Showing posts with label Fates Warning. Show all posts
Showing posts with label Fates Warning. Show all posts

Scanner: 'The Judgement' day has arrived

German power/speed metal outfit has something to say
By Peter Lindblad
The German power/speed metal
group Scanner

Nobody can accuse Scanner of shying away from controversy. Serious subjects are addressed on The Judgement, the blazing new thrill ride of a record from the veteran German power/speed metal juggernaut that raises heart rates to dangerous levels.

From ecological devastation to genocide, corruption and greed in the financial markets and political arenas and the continued erosion of ethics and morality, Scanner has much to say about the deteriorating state of the world and they do it without sermonizing.

Opting instead for rich, imaginative storytelling, Scanner – its love of science fiction imagery splashed all over the record's attention-grabbing cover art – couches its political passions in intelligently designed, fast-paced, charging metal that's incredibly taut, sleek and arranged with ever-evolving complexity and interesting dynamics. And yet, it feels like a return to Scanner's intense late '80s and early '90s work, its explosive, overdriven guitars and punishing rhythms creating a wildly exciting and aggressive listen.

Once known as Lions Breed, releasing a 1985 album under that banner called Damn The Night on the Earthshaker label, the group soon took the name Scanner and released Hypertrace in 1988, followed by 1991's Terminal Earth, 1995's Mental Reservation, 1997's adventurous Ball of the Damned and 2002's experimental Scrantopolis. Despite having toured with the likes of Fates Warning and Omen and a show-stopping performance at Wacken Open Air Festival in 1997, label problems and personnel turnover at various points in the band's history undoubtedly slowed their momentum, but with The Judgement – out on Massacre Records – and some stability at lead vocalist with Efthimios Ioannidis, Scanner sounds more powerful than ever.

Guitarist Axel A.J. Julius took some time recently to talk about the making of the band's new LP.

If you were to compare The Judgement to any past Scanner albums, which one would it most closely resemble and why? 
Axel A.J. Julius: I think The Judgement definitely is the next door neighbor of our first four albums. That is what we intended also. After the experiment of Scantropolis we wanted to make clear again where our roots lie. We attempted to receive and revive the sound and the spirit of our '80s and '90s releases and we were guided by our old stuff from this time. And therefore the album sounds old school metal by default. If somebody likes Hypertrace he won’t hate The Judgement, that’s for sure. But you should never expect a copy of another Scanner album from us; I mean we would be bored by doing that.

Scanner - The Judgement 2015
Describe the creative process that led to the birth of The Judgement. Were there more difficulties than usual? Did obstacles crop up? Or did it go smoothly?
AJ: After a few years playing live primarily and having fun on the road, the record industry could not get us into the mood to record a new album. But we wanted to write new songs and build our own sound studio. Then when everything felt good for us it was the first time that we could pre-produce, record and mix the entire album in our brand new studio and you can say this was a more direct approach than with the other albums. You can determine all the schedules by yourself and you are independent. This has advantages. However, it can also tempt you to stretch the periods, which you must counteract with discipline then. So the process itself was smooth. Let's put it this way: For The Judgement we have cut off from the outside world and did exactly our thing. And we did not mind what was modern today. This was our main intention for this album: 100 percent Scanner. And I tried to let the album breath and sound more direct and raw by using again our own drum sound, for example, instead of using triggered samples for the album as done and heard on thousands of productions nowadays. It did not take us 12 years to make the album, but the motivation to do it just rose initially in 2012.

The riffs on this album are striking, especially on the title track and “Warlord,” a song that’s really heavy in parts and thrashing, but the mood and pace changes so frequently it’s dizzying. Talk about the writing and recording of that song in particular. Was it a complicated process? 
AJ: Oh dizzying? Ok, but for me it is not dizzying. It’s exactly my style of composing and I like the counterparts in a song, like fast and slow, loud and quit, etc.. Since Heavy Metal is hardly compressed music you often miss the dynamic expression a classical orchestra always has, for example. That’s one reason why rhythm changes are a part of my expression I use in a song. And "Warlord" is special because of its idea behind it. The song is about Africa and especially the genocides in Rwanda and Nigeria, Boko Haram and the Warlords and our ignorance about the coherences of our western governments and their world trade partners and beneficiaries in this area. So the theme does not really fit to a steady groovy, and sing-along track, I thought. So "Warlord" is a more sophisticated song. But the recording process of this song was not complicated because I’ve had a plan.

