Εμφάνιση αναρτήσεων με ετικέτα Progressive Metal. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα Progressive Metal. Εμφάνιση όλων των αναρτήσεων

Τρίτη 11 Οκτωβρίου 2022

Queensrÿche's "Rage for Order": Vampiric obsessions, digital heartbeats and chemical youth - The Order behind the Rage.

RAGE is a word with an exact and specific meaning, while ORDER can be something more. And when ORDER is combined with other words, it can be even more. While there's no "Rage for Order" song in the same-titled album, this title has a deeper meaning, so let's see what lies beyond the words. Let's find out the questions that you need to answer.

Written by Andreas Andreou


Rage for Order was recorded and mixed by Neil Kernon under the band's full control since they weren't happy with the label's treatment to the previous album The Warning, where the record label changed the sequence of the songs and remixed it, releasing what we know, without Queensrÿche's approval.

Most of the songs and ideas of Rage for Order were written before Geoff Tate (vocals, keyboards), Chris DeGarmo (guitars), Michael Wilton (guitars), Eddie Jackson (bass) and Scott Rockenfield (drums) enter the studio after the summer of 1985 and the end of the tour supporting The Warning during 1984 - 1985, for more than 100 shows, mainly in the United States but also in the United Kingdom, Germany, Sweden and Japan, among a few others.

The world was a cold place. The world was changing and every country was something totally different from another. Everything was very different in the pre-internet world and the digital era, and the members of Queensrÿche wrote stories of the future echoing their present but always looking to the sky. They felt the eyes watching them. The digital and robotic feeling of the production is giving a futuristic vibe to the album while the coldness of the world is all over the sound of Rage for Order despite its emotional depth. The lyrics were always enigmatic and the songs seemed to be linked even if there wasn't a specific and clear concept - story behind it. Or there was?

The previous world tour was an eye-opening experience. Interacting with different people and cultures around the world, visiting the night clubs of central Europe, sleeping in London and walking through its dark and misty alleys, travelling with bullet trains in Japan and watching neon lights making the night a plasmatic day.

Queensrÿche realized very quickly that they weren't just five kids from Seattle starting living their dream; they made the dreams part of their art. But dreams are always uncertain. They echo fears, deep and unknown parts of ourselves and the world, things that can happen and things that would never be. Dreams are watching you. Until you will stop dreaming.

Starting with a relationship and an obsession, "Walk in the Shadows" introduces vampirism, the night and the shadows. "I can cure the hunger that burns in your heart, just come to me, I'll take you home. We'll walk in the shadows, by day we'll live in a dream."

Can love suck your lifeblood? Queensrÿche's approach definitely can since their view on relationships (and love) had the shades of obsession, and intense but short-lived passions. In the end, those relationships left scars you see but don't clearly remember (or don't want to remember) and memories remembered like dreams.

"Our secret's safe for one more night but when the morning comes remember, I'll be with you" [...] "By day we'll live in a dream. We'll walk in the shadows. One day you'll be with me, if only you believe..."

While "Walk in the Shadows" involves an obsession in a relationship and the observation of one you watch from the shadows, "I Dream in Infrared" continues with a relationship and the dark vibe there is in these songs, starting with, "As you awoke this morning and opened up your eyes, did you notice the tear-stains lining your face were mine", as a continuation of the vampiric relationship. Can this song be a different interpretation of someone who deep within doesn't know, or remember, who he is? Someone who can't dream anymore and gave all of his secrets to his obsession "but the time is right" to leave one night.

"The Whisper" seems to continue the previous themes and while the fear of hunger is always there, the observation is stronger and someone or something else is entering and watching. Stalking for innocent victims, a new master who whispers to new slaves that should forget what they've learned in the past. But therein, you don't listen only to whispers and voices, there are also "screams from a new love"...

Choosing Dalbello's "Gonna Get Close to You" to appear on the album as a cover song, one can't think of anything else than just how suitable are the song's lyrics with the rest of Rage for Order, while the video for this song also works nicely and the ending is open to different interpretations. Originally sung by Lisa Dal Bello (woman), then sung by Geoff Tate (man) it also means that the roles can change. And are really things just "as plain as black and white"?

"The Killing Words" sound like a song with a very clear meaning about the end of a relationship, a personal song that's probably based in a real relationship (?) There's a strong pain in this song, so one wonders about the performer's mentality connecting with such songs after years, revisiting them as memories or dreams. "Do you remember the dreams, the nightmares we shared?"

Leaving behind a song that looks very personal and emotional, "Surgical Strike" is the opposite, describing fighters "programmed" and "taught not to feel". The personal feelings, the personal ORDER now becomes something universal. It's the point where the individual forces itself to view the obsessions and the scars of the past as a memory; a dream. It's the point where if it can happen to one, it can happen to all. We can reach the point as a human race where the emotions and feelings can be removed by someone. Who that someone could be? And what's the reason for that? A cause? An act of slavery? "At master control, assessment will not be by humans."

"Neue Regel" is the German for "New Rule", and it certainly didn't come randomly. The word ORDER appears again after "it leads us to order" from "Surgical Strike", to "order of a new kind". What's this ORDER? It is not personal anymore and now it becomes political and technological. The kind of ORDER that can end all dreams and hopes while there appears "a distant wanderer". "It's time for the world to hear, Neue Regel is here."
"Chemical Youth (We Are Rebellion)" sounds like a rebellion to everything that proceeded, still though it needs to be "chemical". However, is this rebellion against technocracy and technological ORDER? Or is it the rebellion of the technological religion? With "the media mouth open wide", humankind can be controlled and enslaved in a digital prison.

What happened in "London", stayed in London. What happened on November 4th? Can hunger be really cured? "You're just a memory now, like all the ones before" [...] They cry remember, blood-red streaks on velvet throats at night".

In "Screaming in Digital" one can say that artificial intelligence and humans have become somehow equal in controlled emotions, controlled freedom, and controlled dreams. But who's the father and who's the good boy?  

