a different light on his musical personality which so far has been mostly known for the edgy dysphoria his guitar parts were adding to the brooding, complex sound of his main band.

Curious about the inspiration behind Demata’s solo record, Hardrock Haven caught up with him in London just before Christmas to talk about his solo release, the influences and the personal journey behind it, as well as more general subjects, such as the nature of musicianship in general and the visceral versus the cerebral in popular music.

Hardrock Haven: Your debut album is such an unusual record for 2011. Especially for Britain where this style of music is not getting too much exposure these days.

Karl Demata: The fact is that it’s a blues record, but it’s not blues. I have always thought that releasing another CD with 10-12 songs that sound like covers of 12-bar blues sounding like either Muddy Waters or Stevie Ray Vaughan just doesn’t make sense anymore. I don’t think it ever made sense. For one, I was not born in Chicago or in Mississippi, so I cannot pretend to be a blues-man. But then I cannot pretend my playing and taste were not influenced by that. That’s what shapes my songwriting more than anything else. I don’t know how to define it. It’s blues-rock and classic rock with a strong accent on blues guitar playing. And that’s probably my cop-out. (Laughs).

HRH: Over how long have you been working on this record? Have you been storing ideas over a number of years?

KD: There are a couple of songs that were written some time ago, but we are not talking huge amount of time. Probably one year or two years before I went into the studio. But most of it – I would say 80 per cent – was conceived, put together and arranged in 2 or 3 months before we went into the studio. I just knew that I had enough material in store. When the studio is booked you are faced with a deadline and you start thinking of how you are going to develop the songs and give them the final touches. If I don’t have the deadline and the pending doom, then I just let things go and never finish things. At least that is how it is with me. As for material, I always I tend to write a lot after tours, like now, for example. Usually you get a bit depressed after a tour and writing music also has a therapeutic effect. But after some time you have to go through the painful process of throwing some things away, and polishing things that you think are good enough to stand the test of time and good enough to be arranged and worked on with other musicians.

HRH: Are you happy with the way this record has turned out?

KD: I am very happy with the way this record has turned out. Although I would have liked to have a bigger budget for recording. Especially stylistically I’m very happy with that, because it’s something I’ve always felt but never articulated. I always wanted to do something like that, but without it being another blues album. I just don’t feel the need to buy one, let alone make one. Of course, you know, I’m always up to listening to blues guitar players.

HRH: Who were your influences when you were growing up?

KD: We had a guitar around the house when I was very young, and playing the guitar was like play-time. But I remember one night staying at home and on late-night TV they were re-running the Woodstock movie. I think I was 11. And there were 2 or 3 elements that were really impressive for an 11 year-old mind. Part of it was the image of Hendrix and Santana, and Johnny Winter, and Leslie West, and Alvin Lee. The whole “iconic” element of it. And then, of course, there was the sound and the vibe, and the feeling that those things transcend daily life, daily troubles and worries, and that this is something that you can get into to find a shelter from all that, especially when you are a teenager and going through some troubled times, like everyone at that age, I suppose. You have something to rely on, and it’s like having a safety net.

So that was kind of the beginning and for a while I stood within those grounds – late 60s – early 70s blues-rock, and then dug deeper into what I liked and not liked. Taking into consideration that I wasn’t even a teenager yet at the time. But I remember really dedicating hours and hours to playing the guitar trying to sound like whoever it was I liked that particular week – be it Hendrix, or Johnny Winter, or Alvin Lee. And then, of course, you find out that there is more to it – people who are maybe not as famous, but more influential – people like Peter Green, Mike Bloomfield, Rory Gallagher. In a way those became my heroes. When you are a teenager and everybody talks about Eric Clapton or Jimi Hendrix, you have your own thing like Peter Green, who nobody knows anything about.

HRH: What is it about Peter Green that struck you?

KD: There are a lot of things in music that don’t strike you at the first glance, and you can’t put your finger on it and explain why you are drawn to somebody, but that’s because there are a lot of things in music which are – for the lack of a better world – subliminal. Things that are not in your face, but between the lines. And when you listen to people like Peter Green, or, for example, Rory Gallagher – another good example – you hear that there is an ethic behind it all that transcends technique, sound and all that.

HRH: More sincerity?

KD: Exactly. You can tell it’s a guy with his own demons and his own issues and somebody you can relate to. It seems more accessible on the personal level. Not to talk bad about other guitar players, but it strikes you as something more honest. You just feel that they are more human rather than trying to be rock stars.

HRH: Because those are two people who’ve never had huge international success.

KD: Yes, but that goes to show that what is popular is not necessarily the best. Success does not really come into question when I think about what to buy or what to listen to. It never has, even when I was a teenager. I never thought that I should listen to AC / DC because all of my friends were. Of course, I enjoy listening to AC / DC, but I was just drawn to something that seemed to be safer in a way that there was more humanity there. Less of a rock stars and more of a persons.

HRH: Someone who doesn’t intimidate his audience?

KD: Yes, that’s part of it. Peter Green, for example, when you read his interviews you see that he is a very tormented soul and extremely talented, but at the same time not interested in being in the spotlight. And that strikes me as something very honest. While other people strive to be in the spotlight and then maybe one day they realise that it’s not really curing their demons. There are a lot of people in music who are filling a void in their personality. And they think that by becoming famous and being in the spotlight that thirst will be satisfied. And a lot of times it is not. And then you get into issues like drugs, suicide and destructive behaviour. While there are other people who realise from the very beginning that music is not about me being centre stage and having fans and groupies and all that. Which is nice, but is a by-product, and not the goal. That strikes you as being more pure. That’s the thing I really struggled with – should I perceive myself as a guitar player or should I perceive myself as a musician?

HRH: So who are you – a guitar player or a musician?

KD: I think the answer is in the CD. It’s very easy to fall in the temptation of being commercial. And then you find out that you are not playing the music anymore, you are playing the guitar. To put it in a simple way, you are doing your exercises and maintaining your technique. I always felt that there is a very dangerous side in that attitude. There are a lot of great guitar players who from a player’s point of view are fantastic and extremely proficient, and then their music just leaves you cold, there is nothing to it. It’s not something you want to listen to when you are in a specific mood. If you play guitar and want to be inspired for your studies, getting involved in a specific technique – then yes. But the truth is that this is something separate. For a long time on instinctual level I even thought that those two things were detrimental to each other. That the more proficient technically you are, the less of a musician you are. You are in a way shutting down a part of your brain.