Listening to “Eutopia,” the first thing I think of is Queensryche. It’s another multi-part song with melodic shifts and thought-provoking lyrics. Tell us what the song is about, what inspired it and how it came together.
AJ: Actually this song was planned to be our first video of the album, but because of our small budget we had to scrap this idea. The song is about a time-traveling guy with visions of a land called Eutopia. The idea came up after the financial crisis brought major problems to some countries here in Europe and the idea of a United Europe has threatened to fail more and more. So a United Europe is kind of a Utopia. This brought me to EUTOPIA. This dude in the song is not a time voyager really; finally, the story reveals he is on drugs. So his stories were a flight of fancy, like some ideas of our politicians here in Europe are as well.

What song on The Judgement affects you the most from a lyrical perspective? Is it the title track? 
AJ: Yes, it is the title track. Somehow it is the most emotional and summing track. It is about our moral values; our personal ones and those of our whole society. And it provokes questions about where we are heading to when we have blown off all the “angels.” I think our ethical and moral orientation should not follow the dictation of Wall Street. I'm not a fan of religion either, but I think that our society should come to an anthroposophical approach beside all religions and adjust our ethic values right again. There is something wrong with us when we allow for example the Kyoto Protocol to be ignored by important states, although it is dealing with our air we are breathing. Meanwhile multinational companies are increasing their profit and ruining our environment. My guitar used to be from mahogany, but that was never the reason for the cleared woodland and for the diminishing rainforest, if you know what I mean.

After all this time, what drives you to keep Scanner going? 
AJ: Well, for sure our fans all over the world and their feedback and faith and my resulting deep feeling of owing them something since our first releases. Honestly spoken the band was a bit unlucky from that moment on when we signed with the wrong company at the beginning of our career. This company made us lose two singers in a row in principle. And it was the reason we lost so much time researching for new vocalists. But our fans did not forget us even when there were longer breaks, nor when the bigger magazines did not give a dime on us anymore. The business is hard, but I do not want to complain. I’d rather have fun against all odds with people who adhere to us on our long time journey. And now we are back again… although we had never gone in objectivity. Let’s have some fun, mates.

Helstar: Something 'Wicked' this way comes

Going inside the 'Nest' with guitarist Larry Barragan 
By Peter Lindblad

Helstar is James Rivera, Larry Barragan,
Rob Trevino and Michael Lewis
2006 saw the return of Helstar, and what a welcome sight it was. After an 11-year hiatus, the nucleus of the classic lineup of one of the finest power-metal bands the U.S. has ever produced decided it was time to saddle up and ride again.

Birthed in 1982, the raging Texans, fronted by venomous vocalist James Rivera (also formerly of Vicious Rumors), emerged from the womb kicking and screaming on 1984's Combat Records release Burning Star, which set the stage for the fury that was to be unleashed in classic LPs such as Distant Thunder and Nosferatu.

A heavy touring schedule supporting metal heavyweights W.A.S.P., Megadeth, Savatage, Keel, Yngwie Malmsteen and Fates Warning served to spread the fire-and-brimstone gospel of Helstar far and wide. Lineup shuffling killed their momentum, however, and after a series of break-ups, Helstar fell apart, only to be revived again eight year ago.

Since then, Helstar has brought forth an album of re-recorded classics, plus an intense and gripping concert retrospective titled 30 Years of Hel. Then came 2010's Glory of Chaos, a punishingly aggressive testimonial to the technical brilliance and savage passion of a band that still has plenty to say. Released earlier this year, the AFM Records product This Wicked Nest is its evil twin, harnessing the frenzied melodic storms of Helstar's revered '80s material, while packing all the thrashing intensity of Glory of Chaos into an even more volatile and violent cocktail.

In Helstar, guitarists Larry Barragan and Rob Trevino have teamed to whip up a career's worth of heavy, roiling riffs and searing leads, bombing listeners with an assortment of tricks and designs meant to scramble the senses. Barragan recently took time out to talk about the band's latest record, it's glory days of the '80s and what the future might have in store for Helstar in this interview:

With Glory Of Chaos, it's been said that Helstar won't go that extreme again. Was there a point at which it struck you that perhaps that record was a step beyond what Helstar was all about, or do you just feel that Helstar is more at home being more melodic?
Larry Barragan: Never, I never thought that Glory was too extreme. I still don't. I never want to be put in a box were people can dictate what we should or shouldn't sound like. The new album is heavy as f--k, but I wanted to try to expand what we could do with the thrash influence and use, and mean really use, more of James' range of vocals. I wrote a lot of the melodies with that intention. The songs that James wrote the lyrics and melodies to also had that approach.  I think it sets us apart from other bands.  The fact that we have someone that can sing the way James can sing over those heavy riffs.