And finally, "I Will Remember" serves as a postscript where all memories, dreams and emotions seem that in the end are watched by "distant eyes" (satellites?). What's the star that came that night and the thought that feels the mind? Do we really know what we've done? Do we really live or our lives are within a screen?

Are those vampires (not humans) who walk in the shadows and see in infrared the ones who left every feeling and dream behind becoming the new kind? Or the new kind is the programmed human race? What are really the machines that can steal each other's dreams?

Human evolution does not mean leading by degrees to something superior or going to something better. It means something different. And technology evolves alongside humankind but in the end, human evolution is all about survival while technological revolution can become a revelation.

"Freedom belongs only to those without video screens for eyes and mouth."

Released on June 20th of 1986, Rage for Order still looks relevant, enigmatic and futuristic, even decades later.


Πέμπτη 23 Ιανουαρίου 2020

LORD OF LIGHT interview – Introducing “Morningstar”

In the beginning of God's preparing the heavens and the earth
the earth hath existed waste and void, and darkness is on the face of the deep, and the Spirit of God fluttering on the face of the waters

and God saith, 'Let light be', and light is.

Sometime in November of 2019, you were invited to listen to a new Heavy Metal album in the name of Lord of Light. That album, entitled Morningstar, was uploaded on digital platforms and not later than few days, it reached record labels and fans, with an enormous positive response.
Songwriter Nicklas Kirkevall will introduce for the first time Lord of Light to the world.

How did you get into music as a fan, and how as a musician?
I listened to a lot of rock music before that point but hearing "Aces High" with Iron Maiden kind of sealed the deal for me. That was around when I was 13 years old and I had just picked up the guitar after wanting to play for many years. I started with classical piano when I was quite young but there was always some measure of rock aspirations in me and with some good teachers, the early versions of Guitar Pro, and the greatness of Steve Harris and his men, I got a very strong start.

Did you play in other bands before Lord of Light?
I played keyboards with a few different bands of a more AOR oriented nature before, and did some gigs long ago, but that role never sat very well with me. I think I had more energy that needed out than playing bell pads and piano hooks made possible. Also, the sound of an electric guitar through a good high gain amplifier is one of the most beautiful sounds there is in this world.

What's the idea or meaning behind the name of the band and what pushed you to create Lord of Light?
The music is what’s been bouncing around my head for the better part of a decade now. There are riffs and melodies that don’t seem to want to leave me so I have to make something of them not to go insane. Light is the perfect theme for it all because it represents all the things that I want to relate. Without light there would be no life, so it makes sense to honour it.

How would you describe Lord of Light to someone who is not familiar with the band?
It’s heavy metal. It’s prog/power. I don’t know, the influences range from Toto to Meshuggah, and we’re equally traditionalist and trying to push the envelope. Only analogue synths were used and we had a tempo track or metronome for only a short few moments. Heavy metal that’s vibrant and organic, and at the same time as hard hitting and powerful as we can possibly make it, is the goal.

How long did it take you to write, perform and record the songs of Morningstar and can you tell us a few words for each track?
We spent about a week in the studio for all the basic stuff, and then I did a few weeks alone for the different vocal and guitar parts. After that the synths took several months to properly finish. It was a pretty arduous thing, to be honest, but I chalk a lot of that up to my inexperience as a producer. I’ve done studio work before but this project is different in many ways, and there were many good lessons learned during the process.
To speak a little on the songs it was "Presage" that kind of cemented this whole thing. I had actually written the music for "Ballad of the Righteous" before that but "Presage" was the first track with all the instrumentation down, so that’s where it started to seem like there was actually something exciting and worthwhile to make of it all. I rewrote it into "Typhoon" and wrote the rest of the material after that. "Morningstar" was the last to be completed and the one where I dared to go off in new directions the most.

When the album was completed, it was uploaded on Spotify and shortly you created a YouTube channel, where you also uploaded the album. Did you search for a record label before or you just let it "happen"?
There were plans to make a proper pitch to some labels but in the end I wanted to get to work on a new release as soon as possible, so we kind of just let it out to clear the slate and focus on the next step. The positive response we got was quite unexpected given how little effort we put in to getting it out there, but a very welcome boon after all the work we put in. It’s fantastic to have this kind of response with No Remorse Records, releasing Morningstar, and going into the next release.

Where would you place Lord of Light in the current music scene and which are your expectations for the future?
I think there is much to be done within the world of metal that hasn’t been done already. Some times it can feel like there aren’t any more uncharted waters to explore, but I sincerely hope we get the opportunity to prove otherwise in the coming years. I know we’re not the only ones, but I think we have the chance to contribute something really meaningful. 

Morningstar will be released on CD format via No Remorse Records on March 13, 2020.
Join Lord of Light on Facebook HERE

Τετάρτη 7 Νοεμβρίου 2018

CRIMSON GLORY- Beyond the Electric Sky: The story of "Transcendence" and aftermath.

In November of 1988,"Transcendence", the second album of Crimson Glory was released. It wasn’t a regular metal album. It was something different. "Transcendence" was ambitious and ahead of its time. It was exciting and diverse. It was the perfect soundtrack to a sci-fi love story that is placed in unknown realms. In a mythical world where time has no meaning and reality is dreaming. And if this sounds unthinkable and surrealistic, the album itself proves that mystical dreams can be reality in music notes, poetry and performance. "Transcendence" is one of the best albums ever recorded. A symbol of art that will last forever. Thirty years later and it still stands among those transcendent metal albums that cast their shadow upon us.

