Albuquerque, New Mexico’s hottest new metalcore band BLOSSOMS FALL just dropped an inspirational new music video and single entitled “Affliction” which owns the sweet spot of our sonic zone like a massive tsunami crashing on our shores. The music video was directed by Benjamin Sachs at Third Shift Media.
This is the second single & music video taken from their upcoming EP album La Alma which will be released on February 6, 2026 via Eclipse Records. The album was produced and mixed by Matthew Torres (Lights on the Coast, Cloudtrails, Wasted Potency) at Nightscape Recordings, and mastered by Kevin Thrasher (Escape the Fate, Machine Gun Kelly, Blink 182, Avril Lavigne) at Thrasher Productions.
Guitarist Matt Torres says:
This song in particular has been a favorite track for all of us. So it felt worthy of our first performance video. Initially, we wanted to create an atmosphere that matched the vibe of our previous lyric video. We found the Speakeasy Studio on a random website that books studio sessions. It contained a lot of the same colors as the lyric video and even had grass on the ceiling to make it look like a retreat in the forest to match the vibes of the Luna video. For this particular edit, we wanted a clean but high-definition kind of shot, and Ben delivered. We think that venue did a great job at visually helping us tell our story of searching for ourselves in the woods.
In a shock announcement that has left the metal community reeling, Swedish melodic death metal band Arch Enemyhave officially split with Canadian vocalist Alissa White-Gluz after a 12-year working relationship. Thus, closing the chapter on the third singer in the band’s history.
Both parties released synchronised statements about the breakup that were brief, amicable, and set an optimistic tone about future plans.
Arch Enemy’s message:
Arch Enemy have parted ways with singer Alissa White-Gluz. We’re thankful for the time and music we’ve shared and wish her all the best. Wherever there is an ending, there is also a beginning. See you in 2026.
Alissa White-Gluz
Alissa White-Gluz’s message:
After 12 years in Arch Enemy, we have parted ways. I am forever thankful to the thousands of amazing fans I have met along the way. I can’t wait to share what I have been working on with you all. Stay tuned for big news in 2026 and see you very soon.
Arch Enemy
Interestingly, in the case of Alissa White-Gluz we did not have to wait long to get a glimpse of what was in store. With the singer almost immediately declaring the upcoming release of her solo album, and sharing a new song and accompanying video for “The Room Where She Died”.
Alissa on the new track:
The Room Where She Died” is a song that feels truly satisfying to me; like I get to express myself in so many ways that have been dormant for years. This upcoming album is diverse; and I love the idea of opening up this new chapter with this song and video, which I wrote the script for.
Can’t wait to share more with you!
Alissa White-Gluz
The track certainly marks a new direction for Alissa White-Gluz creatively, and just shows the breadth of her versatility. We’ll keep you posted as more developments unfold with her new solo album, and equally, the upcoming plans for Arch Enemy and their new vocalist.
Elenion recently released their epic debut album, “The Symphony of the Night“, and with it a fully-realised vision and grand design that is so rarely established on a first release. Such meticulous detail, combined with the sheer scope of the project, means that there is plenty for listeners to take in, and discover with their music. To help us unpack some of it, Elenion kindly agreed to answer our questions about the album, and to talk more about the band in general. We are highly grateful for their generous and in-depth responses. You can read the full interview below!
Congratulations on the release of your debut album. It’s obvious that a great deal of effort and precision went into this production. Can you tell us about your journey in making the album, and how the band is feeling about its early reception?
Berenice: Thank you so much! The process of creating this album was incredibly long, both technically and artistically. Some of the songs were written over the span of several years (in fact, the title track is something I originally composed when I was 15) but it wasn’t until last year that the band finally settled into its current lineup. That was the turning point. It allowed us to finish the remaining recordings, let each member bring their own sound and identity to the project, and refine the final details in post-production.
We’re truly happy with the early reception! Despite the challenges and the amount of work behind this album, we were afraid it would feel like shooting an arrow into the void, since we’re completely independent… that it would reach only a handful of ears. Fortunately, that hasn’t been the case at all!
The album itself takes listeners on a journey through the Music of The Spheres. Can you describe this philosophical concept for our readers, and how it fits with the exploration of darkness and its multiple dimensions?
Berenice: In simple terms, the original concept of the Music of the Spheres comes from a philosophical and metaphysical idea that the movement of celestial bodies generates a cosmic harmony, a kind of music that is inaudible to the human ear. This theory, attributed to Pythagoras, represents the notion of universal order, cosmic beauty, and humanity’s search for meaning.
In our album, we expand this idea in a more introspective direction. We suggest that in order to hear (or at least perceive) that primordial music, we must first recognize ourselves in our full complexity: from the smallest shadows within us to the vastness that surrounds us. Only by integrating all the parts that inhabit both our inner and outer worlds can we approach that cosmic harmony.
This is why we plan to follow a journey through the classical elements—water, fire, air, earth, and aether (divided into light and darkness)—as a path toward wholeness. And that journey begins in darkness, a state that can be understood as the first condition of the universe and, in many ways, the beginning of life itself.
“The Symphony of the Night” was released in conjunction with Halloween. This doesn’t seem like mere coincidence. Do you celebrate this holiday? Are there horror movie fans among you?
Berenice: It’s true, it wasn’t a coincidence at all. We had been searching for a release date that matched the spirit of the album, and when we realized that Halloween fell on a Friday this year, it just felt right. On a personal level, it’s also a meaningful time for me. I’m a practitioner of paganism, and in the Southern Hemisphere we celebrate Beltane during this season ( the “sacred fires,” which symbolically stands opposite to Halloween/Samhain) . Considering that our band is made up of members from all over the world, I loved that this duality ( light and darkness, life and death) naturally echoed in the album’s release date as well.
As for horror movies… honestly, I’m not much of a fan myself. But I do enjoy books in the genre, especially cosmic horror, like the works of H. P. Lovecraft.
Icaro: I thought about releasing it on 2 October, because it would mark the 28th anniversary of Castlevania: The Symphony of the Night. It has nothing to do with the theme of the album, but it would have been nice.
Despite the challenges and the amount of work behind this album, we were afraid it would feel like shooting an arrow into the void… Fortunately, that hasn’t been the case at all!
Benerice Piceda
You have adopted the term “World Metal” to define your sound. What are some of the distinct influences that are represented on this album? And how did you integrate the cultural diversity in your compositions, while still maintaining a level of connection between these unique elements?
Berenice: The idea of “World Metal” came to me when I realized that, although our music could be categorized as symphonic metal, progressive metal, or even power metal, it carries a strong presence of folkloric influences from different parts of the world. Those genres are definitely our foundation, but they didn’t fully capture what we were creating. That’s when I remembered the concept of world music, where artists like Enya or Loreena McKennitt blend diverse cultural elements, only without the metal component. From there, the term World Metal naturally took shape for us.
As for how we maintain a sense of connection between all these culturally diverse elements, I believe the key, besides the metal itself, lies in the orchestration. We invested a huge amount of work into the orchestral arrangements, and they are a central pillar of our sound. In fact, we even released a “side B” of the album featuring the orchestral versions alone. To me, the orchestration is what allows traditional instruments from various cultures to blend in harmoniously. They keep their identity, but don’t feel out of place. The orchestral framework acts as a bridge that unifies all these sonic colors within the same musical universe.
Icaro: This idea of combining film orchestras with elements of music from various parts of the world and electronic elements, as a kind of signature sound that I have. We have several musical influences hidden throughout the album. Others are much more obvious, such as The Last Dark, where the choruses carry Brazilian rhythms. Another gem that stood out was the introduction to Conqueror, where I brought the Hollywood side to the album in an even more striking way.
Now, something that few people really understood was the introduction to Starborn, which I based on pirate themes. Although I shared the work of orchestrating the album with Berenice, she still allowed me to add a lot of my own vision to the songs she wrote. In addition to these, there is The Symphony of the Night itself, which has Arabic elements from start to finish, Sailor’s Tale, which has Celtic influences, etc. So the term “world metal” was almost natural for us.
Berenice, you are not only credited with vocals and orchestration, but also the use of instruments such as whistles and the Lyre, to bring folkloric influences into the mix. Can you describe some of the key places where these sounds are featured, and how they add to the album’s multicultural identity?