HRH: But isn’t exceptional technique something that allows you express your inner realities to the full?

KD: In theory.

HRH: Whereas rudimentary technique limits your ability to express yourself to the full extent?

KD: In theory it is true. But how rarely it happens in real life. I can’t really think of many.

HRH: Jeff Beck.

KD: I don’t know. People who come in mind are Charlie Parker and John Coltrane.

HRH: Oh, so we are talking about non-guitarists now.

KD: Yes, musicians in general.

HRH: But those two musicians had extreme self-discipline not to get carried away by their instrument.

KD: Yes, and it’s the hardest thing to do.

HRH: It takes maturity.

KD: Yes, it takes maturity, exactly. It takes artistic integrity. You should always keep in mind that technique is good and it’s great to have it, but you should also safeguard part of your time and space for something that’s much more instinctual. Something that doesn’t involve much thinking or going, “Oh, what key am I in?” or “What kind of chords are we playing?”, chord changes, structures, and all that. You have to be able to close your eyes and you shut your brain and react in a more instinctual way.

HRH: But this is also a matter of temperament. Introvert – extravert, etc.

KD: I’m sure it depends on that as well. I am sure there is a big element of disposition, maybe?

HRH: Some players just have to be THAT flamboyant and THAT flashy because that’s who they are, that’s how they feel inside: “I want to go all out and just rip.” And for them it’s expressing their true inner self.

KD: Is it?

HRH: For some people – yes. Some people genuinely want to be really fast, and really let it rip, and that’s their innate character that they feel needs to be expressed.

KD: I don’t look down on it and I don’t disrespect it. Anybody who’s reached that level needs to be praised for it. There are no questions about it. But personally I always had a feeling… And I can tell through my experience as a musician that there are periods when I was giving so much credit to technical aspects while forgetting the larger picture. I was not really playing the music anymore, I was playing the guitar. Which is the difference I was referring to.

HRH: Which is like the Olympics. Like a sport.

KD: Exactly. And again, this is craftsmanship. And to a certain extent I think that certain people should be de-mystified a little bit. If you have the physical ability, and the time, and patience, and the motivation, you CAN become a very proficient instrumentalist. Becoming a musician in a larger sense of the word is an art. I don’t like to use the word, but for the lack of a better one… There is no short-cut, this is not something you can achieve through studying 10 hours a day. It’s a little bit more complex, a little bit like soul-searching.

HRH: And it involves more pain too.

KD: I think it involves living a life – which unfortunately means pain as well, amongst other things. I think it was Chet Atkins who said, when asked how one can become a better guitar player, “You have to be somebody to have something to say.” And that “something to say” comes not only through guitar players you study and admire, but from the books you read, the relationships you have, the life you live, the places you visit, and all that. You see, there is no “how-to” book for that. It’s more complex, you are more by yourself, in the dark. And you have to find your way out of there. Again, if you don’t live, all the time you spend in the bedroom playing scales won’t give you much to say. As I said, it’s all nice and dandy and it’s great to see when you are a guitar player.

HRH: It’s good entertainment.

KD: It’s good entertainment, exactly. But I think you should always aim at something more. If people take your music just as entertainment it’s fine, there is nothing wrong with that. There is something noble about being just a craftsman. But I think it’s also human trying to transcend things, not strive for more.

HRH: That’s interesting. We’ve just talked about how people release music to prove something to their audiences, or to prove something to themselves, or to entertain, but what was the purpose of this release?

KD: The purpose was to in a way tell a music story elaborating on some key points in my taste and in my life. So there are a lot of songs which may be quite flashy from a guitar point of view, but – as I said before – it’s almost like a by-product. There are things I have been listening to for a long time and they are now part of my instinct as a musician. And I decided to combine those things in a way that I would like, making a record I would myself like to listen to.

You have to ask yourself the question: If I had to buy a record that stands in the middle of a lot of things that I’ve liked through the years, how would that record sound? And that’s basically it. To a certain extent, I even had to limit myself because I listen to lots of kind of music – acoustic music, jazz. And while recording it, I had other songs that were hinting in other directions. But then it is nice to give an impression of being a versatile musician and at the same time the impression of playing what you know and what you feel, what you feel at home with. But it will be good to avoid being seen as schizophrenic. (Laughs). I could do fifteen kinds of music in fifteens songs but I’d rather work on another project or another band and explore other things I like. This time I decided to limit the scope to what is a safe ground and natural for me personally, which is blues-rock, and give it hopefully a more contemporary sound. But you can tell that there are hints to other directions and there are hints to something that is more intimate-sounding, maybe even psychedelic or introspective.

But another element is the fact that I wanted to release an album of songs as opposed to an album of guitar extrapolations. I just tried to give a slightly different perspective on each song. Almost like looking at the same thing at a slightly different angle. Some of those songs are very easy, straightforward rocking tunes because I like that too, I like 3-chord stuff. But there are things that are a little bit more complex, hinting at something else. And most importantly I felt that this is something that I had to put down and then look back at it and judge it with some distance in time. I really like the way some parts came out, and I would like to expand and experiment further in some aspects of it.

HRH: You know how records, when you put them out, say something about yourself and your life, but then they take a different life of their own?

KD: Yes. That is totally true.

HRH: And they become interpreted by listeners in all sorts of ways and they become something else in the minds of other people.

KD: But at that point the record is not you anymore, it’s something that has a life of its own.

HRH: But this record is a part of a tradition, and for our American readers, who have never met you, this record will be the indication of how blues and blues-rock are being played in Europe in 2011.

KD: (Laughs). I really don’t know. I really don’t know what people will make of it, and to a certain extent I don’t care.

HRH: So you are not speaking on behalf of the European blues community?