We know that the artist is mortal, but the art and the artist’s creation can be immortal. In music, there are songs and albums that stand above the creator and/or performer and in many cases, the artist didn’t manage to surpass his best and iconic creations during his career. He tried, he did different things, similar things but in the end of the day, there was always a big shadow above his new art and even his life and passions. Each artist is also a human, and a human can fall in mistakes and bad choices. Let’s say for now that this (and specific mistakes) should not affect the art. Let’s leave aside this small prologue and discuss with the artists that were part of "Transcendence". Let’s talk about the album, the band, the myth, the vision. Let’s read what the artists have to say. And artists like Jon Drenning, Jeff Lords and Ben Jackson have lot to say. Even if they are no longer active in the same band or there were some conflicts, or "bad" choices. Behind every great act, there is always a great adventure. And who knows... Maybe the dragons will rise again from the sea of flames.

Crimson Glory was formed as a new entity from the ashes of the bands Pierced Arrow and Beowulf, in Sarasota, Florida during 1983. The line-up was Midnight (real name: John Patrick McDonald) on vocals, Jon Drenning and Ben Jackson on guitars, Jeff Lords on bass and Dana Burnell on drums. This line-up rehearsed for years and in 1986 the "Crimson Glory" debut album was first released on Par Records.

Jeff Lords is a great bass player and composer, with a distinguished style and a very important role in Crimson Glory. Jon Drenning, is the lead guitar and composer that guides the starship to the outer space.

Crimson Glory were formed from some friends in Florida. It took you a while until you recorded the debut album, but it sounded perfect. What kind of plans did you have in mind back then and what was the bigger plan for Crimson Glory, since it appears that you had something major in your mind?

Jon Drenning: Well, I remember spending many long hours speaking with Midnight, talking about the type of music we wanted to create together, and that we wanted it to be the type of music we could appreciate twenty five years into the future, much like the bands we admired. We wanted music that was timeless; that was always our goal.

I certainly had no aspirations of just being the best local bar band, or some flash in the pan. It was going to be on a bigger level or nothing at all for me personally. Which was a driving force to attempting to write and record music that sounded great in coliseums, not bars. Music that would be at times LARGER than life and DEEPER than the Ocean…

How did you end with Roadrunner Records and what was the band's vision for "Transcendence"?

Jeff Lords: We ended up with Roadrunner because our first record label, Par Records, which was a small, local independent label run by a man and his wife, immediately sold the rights to Crimson Glory to Roadrunner at the completion of our first album. We got signed to Par Records based on some demos we recorded at the first Morrisound Recording facility in Tampa, Fl. These songs, with the exception of "Lost Reflection", got rerecorded for the actual album. 

Jon Drenning: Jeff's answer is accurate, but allow me to clarify in simpler terms – BAD LUCK (lol). No, really, we thought it was the greatest thing that could happen to us at the time. But we were very naïve and soon realized the darker side of the music industry, which led to many disappointments and arguments for our band and future.

"Transcendence" was released in 1988 and it is a monumental metal album. What do you remember from the recordings of the album and how important was Jim Morris' presence in production and the final result?

Jeff Lords: Jim Morris' presence was important, for one, because he understood our vibe and vision after working with us on demos and eventually our debut/self-titled. While we were a little better prepared for "Transcendence" on the pre-production end of things, other things were stepped up a notch and required more time, for instance, on the vocal and rhythm section end of things. There was a lot of trial and error. An example would be in how we used a Synclavier in conjunction with live cymbals played by Dana for creating drum tracks, hence, the solid, machine-like feel. 

Jon Drenning: I would have to say he was very important to the recording/production. Jim Morris was very detailed in every way imaginable and always insisted on us doing things over and over, get things as tight as possible. We spent countless long hours perfectly the sound of every instrument, the performance of every member. Especially when recording Midnight’s vocals. I have to say the attention to detail was intense. He also was very instrumental on experimentation with creating sounds. He was always willing to try a different amp, microphone, drum, etc. He was also open to our ideas and would let us throws ideas out there no matter how different it may be. He also ask us to "trust" him when how was mixing the album and really surprised us with some of the songs, especially our songs, "In Dark Places" and "Transcendence". Jim and his brother, Tom, did an outstanding mix/production on that last one in particular. Indeed, they did an outstanding job overall in every way, in my opinion.

Did you already have the compositions ready before you enter the studio?

Jon Drenning: I would say half the compositions were probably finished in rehearsals, but songwriting was ongoing throughout the entire recording process. I can remember spending countless hours working on ideas with Midnight – lyrics, arrangements, etc… trying to work out the dynamics of passion, emotion and depth. There were some songs that the other band members really did not like, but we pushed them through because we knew we were on the right track. It may not have been "metal enough" for them, but we weren’t looking for "metal enough", we wanted to move people deeply. And that’s what we did.

Dana Burnell's drums were sampled, right? Everything sounds perfect but why did you chose to record it this way?

Jon Drenning: At the time there was a new instrument called a Synclavier being used by Def Leppard on their albums extensively. It just so happened that a gentleman working at Morrisound had a Synclavier, and we wanted to use it in the hopes that our record would sound more cutting-edge. It certainly made us stand out. From the vast majority of other metal bands from that era.

While most of the music was written by both of you (Jon and Jeff) and with some input by Midnight, most of the lyrics were written by Midnight. Did Midnight wrote the lyrics and you worked on them or the opposite?

Jon Drenning: Midnight wrote the vast majority of our lyrics. At times I and others would help out with core sections or a bridge to reflect some of my musical ideas, but he was the predominant lyricist. A perfect collaboration would be from "In Dark Places" – "In arching moonbeams of light we glide, on bending shadows of warm starlight; angels of color light the night as they fly, transcending into the electric sky".

Midnight wrote the first two lines, I wrote the second two lines. It’s a good example of how we worked together when we/he needed an extra line here or there. Dana also contributed lyrics to a few songs, i.e. "Red Sharks", "Dream Dancer" come to mind…

That being said, Midnight spent many hours alone, late at night, scribbling lyrics into little spiral bound notebooks by candlelight… He was constantly revisiting and rewriting lyrics to achieve the perfect meter, rhyme and feeling, right down to each vowel. Most people don’t understand just how deep he got into what he wrote and sang – he literally felt every word.