Berenice: For the Celtic lyre, I recorded a part in “Invocation”. Even though we ultimately decided to make it almost inaudible in the final mix for stylistic reasons, it still adds a subtle texture that blends with the ritual atmosphere of the track. I then used a lyre closer to the traditional Greek style in “The Wild Goddess”, the following track, since the song is dedicated to the goddess Artemis. I also played tin whistle on Sailor’s Tale, which is a ballad with a very clear Celtic influence.
But the most unusual choice appears with the low whistle. I don’t think anyone could spot it unless I point it out. In the opening section of “The Symphony of the Night”, you’ll hear a wind instrument that sounds a bit like a duduk… but it isn’t. I recorded the low whistle in a way that forced its tone to become more nasal, bringing it closer to that Middle Eastern character. It’s a small trick, but one I loved both musically and conceptually, like a way of connecting very different cultures through a single gesture.
The global concept of course extends to the fact that the band’s line-up is also international. How significant was the logistical hurdle of writing and recording such complex, orchestrated material as members were scattered across different continents?
Berenice: From a compositional standpoint, most of the songwriting on this first album was done by me. It wasn’t an intentional artistic choice, but simply a result of the band’s timeline, since some of the members, like Kublai and Eric, joined us later in the process.
That said, Ícaro, whom I’ve had the pleasure of working with for several years, composed the instrumental foundations for some tracks on his own. From there, I developed the vocal and choral lines and added or adjusted portions of the orchestration, as he did with some of the songs I wrote.
The only song that was fully co-written from the ground up was Starborn, which Ícaro and I created almost 50/50. It was genuinely a joy to compose together despite the distance—though it did involve countless files, sheet music, and demos being sent back and forth between countries!
As for the recording process, mixing, and mastering, the key was constant communication: video calls, virtual meetings, and an enormous exchange of files. The logistics were definitely challenging, but steady coordination (and genuine passion for what we were doing) made it all possible.
KUBLAI: I’ve joined the band as a last member. But I am pretty happy to be in this band with my good friends. We spent a lot of time and effort to make this album. Personally, it took 3 months to partially record the guitars for the whole album.
“The Symphony of the Night” boasts songs in five different languages (English, Spanish, Latin, Greek and German). How much did the narrative meaning of the song play into the language selection? And were there any languages you thought of attempting but could not include for any reason?
Berenice: I have to admit that one of the main reasons the album features five languages is simply my passion for linguistics. I love studying languages and exploring how each culture’s history, worldview, and identity are reflected in the way its people speak. I enjoy everything from the practical side of language learning to the more creative aspects… including fantasy languages, like those created by J. R. R. Tolkien. I’m even developing a few of my own, not only for Elenion but also for a literary project I’m currently revising, which is also related to the band’s storytelling.
The musicality of each language plays a huge role in my vocal writing. Beyond my self-taught studies, I spent about four years studying classical singing at a conservatory, where diction in several operatic languages was part of the curriculum. All of that made it natural for me to think carefully about which language each song “wanted” to be in. My approach is always to consider the narrative essence of the piece first, and then choose the language. A clear example is “An den Mond”: it’s based on a Schubert poem and built structurally like a Baroque chorale… everything about it “asked” to be in German.
There are other languages I know and love (like Italian) that simply didn’t feel right for this album… at least not yet, haha. But I can promise there will be even more linguistic variety in future releases!
Was accessibility a focus in making this album? Did you have any concerns of perhaps diluting the comprehension of the songs by including so many languages for listeners?
Berenice: From the very beginning of Elenion, my biggest question regarding language was whether the lyrics should be in Spanish (since I’m based in Argentina) or in English, to give the project a more global approach, as it’s the closest thing we have to a lingua franca. As the project evolved, it almost answered that question for me, haha.
I eventually decided that English would be the primary language, but I also felt that at least one song needed to be in Spanish, and that certain passages or shorter pieces could appear in other languages depending on the essential identity of each composition. Regarding accessibility, yes… it was absolutely a consideration. To make the album easier to understand, we created lyric visualizers for every track, and we uploaded translations of all non-English sections into both English and Spanish. Also we’re planning to upload Spanish translations for every song. This way, we hope listeners can connect with the meaning, no matter which language the vocals are in.
I enjoy everything from the practical side of language learning to the more creative aspects… including fantasy languages, like those created by J. R. R. Tolkien. I’m even developing a few of my own…
Berenice Piceda
The track “Conqueror of the Sky” references the myth of Icarus and the dangers that usually come with aspiration. With such an ambitious project as your first album, was there ever the fear that you were taking the same risk and “flying too close to the sun” by attempting such a huge statement?
Berenice: Absolutely…more than once, naturally. As the years went by and we kept refining details, arrangements, and technical aspects, watching the release date get pushed further and further, I often caught myself thinking, “Is all this effort really worth it?”
And to be honest, a part of me still wonders about that in a way. There’s always the feeling that some nuances might never reach the ears you hoped for, or at least not with the level of detail you imagined. But even so, we’re certain that we gave the very best we could with the resources we had. We just hope we don’t end up burning ourselves in the process like Icarus, haha.
Your modern adaptation of Mozart’s “Queen of the Night” was particularly daring and courageous, but you perform it spectacularly. How challenging was it to interpret this classic piece, and create a fresh take for symphonic metal fans?
Berenice: Thank you so much! To be honest, it gave me nightmares… quite literally. I would dream about practicing it over and over, or trying to record it and never getting the result I wanted, haha. But now, I’m quite satisfied with how it turned out, although I would still improve many things.
My approach wasn’t purely operatic, even if it might sound that way. My vocal placement is always somewhat mixed, and that remained true here. I started from a conceptual standpoint: honoring the spirit of the original piece while adapting it to the album’s narrative and this idea of bridging different eras and sonic worlds. Then I focused on studying where Mozart placed his strongest orchestral emphasis, and what emotions he intended in each section, trying to keep in the metal section. It was also challenging to reinterpret the aria emotionally. If you listen to the original, it can almost sound cheerful… until you read the lyrics. To me, it depicts a mother on the brink of madness, terrified that her daughter is choosing a disastrous path…so desperate that she begs her to kill her adversary.
Vocally and interpretatively, it was intense. And honestly, I’m not sure I’ll tackle another aria like this again. I’ve already promised my bandmates they won’t have to hear me sing like I just inhaled a helium balloon ever again, haha.
I love studying languages and exploring how each culture’s history, worldview, and identity are reflected in the way its people speak.
Berenice Piceda
You released your first cinematic music video for “The Last Dark” prior to the release of “The Symphony of the Night”, and received a tremendous view count in just a few short weeks. Can you discuss what this song (and video) is all about, and why you think it has connected so well with viewers online?
Berenice: (This one is going to be long, I apologise in advance!)
Both the song and the video share the same underlying concept: how far one is willing to go to uncover what is hidden… even when what’s hidden isn’t in others, but within oneself. That inner darkness we so often avoid facing. The lyrics actually tell three stories at the same time (and I think this is the first time I’ve said this publicly):
1) An experience I had as a very young child, somewhere between wakefulness and dreaming. 2) A much more recent experience, about four years ago, when I suddenly lost a significant portion of my vision (I have partial blindness) and went through seven surgeries to prevent losing it completely. The emotional and symbolic weight of that process is woven into the song. 3) References to a novel I’m currently revising, which explores similar themes from a fictional angle. I even included a phrase in the choral part of a language I’ve created for that novel.
These three stories connect through the same conceptual core. And there was something curious during the video shoot: the close-up shots of my eyes weren’t my idea at all. I wrote the general script, but I didn’t include those at all. Only in the final close-up, (the one with a super zoom) I told the director, “Maybe try filming the other eye; in this one you’ll see my prosthesis and my intraocular lens.” That’s when I explained my condition to her, and I think it unintentionally added an extra layer of meaning to the video, even though she wasn’t aware of it before.
As for why the video connected so strongly online, I’m not entirely sure, but I think two things played a role. First, the structure of the song. It doesn’t follow the classic verse–chorus–verse pattern. It’s more intertwined, more unconventional. That led to some criticism, yes, but I think it also captured people’s attention, consciously or subconsciously. That’s largely thanks to Ícaro’s great writing. And second, the visual work of the video team. They created something truly beautiful and carefully crafted, and I think that aesthetic quality also helped the piece resonate with viewers.
Icaro: About the instrumental part of The Last Dark:
I always listened to a lot of Brazilian music, it was the best stuff when I was in music school. It was super comfortable to play on the drums. At the same time, I’ve always been an avid listener of progressive metal, so I wanted to bring something more from that side into the album. It was something I felt was missing, heavier music.