KD: Definitely not. (Laughs). I don’t think this record belongs into any specific category. If I say “rock-blues”, I say so because I don’t know any other record that sounds like that and it is an all-encompassing definition. But the songs and the albums do take a life of their own, and the duty of a musician, as opposed to a duty of a guitar player, is exactly to recognise the value of that. If you are going into a recording studio or form a band, and you think, “Oh, this band should sound like a bit of this, and a bit of that, and a dash of that,” then you are shooting yourself in the foot before you’ve started. You have to see how you interact with the material personally, how you interact with other people in the band, and letting things go by their own accord. There are always two ways of approaching music, one is rational and the other one is more instinctual. And we need more of that. You just need more people saying: “Look, that’s what came out, if you like it – you like it, if you don’t like it – you don’t like it.” There are way too many products that follow trends. This is very contemptuous. I like to think that people will at some point get more and more tune with that and would be able discern between what is “manufactured” from what really the result of a true creative process. This might be a utopian view but I think that at some level people can tell if you deal with a pre-conceived manufactured product, artist or band. So that’s basically it.
So as I said before, I had to limit myself to a certain extent in the scope of sound I wanted to cover. And, of course, that has left me with a lot of things I would like to expand in the future.

HRH: Do you have another solo record in mind?

KD: Well, I have a lot of things in mind. (Laughs). Yes, ideally I would like to do another record within the same format.

HRH: In the same genre?

KD: I would like to develop that, to go deeper into the aspects of the first CD that I really like and to try to tackle some specific areas.

HRH: What would those be?

KD: There are 3 or 4 songs there that to me kind of like stand out. One is, of course, “Cross the Mountain”.

HRH: It has amazing slide work and great hints towards psychedelia.

KD: Yes, exactly. And yet it is very down-to-earth and doesn’t sound something that is a “guitar-player” kind of song.

HRH: But yet it is very guitar-oriented. Was the slidework on this track a technical challenge for you?

KD: I wouldn’t say it was a challenge. “Challenge” has negative connotations. It was more of a developing process. Going through the process of releasing a record is a really invaluable experience. Only after you can tell what are the weak parts, and what are the stronger parts, and what you could have done better. So I wouldn’t say it was a challenge. I would definitely put a much more positive. Any music project I get involved in – and I tend to get involved in a lot of them – are also ways of expanding my ear. Maybe your technique as well. Which, again, is a by-product. Mainly it is about understanding better some specific kinds of music, even down to tuning your ear better at different levels. For example there are some songs where I now notice some notes out of tune. You hear things back, and your ear meanwhile has been developing and growing, and you notice, “Oh, that’s a bit flat.” I couldn’t tell in the studio, but now I can. It’s an instinctive will to progress and to improve. Also technically, but most importantly as an all-around musician.

HRH: Tell us about the other project you are in – the British prog-rock band Crippled Black Phoenix.

KD: Prog-ish. (Smiles). People say we are “post-rock”, but I don’t know what that means, so whatever. (Laughs). Recently I was thinking it must have something to do with post-modernism. I don’t know if it does, and if people think we are post-rock, and if post-rock has something to do with post-modernism, then we are definitely not a post-rock band. I don’t see any post-modern aspects in CBP music. Our music is very heavy and very full of direct links to the way we are and the way we see things. It’s not an exercise in style.

HRH: Sitting there without interacting with each other.

KD: Exactly. I think Crippled Black Phoenix are very heavy, very demanding band to listen to.

HRH: My next question is not targeted at your place in Crippled Black Phoenix, but is a more general one. Would you say that being in a band to any musician is ultimately a compromise to an extent where being yourself and being in a band becomes a contradiction in terms?

KD: If you are leading a band then you have all the freedom you want short of appearing to be schizophrenic. But I would not say that playing in a band implies that you are not being yourself.

HRH: Let’s put it that way: “You are not able to realise yourself to the full extent when you play in a band.”

KD: I would say that you focus your creativity in one direction. But this could be just as fulfilling as having your own band or playing acoustic stuff by yourself, which is maybe probably the maximum amount of freedom you can get – just you yourself and your guitar. So I don’t think you have to necessarily have to shut down parts of yourself when you are in a band, but you kind of know that the band has an identity and a backbone, and you have to bring your goods to the table in accordance with that. I see all of bands I play with – and this probably also applies to the future projects – as different frameworks for saying whatever I want to say. But you are still saying what you want to say, you just use a different medium.

HRH: Looking back on your singing on this record, are you happy with the way your singing comes through?

KD: I know that my voice in general needed more care and attention. That last bit of the recording and was done in a rush. There are a few songs where I think that the vocals are were they should be, but I’m not too fussed about it. Because it’s something to work on the next time. Because if you feel that something is pertinent, then you have nothing else to say. And also you think, “Well, it doesn’t matter. It doesn’t matter if this note is a bit out of tune, or that a line I sang is not sang with the proper feel”. Basically, it’s a snapshot, it’s an image of me and a bunch of guys going into the studio in that specific time. I know that I am very demanding and analytical when it comes to the production side. But I also know and also hear that sometimes you have to leave things as they are because that’s what keeps things real. If everything is polished and everything is exactly where it is supposed to be then it’s not you anymore. Each one of us has our own little thing, we all see the word differently from one another, and you have to recognise that that’s actually a part of who you are.

HRH: From the perspective of having worked in this industry as a PR person, before deciding to dedicate all of your time to music, what is your take on the state of the record industry at the moment?

KD: I can talk about it, but I am not an expert to gauge what’s happening in the music industry. I am not involved in that. I just have a feeling that the music industry crisis – digital downloading and all that – shows the very short-sighted attitude on the part of the industry. I just feel that no-one was prepared for any of that. And everybody started to act – possibly in a wrong way – when it was too late.

HRH: Both musicians and the executives.

KD: Exactly. What is amazing when you think about it, is that people in big record companies who are paid a lot of money are supposed to be on top of their game. And they just didn’t see that coming at all.

HRH: I think it also exposes the nepotism at the heart of the record industry. So there was no real vision and dubious levels of competence.

KD: New generation are used to getting things quick and for free. I think that – again – maybe it’s a utopian hope, but I think that people are already, or will eventually understand the difference between…

HRH: …Selling a product as opposed to expressing who you are?

KD: Yeah, and that’s where people will say, “I really like this band, I really respect what they are doing…”

HRH: “And I’ll pay for it.”

KD: Yeah, maybe they will download it, but they will pay to see the show, and then probably buy the CD to have an autograph, and they will want to shake your hand, or buy a T-shirt and feel like part of the band while supporting it financially as well.

HRH: What we see right now is profound disrespect from the listening public toward musicians.

KD: But isn’t it the other way around as well? (Laughs).