How has the material on This Wicked Nest been received live, and what do you enjoy most about performing it?
LB: So far I think everyone likes it.  I enjoy it because you do get a little tired of doing the same set after a while.  It's nice to make things fresh.  There are a couple of songs that we haven't done from the new album live that I think we should introduce into the set at some point.

Helstar - This Wicked Nest 2014
This Wicked Nest is still a very aggressive and intense record, and you can really hear it on "It Has Risen." Was it difficult to maintain a balance between creating really punishing, fast, thrash-like material, such as "Defy the Swarm," and stuff that has a slower pace and a darker atmosphere, like "Cursed"?
LB: No actually, it flowed fairly well. I want to say "Cursed" may have been one of the last songs we wrote for the album. So I think by the time we got to it we knew we needed something to change the pace.

"Fall of Dominion" has more of a power-metal feel to it, with those twin-guitar duelings and a huge chorus. It's such a powerful song. Is it more indicative of where the band is at currently and where it wants to go on future recordings, or does it simply fit in perfectly with the band's progression to this point?
LB: I can't really tell you where we're going to be honestly. I don't know what we're going to write next. I think if you start thinking about where you want to take this it may begin to sound forced and unnatural. "Fall of Dominion" is a song that everything just fell into place as it was being written. 

Tell me about making the title track. It has a real sinister feel to it. Did you want This Wicked Nest, on the whole, to be especially unsettling and scary?
LB: Rob wrote the music to that song, and I wrote the lyrics and melodies. And as it was presented to me I thought it had a very chaotic sound to it. You're right in that it is unsettling. I like stuff that has a very dark sound to it. I think we accomplished that.

To your ears, what makes This Wicked Nest more in line with the band's work in the '80s than Glory Of Chaos?
LB: I think some of the more intricate passages in the song give it that nostalgic feel. Other than that I think it's just as balls out as Glory of Chaos.

The classic lineup of Helstar
reunited in 2006
With 30 Years of Hel, what was the most gratifying aspect of that project for the band?
LB: You know the thing about that recording was that it may have not been the best night for us as a band, but it was a special night for us. We had so many friends and family come to that show. It was actually quite moving. I looked out to the left, and I could see my mom pumping her fist in the air. So to me, the actual show was the most gratifying experience. To be able to play songs that we wrote 30 years ago and have people to this day sing along with them is such a special feeling.

In 2006, the core of the classic Helstar lineup reunited. What was it that got you guys back together, and in 2014, looking back, has it gone the way you'd hoped it would?
LB: We were only supposed to do one show to commemorate the 20th anniversary of Remnants of War. It took a life of it's own and it snowballed from there. The next thing I knew we were in the studio and signed again. I really didn't think it was going to go beyond the one show. We've done more that I could have imagined. It's been great.

Helstar toured with the likes of Megadeth, Keel, Savatage, Yngwie Malmsteen and others back in the day. What was your favorite tour and why?
LB: I'll never forget the tour we did with Anthrax. It was the most fun and those guys were so cool to hang with.  

What do you remember about Helstar's first-ever performance?
LB: I remember it was in a garage at a house party. And we were doing "Hallowed Be Thy Name" by Maiden and right at the end of the song, James started throwing up. He had like this mini heat stroke I guess, and he just started puking as the song ended. You couldn't write a better script. It was like, "Oh so you can spit blood, huh? Well our vocalist can vomit on cue!"    

As far as you are concerned, what's Helstar's greatest achievement? And where does This Wicked Nest rank in the entire Helstar catalog?
LB: I think our greatest achievement is just the fact that after 30 years we're still around, still playing, still writing. It's not an easy thing to do but we've done it. This Wicked Nest is a dagger thrown at the heart of all those who thought we couldn't do it. If we didn't do another album I would be happy with this as an ending. Let's hope that's not the case though. Ha!