It’s not as heavy as the current songs on the market, but every detail of this song makes it dense. It’s a very simple structure, but the way we built it around it is what makes it so striking. No instrument does anything considered virtuosic, but the emotional charge that the lyrics carry makes it so impactful. It’s the track with the fewest instruments, but its atmosphere alone fills every space. It’s very exciting in a way to talk about this today, because when I look back and remember that this song was born from a joke with Berenice, combining completely random rhythms, and became the most listened to. Because I literally thought at the time: ‘What if I make Brazilian Folk Djent for an Argentine metal band?
I see some comments and I’m like, “Guys, how did I never notice that detail?”
To be honest, I didn’t think it would get all the attention it did. Not from the band or the audience. But it turned out that choosing it as a single was almost unanimous. I saw the video the day before the release and was moved when I understood what that crazy idea had become. I get messages saying, “Mate, this song saved my year”. I’ve always suffered from imposter syndrome, and I think the result of this work is what helped me.
The Last Dark was one of two songs that I actually wrote from scratch for Elenion. And I think if it weren’t for that masterful touch that Berenice put into the lyrics, it wouldn’t have become as great as it is.
Have there been any talks about planning a tour and bringing the symphony to a live audience?
Berenice: We’ve definitely daydreamed many times about how amazing it would be to perform together… and even about finally meeting each other in person, which, interestingly, still hasn’t happened for any of us.
But we’re also very aware of the logistical reality: since each of us lives on a different continent, we’d need a fairly large fanbase to at least cover travel and production costs. We’re not giving up, though. It’s something we deeply hope to achieve someday, even if we know it won’t happen right away. But if people continue supporting us and the project keeps growing, we truly hope that in a few years we’ll be able to make it happen.
“The Symphony of the Night” has been described as the first chapter for the band. Can we expect more in the future?
Berenice: Our journey through the elements, in our attempt to perceive the “Music of the Spheres”, is far from over, so there are many adventures still ahead. What will be the element of the next LP? There are a few hints scattered throughout the album, and I think we’ll eventually hold a little contest to see who figures it out first, haha.
We’re also likely to release an EP with a very special concept very, very soon. In the meantime, we hope to keep growing as a band, evolving as professionals, and sharing this adventure with our friends and listeners by giving them the best music we can create.
Vocally and interpretatively, “Queen of the Night” was intense. And honestly, I’m not sure I’ll tackle another aria like this again.
Berenice Piceda
Thanks again for the interview. Is there anything else you would like to share?
Berenice: Thank you so much for the support you’ve given us during the release, and for this interview. I truly enjoyed answering every question; they were all incredibly interesting and allowed us to dive deeper into the world of Elenion.
As a fully independent band, having a space like this means a great deal to us. Every listen, every note, every comment… it all matters, and we appreciate it with all our hearts.
And to everyone who read this far: we sincerely hope you’ll continue to accompany us on this soul-journey we’re all sharing in one way or another. You can always reach out to any of us directly through our social media.
Thank you again, and we look forward to what comes next! Love and light to all of you!
Wormholedeath Records is thrilled to announce the signing of female-fronted melodic prog metal outfit Diamantide. The band’s self-titled debut album is set to make waves on February 21, 2025. This highly anticipated release promises to take listeners on an immersive journey through complex emotions, striking musical landscapes, and gripping stories rooted in the past, present, and future.
Formed in September 2023 in the San Francisco Bay Area, Diamantide was born from a long-awaited vision brought to life by guitarist, main composer, and producer Massimiliano (Max) Maggiari. The band’s distinct sound blends heavy guitars, orchestral elements, and deeply melodic vocals, creating an experience that is both grand and introspective. A project marked by international collaboration, Diamantide brings together talented musicians from around the world, each with unique musical experiences and stories.
Their debut album, Diamantide, offers a dynamic fusion of progressive, melodic, and power metal, with extraordinary guest performances by Tom Englund of Evergrey, Mark Basile of DGM, and Roberto Tiranti. Together, these artists add distinctive layers to an already stunning record, channeling life’s complexity through a deeply personal lens shaped by seasoned musicians.
Get a head start on your Diamantide obsession with the official lyric video for “Faces”:
Diamantide’s members bring an impressive collective background, with Nadin’s impactful performance history on The Voice (Republic of Georgia) and Max’s tours across Italy, Austria, Switzerland, and France in the ’90s. Alex’s bass work has enriched bands from Hungary to the US, making Diamantide a truly global project with rich, interconnected influences.
With Diamantide, Wormholedeath is proud to support a project that redefines melodic prog metal, breathing new life into the genre with authenticity and vision. Mark your calendars for February 21, 2025, when Diamantide’s powerful debut arrives, set to resonate with fans of progressive, melodic, and power metal alike.
Tracklist: 1. Madness 2. Poor Kings 3. Faces 4. Fear 5. Born Again (feat Tom S. Englund on Vocals and feat. Roberto Tiranti on Bass) 6. Fragments of Innocence 7. Take me to Life 8. Madness (feat Mark Basile on Vocals) (Bonus track)
The line-up includes: Nadin Zakharyan — Vocals Massimiliano (Max) Maggiari — Guitars & Keyboards Alex Sandor Tamas — Bass Joe Londeree — Drums
WTM are a Seattle-based metal band making their international debut this week with their stunning new single, “Casanova”. We were honoured to have the opportunity to learn more about the band (and the story behind the new song) by catching up with vocalist/keytarist Hilma Josal, guitarist Ryan Josal and drummer Hakan Akkan, to ask a few questions. You can read our full conversation below:
So firstly, how did you come up with the name WTM?
Hilma: We decided on the name “WTM” using a bracket elimination process, starting with about 50 names.
Hakan: I wanted to find something goofy, but we all kept voting for it!
I noticed a few of you share the same surname too. I’m guessing there’s a relation?
Hilma: Ryan (guitar) and Mattt (guitar) are brothers. Ryan and I (vocals and keytar) are married. Joham (bass) and Hakan (drums) are practically brothers and feel like family to us all.
Ryan: I don’t mind following the footsteps of Van Halen and Pantera…
You originally started out as a local band in Seattle. How does it feel to release WTM’s first single “Casanova”, and showcase your music on a larger scale?
Hilma: Music unites people. We are excited to meet music lovers, hear what other people create, and contribute to the music that fuels us.
Ryan: It’s a tentpole in a city of castles, and something to build on!
The lyrics of “Casanova” are based on the story of an abusive relationship. How hard was it for you to compose this song, and do you worry about performing the composition to a live audience someday?
Hilma: It was difficult and I am definitely scared, but I’m also excited to be brave. This is a chance for me to be my own hero and to describe things like limerence in a creative way. Maybe I can help others as great musicians have helped me!
The artwork for the single is an oil painting that you produced, and is equally powerful as it symbolizes the idea of the mask falling and the capacity for people to present fake personas. It feels as though this message is particularly relevant today. Based on your experiences, what advice can you give to help detect when someone else is not being genuine?
Hilma: I don’t recommend it, but if you look backwards at the person’s actions and record their indiscretions, there will be discrepancies. I developed PTSD from getting my mind blown by the truth and struggle with it every day. I cracked the code, but like Frodo, I’m never the same after holding the One Ring. Don’t take the Red Pill. Run away and focus on what you love.
In addition to working in WTM, you are also the founder of Artistry for the Brave. Can you discuss your background and career as an artist, and what things typically inspire your work?
Hilma: It takes bravery to be an artist and Artistry for the Brave is for equally brave people that would trust me to paint their loved ones. I love to paint faces and hands, epic battles and charging horses, flowing locks and piercing eyes. I am a Shield Maiden through and through.
You mention wanting to bridge the gap between Thrash Metal and Classical on your website. I can certainly hear elements of both genres in “Casanova”, what with the classical keyboards and vocals on one hand, and the crushing riffs on the other. Is this fusion something that just developed naturally, or was it planned?
Hilma: We figured out our process pretty naturally. Mattt is always writing the tastiest jams. He starts the whole process by writing the Thrash Metal riffs that inspire Ryan to build on and then we all write the accompaniments that come from our mostly classical roots. Lastly, I write the melodies on top using improvisation.
Ryan: We are a band first, and it is a goal to bring together our diverse influences so that the result is something new. I feel we’ve landed that with Casanova.
I love to paint faces and hands, epic battles and charging horses, flowing locks and piercing eyes. I am a Shield Maiden through and through.
Hilma Josal
Some harsh vocals also make an appearance in “Casanova”. Who is responsible for these parts within the track? Is that still Hilma singing or is it another member?