HRH: Absolutely. It’s like, “Oh, who started it?” Musicians started it. Labels started it.

KD: They almost got what they deserved in a way.

HRH: Yes. They were shoving product without any soul or meaning down our throats for decades, and that’s how people lose respect and stop having any qualms about stealing from them.

KD: Exactly. And, you know, I think maybe it won’t be too bad if things go back to the basics where the emphasis is for people will come out to see live shows. I would say this is a more egalitarian and politically correct way of doing things.

HRH: Ha-ha! “You want money – you go on the road!”.

KD: Exactly. (Laughs). And isn’t it what music is about?

HRH: Not necessarily. For someone who is recording in the studio something very complex and very layered, and who is very intimidated about the stage or having anything to do with touring and the nightmare that comes with it, they are heading for hard times.

KD: That’s true. But let’s say that for the vast majority of people it’s not that hard.

HRH: Especially in rock’n’roll.

KD: Yes, in rock and pop. This will diminish the gap between the artist and the audience. Having bands touring and making a living by playing live. Or even playing in their back yards or in a pub down the road. I think there’s something profoundly more respectable and more honest in one-to-one relationship with your audience. At the end of the day, there’s is an intrinsic limit in the mass-produced products. You make a CD and you print 10 thousand copies. But when they are coming to a show, they will have a much more intense and a much more complete idea of what’s it all about.

HRH: Those are the roots of your first solo record. It started with you jamming with your friends in local pubs and clubs, didn’t it?

KD: Yes. I think there is a big value to that. I don’t do that any more because I don’t have time. But I will never get tired of just jamming with friends down the pub. There is a very silly way of putting it: “Do you want to go out and have a drink and talk with your friends, or do you want to go out, have a drink and play? And maybe even have a bit of money from that?” You know? (Laughs). And still talk with your friends and still have a good time. So yeah, to me it’s not even a question. It’s something that should be the natural environment for any musician. Even the very famous ones, even the very respected ones, we SHOULD all walk down the road and join the jam session on a Friday night. For one, you almost destroy the divide between the public persona and the fan, and you become a person in a pub enjoying a few songs and having a good time. It can only be a good thing. A good thing to you, your soul, and your friends, and your social life. I’m just hoping that with all the changes in politics this will not go out of the window and they will not start taxing or putting their hands into live music – rock sessions and folk sessions, and all that. Because it’s invaluable. Even if you want see this from a very cold music-industry point of view and in terms of future profits, that’s the best ground for developing next generations of musicians. . So yeah – support live music, support local live music. If it’s good. (Laughs). If it’s not good – don’t.

HRH: Say a few words about your plans for the near future.

KD: I’m writing other material now, and at some point I’ll see where it fits best. Ideally I’d like to do another CD like ‘Cross The Mountain’ but I’m also very attracted by the idea of recording something more intimate – more acoustic-sounding. Either totally solo, or with very sparse and basic bass, drums and acoustic instruments. So eventually I might end up working on two solo CDs.

HRH: Tracy Chapman-ish kind of stuff?

KD: I don’t know what it’s going to sound like because the direction of my so many influences. Listening back to my other recordings, they sound vaguely Americana, and sometimes vaguely country, but there is always a different twist to it. So we are not going to be miles away from American singers-songwriters. I’d like to do something in that vein. And on a practical level I would really like to have an option of going on tour with just my acoustic guitar.

HRH: In England?

KD: All over the world.

HRH: The States?

KD: Yeah. In fact, I used to do that, a long time ago. Until 5 or 6 years ago I used to do a lot of acoustic shows – blues, stuff like that, that’s where the slide guitar comes from. But then I went into other bands and projects and lost touch with that a little bit. So I think it would be a good time – whenever I have time – to revisit that. To write a bunch of original songs, maybe a couple of covers and do something like that. So that’s number two. There is also another project which is a collaboration with other musicians from other countries and bands. Too early to say though.

HRH: Have you been asked?

KD: Yeah, we’ve been talking. It might be a studio-only collaboration. We’ll see

HRH: Heavy music?

KD: Not heavy. I don’t like to use the word prog, but…

HRH: Older generation – newer generation?

KD: Older generation. Something a little bit more involved technically.

HRH: Keyboard players?

KD: Yeah.

HRH: Jon Lord? (Laughs).

KD: (Laughs). Not THAT famous! Again, I’d like something that will push me a bit into more complex textures It is still too early to say, but then again, I am writing stuff, and at some point I will get back to it and see what can be arranged. Ideally it will be with three other musicians and start exchanging ideas.

HRH: You don’t have to be in the same studio these days to begin working on stuff.

KD: Exactly. At some point we can say, “Enough material, let’s record it and see what happens.”

HRH: Good luck with it all. We are looking forward to all of your collaborations and all of your other projects. And thank you for your time.

KD: Thank you.

Photos appear courtesy of Kara Rokita

Steve Blaze of Lillian Axe

by Derric Miller
Staff Writer –

Lillian Axe guitarist Steve Blaze checked in to talk about their upcoming studio release The Days Before Tomorrow; the journey of finding and recording with a new singer in Brian Jones; specific tracks like “Take the Bullet” and “Gather Up the Snow;” how the new album compares to Psychoschizophrenia; upcoming tour plans; and a whole lot more.

The new album is going to surprise longtime fans, especially those who wondered if they could still “bring it” with their third new singer — yes, they can. The Days Before Tomorrow stands alongside and even tops some of their past catalog. Tune in now to relearn why Lillian Axe is such a damn good band, and pick up The Days Before Tomorrow when it hits the streets on Valentine’s Day.   

Online: www.lillianaxe.com

In Defense of the New: An Interview with Oath of Insanity

by Alex Barbieri
Staff Writer –

In the Disney/Pixar film Ratatouille, food critic Anton Ego said, “There are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends.”

Right on, Anton. Oath of Insanity is a new thrash metal band that is truly deserving of friends and fans. Their debut EP, titled Oath of Insanity, is a blast of metallic fresh air. Their songs are ferocious and exciting—reminiscent of early ‘80s thrash metal—but fresh and new at the same time. And all the members are under the age of 21.

Why are they so into old school thrash? And how the hell did they get so talented, so young? In this exclusive Hardrock Haven interview, guitarist Joey Concepcion and drummer Joey DiBiase, explain.