Jeff Lords: Midnight had very little input when it came to the music, with the exception of the ideas that he had written on acoustic guitar prior to getting in the band. Two examples would be "Lost Reflection" and "Painted Skies". He had more of a say-so on those songs because he more or less wrote them in their most basic form. Truth be told, much of the time Midnight showed apprehension in this whole acoustic-to-heavy transformation process, for instance, when Jon (Drenning) would suggest chord or arrangement changes to Midnight's original pieces. Midnight wasn't always keen on the prospect of seeing the folk ditties he had created come to life has heavy metal pieces. But in the end, all of the band's influences came together and a wave was created, and Midnight, who had never even listened to heavy metal prior to meeting us, rode that wave with us.   

The presence and image of the band was also important and played its mystical role. You kept that for the live shows, too. Do you believe that you really managed to transfer the studio feeling onstage back then?

Jeff Lords: To me the music could stand on its own merits. The masks and image were an afterthought in an attempt to catapult some unknown guys from Florida into the world of heavy metal. In some ways it worked; in other ways it didn't work. One of the ways it worked was that, yes, it created a mystique around the band because you couldn't see our faces. We got magazine covers because of the masks. One of the ways it didn't work is that you couldn't see our facial expressions, at least, not when we used the full-faced masks in the beginning. This also made it ridiculously hot on stage. Sometime between the first and second album we were taking a long road trip to the next gig, and while doodling with a silver felt-tip marker I drew silver half masks on the faces of Duran Duran, who happened to be on the cover of a music magazine that someone had left in the van we were traveling in. I showed this to the guys and proposed that we cut each guy's full-faced mask diagonally in half and make custom cuts to make each guy's mask look unique. This kept some of the mystique, while allowing for enough facial expression that we no longer looked like a bunch of manikins on stage. Plus, we could actually breathe.

Jon Drenning: The idea was to help create a mystical quality behind the band. We felt the music was strong enough to stand on its own and part of our "mystique" was to avoid taking center stage over the music. Of course we also wanted to present an image that no other band was doing at the time, and I would say that we succeeded on both points.

What did you believe for the music industry when "Transcendence" was released and do you believe that you met your expectations as a band?

Jon Drenning: We were really naive and had no clue about anything regarding the music business, which is why we were so easily taken advantage of by companies like Roadrunner, signing us to horrible contracts which took everything away from us for years. It’s sad, really, because all we wanted to do was make truly great music for as long as we could. And in a way we got punished for our ambition. We really wanted to create a musical masterpiece that would be compared to the great albums we had grown up loving, something which would last for many years – well after the demise of the band. Our music is our legacy, and only the fans get to decide our fate. In that regard, we count ourselves very blessed that "Transcendence" is viewed as one of the best metal records of all time. It’s truly humbling.

Ben Jackson, rhythm guitarist of Crimson Glory and "Transcendence" also shares his memories on the early years.

Ben Jackson: We started out with our first record being with Par Records, a small label from Florida and ended up with Roadrunner Records picking up the first record and "Transcendence". We went into the recording for "Transcendence" with a lot of ambition to top our first record.  I think our vision was accomplished quite accurately.

It was a memorable time recording "Transcendence" and I would say that Jim Morris had a big role in the production and final outcome of the record. We were all working at our highest level for the album. The songs were all pretty much written before we entered the studio except a few lyrics to complete on a couple songs. We would sometimes make little changes on the fly while recording if it would make a song better.

As for the presence and image of the band, Ben Jackson said: I do feel we were able to transfer the studio vibe of the record pretty accurately in our live shows. We brought the mystic feeling and energy to our live performances and really tried to move and captivate the audiences.

Crimson Glory had the opportunity to perform in various festivals in Europe, Japan and United States, and share the stage with bands like Metallica, Queensrÿche, Metal Church and Ozzy Osbourne. After the release of "Transcendence" the press and magazines found a new metal legend. Everything looked in the right place and the album was addictive.   

What made "Transcendence" so great? Let’s have a look in each song.

Lady of Winter: "Her wraith rides the crystal sky of changing colors". Winter is personified in a lady and "woman" is one of the most important chapters in "Transcendence". A perfect opener with an excellent riff, groovy, effective and clear bass lines, and the songwriting we are missing nowadays. From the beginning you can easily understand that you will deal with an album that everything is clear sounding, courtesy of Jim & Tom Morris' production. Midnight shines here with his charismatic voice and passionate performance.

Red Sharks: The fastest, heaviest and most aggressive song of the album, is one of the greatest examples of the Iron Maiden influence on US power metal. "Hovering vultures like demons feed on all who bow to their communist scheme"... Lyrically it deals with Communism (or anti-communism to be more specific) and the artists approach might have change over the years since "Red Sharks" was written during the end of Cold War and thirty years later the "tyrannical dream" has different views in modern history, the United States and Europe. "Red Sharks" still remains as one of the greatest US power metal songs ever.

Painted Skies: "Only nightmares are real"... Although "Transcendence" is dominated by pessimistic lyrics, there is always a brighter shade of blue somewhere in the sky where hope dwells. Midnight doesn't sound like a usual singer and during his celestial performance in "Painted Skies", he is more like a vessel of a love spirit that needs to fly away and escape a nightmare or just live within a dream. Melodic and emotional, "Painted Skies" has also an addictive chorus that you will remember forever.

Masque of the Red Death: "The price that you pay for your lust may be your life" and Edgar Allan Poe sets the scene for a characteristic US power metal song inspired by the legacy and influence of Iron Maiden. There is even a part that reminds "Powerslave" and this track is the perfect example of what a great guitar duo was Jon Drenning and Ben Jackson.

In Dark Places: There is an aura of early Ritchie Blackmore's Rainbow here and a stronger one by Led Zeppelin's "Kashmir", but in the end it is just a whisper in the wind embraced by Crimson Glory and transformed in haunted melodies. The guitar work of Jon Drenning and Ben Jackson shines here and there is an exceptional arrangement and performance that leads to what some people consider as the highlight of a perfect album.