Hilma: Ryan sings too! He is the lead in an old fan favorite, High Noon.
Ryan: It’s a gang vocal, Hilma is crushing it there too!
One of the videos on your YouTube channel is a live cover version of Nightwish’s “Come Cover Me”. I have a serious fondness for the “Wishmaster” album. Would you say this era of the band has been one of the major influences on your music?
Hilma: Yes. Everyone in our band loves that album. It is a work of art. Tarja gave me the courage to sing with my natural voice.
“Casanova” was mixed by Paul Pavao (DREAM THEATER, DISTURBED) and mastered by Ted Jensen (PANTER, GOJIRA). How important was it to get both their involvement in terms of nailing the correct sound and production quality for the track?
Hilma: Without Paul Pavao or Ted Jensen, we wouldn’t have a clear sound concept. They are the best!
Ryan: It was important to us to get to work with the engineers that created our favorite albums.
It’s clear that WTM are just getting started on their journey, so what sort of things can we expect to see from you next? Are you considering a tour?
Hilma: WTM is releasing a full album, putting together some tour dates, and competing for Wacken Metal Battle. Wish us luck!
Ryan: We have great new songs we can’t wait to share. Expect to see us out in early 2025!
Thanks again for chatting with us. Is there anything else you would like to share?
Hilma: Joham is from Matanzas, Cuba and Hakan is from Turkey!
[photo credit: Robert Eikelpoth, edit by Blake Armstrong]
Pirates never rest, nor do the raging seas! Immediately after touring all over Europe and the UK, VISIONS OF ATLANTIS surprises their devotees with another stunner and announces the upcoming digital live series Armada Live Over Europe. By releasing songs and respective live videos over the upcoming weeks, the international symphonic metal frontrunners keep the excitement at the highest level, starting the video series with “To Those Who Choose to Fight” and “The Land of the Free”. The live video captures the explosive energy of a VISIONS OF ATLANTIS live show and allows listeners to relive the matchless spirit of the past tour at home. Contemporarily on all digital platforms, the live album will take shape in five parts, starting today with the first two tracks. Follow the band’s socials to discover the release dates of all five chapters of this adventure!
Armada Live Over Europe contains a live version of each song cut from the tour’s setlist, with recordings from various shows and venues. “To Those Who Choose to Fight” and “The Land of the Free” set the stage for this adventurous ride and were the first tracks the band performed at La Rayonne in Lyon, France on October 9. It’s also the opening track from VISIONS OF ATLANTIS’ latest full-length album, Pirates II – Armada, which marks the band’s most successful record to date, entering international charts at top positions, such as #5 on the German and Austrian Official Album Charts, #4 on the UK Rock & Metal Charts and #2 on the US Hard Music Album Charts, just to name a few. Both live songs are now available on all streaming services worldwide and arrive alongside equally palpable live videos. Stay tuned, as there’s more to come already next week. Until then, enjoy the gripping live video below and make sure to get your tickets for the upcoming shows in Germany and the US!
Pirate Queen Clementine states:
“This Armada tour has been the most exciting experience in VISIONS OF ATLANTIS’ history and we are delighted to keep it alive with this brand new live video series! Whether you’ve attended one of these shows or not, this will be a beautiful way to board the ship again and experience our Armada show from another perspective! Every video was recorded during the tour, in various cities, honoring our Sailors from all over Europe! Be a part of this digital adventure and mark the date down: every Tuesday, magic gates open and you can board our ship and gather with many other pirates! Together, we are the Armada!”
Watch the live video for “To Those Who Choose to Fight” and “The Land of the Free” BELOW:
(2024) Pirates II– Armada (2022) and Pirates. The pirate crew, fronted by vocalists Clémentine Delauney and Michele Guaitoli, have managed to create their very own inimitable universe with symphonic heaviness and stunning visuals, and encourages their listeners to join them into a world where spirits are free, hearts are true and where light always rules over darkness, whatever the cost. Fans can expect a colorful range of songs, mostly taken from the band’s previous two records VISIONS OF ATLANTIS shows the gripping stage presence and artistic high-quality of Armada Live Over Europe.
Armada Live Over Europe tracklisting: 1. To Those Who Choose to Fight 2. The Land of the Free 3. Monsters 4. Heroes of the Dawn 5. Where the Sky and Ocean Blend 6. Clocks 7. Legion of the Seas 8. Tonight I’m Alive 9. Collide 10. Hellfire 11. The Dead of the Sea 12. Clemi’s Speech 13. Underwater 14. Pirates Will Return 15. Melancholy Angel 16. Master the Hurricane 17. Armada
VISIONS OF ATLANTIS live: Armada Tour 12.12.24 DE – Jena / F-Haus 13.12.24 CH – Morgins / C’est l’Hiver! Festival 14.12.24 DE – Cologne / Volta 15.12.24 DE – Lindau Club / Vaudeville
Armada Over North America 25.04.25 US – Mechanicsburg / Lovedrafts 26.04.25 US – Baltimore / Ottobar 27.04.25 US – Pittsburgh / Preserving Underground 28.04.25 US – New York / Meadows 29.04.25 US – Cambridge / Middle East 01.05.25 CA – Quebec City / La Source Martinière 02.05.25 CA – Toronto / Lee’s Palace 03.05.25 US – Detroit / The Sanctuary 04.05.25 US – Joliet / The Forge 05.05.25 US – Minneapolis / Turf Club 07.05.25 CA – Edmonton / Starlite 08.05.25 CA – Calgary / Dickens 09.05.25 US – Seattle / El Corazon 10.05.25 US – Portland / The Bossanova Ballroom 11.05.25 US – San Francisco / DNA Lounge 12.05.25 US – Los Angeles / Whisky A Go Go 14.05.25 US – San Diego / Brick By Brick 17.05.25 US – Las Vegas / Sinwave 18.05.25 US – Phoenix / The Rebel Lounge 19.05.25 US – Salt Lake City / Soundwell 20.05.25 US – Denver / Oriental Theater 21.05.25 US – El Paso / Rockhouse Bar & Grill 22.05.25 US – Dallas / Granada Theater
VISIONS OF ATLANTIS are: Clémentine Delauney – Vocals Michele Guaitoli – Vocals Christian Douscha – Guitars Herbert Glos – Bass Thomas Caser – Drums
After riding a wave of success with their debut LP “Daughters of the Night“ (2022), Italian symphonic/power metal band Nocturna went back into the studio and created their much anticipated sophomore album, “Of Sorcery and Darkness“, which just released last month via Scarlet Records. The new album really impressed us, so we knew we needed to try and get an interview with the band so we could talk more about its production. Thankfully, both vocalists Grace Darkling and Rehn Stillnight were more than happy to oblige! You can read our full discussion below:
Your second album “Of Sorcery and Darkness” has just been released, and as the title suggests there are plenty of dark and gothic elements, but it seems that you have upped the power metal aspect as well. How would you describe the music this time?
Grace Darkling: First of all, thank you too and greetings to all the readers! We can start saying that this new album “Of Sorcery and Darkness” surely wants to continue and define the way started with our debut “Daughters of the Night”. Basically, our sound includes a power-speed metal with neo-classical influences and, on the other hand, the gothic-dark themes, musically and lyrically talking. Your thoughts about power metal developing in the new album are correct: “Burn the Witch”, “Noctis Avem”, “Creatures of Darkness” or “Seven Sins” could be the perfect examples. We tried to unify the fast rhythms of Power to a heavier, darker sound and you can notice the result in many tracks included in the new album, like the last two ones I mentioned, where both elements are present at the same time. I feel this combination well represents our identity and it may be the direction we will carry on.
What was the recording process like for “Of Sorcery and Darkness”? Was it an easier experience than when you recorded your first album? And did you have any specific goals, or maybe things that you wanted to try differently during these sessions?
Rehn Stillnight: It was easier because this time we knew each other as well as our producer, so luckily there wasn’t any shyness in the studio and we worked very smoothly. We wanted our voices to be very distinguishable this time, almost as if we were playing a part in a theatrical performance, both because me and Grace use different techniques and we wanted to feel comfortable in our own vocal parts, and because we wanted the people who listened to the album to immediately recognize who was singing which part.
Rehn and I have been working together for years. Since that time, we’ve always be aware that together we could work very well, with a great synergy.
Grace Darkling
You said in the past you were surprised by the huge attention that your debut album “Daughters of the Night” received when it came out in 2022. Did you feel any extra pressure as a result when making the follow-up? Or did it make you more confident?