HRH: Joey Concepcion and Joey DiBiase, thank you both for taking some time to talk to Hardrock Haven. The first thing I want to say is, you guys f-in’ rock.

Joey Concepcion: Thank you, Alex. It’s good to talk again.

HRH: First question: Who are the members of Oath of Insanity, what instrument do they play and how old is each member?

Joey Concepcion: I play guitar, and I’m 21. Andrew O’Connor also plays guitar and he is 19. Dan McVerry is on bass and lead vocals, and he’s 17. And Joey DiBiase, sitting here with me, is on drums and he’s 16.

HRH: How long has the band been together, and how long did it take to write and record your debut EP?

Joey Concepcion: The band first formed on April 30 of 2009, playing thrash covers and writing a few originals. I didn’t join the band until October, 2010. When I joined, we got rid of all prior originals and wrote all new ones, with the exception of the Exodus cover that is the last and 5th track on the EP. When we sat down to write and record the debut EP, it took us around five or six months to finish it in its entirety.

Joey DiBiase: We worked really hard to incorporate good quality, old school and new school thrash elements into the mix.

HRH: Where did you record the EP, and with whom?

Joey Concepcion: We looked a while for the right place to record. When we finally chose where we wanted to record it, we picked Dexter’s Lab Recording in Milford CT, our hometown. Nick Bellmore (drummer of Toxic Holocaust, Jasta and Kingdom of Sorrow) engineered and mixed our five-track debut release.

Joey DiBiase: Nick really did a great job. We were lucky to find someone that understood our style of music. Seeing that he is the drummer of thrash band Toxic Holocaust, he really liked our sound, and could tell we had great roots!

HRH: On Oath of Insanity’s debut album, there is a strong early ‘80s thrash sound and influence. I hear a great mashup of Dokken and Metallica in the songs. Did you guys grow up with metalhead parents, or discover this music on your own? Is ‘80s metal popular with a lot of people your age, or you just don’t care what other people think?

Joey Concepcion: In Milford, CT, our hometown, most people are not into heavy metal at all. But, luckily we found each other. Dan McVerry and Joey DiBiase are the two founding members of the project. I met Joey DiBiase while at a Ritchie Kotzen show at Toad’s Place in New Haven with our other guitarist Andrew O’Connor.

Joey DiBiase: I was rather lucky to grow up with a metalhead dad. My father, Joe DiBiase, was the original bass player in progressive metal band, Fates Warning. He got me into Sabbath and other classics at a very young age. The first thrash band he introduced me to was Exodus. He showed me the Bonded by Blood album, and I fell in love with it instantly.

Exodus are still my favorite thrash band of all time, and I would love to eventually open for them! It’s funny that you said Dokken. We really don’t take our influences from bands like that. We are more influenced by older bands like Testament, Slayer, Metallica, Megadeth and Overkill. Even from some newer bands like Warbringer, Lazarus A.D, and Havok. Those are definitely some of our favorites!

HRH: Where can people buy or download the Oath of Insanity EP?

JC: As of now, people can listen to our songs on our Facebook, the link should be listed below. We eventually want to put all of the EP on itunes, that will happen in the near future so keep an eye out!

Joey DiBiase: We will also be posting the songs on our youtube, that link is also below. You can also buy the CD’s we are selling at any of our shows!

HRH: What are Oath of Insanity’s plans for 2012? Any shows lined up?

Joey Concepcion: We have been working really hard on finding a label to sign a record deal with. We hope that in 2012, we will be on a label!

Joey DiBiase: We have a few shows coming up. As of now, we are at Cherry Street Station in Wallingford, CT on January, 14, and at the El ‘N Gee Club in New London, CT on January 15. February 25, we’re at Dewey’s Pub in Seymour, CT. You can check all of our upcoming shows on our Facebook page.

HRH: Is there anything you want to say to your fans, and the Hardrock Haven readers around the world?

Joey Concepcion: We need all the support we can get from our fans and listeners. It would be awesome if you guys reading this can show some support for some good old school metal! Leave us a like on Facebook and come to our shows if possible! We’re going to make some more appearances out of state in New York and Massachusetts soon!

HRH: Joey Concepcion and Joey DiBiase, thank you so much for sharing your time and talent. All the best to you and Oath of Insanity in 2012! Hardrock Haven readers, especially those of you into thrash, check out Oath of Insanity!

Watch and listen to Oath of Insanity on Youtube:
http://www.youtube.com/oathofinsanity

Like Oath of Insanity on Facebook:
http://www.facebook.com/OathofInsanity

Dale Stewart of Seether

by Cameron Edney
Guest Staff Writer –

Seether’s Stewart Talks Touring Australia, Fans and latest album.

Forming in South Africa in 1999 and spending most of their time these days in the United States, post-Grunge rockers Seether just get better as time goes on! In a year filled with highs and lows Seether released their fifth studio album Holding Onto Strings Better Left to Fray which featured the singles ‘Tonight’ and ‘Country Song’ and gained them more radio and television exposure than ever before.

Soon after the album was released guitarist Troy McLawhorn decided to leave the band to return to alternative rockers Evanescence. Continuing on as a trio, Seether’s album continued to climb up the charts reaching #2 on the US Billboards and #1 on the US Rock Albums, Alternative Albums and US Hard Rock album charts! Most recently Billboard named the band as there #1 Active hard rock artist.

In support of their fifth album Seether has been hard at work on the road continuing to bring their unique rock parties to life onstage for adoring fans around the world. Australian fans shouldn’t feel too bad as the band will return to our shores in February to play a series of shows which will no doubt be exciting and memorable. I recently had the pleasure of speaking once again with Seether bassist Dale Stewart about the bands return to Australia, their latest album ‘Holding Onto Strings Better Left to Fray’ and the bands dedicated fan base, here is was Dale had to say…

Hardrock Haven: Hey Dale, thank for taking the time out to answer the following questions for our readers, how’s everything going?

Dale Stewart: It’s been going pretty well man, we’ve had a little bit of time off lately so the batteries are recharged and ready to get back out there and play some shows!

Hardrock Haven: Well it’s awesome to see that you will be back in Australia in February for some shows, what can we expect from you this time around?