"From the deep she beckons me, promising eternity. In a world where nothing's real, beyond this realm of light and dreams". Midnight sounds like he is a friend and/or a vessel for emotions like horror, sorrow and pain. He made such emotions friends of him otherwise they would be enemies. But those emotions could turn to inner spirits and voices that might possess the mind and soul of the vessel. And they might did. Time could be just a status of mind but it is real in terms of ageing and the way the human form is changing. But everything you see is just what the eye catches and there might be another dark world where colors are not real. We all see the same thing but each one feels it differently. Midnight was an emotional performer, a poet and a tormented soul that wanted to live in the dark sides of mind. In dark places. And this song is the soundtrack of his existence.

Where Dragons Rule: "In a world between myth and strange reality"... the drum parts on this song are amazing. Simple but addictive. However, they have a robotically programmed pulse that fits perfectly to the marching of the army that will kill for the dragons, but the fire they're breathing is cold. That happens because the drum parts were taken and programmed into a drum machine and Dana Burnell recorded the cymbals over them. But this robotic coldness sounds very clean and makes a perfect contrast with the overall warmth vocal performance and that works in favor of the album. Unusual, but a perfect match and for sure the production has a lot to do with that. Bass guitar is perfect with its effective lines, like the dragon's heartbeat, and the guitar harmonies of Drenning and Jackson are majestic. Jon might be the lead guitarist but in songs like this one, you can clearly understand how important Ben Jackson’s role in Crimson Glory is.

Lonely: "She awakens from a dream to a silent room where shadows speak of memories"... and lyrically this song can be seen as both a sort of a sequel or prequel to "Painted Skies", depending on the view. The night will fade, the sun will shine and light the way for you to spread your wings, fly away, and find new love. There was also an edited video clip for "Lonely" and got airplay back in the time where video clips were just few, really expensive and YouTube was a futuristic vision.

Burning Bridges: This song is a progressive metal monument. "Transcendence" besides a perfect US power metal album, can also stand as a progressive metal leading album along with Queensryche's "Rage For Order" (1986) & "Operation: Mindcrime" (1988), Fates Warning's "Perfect Symmetry" (1989), Heir Apparent's "One Small Voice" (1989) and Dream Theater's "When Dream And Day Unite" (1989) - before the prog metal explosion with Dream Theater's second album, "Images And Words" (1992). It is not "progressive metal" with the meaning of the term today, thirty years later, but PROGRESSIVE with the meaning of its time, hence, ahead of its time. Songs like "Burning Bridges" are breaking the boundaries of heavy metal in 1988. Songs like "Burning Bridges" are for everyone.

"Tell me lies if truth reveals your love"... I always had the curiosity if this song was a kind of direction that Jon Drenning wanted to follow or explore. A sentimental piece of music with an amazing arrangement, guitar and vocal melodies. Midnight is outstanding in this song. A league of his own.

Eternal World: "Behold eternal world"... Originally written as an instrumental for the tour of the debut album in the Netherlands, it turned to a new and complete composition that is closer to the vibe of the previous album. However, it is perfectly placed in the track list of "Transcendence" and doesn't sound out of order. The instrumental part is just mind-blowing.

Transcendence: "They whisper in my visions, they haunt me in my dreams"... A hypnotic and mysterious song where after Jon Drenning's intro, it is dominated by Midnight's aura and performance. The perfect ending to a perfect album. An adventure that ends with a melody and lyrics that remind you that actually "it never really ends"...

01. Lady of Winter (M.: Drenning / L.: Midnight, Drenning)
02. Red Sharks (M.: Drenning, Lords / L.: Burnell, Drenning)
03. Painted Skies (M.: Drenning, Midnight, Lords / L.: Midnight)
04. Masque of the Red Death (M.: Lords, Jackson, Drenning / L.: Midnight)
05. In Dark Places (M.: Drenning, Lords / L.: Midnight, Drenning)
06. Where Dragons Rule (M.: Drenning, Lords, Midnight / L.: Midnight, Drenning)
07. Lonely (M.: Drenning, Lords, Zahner / L.: Midnight, Drenning)
08. Burning Bridges (M.: Drenning / L.: Midnight)
09. Eternal World (M.: Drenning, Lords / L.: Midnight, Drenning)
10. Transcendence (M.: Drenning, Midnight / L.: Midnight)

Midnight - vocals (R.I.P. July 8th, 2009)
Jon Drenning - lead guitar
Ben Jackson - rhythm guitar
Jeff Lords - bass guitar
Dana Burnell - drums

Produced by Jim Morris and Tom Morris for Morrisound Productions.
Co-produced by Jon Drenning and Crimson Glory.
Engineered and mixed by Jim Morris.

Cover illustration by Takashi Terada.

The artwork is based on a Japanese poster Terada made for the 1985 science fiction film "Lifeforce". Jon Drenning came across the image of the Japanese artist on the cover of the Omni magazine.

On the back of the cover, there is the Tree of Life from Kabbalah and also Greek-Egyptian letters. Everything seems to be connected somehow with the cover, the future the ancient past and the lyrics. What did you want to present?

Jon Drenning: I spent countless hours in libraries growing up, and even as an adult, and I would often read esoteric books on the great mysteries and religions of the world.  Midnight was also deeply interested in these subjects.

So, we felt using the Tree Of Life mixed with ancient Egyptian Coptic would add more mystery and intrigue to the band, and would reflect the lyrical content and music of the band. Midnight and I both believed strongly in an afterlife, and we were always trying to convey this through our songs, much to the chagrin of some other band members. But in the end it all seems to have worked out.

 But the future changed. The third Crimson Glory album, "Strange and Beautiful", was released in 1991 by Roadrunner Records. To be honest and despite the general opinion of many Crimson Glory die-hard fans, I personally love that album. But that’s another chapter in the play.