Grace: “Daughters of the Night” was pretty appreciated by the audience – and I still haven’t realized it at all. You know, today it’s easy to gain but also to lose the interest of people, especially on social medias. So, the pressure never stops, actually. The only thing we can do is working hard on our music and giving 110% to our project. We just hope our passion and dedication could be noticed and appreciated!
You have likely been asked this before, but would you mind just describing your musical backgrounds for our readers, and how you came to be the powerful frontwomen for Nocturna?
Rehn: I started listening to Power metal when I was a little girl, around 8 years old, and my favorite band has always been Sonata Arctica. I’m also a huge Final Fantasy fan, and that means I particularly love the games’ soundtrack, especially the older ones by Nobuo Uematsu. I’m also a big fan of Nightwish and Epica, that’s why I started taking operatic singing lessons, after graduating in art school. I haven’t had many band experiences before Nocturna, actually: I have a Youtube account where I upload cover videos I make from scratch, and I’ve been running it since I was a teenager, dreaming of having my own band one day! Before Nocturna, I got to know Grace in a project in which we sang together and… here we are.
Grace: Well, my background is quite difficult to describe. During my life I listened (and still listen) to very different genres. Before joying the rock-heavy metal side when I was a teenager, I was into dance and pop music. My idols always been Michael Jackson and Lady Gaga. I was also addicted to classical music, as I’ve played in a marching local band for years and singed in the church’s choir. Regarding rock and metal music, my principal influences and idols range between Paul Stanley, Bruce Dickinson, Peter Steele, Jonathan Davis, Steven Tyler, James LaBrie, Attila Dorn. I’ve also been through the “symphonic-gothic” obsession for a few years, so singers like Floor Jansen, Tarja Turunen or Sharon Den Adel surely influenced me. Last but not least, I’m a big fan of Darkwave and Postpunk music and, on the other hand, of the blues-rock vocal style.
About Nocturna, Rehn and I – who had already been working together since 2017 – met Federico Mondelli between 2020/2021 and decided to start a band together. That’s how Nocturna was born!
It was easier because this time we knew each other as well as our producer, so luckily there wasn’t any shyness in the studio and we worked very smoothly.
Rehn Stillnight
The dichotomy of your two voices is one of the things that I love most about this album, and it truly sets Nocturna apart from the majority of other bands. It’s so rare to have two extremely talented lead singers with different styles but who still complement one other perfectly. Is it ever challenging to find the common ground between your voices?
Grace: Firstly, thank you very much! As I said, Rehn and I have been working together for years. Since that time, we’ve always be aware that together we could work very well, with a great synergy. We have so much in common and always support each other with respect. I think that this genuine rapport around the years could be clearly seen and heard: we exactly know who we are and what we can do singularly or together, so, also during the pre-productions, it’s not difficult to us dividing the parts or creating a dialogue between them. We just enjoy the process making art together!
You often take turns when it comes to singing on the verses. How do you decide who sings certain sections of a song? Are the parts usually written for a specific vocalist?
Rehn: We normally already have a specific idea in mind when we listen to the first demo of the song, even if there’s never a “Rehn verse” or a “Grace verse”. We just feel that a part would sound better with one voice or the other as soon as we get into the song. Then, we record our own demo, singing the parts we feel more comfortable with, but sometimes we also change something while studying it (or in the studio, also!).
By our count you have released three singles for the album “Seven Sins”, “Strangers”, and “Sapphire”. Can you give us an insight into how you decided on these tracks? And can we expect to see a music video released for “Sapphire” in future, like we have been given for the other two?
Rehn: We can’t make any spoilers… just keep you eyes on our social pages and Scarlet Records Youtube channel!
Grace: If with the first question you mean by what criteria did we choose the singles, well, it was really difficult because each one, in our opinion, had potential for different reasons. In the end we chose based on what we thought would work best and represent Nocturna the most, bringing all opinions together.
We have so much in common and always support each other with respect.
Grace Darkling
One of my favourite tracks on the album is “Through the Maze”. It seems that you both experimented with your vocals quite a bit on this one, and the result is simply amazing. What gave you the idea to try something different on this track? And do you often have time to try out various approaches on the songs to see what works?
Grace: Glad that you like it! Yes, “Through the Maze” I think it was for us the most experimental track of the new album. Regarding the last question, yes, during the pre-production we all work remotely, so Rehn and I can take our time to study, try different parts with different approaches and recording different ideas, giving at a specific piece the perfect interpretation. In my case I used my non-metal vocal influences for the first verse and the chorus: I thought that using my lower register with a “sadly-pop” style could give an unusual taste and contrast, in my opinion an interesting combination with the classical vibes given by Rehn parts and sound in the background!
Another highlight for me is “Last Day on Earth”, which takes the role of a ballad on the album. I would love to see more songs from Nocturna in this type of format. But as for the question itself, if you knew that today was going to be your last day, how would you decide to spend it?
Rehn: That’s my favorite song from Nocturna, by now. I’d want to spend my last day on this earth with the people I love the most… before haunting them for the eternity as a ghost. If I was able to travel, I’d also love to spend my last night under the Northern Lights.
Grace: Well, I prefer not to think about it now, I have too many things to do before my last day here haha.
We wanted our voices to be very distinguishable this time, almost as if we were playing a part in a theatrical performance…
Rehn Stillnight
How are the preparations going for your live shows? And can you give us a hint as to what we can expect?
Grace: To me, that I love the stage, it’s entertaining to prepare every side of the live concert! The previous days and weeks I am mentally into the making of the show. At the moment we are preparing the next two Italian shows of this summer: Strigarium festival on June 9th and Malpaga festival on July 26th. We can’t wait to bring our new album “Of Sorcery and Darkness” live again! Expect some new features on stage, fun and involvement and, of course, a lot of metal music to headbang together!
Thank you so much for the interview. Do you have anything else you would like to add?
Rehn: Remember you can get our signed stuff on our own shop, along with exclusive merch only to be found there! Thank you, it was a pleasure for us and we hope for you as well! We can’t wait to meet you on the road.
Grace: Thank you too for the invitation, it’s been a pleasure for us. See you around!
Germany-based melodic death metal unit ACT OF CREATION has announced the first details about their forthcoming, fifth studio album entitled “Moments to Remain”! The album will be released via Massacre Records on July 19, 2024 as CD Digipak, Ltd. Vinyl LP and Digital formats, the pre-sale has just started at: https://lnk.to/momentstoremain
“Moments To Remain” can be considered as a continuation of the last three ACT OF CREATION albums, but it should still be seen as a stand-alone release.
Lyrically, all the songs revolve around the theme of time, which is also picked up on the cover in the form of a clock slowly dissolving in a lake. The “Moments To Remain” album cover once again depicts the girl who was reborn on “The Uncertain Light”. Now, however, she is already grown up, sitting in front of a lake, and reflecting on life. The whole album is based on the concept of reviewing an entire day and thinking about certain topics while sitting by the water.
Watch the official video for “Moments To Remain” BELOW:
Vocalist Jess tells us:
“This is the title track and deals with the topic of memory loss and how important and beautiful memories are as well as the moments in life that you might not immediately remember. With a short intro and outro in the song, we transport the listener to the scenery from the album cover, namely the lake of memories.”
At the beginning of the songwriting process, the band decided not to be constrained by past successes and, as usual, began to express their current feelings and thoughts through music. In order to give the album the maximum of energy and intensity, all songs on the album were recorded directly at the intended live tempo for the first time, so that every last bit of energy could be extracted from the material, thus ensuring that “Moments To Remain” reflects the intensity of ACT OF CREATION‘s live shows.
Furthermore, attention was paid to an even finer blend of all the band’s influences within the songs, which increases the progressiveness somewhat, while transporting the listener even more intensely into their musical world. With the new songs, ACT OF CREATION have succeeded in presenting a logical and consistent further progression of the band’s sound.
In close collaboration with audio engineer Dennis Koehne, a massive wall of sound has once again been created which, despite its incredible power, always leaves enough room for the subtle nuances of the band’s signature sound. The result is an album that, despite all its complexity, makes no compromises when it comes to a powerful performance and thus invites the listener on a highly emotion journey through the musical world of ACT OF CREATION!
