Tagged: Soilwork

A chat with The Night Flight Orchestra is much like their albums – serious but fun. Recently Subculture’s David Griffiths spoke to the band’s David Andersson and discovered that just like their fans that their new album Aeromantic II was the album that the band needed in order to escape the panademic funk that the world found itself in.

Take a listen to the interview in which Andersson tells Dave how he spent his time unable to tour with both Soilwork and The Night Flight Orchestra but how that has resulted in some of the band’s finest work to date. The album is out now through Nuclear Blast Records.

Well after reviewing a lot of albums this year I have landed on my favorite 10.

10. UNLEASH THE ARCHERS – Abyss

Absolutely riveting.

9. SOILWORK – The Whisp Of The Atlantic

Soilwork said they wanted to do something completely different to what they had done before and they certainly did.

8. ME AND THAT MAN – New Man, New Songs, Same Shit Vol 1

An album that I can listen to over and over again.

7. SEETHER – Si Vis Pacem Para Bellum

Seether bounced back to their best with one of the most underrated albums of 2020.

6. VARIOUS ARTISTS – Murders In The Rue Morgue Vol 1

In their short history Rue Morgue Records have made a name for discovering some of Australia’s finest talent and this just brought it all together on one CD.

5. BON JOVI – 2020

As a year 2020 left a bitter taste in our mouth but nobody captured the mood of the world quite like Bon Jovi on their 2020 album.

4. ELEPHANT GUN – Now To Survive

Great to hear these guys back and now they deliver one of the albums of the year.

3. AC/DC – Power Up

AC/DC proved they still have it with a brilliant album of what they do best – catchy hard rock.

2. MARILYN MANSON – We Are Chaos

Stunningly brilliant album… if you haven’t heard it yet go out and grab yourself a copy right now.

1. AMARANTHE – Manifest

This band has just been getting better and better over the past few years and now they have reached the pinnacle with this amazing album.

 

When it comes to busy drummers nobody is busier than Dirk Verbeuren. As if  being a member of Megadeth and Soilwork isn’t hard enough work  he is also the stick-man for Norwegian death metal legends Cadaver who are about to drop their first album in 16 years.

“It all kind of accidentally started when Anders and I met back in 2014,” says Verbeuren as we begin to talk about the founding days of the new album – Edder & Bile. “I was filling in and playing for Satyricon whom I didn’t know that he played bass for at the time. Then when I was realised I was like ‘wow that is Anders from that band Cadaver that I loved when I was a kid.’ Then we sat down and he played me some more of the recent demos that he had been working on and he turned to me and said ‘why don’t we try and turn this into an album.’

Of course that magic didn’t happen overnight but the band kept working on it until they were happy with what they had. “Over the years we kept working on it,” he goes on to explain. “Some of the things we discarded and somewhere along the way we even changed the direction that we were going in but eventually it all came together and the touchstone for me was that there was a joy there because I got to work with Cadaver and they had a huge influence on me when I was a teenager so I kind of wanted to bring that raw energy from their early records. I followed the band their whole career but it was probably that early impact that has the biggest influence on you and I always thought that Hallucinating Anxiety was a masterpiece of a death metal album.”

 

Edder & Bile will be released through Nuclear Blast Records on November 23rd.

 


 

It is the maybe most demanding project of the Swedish metal icons: “The Feverish Trinity”, a trilogy of songs with accompanying videos that, according to SOILWORK, would ‘celebrate the Babylonian Death Goddesses that once made the world a more feverish and exiting place’.

The band have taken their last steps on this journey that led us to the abysses and dark sides of humanity and release the final instalment of this entity: ‘Death Diviner’.

The band released a monumental trailer for “The Feverish Trinity” lifting the veil for and revealing the bands’ thoughts behind the concept:

 

To celebrate the release of ‘Death Diviner’ and the showdown of “The Feverish Trinity”SOILWORK have also unleashed the official music video you can view it here:

 

“Death Diviner is the final installment in the Feverish trilogy, the end of the path that Feverish and Desperado set us upon. The overall theme of these three songs is an attempt to describe the otherworldy, the emotions your body can’t contain and the desperate measures you take when you feel that there is something out there calling for you, something much bigger than you, but you know that if you could reach it, talk to it, you’d feel a sense of belonging for the first time in your life. Because that’s what we all miss, isn’t it? We all want to belong somewhere, but it never feels right. You always have that itch, that slightly uncomfortable feeling that you could be so much more, if you’d only been somewhere else, with a soulmate who knew everything you’d been through, and never judged any of your actions because it was the only thing you could do at that time. Death Diviner doesn’t provide the answers. The Feverish Trilogy doesn’t provide the answers. But they provide a ‘’What if?” that might change your life.”

The song was written and composed by David Andersson. The song was recorded at SolnaSound Studios by Thomas Plec Johansson and mixed and mastered by Thomas Plec Johansson in The Panic Room, Skövde.  Cello and Piano by Hanna Carlsson, Shaker by Thomas Plec Johansson.
René U Valdes produced and directed the music video.

Buy / Steam ‘Death Diviner’ here: http://nblast.de/SoilworkDeathDiPreSave

 

There is perhaps no busier man in the heavy metal world than Bjorn ‘Speed’ Strid. Strid is the permanent front-man of not only the mighty Soilwork but also the highly energetic Night Flight Orchestra. Nobody really likes to talk about it but Night Flight Orchestra really began as a side project for Strid alongside his Soilwork band-mate David Andersson and Arch Enemy’s Sharlee D’Angelo. What began as a tribute to bands like Boston, KISS, Journey and Toto grew to what it has become now – a fully fledged band of its own which is about to release its fifth album – titled Aeromantic.