What happened?

"Strange and Beautiful" is a different record. It is not heavy metal but a diverse mix of styles. It might sound strange to most of the Crimson Glory fans but for me it is a beautiful album and there is some excellent songwriting therein. Ben Jackson (guitar) and Dana Burnell (drums) parted ways with the band because of the changed direction? What led you to this change of style and what do you really believe for that album?

Jeff Lords: After we did our last stint for supporting "Transcendence" we took some time off. When it came time to make demos for the next album, Jon and Midnight were living together in a beach house and Jon had access to some recording equipment. I believe it was a 9 track cassette recorder. So, those two were throwing some ideas around and actually recorded a few things. Ideas that would become "Strange and Beautiful" and "In the Mood" were a few of the first things they threw down. Jon played all the guitars on these demos because he wrote the parts, but a lot of it was just for convenience. These were just rough ideas, after all. In any case, after I dropped the bass, our manager was bugging us for material to give to a guy he knew at MCA Records out in L.A. Around this time Midnight began to sound rough around the edges, so naturally singing the high operatic stuff became a struggle. For this reason, the songs that Jon and Midnight had demoed sounded more like Led Zeppelin than Crimson Glory. Robert Plant was one of Midnight's biggest influences, after all.

Long story short, the band was shopped as a one guitar band and the A & R guy at the major label ended up loving the song "Strange and Beautiful", so much so that he asked if we could write a whole album in that style. By this time so much time had gone by that Ben and Dana understandably started their own project. Ironically, what they were doing sounded more like Crimson Glory than what we were doing. 

Ben Jackson: What led to the change in style is a question you would have to ask Jon. His ego was totally out of control at the end of the "Transcendence" touring and it was taking the band over in a negative way. Always ready to fire one guy or another at a whim. I got to the point where I knew it was not going to be a happy place for me. I will say that I'm still proud of the records and the few minutes of success we enjoyed.

Jon Drenning: Midnight was living with me at the time, and we would send many long hours late into the night writing songs with just the two of us and an acoustic guitar. We realized at the time that we were changing the sound of Crimson Glory and were leaning more toward our personal influences, especially Midnight with Pink Floyd and Led Zeppelin. So, after writing several songs, we decided on the title of "Strange and Beautiful", and envisioned making a double album, in which the songs that Midnight and I were primarily writing alone would be one record, and the more traditional progressive metal of Crimson Gory would be the other half - when we all go back together to write more songs. But Dana and Ben elected to leave the band and strike out on their own - mainly due to feeling left out of the writing process. As a result, we never got to see the culmination of that vision. Several of the heavier songs which were initially intended for "Strange and Beautiful" actually wound up on the "Astronomica" record several years later. Examples would be "Touch the Sun", "War of the Worlds" and "Edge of Forever".
Midnight left the band prior to the start of the tour and one year later, Crimson Glory broke up. Why Midnight did retired from the band and why did Crimson Glory stopped?

Jeff Lords: Midnight had started to succumb to the pressures of having to live up to the fan's expectations live. This drove him to drink in excess as a means to cope with this pressure, and this took its toll after "Transcendence" and even during the making of "Strange and Beautiful". This is why the vocals are mixed so quietly compared to previous albums. With the album finished, like any signed band, we were expected to play some shows. In rehearsals, it became clear to Jon, myself, and new drummer Ravi (Jakhotia), that Midnight didn't have the mental capacity or physical stamina to front the band live anymore, so we had little choice but to replace him at that point. 

Jon Drenning: It’s well known now throughout the world that Midnight had a severe addiction to alcohol, which he was constantly battling to the detriment of both himself and the band. It was really like having Jim Morrison in the band. He was our voice, our soul, and our demons, all combined.  Unfortunately it’s simply not sustainable form the standpoint of live performances. It was a daily struggle, having to care for and provide for Midnight which really took its toll on all of us. We loved him dearly, but we knew that ultimately we were forced to have a different singer. 

Let's move forward to 1999, when "Astronomica" was released. Were all the songs written for that album? I always had in mind that "Touch the Sun" was an older composition written as a follow up to "Transcendence" and you just confirmed that. Did you approach Midnight before the recordings and how did you come up with Wade Black?

Jon Drenning: The idea with Wade was that I’d previously seen him perform with a local band in Tampa at a smaller event, and Jeff was with me at the time, we were both really impressed at the power he displayed onstage. After the show, we introduced ourselves and told him what we thought. I got his number written down on a small piece of paper and I stored it away in a drawer for five years! So, when the time was right, I dug it out and called him up out of the blue, asking if he’d be interested in singing on some demos we were recording at my house. I believe he was working at a garage shop of some kind working on cars… In any event, reason being, was that Midnight, who was supposed to be coming to my house to record the new songs, was so deep into his alcohol addiction at that time that he was unable to rise to the occasion. I believe he really wanted to, but he just couldn’t manage it. We tried on several occasion to get him going again, but ultimately failed in our attempts. In a way, Wade was a stop-gap. He was a very powerful singer, but lacked many if the traits we feel he needed to continue as our singer. We always hoped Midnight would return to us one day, but it just wasn’t in the stars.

Why did you split up again?

Jon Drenning: While Jeff and I were proud of what Wade managed to accomplish with the "Astronomica" record, we knew that we needed more than just a great singer; we needed a lyricist/songwriter as well. Someone who could convey melody and emotion like Midnight. But truly, who really could?

I have to admit this: I've seen Crimson Glory with Wade Black during Astronomica Tour in Greece, with Midnight in Greece again in 2006, and later with Todd La Torre, but the show with Wade Black is by far my favorite one. There were many ups and downs and a continued uncertainty, but do you have any new songs written over the last years and do you think there will be something to wait for in the future?

Jon Drenning: Of course I have songs written that I had planned for the next Crimson Glory record, as I’m sure Jeff and Ben did. But as for the future, you never say never… The stars could align just right someday.