CD Tracklist:
1. Awake (Bonus Track) 2. Come With Me 3. Under Friendly Fire 4. Egoist 5. Moments To Remain 6. Cry Of A Peacecrow (Bonus Track) 7. Dying Inside 8. Confront The Truth 9. Lost Little Soul 10. Beyond Reality 11. Agonizing Slumber 12. Into Dreams (Bonus Track)
ACT OF CREATION live: 25.05.2024 DE Bochum – Matrix 19.07.2024 DE Weil am Rhein – Baden In Blut Metal Open Air 06.-07.09.2024 DE Barleben – Metal Embrace Festival 13.09.2024 DE Siegen – Vortex 14.09.2024 DE Frankfurt – Schöppche Keller 28.09.2024 DE Wermelskirchen – AJZ 11.10.2024 DE Trier – Luckys Luke 12.10.2024 DE Marburg – KFZ 19.10.2024 DE Ahrensburg – Unleash The Kraken Festival 26.10.2024 DE Meinerzhagen – Metal 4 Meinerzhagen Festival 09.11.2024 DE Erfurt – Club From Hell 16.11.2024 De Duisburg – Parkhaus Meiderich 07.12.2024 DE Osnabrück – Bastard Club
ACT OF CREATION is: Jessica Nicole Kork – Vocals Carsten Schluch – Guitar Göksel Hamali – Guitar Holger Fischer – Bass Sebastian Nienaber – Drums
The UK’s Hard Rock/Heavy Metal band Balance of Power made a big comeback this year, with a bold new album, direction, and core line-up. The latter of which saw the addition of the phenomenal new singer: Hazel Jade (HJ). We caught up for an interview with HJ, along with bassist and founding member Tony Ritchie (TR), to discuss the extraordinary success of their new release, “Fresh from the Abyss“, and find out how it all came together.
As your last full-length album “Heathen Machine” came out in 2003, I suppose the most obvious place to start is by asking how it feels to now have a new release to talk about? And when exactly did you start thinking about getting back together and working on your latest album, “Fresh from the Abyss”?
TR: Well, yes it’s great to have some new music out there that’s for sure. After “Heathen Machine” we took what was supposed to be a short break, but life got in the way and it turned into a lot longer time than we anticipated. We did make an album called “The Scintilla Project” with Biff Byford(Saxon) and Andy Sneap (Judas Priest). This was meant to be the next Balance of Power album with special guests, but Biff didn’t want to alienate any of his Saxon fans and rightly so. We ended up changing some of the lyrics and tying it in with a movie that Lionel had produced. The album was well received so we started writing a sequel, but that didn’t fit with Biff and Andy’s schedules so we decided we should continue as Balance of Power. After all the songs were written by myself and Lionel in just the same way as we always had. Over time some of the original songs got superceded by newer ones, so for the first time ever we still had some great song ideas on the table that didn’t get used.
The opening song on the album, “Last Man Down”, starts with the lines: “This is not the ending I was looking for, unintended static cuts the air”. I’m guessing from these lyrics that the long gap between album releases wasn’t exactly part of the plan?
TR: Exactly, that song was written during the pandemic and was really a first look at the unknown times that we were in and reflecting on the past. So many heroes, so little known about what was happening. Lots of people re evaluating their lives and relationships. Just looking for courage in strange times.
There have been a few different lead singers during the band’s history, but previously they were all male vocalists. How did you end up enlisting Hazel Jade as your newest singer, and did you have any concerns about switching to a female vocalist?
TR: We have had our fair share of singers and each one has left their mark on the Balance of Power sound. We had almost finished recording this album and still no singer, so we asked our friend Toby Jepson if he had any ideas. He suggested Hazel, so we sent her a demo of “Never be here again”. She recorded her vocal with her home recording set up and laid down her take on the song. When we heard it we were blown away. We loved the energy and passion that she brought to the song so much that we used her actual demo vocal on the finished album. We think it’s great that when you hear that song, what you’re hearing is the first thing that we heard from Hazel. That’s why we have a Hazel Jade in the band and she has already made her mark as the new voice of the band.
Other bands have often gone back and re-recorded some of their back catalogue after a new singer has joined. Arch Enemy springs to mind as the most relevant example. Is this something you might consider doing as well?
TR: You know, it’s not something we thought of, but after your suggestion we’ll certainly have that conversation and see if it’s something we could look into. Thank you.
It’s fair to say that the line-up was not the only big change for Balance of Power, as the music has deviated a bit from before as well. Was this a result of having new members in the band contributing their ideas? Or more of a natural evolution?
TR: Definitely a natural progression. Its coming from myself and Lionel musically, but Hazel has a great input with the visuals and we’re very grateful for that. It’s not easy to keep things fresh, but Hazel has given a fresh and new edge vocally and visually to the band which we are enjoying.
It was nice to join a band who had such a history and experience of the industry…
Hazel Jade
“Fresh from the Abyss” seemed to come out of nowhere, which I suppose is why the album title is so appropriate. Did it come as a surprise to long-time fans when it was announced? And have you heard much feedback from this demographic? Or are you mostly reaching a new audience now?
TR: It was a surprise you’re right, but so far we’ve been welcomed by fans old and new. It’s sometimes harder for the “more mature” fans to accept change, we think we’ve struck a nice “Balance” of old and new with these songs. Times have changed and you soak up the music that’s around you, but we still do it our way so it’s always going to have a certain something that people will recognise.
You did release three fantastic music videos in the lead-up to the album’s release for the singles “Abyss”, “One More Time Around The Sun”, and “Never Be Here Again”, which showed a darker, more gothic side of Balance of Power. Whose idea was it to move the band’s image in this direction? And who helped with the production?
TR: Yes, Hazel has some great ideas and we love the Gothic almost Steampunk feel that she suggested.
Toby Jepson has had a hand on the whole process, from the production of the album with Lionel, recording Hazel’s vocals and being hands on with directing the videos and writing the storylines etc. Its been so much fun with him popping up all over the place and being so invested in what we’re creating.
The album line-up for “Fresh From the Abyss” is different to the current band line-up, with Chris Masimore and Stoney Wagner having recorded their guitar parts before later handing the reins to Chris Young and Adam Wardle. Reading between the lines a little, was this due to a reluctance to perform live? And can we expect to see a tour in future?
TR: Chris Masimore and Stoney Wagner were part of the band that recorded “The Scintilla Project” in Minneapolis with Biff and Andy. We always knew that we’d need new guitarists to play live as they have their own commitments in the US. We all agreed that we’d just enjoy making the next album with our buddies and have their blessing to recruit someone else when the time came. So there was no reluctance to play live, there was always a plan to go ahead as we have.
We have an Agent on-board for shows for us as we speak. The album is only just out, we’re rehearsing a live set and can’t wait for you guys to hear what we’ve got and you won’t believe what Hazel is bringing to the old and new songs.
Speaking about the future plans of the band, do you think there is a chance you will work on another album together after “Fresh from the Abyss”? And can you turn it around sooner next time?
TR: Ha ha! Yes we can do that. We’re writing songs now and hoping to record before the year is out. It depends on what comes our way. Hopefully we’ll be out on the road so recording might have to wait. It’s all a bit of an unknown right now, we’ll let you know.
Obviously each person has their own quirks and tastes when it comes to singing, but my style fortunately fitted in with the BOP music.
Hazel Jade
Hazel, can you tell us a bit about your background? Have you always had an interest in singing heavy metal?
HJ: I grew up from the age of 3 performing musical theatre! My mum was also composing songs and had a recording studio in the house, so music was always in the air, be it opera, classical, r&b, jazz or rock! I performed in a couple of operas as a kid (the small gang roles!). I think because all sorts of genres of music became a part of my family life, I ended up with an eclectic ear! I’m happy with most genres as long as it’s a great melody! I’ve always moved more towards rock/metal as we all have favourite styles. There are some great bands out there, some of mine are Halestorm and In This Moment, as there aren’t so many females in these genres, and it can be difficult to break through. I also love film scores, and composers such as Hans Zimmer, John Williams and others who are sublime at creating them!
How familiar were you of Balance of Power’s music before you joined? Did you have any trepidation about working with a band that seemed to be coming out of a long hiatus?
HJ: No, I hadn’t heard of them, but when the demo was sent over to me to trial on, I loved the song and the overall sound. Tight and professional. Then the rest of the songs were also top notch too, and when I was asked to join as the singer, I jumped at the chance. Prior I’d had my own band ‘Elevation Falls’ and been with them for over 8 years, but it came to a natural end when Covid hit, we’d all grown up and each of us had different paths we wanted to follow. It was nice to join a band who had such a history and experience of the industry, who had got the ‘ego’ bit out of the way (which younger musicians are inclined to have)!! BOP have credentials and the song writing was excellent along with the musicianship. What’s not to love!