Dale Stewart: It’s been a while since we got to play in Australia so we’re pretty excited about it, we always have a great time in Australia. I think we’re going to have fun and make the best of it. Have fun playing and making lots of noise seeing a lot of fans we have contact with online but don’t get to see as much as we would the fans in the States, it will be a really cool tour.

Hardrock Haven: We spoke whilst you were here last and you all seemed to be having a great time! What fond memories do you have from your last Aussie tour?

Dale Stewart: Tons of memories mostly memories involving a lot of VB [laughs].

Hardrock Haven: [Laughs] Whilst we’re on the subject of touring, you’ve had the pleasure of sharing the stage with many great artists over the years. Whilst on the road who’s given you the best advice and what was it?

Dale Stewart: Um, wow I’d have to say probably the best advice was right in the beginning right when we came over to the States. One of the first bands we met was Drowning Pool, they had just hit it big with ‘Bodies’ and things were really start to happen for those guys and I was speaking with the guitarist CJ; we’d become very close friends and I remember the first time we met he said “hey man welcome to the States, fasten your seatbelt”. I think that stands out in my mind, I don’t know if it was the best advice but it sure was true! I blinked and it’s ten years down the line and I wonder where the last ten years went

Hardrock Haven: See this is what happens when you drink too much VB [laughs].

Dale Stewart: [Laughs] yeah, you lose big chunks of your life [laughs].

Hardrock Haven: [Laughs] These days before a show are you doing anything specific to warm up and prepare or do you much prefer to hit the stage running on pure adrenaline?

Dale Stewart: As a band we’re pretty relaxed when it comes to a show, I think for us it’s all about having fun and having a good time and remembering why we do this in the first place! I don’t really run and drills before a show we have a ritual that we do before the show. An hour before the show Shawn and I will poor a drink and put on some Sepultura and rock out for a while, tell a couple of jokes we don’t really do any stretching or warm up vocal exercises. We’re pretty much like a garage band, we don’t want to lose the fun aspect; we keep it like we’re at a party every night!

Hardrock Haven: Dale, as we know at times it can become quite frustrating sharing a bus/hotel room for weeks, sometimes moths at a time with other members and crew. As times gone on how have you found is the best way to deal with each other on the road especially when it comes to those not so pleasant moments?

Dale Stewart: Yeah absolutely, it’s very much like a family. You have this group of people that you spend every waking moment with and you have your ups and your downs, the good times and you fight; fortunately now we’ve gotten to the point at least here in the States that we can have two buses, one for the crew and one for the band so if you want a little piece and quiet you can go to the back lounge or the front lounge or your bunk. There’s usually somewhere to go, back in the old days in the van if you had some kind of beef with anyone you had to iron it out on the spot or have the cold shoulder for a couple of days. Essentially we’re like brothers every now and then you have your fights, at this point we’ve left that behind us, back in the day we’d have our punch ups on the bus or in the van, not often but sometimes there would be some kind of altercation.

Hardrock Haven: I wanted to speak with you also about ‘Holding onto Strings Better Left to Fray’ six months since its release it’s still getting a great response and on heavy rotation in my home. Looking back over the recording process is there anything you would change?

Dale Stewart: Thank you, no I don’t think so, this is probably my favourite album to make that we’ve done! [Producer] Brendan O’Brien was a really big part of that, he really had a lot of input on this album and I think he is a large part of the success of this album and the sound. As a band we feel this is the best work that we’ve put out and we’re really proud of it.

Hardrock Haven: There are some killer tracks on this one including ‘No Resolution’, ‘Fade Out’ and ‘Tonight’ which is a stand-out for me, tell us where you drew your inspiration from when writing for the album?

Dale Stewart: With the writing, we just do what we normally; do we don’t really set out with a specific goal or a sound in mind. We just get into a room together and start coming up with rough ideas, piecing ideas, riffs and melody together and start building songs. We write as many songs as we can in the given time. We went back and did that so many times on this album, it took almost a year to do and our label kept pushing us saying they didn’t think it was ready yet. “Go back and right some more” they said, we kept doing that and it was frustrating to us as a band but in hindsight it pushed us to deliver even better material. When we did write our best songs, and there were two real stand-outs like you mentioned ‘Tonight’ was probably the last song that we recorded; and if not pushed then songs like that would have never have made it.

Hardrock Haven: Some of the bass licks on this album are incredible, when it came time to hit the studio did you walk in knowing exactly what you wanted to capture or did a lot of it happen spontaneously?

Dale Stewart: A lot of it is spontaneous, but Brendan is really hands on so before we even set foot in to track the album we did a lot of pre-production. We got the songs to their finished state in the rehearsal space without even setting foot into the recording studio itself. We worked on the songs as a band then said “hey Brendan what do you think of this?” Brendan would give his two cents and we’d rehash the song over and say “is everyone okay with how the song is now?” Then we’d learn the song and run it a couple of times so we all knew it and then we’d go in and lay it down; which is quite an efficient way to do it. Most of ideas that I had were thought out and written in that writing process and pre-production process but there is always a little bit of changing things round in the studio. That’s the fun of the studio those magic moments that just kind of happen you might do something by mistake that is really cool that you end up keeping.

Hardrock Haven: Let’s also talk about your fans for a moment… you have some very dedicated fans that have had the bands lyrics, portraits tattooed on them, others that go as far as saying your music has literally saved their lives. When you’re approached by fans that dedicated and touched by your music what runs through your mind?

Dale Stewart: Yeah, it’s actually pretty crazy when people are so affected by something that we’ve done. It means a lot to us, the band is our lives and very dear to us but the fact that it can have such an effect on people is quite an honor; it’s also a little bit unnerving sometimes. You think well, what if someone takes the wrong message? We’ve all heard the story about the kid that was found hanging with the Marilyn Manson Cd on repeat… I’m sure that’s got to be the most awful feeling as an artist! Generally our fans are really cool and we do get a lot of those people and we really appreciate it. If our music is an inspiration for good and it helps people through dark times; that is great we can’t ask for more than that.

Hardrock Haven: You certainly can’t mate! As time goes on you tour more, record more and learn more about the business side of the industry, what do you feel has been the most important lesson you’ve learned to date?