Never say never... But what about Jeff Lords and Ben Jackson?

Crimson Glory seem inactive but I assume that musicians of your talent are still active in music industry. So what have you done after the last shows with Todd LaTorre (vocals) and how do you see the music industry today?

Jeff Lords: I've been involved in my own project called Dark Matter since the departure of Todd (LaTorre), so this keeps me busy and my mind occupied. Our second effort "Encipher" was well received and we felt we had found our niche, so now we're currently writing for our third effort, and ironically, we recently revamped an old Crimson Glory song off the debut album and it was even mixed by the Jim Morris, the guy who mixed the original version of the song three decades ago. I say we "revamped" it, because while we kept the skeleton of the original, we definitely stacked more muscle on it. In fact, the song even morphs into Dark Matter at the end. We made it our own, rather than just mimic it.

How I see the music industry is that it's the same cut-throat business that it's always been, worse in some ways, and yet better in some ways with the advent of digital. Worse because if someone really wants your music without paying for it, they can achieve this. Better because albums can be made/produced without going into the red and subsequently owing your soul to a record label.

You can check Dark Matter HERE and join of Facebook HERE

Ben Jackson: Crimson Glory is a closed book at this point and I am really enjoying myself with my present band Avenging Benji. I get all the creative freedom I ever wished for in this band. Great and talented people and no drama. We have a new record coming out in 2019 and we did a European tour last May of 2018 that went over very well. The music business is ever changing and always challenging. Many fans get there music for free these days by waiting until they can download it. It's difficult to be successful as a band in today’s scene unless you tour a lot. But it's still rewarding in many ways if you enjoy what you're doing and maintain the right attitude.

You can join Avenging Benji on Facebook HERE

Crimson Glory have written history. And as Jon Drenning said, who knows, maybe the stars could align just right someday. The adventure might have more to show in the future and I am sure that such talented artists like Jon Drenning, Jeff Lords, Ben Jackson and Dana Burnell, will find the will, the way and a voice that will lead again the starship beyond the electric sky.

It does not mean the end. It never really ends.

Δευτέρα 15 Οκτωβρίου 2018

The View From Below: Thinking man's metal band - HEIR APPARENT interview with Terry Gorle.

Nearly after 30 years, US metal legend HEIR APPARENT returns with a new album! Seattle, WA's Heir Apparent was founded in 1984 by guitarist Terry Gorle. During 1985, Heir Apparent signed with Black Dragon Records and completed the first album "Graceful Inheritance" that was released in 1986. Up to this day, the debut album of Heir Apparent is considered as one of the best US metal albums of the 80s.
After highs and lows in the music industry and lineup changes, finally the band was signed by Metal Blade Records and released their second album "One Small Voice" (1989), one of the best progressive metal albums of all times. Although the future looked bright, tensions surrounding commitment and finances within the band caused a rift that split the group.
In 2011, Crystal Logic had a detailed interview with Terry Gorle regarding the history of Heir Apparent and you can read everything about the past HERE. 
"The View From Below" is the title of the third Heir Apparent album that is set for release on October 15th of 2018 via No Remorse Records.
"The View From Below" is produced by Tom Hall and Heir Apparent. Tom Hall has also produced all the previous Heir Apparent releases and he has also worked with Queensrÿche on "Queensrÿche" EP (1983) and "Empire" (1990), among others.

1. Man in the Sky (Schwartz, Shaw)
2. The Door (Gorle, Shaw)
3. Here We Aren't (Sakiya, Shaw)
4. Synthetic Lies (Gorle, Blair, Shaw)
5. Savior (Gorle, Blair)
6. Further and Farther (Gorle, Shaw)
7. The Road to Palestine (Gorle, Shaw)
8. Insomnia (Gorle, Shaw)

Will Shaw – Vocals
Terry Gorle – Guitar
Derek Peace – Bass
Ray Schwartz – Drums
Op Sakiya – Keyboards

Terry Gorle is a very intelligent person and you can regard Heir Apparent as "thinking man's metal band", something that was used in the past for Queensrÿche. We tried to approach Heir Apparent and "The View From Below" differently than most interviews and since we already spoke about the past 7 years ago, now we are talking about the present, the future and the world. This is a very special and thoughtful interview with Mr. Terry Gorle.
- Heir Apparent are back with a new album, nearly 30 years after "One Small Voice". "One Small Voice" was different than the debut album "Graceful Inheritance", and so it is "The View From Below" compared to the other two. One name, three albums, three different musical statements. What connects those albums?
TG: The bassist, the drummer, and the guitarist! This seems like a question for the critics to answer, since my only goal is to write good songs that are fun to play, and utilize the talents of the singer. The band has a general philosophy about mankind being the guardian of the planet, and the importance of rising above cultural delusions and inequality, so I suppose there is a continuity in the general themes of our song lyrics.,
- "The world has made its choice, there is no turning back now". Does the world reflect each one of us and are there choices that can't be undone? Or we just gave away everything to the "Man in the Sky"?
TG: Will’s lyrics alternate between statements from a personal view, a cultural view, a view from a segment of society, or a generalized impersonal overview of a world condition. This leaves many things open for interpretation by the listener, and I think it allows every person to find what they connect with and relate to. Personally, I think almost anything can be undone, but whether or not problems can be fixed depends on the power of the forces responsible for creating and prolonging the problem, or their ability to indoctrinate and control perceptions…
- "We hold the key to unlock the door and open our minds". Isn't this a choice or "The Door" is so well hidden that there is no choice after all? What choices Heir Apparent did in the past that should be better locked behind the door?
TG: Again, the listener has the freedom to find their own interpretations. To me, the lyrics represent oppression by any form of government or cultural institution that hides the truth from the public. This is a common element in several of our songs over the years, speaking to individual strength and the quest for knowledge. To be independent in the sense that you use your own mind and not be an unquestioning follower or victim of deception.
- "Everything gone in an instant, sometimes over before it began". The new album is completed and it is out there. Do you believe that in the current music industry MUSIC and ART really matter for the masses or everything is few clicks in fast-forward and everyone has an opinion for everything despite his knowledge or not? Are we here or "Here We Aren't"?
TG: Well, the sad state of an instant gratification society and the constant propaganda of marketing to either drain your wallet or drain your brain is disconcerting. I hope that people can pull their heads out of the sand and be smarter than that. For me, this is a very emotional melancholy song about birth and death, the occasional feelings of futility that everyone feels from time to time, and the idea that our lives are inconsequential within the bigger picture of our infinitesimally small place in this vast universe over billions and billions of years. Ultimately, this life is all we have, so we owe it to ourselves to make the very most of every moment to be the very best we can be. Although there are no lyrics at the end of the song, I am trying to express despair becoming a sense of hope in the solo.
- "On these new paths deep inside my brain, all the charts and graphs can hardly explain". Have you followed new music over the last three decades and where do you believe Heir Apparent can stand today? Does it matter after all or you just want to create your own ART despite the "Synthetic Lies" of the industry?
TG: "Synthetic Lies" was conceived as a prelude to "Savior", and far more of a science fiction story about the human mind and its perceptions and vulnerabilities. I don’t follow music in general, as my time and extra money is limited. When I have time to listen to music, it’s usually something at least 25-50 years old. This album was written with a hope to appeal to a wide range of people. In 1985, the audience for our music was 14-30… now it is 14-65… We made no effort to go backwards or copy the past. We simply set out to write songs that we enjoyed playing that provided a landscape for Will’s talent. Hopefully the industry, or at least some people within the industry, will appreciate the fact we have come out of nowhere to create something unique and valid, that does not copy any trend or cater to shallow formula consumerism.