Hazel has some great ideas and we love the Gothic almost Steampunk feel that she suggested.
Tony Ritchie
The press notes mention that you changed the melody of “One More Time Around The Sun”, which made the hook of the chorus even better. Was it a challenge performing songs which may have originally been written for a male vocalist in mind? It seems the rest of the band were also happy for you to stamp your identity on the music?
HJ: For the most part it’s not a problem to sing male parts (I used to sing the male and female parts of Phantom Of The Opera for fun 😀 ) Obviously each person has their own quirks and tastes when it comes to singing, but my style fortunately fitted in with the BOP music. Tony and Lionel have been excellent in letting me have leeway in how I interpret each song which has been fantastic. I know that a small percentage of the old fans weren’t happy there was a female vocalist, but I think you’d get that with any vocalist change to be honest.
Who are some of your main influences? Are there any artists that you would love to collaborate with?
HJ: Heart (Ann Wilson), Halestorm, Miles Kennedy (Alter Bridge), In This Moment, Slash … to name a few 😀 … as to influences, there have been so many. Who can listen to Ella Fitzgerald or Amy Winehouse, Heart, Kate Bush or Within Temptation and not be influenced by these amazing female artists? I adore Miles Kennedy, and still listen to a load of EMO bands such as BVB! I love so many, as music reflects your emotional being, which of course changes all the time! We associate songs with a particular event in our life, so in a way, they’re solidly part of our life’s journey.
How would you feel about having a profile page on our website?
HJ: Absolutely fine! Be an honour, would love it!!
Thanks again for your time. Is there anything else you would like to add?
HJ: Thank you for the positive review you gave us and all the praise too!
Belgian cinematic/symphonic metal band Malevolent released their epic debut EP at the end of last year through Necktwister Records, featuring movie-like orchestrations, a post-apocalyptic theme, and amazing showcases of individual talent. We are extremely grateful to have been given the chance to ask questions of the band’s two core members, Nikolaas Van Riet (composer, guitarist, producer) and Celica Soldream (Vocals).
Can you briefly describe how the two of you met and formed Malevolent?
Nikolaas: It started for me as a solo project where I would do all the instruments and production myself. I wanted to do something where the orchestral parts of symphonic metal are pushed into full cinematic space. After experimenting with programmed vocals, I found in Celica the exact voice and vocal capabilities I was looking for. We started working on a first song and it grew from there.
Celica: Nikolaas reached me via e-mail thanks to my vocal library “Era II: Vocal Codex” (by Eduardo Tarilonte). Initially it started as an usual work-related conversation for me, and he basically asked me to perform a few tracks for his cinematic/metal project following the vocal lines he composed using my vocal samples. However, as time passed and the project was evolving, Niko managed to get me more and more interested about Malevolent’s project and… Well, here I am now 😀
How would you describe your music to someone who might be unfamiliar with it?
Celica: “Imagine an apocalyptic film whose soundtrack is a full symphonic orchestra sounding along electric low guitars and pounding drums while a sweet-but-also-punching-and-powerful female voice sings over a deep growlings while telling you about how the world is going to sh*t and we have to survive to live another day”. For any metal-head, I would say it’s a darker and more atmospheric way to make symphonic metal, with influences like Epica or Within Temptation (in my case).
Nikolaas: Couldn’t describe it better than Celica 🙂
Niko already had a clear idea of an apocalyptic lore when he explained his project for the very first time. The “viking touch” came afterwards, when we were thinking on the graphics and AI generated visuals.
Celica
The term ‘cinematic metal’ has been used in reference to your sound. So I am curious, what are some of your favourite movie soundtracks or composers?
Celica: I must say that my concept of “cinematic music” is maybe a little bit different, but still the style of Malevolent is really epic and a kinda different from the usual power or symphonic metal I was used to listen. Anyway, my favourites OST are The Lord of The Rings Triology (Howard Shore), Gladiator (Hans Zimmer), Titanic and Avatar (James Horner), The Horse Whisperer and The Green Mile (Thomas Newman), The Nightmare Before Christmas (Danny Elfman) and Back to the Future (Alan Silvestri). Outta the film-scoring scene, my favourite composers are Ivan Torrent and Thomas Bergensen (Two Steps from Hell), but my main musical influence ever is definitely Mike Oldfield.
What were the main influences for your self-titled EP? Was the idea to write about a malevolent world inspired by any current day events?
Celica: Niko already had a clear idea of an apocalyptic lore when he explained his project for the very first time. The “viking touch” came afterwards, when we were thinking on the graphics and AI generated visuals. The end of the world is not a brand new idea, neither the concept of our social self-destruction; but even so, we wanted to give it our own touch. Malevolent’s world is not different for our own reality after all: the powerful people take control over our lives easily, while the rest of us have to fight against the difficulties of a very unfair and unbalanced system. The backstory of this EP is actually a reflection of many things happening nowadays, but dragged into a hellish and more decadent atmosphere.
The end of the world is not a brand new idea, neither the concept of our social self-destruction; but even so, we wanted to give it our own touch.
Celica
The fact that your first EP attracted the likes of Mark Jansen (After Forever/Epica) on guest vocals, and Joost Van den Broek (Ayreon, Powerwolf, Epica) for the mixing and production must feel like a major endorsement of your project. What was it like to work with such iconic figures in the industry?
Celica: Sadly I couldn’t met Mark during my time at Sandlane Studios (hope I will someday soon!). But I had a really good time recording with Joost. He was absolutely professional during all the process, and also kept a really friendly and warm atmosphere which really helped a lot. Also I could learn a lot of things and he immediately knew how my voice worked and how much he could push it to get the best of it. It was an amazing experience I would love to repeat.
Nikolaas: It was great working with them. I know Mark from way back, when he was still playing with After Forever. We had a good connection back then, and it carried over until now. Mark’s grunts, which are slightly higher pitched than my grunts blended well together, as we hoped. Both Mark and Joost are true professionals, you feel that in all aspects of the collaboration.
Is there anyone else you would love to collaborate with? And is the plan to keep using session musicians as needed in future, or are you considering looking for permanent members to join the band?
Celica: I think every musician involved in this project was incredibly good, and that’s why Malevolent reached such a high level. If we would like keep the same way, I would also keep the same crew for now in terms of music, but I also think adding new ideas could be a nice way to improve our sound and bring new ideas. If you ask me for any singer I would like to collaborate with, probably collaborating with Roy Khan, Tommy Karevik or Sharon den Adele would be a dream come true XD And of course, I will have Mark back on board too!
Nikolaas: I would love to collaborate with Dan Swano (musician and producer), Anneke van Giersbergen (former The Gathering), Noora Louhimo (Battle Beast), Nils Molin (Amaranthe) and in my wildest dreams Guthrie Govan 🙂
We are definitely considering more permanent members, especially for the live-shows. Lead Guitarist Jan Verschueren is already more involved in the writing process.
I think every musician involved in this project was incredibly good, and that’s why Malevolent reached such a high level.
Celica
Is performing your material live something that you aspire to do someday?
Celica: Definitely yes!
Nikolaas: I agree definitely yes, but recreating our EP sound live demands for a very thorough preparation and some experienced live musicians to (re-)create a lasting experience. But preparations are started and negotiations are on-going.
Do either of you have a favourite song from the EP? Or one that you would recommend to someone listening to your band for the first time?
Celica: Mines are definitely Light and Creations. I think they both represent us better, although I of course love every track in the album.
Nikolaas: My favourites change all the time. Now it is Gaze followed by Creations.
Are you working on creating a full-length album? And if so, when might we expect it?
Celica: Honestly, I think this question concern Nikolaas more than me. In my humble opinion, LPs are expensive and take more energy, money and time than shorter Eps, which you can release easier, faster and allows you to change and experiment more with music, different sounds and many other topics. I think for now is a better option for us, but we haven’t chosen a concrete path yet. All I can say, is I hope better things are coming!
Nikolaas: We are working on a lot of new material. The way we will release it is still under consideration. As full length or seperate singles. Luckily we have the support of Necktwister records to help us guide through the decision process.
You recently released “Valhalla Calling” – an absolutely fantastic cover of an Assassin’s Creed song. Are either of you heavy gamers? And are there any other game soundtracks that you enjoy, and would perhaps consider putting your own spin on?