Dale Stewart: I think one of the most important lessons in this kind of industry is to be careful who you trust! There are a lot of people that pretend to have your best interests at heart and pretend to be your friend but there’s an ulterior motive there; that’s a big one and I think a lot of young bands learn that the hard way. I think the industry is changing too quickly now and everyone’s just trying to keep head above water and see what’s going to happen the changes in the music industry are coming so thick and fast now. The last five years has been insane everyone’s just trying to keep up with it, especially on the digital side of things. I don’t know yet if it’s a good or bad thing in the long run it’s definitely different!

Hardrock Haven: Dale, just before we wrap it up as we mentioned Seether are back here next month for some shows, what other immediate plans are in place for the band?

Dale Stewart: We’re going to do a show or two in New Zealand; from there we head to Russia then after than we’re doing a tour with Three Doors Down through Europe and then we’re coming back to the States a do a tour here, so just a lot of touring. It will be a little bit before we release some new recorded studio material we’re just getting into the swing of things touring on this album cycle.

Hardrock Haven: Well, enjoy the time out on the road mate. Do you have any last words for our readers?

Dale Stewart: Yeah, thanks so much for the support and thanks for being patient whilst we’ve been away so long. We look forward to seeing some familiar faces when we get back there.

Don’t Miss Seether Playing The Following Shows In February:
Wed, Feb 1, Rosemount Hotel, Perth, Australia
Thurs, Feb 2, Fowlers Live Adelaide, Australia
Sat, Feb 4, The Hi-Fi Melbourne, Australia
Sun, Feb 5,The Metro Theatre,Sydney, Australia
Tue, Feb 7, The Hi-Fi, Brisbane, Australia

Greg Puciato of The Dillinger Escape Plan

by Cameron Edney
Guest Staff Writer –

In February American Metallers The Dillinger Escape Plan will once again return to Australia to take part in the Soundwave Festival’s. No stranger to touring Australia and our summer Festivals, Dillinger Escape Plan will certainly be one of the bands on this upcoming bill that are not to be missed. With a reputation around the world as one of the most energetic live bands around Dillinger Escape Plan will leave no fan disappointed when they take to the stage. In 2010 the band released their forth studio album ‘Option Paralysis’ and last year released two covers, Nirvana’s Territorial Pissings’ and Public enemy’s ‘Fight the Power’ which featured Chuck D.

The band are currently working on a follow up to the 2010 smash but are not saying to much at this point about the new material. I recently had the pleasure of speaking with the bands outspoken and outrageous vocalist Greg Puciato who is not only known for his brilliant work in The Dillinger Escape Plan but also for his amazing guest vocal roles with Soulfly, Devin Townsend and Every Time I Die.

We spoke about the band’s upcoming return to Australia, Songwriting and Greg reflects on his Dillinger audition ten years on…

Hardrock Haven: Hey Greg, thanks for taking the time out to answer these questions for our readers! Let’s talk firstly about your upcoming return to Australia, what do you enjoy most about touring our part of the world?

Greg Puciato: You don’t take things as frantically seriously as we do in the United States; and you have a newer and hipper culture than Europe. You have all of the commercial aspects of the US, but with the emphasis on art and community that Europe has. I’ve always told people that if I was an alien and came to earth, and didn’t have any prior connection to a particular country, I’d probably choose to live there. You have beautiful culture, women, and energy….and you guys appreciate music.

Hardrock Haven: You’re certainly no stranger to playing here in Australia, what come to mind when you look back on previous tours?

Greg Puciato: Soundwave 2009 was unreal. It was our first tour with our current drummer, and it was the tour that we really bonded with the NIN camp and Trent, after being friendly and mutual admirers for a while. Offstage, we had a lot of friends on that tour, and we pretty much partied nonstop when we weren’t playing. I ended up dating a girl for a year that I got to know a bit on that tour, and that relationship ended up being somewhat pivotal, so yeah it was a pretty memorable one for me.

Hardrock Haven: This year’s festival line-up is once again amazing, what bands are you looking forward to checking out most this time around?

Greg Puciato: Oddly enough I feel like I’ve seen most of the bands playing…but there are so many friends and bands we really admire and have played with already. Meshuggah, Mastodon, Devin Townsend, Underoath, System Of A Down, Slipknot….all bands that we’ve toured with or played with at some point and all friends. I’m honestly really looking forward to seeing Limp Bizkit, only because I seriously can’t believe that people give a shit. That creature got banished back into the bro-cave it came from a long time ago, has it really been long enough that it’s got some sort of “nostalgic” charm now? I just think it’ll be funny now that Fred is older and fatter and even more harmless than before, to see him do it more for the “cookies” than the “nookie”. I hope catering has a lot of food, cause him and Manson are gonna need some pretty substantial portions.

Hardrock Haven: [Laughs] Greg, one of the best things about playing festivals is that you have the opportunity to entertain an audience that may otherwise have never seen you live. For the punters who are interested in checking out Dillinger live, how would you best describe the show?

Greg Puciato: I’d tell ‘em that they’re not allowed to watch because we fucking suck and that we are definitely NOT allowed to work our way into their subconscious and eventually become their favourite band. Reverse psychology [laughs]!

Hardrock Haven: [Laughs] it could work… Having seen you perform I know that you put on one of the finest most energetic live displays going! What can we expect from the band during these upcoming shows, do you have anything special planned for the Aussie fans?

Greg Puciato: I mean we never plan anything; we just make sure that we’re a finely tuned wrecking machine. We love playing and love playing down there. We don’t come there every day, so we always make sure that we’re at the top of our game when we do. I’ll play every show and every Side-wave right now in the same day! Right now!

Hardrock Haven: Personally are you a fan of playing the large Festival type shows or would you much rather play a smaller more intimate club show, they both certainly have their advantages!

Greg Puciato: I dig both. It’s not so much about advantages as it is keeping you on your toes. I like the immediacy and instant chaos of a small room, and then as you play bigger places….medium sized room, big rooms, festival fields, arenas…the challenge becomes how do we turn those bigger places into the same vibe as the smaller ones? It’s a great feeling to be able to incite a feeling of danger and chaos in people that are 200 meters away from you. In a small room, the whole room is a spectacle, in a giant place we are the spectacle, and that adds an interesting allure.

Hardrock Haven: There’s no doubt you’re an amazing vocalist after all these years what have you found has been the best way to keep your voice in great shape on the road?