- "Man and machine sharing thoughts". How was the recording procedure of the new album? Do you believe that the way technology has evolved it affects music positive or negative?
TG: The process of recording this album was new to us. We did not use a traditional studio or record as a band playing at the same time like on the previous albums. I engineered all the instrument tracking at my house. Will recorded his vocals at Tom Hall’s house. The album was also mixed by Tom at his house. Digital recording allows endless variables, so you need discipline to say when enough is enough. We had time and budget constraints, so in that sense it was similar to using tape and analog… at $50 an hour, time has not changed over time. ;-)
- "Comfort is the enemy". The new album has a strong artistic vibe but it might be out of current trends. How "Further and Farther" do you believe you can go with Heir Apparent?
TG: It all depends on the fans and the industry. Today’s trend is tomorrows leftovers, so all we can do is create something we are proud of and let the people decide. We feel this is our most complete and comprehensive album that Heir Apparent has made. Our work is done for now. If the story of a band who can come back after 30 years to create a great album becomes something the industry decides to get behind, then we will take advantage of that opportunity. We know there is a certain existing fan base that will buy this and enjoy it. Our ability to survive as a band beyond this, let alone ever come close to the dream of being professional musicians, depends entirely on forces within the industry deciding to support this to an audience that as of today is unaware we even exist. If someone in a position of power decides this album represents a new trend, here we go… those things are out of our control.
- "All roads lead to Palestine". World, politics, jobs, daily life, the complete system of modern society seems lost. Are we really lost and every individual is trapped in daily routine? In the '60s and '70s people of the art made a difference with public statements. Can this happen again or we will never find "The Road to Palestine"?
TG: Good questions… to one extent or another, we are all living within those traps. As artists, all we can do is attempt to educate and spark conversations that open minds. People need to want to change, they need to want to make the world a better place. Sometimes the sacrifice required takes too much effort, and the day to day struggles provide an excuse for inaction. If mankind is capable of rising above their cultural delusions and vengeance in order to unite and find peace, all roads lead to Palestine. Mankind has a limited time to utilize science and technology to create a sustainable planet that can feed 10 billion people by 2050 without accelerating the extinctions of plant and animal species that are necessary for balancing this biosphere. We must unite in science and bring our best minds together before it’s too late. 
The sad alternative is that cultural delusions and greed-driven politics will result in tribal factions fighting for diminishing resources, which will only buy the ignorant “winners” a short amount of additional time in a world far too damaged to recover. I’m not siding with the fatalistic, I’m presenting the reason for being reasonable.  It’s time for mankind to unite toward preservation of life on this planet. To bring this full circle… Art, and the ability to create it, is a luxury that can only exist when not eclipsed by whatever else is required to survive.
- "Chasing the dream". There are many positive reviews on the new album and you are already planning live shows for 2019. I hope "Insomnia" won't reach Heir Apparent and the silent whispers will turn to shouts. In every aspect. So which are your future plans?
TG: We are very encouraged by the early reviews. Now we wait for actual sales and the continued interest from promoters to tour and support the album. We have done the work and made the investment and sacrifice to be here for the fans, and we hope for the very best in return.
- And finally, why "The View From Below"?
TG: These are very strained political times in America and around the world.  The resurgence in nationalism, paranoia, prejudice, greed, propaganda, and corruption. “The View From Below” represents anyone looking at the world while suffering from oppression or inequality, either social, political, or institutional. Also, the album art suggests evolution and the connections that exist between everything in this universe… from a spiral strand of DNA to a spiral galaxy. Life, and existence. We look forward to performing for you in 2019, and celebrating this.

At the moment, Heir Apparent are booking dates for live shows in 2019 and confirmed shows so far include:
Up The Hammers Festival (Sat 16 March 2019) Athens, Greece
Rock Hard Festival (Sat 8 June 2019) Gelsenkirchen, Germany
Headbangers Open Air (Sat 27 July 2019) Elmshorn, Germany
More dates TBA

Follow Heir Apparent on Instagram HERE
Follow Heir Apparent on Facebook HERE
Follow No Remorse Records on Facebook HERE