Celica: Yes, I am, hahaha! I love videogames since I was little (mainly PC’s), and I’ve been always been a huge fan of Assassins Creed saga (Altäir <3) and its soundtracks in almost every game. When Niko and me released the EP, Valhalla Calling was sounding EVERYWHERE around the social media, and I thought: “Hey, technically our album is about post-apocalytic vikings, we HAVE TO make a cover of this track!!”. Fortunately Niko was thinking exactly the same thing, so I didn’t have to convince him 🙂 There are many good game scores I could name. My lastest favourite is definitely Baldur’s Gate III soundtrack by Borislav Slavov and there are a few songs which I think would work in our style. Other soundtracks I like are the ones for GRIS, Aragami, Cyberpunk 2077, Detroit: Become Human, Red Dead Redemption II, Metal Gear Solid and The Witcher III.
Nikolaas: I have absolutely no time for gaming. I think it is over 20 years ago since I played my last videogame…
Celica, the press notes also mention that you have done some vocal work for video games and movie trailers in the past. Do you mind discussing that a little?
Celica: Yep, that came hand in hand with the sample library I mentioned before. As Nikolaas did for Malevolent, they wanted my actual voice instead of the sampled one. My first collaboration for a videogame was with Pedro Camacho for a Star Citizen trailer. Later Neal Acree (famous composer who worked for Activision Blizzard and made some scoring for Starcraft, Overwatch and World of Warcraft among others); contacted me to make a soundtrack for an indie game named REND, in which I could sing in a viking/medieval style along Einar Seikvik (Wardruna). Because of that collaboration Neal also counted on me for recording the beginning of the cinematic trailer of “World of Warcraft Warbringers: Azshara” and “World of Warcraft: The War Within”. I also collaborated in another indie spanish game soundtrack, called Crisol: Theatre of Idols. And by myself, I’m also composing and singing a whole score for an online roleplay community in Spain known as “Territorio de Rol”.
Who would you say are the main influences when it comes to your singing?
Celica: Well, it depends of the style. I guess Amy Lee, Tarja Turunen, Lizzy Hale, Taylor Momsem, Lisa Gerrard and Florence Welch are my main female references in melodic/female styles. But I also got influenced by many male singers (probably more than female). When I was younger, I used to sing Michael Jackson’s 24/7 (lol). Later, in metal styles, I always liked David Dramian, Myles Kennedy, Jørn Lande and, overall, Roy Khan. He was my main influences in order to find a more powerful and not-so-lyric style in my way of singing. In terms of super-high-pitched notes, I guess I learned a lot from Axl Rose, haha!
I found in Celica the exact voice and vocal capabilities I was looking for.
Nikolaas
How did you end up finding your way into the heavy metal genre? And have you been involved in any other metal bands besides Malevolent?
Celica: As I said, I started listening to metal and rock bands when I was a teenager, so I actually started singing in amateur bands at the age of 18. When I was 23-24, I joined a pre-existing and more experienced band from Madrid called Cotard, in which I singed and composed lyrics and vocals for 4 years or so, in which we released two LPs (“Nunca mas” and “Ojibwa”), and also made it into some important festivals, recorded a few videoclips and so. It was a funny experience, but I had to quit the band because of some health problems affecting my vocal chords. I honestly renounced being back into the metal scenario by then, until Nikolaas appeared! Haha, I guess it was destiny, somehow (?).
Would you be interested in having a profile page on our website?
Celica: That would be awesome! ^^
Thanks so much for the interview. Is there anything else you would like to add?
Celica: Thank you so much for the interview! It’s been a pleasure! ^^
Just as a reminder, you can follow our band profile in facebook, Instagram and also our website www.malevolent.be
Charismatic Dutch singer/songwriter CHARLOTTE WESSELS is set to release her new studio album on September 20, 2024 via Napalm Records! The striking first single, “The Exorcism”, will be released on May 16, 2024. Wessels’ album promises a cohesive exploration of fear and liberation, as well as spellbinding melancholia and dark, catchy elements meeting progressive and heavier soundscapes. Wessels and her band will bring this story to the stage on October 4, 2024 at Utrecht’s TivoliVredenburg. Grab your tickets HERE!
The former DELAIN vocalists earlier solo endeavours Tales From Six Feet Under (2021) and Tales from Six FeetUnder Vol II (2022) already gained Wessels a remarkable number of devotees, but for the upcoming release, Wessels is raising the bar significantly. While still writing and producing the songs in her Six Feet Under basement home studio and sharing their first incarnations with her patrons, now she’s taking the songs to the next level with a band of her fellow ex-DELAIN cohorts Timo Somers (guitars, additional arrangements), Otto Schimmelpenninck van der Oije (bass) and Joey Marin de Boer (drums) as well as Sophia Vernikov (piano/hammond), contributing to the heavier sound. The album also features arrangements by Vikram Shankar (Silent Skies, Pain of Salvation), cello by Elianne Anemaat, was mixed by Guido Aalbers (Muse, Coldplay, The Gathering) and mastered by Andy VanDette (Porcupine Tree, VOLA, Dream Theater).
CHARLOTTE WESSELS states:
“This album is significant, for on the one hand, telling such a deeply personal journey – through its unintended theme of fear and obsessive thoughts – and at the same time, representing the joy of finding the song’s true forms with everyone involved in the making of this record. There were moments in the studio with the band that truly reminded me of why I love making music in the first place, and I don’t think I’ve ever been as excited about music going out into the world. This is the album I want to re-introduce myself with, and I’m so glad to do it with this amazing team.”
Lisbon-based doom outfit SINISTRO has inked a worldwide deal with Alma Mater Records, the powerhouse label run by MOONSPELL frontman Fernando Ribeiro. A music video for the band’s first, haunting single “Pontas Soltas”, taken off their upcoming album Vértice, is now streaming below! SINISTRO’s fourth studio offering is slated for a September 2024 release on Alma Mater Records.
Fernando Ribeiro comments:
It’s quite extraordinary that Sinistro, one of the most and darkest groundbreaking Portuguese bands, chose Alma Mater Records as their new home. We can’t wait to start working on Vértice and make the light shine over their newest and direst gems this album contains. Sinistro is back to reclaim their rightful place on the doom, post metal scene and to build up their legacy started back in 2011. Still a lot to come.
“We are happy to announce that we signed with Alma Mater Records, a label we have been following in recents years, witnessing it´s ongoing growth and specially because it´s a label created by a fan of music, for fans of music!” The band reveals. “We know Fernando for quite a lot of years now, and see Alma Mater as the perfect re-vamping for Sinistro, its been over 5 years, but it definitely worth the wait and we could not ask for a better new home to unleash our brand new album “Vértice” in 2024.“
Watch the new SINISTRO clip for “Pontas Soltas”:
Coming from the Portuguese underground, SINISTRO have crafted their way into the international music scene with their groundbreaking, fully instrumental and self-titled debut album from 2012, a film soundtrack ambiance and landscape approach with a Floydian touch that quickly established them as a unique collective of musicians.
2013 seen the band release their Cidade EP, for the first time adding vocals to their enthralling sound, that gained high praise from both national and international press. SINISTRO signed to Season Of Mist in 2016, with their much-acclaimed album Semente, they crafted and perfected even more their incredible songwriting skills and became sort of a rock/fado (typical Portuguese chant) to many.
Having toured and acclaimed by the likes of Paradise Lost, Cult Of Luna, Mono, Alcest or Subrosa, with countless shows in Europe and South America as well as high profile festivals such as Roadburn Festival, Doom Over London, Graspop MM, Metal Days, Eistnaflug Iceland or Resurrection Fest, with three impressive full-length records under their belt and after five years rebuilding the band in the midst of a pandemic and line-up changes, SINISTRO finally return with their new album Vértice!
About their first single release, the band says:
It showcases the sound we have been perfecting since our previous 2 records, the movie soundtrack vibes and the heavy density ambience mixed with a Fado sensibility throughout the entire album is a constant voyage into our world, the lyrics on “Pontas Soltas” approach the familiar comfort of repetition vs the unknown aspects of life, life is not meant to be contained but rather embraced and admired as we unravel the beauty of its intricacies.
Vértice was produced by Miguel Tereso (Gaerea, Analepsy) and will be released in September 2024 via Alma Mater Records. Furthermore, the band announced to play their first show in over 5 years, on March 16th at AaltStadhaus in Differdange, Luxembourg, with many more dates to follow soon!
SINISTRO is: Priscila Da Costa Rick Chain Paulo Lafaia Ricardo Matias