Greg Puciato: This is gonna sound insane, but I really don’t do anything. I don’t warm up. I don’t do vocal exercises. If I feel like I’m a little damaged, chew a bunch of gum, drink really high amounts of water, and try to sleep more than usual, and I’m back to normal. I’ve been really fortunate to have pretty resilient vocal cords.

Hardrock Haven: How about when it comes to dealing with other members on the road… as we know at times it can become quite frustrating sharing a bus/hotel room for weeks, sometimes moths at a time. How have you found is the best way to deal with each other on the road especially when it comes to those harder / not so pleasant times?

Greg Puciato: We’re really good at giving each other the right amount of space. We don’t fuck with one another deliberately like we used to. We’re not little kids on our first tour, or even our hundredth at this point. We’ve fucked with each other’s space enough. We know where the boundaries are and what each of us needs to be at our best. I stay up until about 8 am, and everyone else is out by three, and I do that not just because my energy level forces me to, but because I enjoy having those five or six hours where everyone else is asleep, to just re-center myself and process whatever things are going through my head.

Hardrock Haven: Greg you joined Dillinger back in 2001 before joining what were your impressions of the band; were you a big fan of their work, know very little about them?

Greg Puciato: ‘Calculating [Infinity]’ came out in 1999; I had seen them play twice. It was absolute insanity, so of course I was a fan! Why would I try out for a band that I didn’t like?

Hardrock Haven: Good point… What do you recall from the Audition process and those first few rehearsals with the band?

Greg Puciato: The audition process…it’s been ten years now so I’ve been thinking of this a lot lately. I remember sending Ben a cassette tape….seriously…I didn’t have a computer to burn a CD on…and he called me up one Thursday and said “hey can you come up here tomorrow?” I went up, we went through five songs; I went back a week later and went through five more. They left the room for about an hour, and actually went to go eat without me knowing [laughs], just to make me wait. They came back in a really good mood and just said yeah you’re the guy, we play a show in a few weeks, let’s start getting ready. After that it was pretty much a blur of constant touring and writing until we stopped to take a year off in 2006. It’s hard to imagine not knowing one another, because Ben and Liam and I are such a force at this point, so intertwined with one another creatively and in life really…I mean a decade of our lives has been learning how to create and live with one another…that even if we want to kill one another at times or things get a little contentious we’re undoubtedly forever locked because of what we’ve done together. Ben and I have really gone through some shit as far as writing and learning how to deal with one another, performing and being injured…it’s tough to even imagine that those initial two meetings would have sparked what has become a ten year nonstop creative/performing relationship that is almost constantly explosive.

Hardrock Haven: Of course from that 1st audition you haven’t looked back, you’ve been touring around the world, making great albums and have made guest appearances on some fantastic albums also. What do you feel have been your greatest achievements to date?

Greg Puciato: That we’re still here and still feel so passionate, even more so I think, about creating music and performing it with one another. We’ve weathered a lot of shit as a band, we started so young, and we’re still pretty young so we started REALLY young. We had to grow up together; which is nearly impossible to do, and we took what was, at that time, something that seemed impossible to ever make a living doing, and we’ve turned it into our career….and our passion for it keeps growing instead of dying out.

Hardrock Haven: Greg I also wanted to speak to you about life in the studio, writing and recording… last year you released ‘Option Paralysis’, now that you’ve had so much time to dissect the album, looking back over the entire writing and recording process is there anything you would have changed?

Greg Puciato: Absolutely nothing! That album was as pure and as in the moment for us as a band and for me personally as I could have asked for at the time. It’s for me the most artistically pure thing we’ve done, and for me as a singer/lyricist it’s easily the album that was a pure artistic moment for me, in the way that there was little to no line between the writing and recording of the album, and where my personal life was at the time. It’s a snapshot. The timing of needing to write that album coincided perfectly with a very insane and chaotic time in my life, and I was really fortunate in hindsight for that timing to have aligned. It would be a completely different and less compelling album lyrically if I were to write it a year before or later.

Hardrock Haven: This was album #4 for the band, as time goes on do you find it easier or more difficult to come up with new material?

Greg Puciato: It’s easier because we’re learning to not over-think the creative process. We’re confident in our abilities in terms of execution, so we just move out of the way and try to let what’s in there come out.

Hardrock Haven: During the past year you have recorded some cover tunes, throughout the bands career you’ve done some great covers including tracks from Black Flag, Billy Idol and Guns ‘n’ Roses; is there a song in particular that you have always wanted to cover but for one reason or another it just hasn’t happened yet?

Greg Puciato: I’m actually a huge fan of covers when we’re doing them, and then I hate them when we’re done with them [laughs] because I like the originals so much more. It’s an attempt to honour something you like or that resonates with you at the moment, but then you inevitably always fail to do it justice. There’s just something about an original…it’s so rare that someone does a cover that ends up having more magic to it than the original…and we’ve certainly never come close. I’d like to do a Bad Brains mash-up, I’m sure fans would like to hear us cover a Faith No More song which we’d probably oblige and do just for kicks, I dunno….I’m more a fan of using your influences in something original rather than spending time trying to cover people. Covers are always better live than recorded, its fun and people can’t sit and scrutinize it to death.

Hardrock Haven: Greg, there’s no doubt that as time goes on you learn more and more about all aspects of the industry from touring to recording and the all important business side as well. What do you feel has been the single most important lesson you’ve learnt to date?

Greg Puciato: Don’t ever do anything that goes against your gut instinct…whether it be a song writing choice or a tour or a business decision, because you will always wish you could change it, and you can’t.

Hardrock Haven: We’re almost out of time so before we wrap it up besides the upcoming Australian shows what other plans do you currently have in place?

Greg Puciato: We’re going to Singapore and some other places right after Australia, we’ve got a few other touring things here and there but we’re keeping it very light. We’re focusing on writing a new album, I’ve got an album with Max Cavalera and Dave Elitch(ex-Mars Volta) that we’re currently writing as well, Ben’s got Giraffe Tongue with Brent Hinds from Mastodon that he’s working on, and I’ve got some solo stuff that I’m trying to get together. We stay busy. We just can’t sit still. 2012 is gonna be a very busy and exciting year for us.

Hardrock Haven: Awesome news mate, Greg thanks again for your time today it’s been fantastic, do you have any last words for our readers?

Greg Puciato: Thanks to everyone who took the time to read this, who gives a shit about our band and what we or I have to say, It’s appreciated.