“We basically just continued,” says Strid laughing as I chat to him about whether or not the band had a plan when they sat down to start writing for Aeromantic. “We seem to be a band that just never stops writing. We never really leave the studio because we just keep on having sessions, whether that be over a long week, or two days or ten days. So I think we have taken away the drama of approaching a new album but simply just keeping on going.”

“We don’t really do that typical album cycle,” he goes onto explain. “We don’t do the album, then do some touring before taking a break for six months before approaching the next album. We also don’t do that thing where you book a studio for six weeks to finish the whole album at once. I think that has been a really good recipe for us so it is something that we continue to do and I think every album is still a little bit different. I think with each album we develop our sound a little more and I think it has become more personal even though it is pretty obvious where our influences come from. But I think we have created something really focussed with this album – it is extremely diverse but also really connected together as well.”

It is truly remarkable that the members are able to constantly keep writing for Night Flight Orchestra even when they are working with their other bands but Strid says that doesn’t hamper the writing process at all and in fact they are probably doing more writing than most other band’s do. “We are actually building up a quite a vault of songs,” he says. “It just keeps growing and growing, so much so that we probably could have released a double album for this one but we really didn’t want to push our luck. We’ve ended up creating an album that has a really good flow and that is what it is really all about. And there might be some songs that we didn’t use on this album that might show up on the next, but that is what I mean when I say that we are building a vault. We might go back and re-visit them or re-arrange them, but yeah it is a really creative unit and it is an on-going thing.”

Hearing about the vault leads us into a discussion about how does the band pick which are the songs that they are going to use for each album. “It is extremely hard to do that, especially with eight people in the band,” he says. “It is very hard but we really try to go for the vibe and try to create a sort of flow for the album. But it is very much like a jigsaw puzzle in the end and without trying to sound too pretentious that is what it is all about in the end. We also release singles, we roll with the times because the ‘album’ as we knew it is pretty much dead, now days it feels like it is all about singles and EPs for the streaming singles.”

“We also release singles because sometimes it feels boring when you release an album and then do a touring cycle… blah blah,” he says continuing. “We are always trying to break patterns there –we released a single last year and then a short film with ‘Cabin Pressure Drops’ which was highly unexpected and perhaps made people a little confused because I think they thought it was the first single off the new album. I think that is something that we will keep on doing, but the album itself is still something that is extremely important to us, but it has to have the right flow, and I think on this album the songs are even more connected even though it is even more diverse than ever.”

As our discussion draws to a close Strid delivers a very special message for Night Flight Orchestra’s Australian fans. “Guys you are in for a real treat,” he says. “This album is certainly going to take you for a journey so make sure you share it with your friends. Thank you so much for all of your support and we will work really hard to get over to Australia to do a tour very, very soon.”

Aeromantic is out now through Nuclear Blast Records.

 

There were probably some seventy-two year olds in Melbourne last night tucked up nicely in bed by 7.30. There were probably some others trying to work out whether or not they should wear the red or beige cardigan tomorrow. Then there was one seventy-two year old man named Alice Cooper. He was taking centre stage at Rod Laver Arena, rocking out like a man half his age with a hard rock that has to be seen to be believed… oh and he had some giant babies, masked psychos and a huge Frankenstein with him.

Yes as Melbourne can attest to this morning age has certainly not wearied Mr Cooper at all. Sure he isn’t jumping off speaker stacks any more but he can certainly still bring his audience one hell of a show… and that was something that we were all a witness to last night.

By the time Cooper hit the stage last night the audience was already pumped to the max. Victoria’s own Airbourne had already seen to that. If you have never seen the lads from Warrnambool live then you have really done yourself a disservice. How these guys aren’t already as big as their mentors AC/DC is beyond me. Their catchy tracks delivered with electric ferocity live is something any serious music fan must see.

Last night the lads certainly delivered. At one point they had Rod Laver Arena resembling London during The Blitz as air raid sirens sounded and search lights darted this way and that. The highlight of their set though was when Joel O’Keeffe left the safety of the stage during “Girls In Black”, ran through the crowd and then scaled the banister of level 2 all while still playing guitar and not missing a beat… you want showmanship – you certainly get it with these guys.

That showmanship then continued with Mr. Cooper himself. Not to be outdone he brought his very own Nightmare Castle set with him. A set complete with chandeliers, two levels and more fire torches then on the set of Survivor. But if you thought the set was impressive that was nothing compared to what happened when the music started.

Cooper is now at a point of his career where three generations of fans now turn up to his shows. A quick look around the arena last night and it was very easy to see those in their sixties still decked out in their early Cooper T-Shirts, people my age who also got into the legend’s music through their parents album collection and then the younger generation just as eagerly excited as their parents. There was even one primary school aged kid their last night wearing a jacket that not only boasted an Alice patch, but also patches for Soilwork and Kreator… respect young Sir, respect.

None of those three generations would have left Rod Laver last night disappointed as Cooper once again delivered the showmanship and brilliant live show that has seen him at the top of his game for 50 years. The true testament to how well the show engaged with the audience was that not only did the fans sing along with the hits like “I’m Eighteen,” “Poison,” “Department Of Youth” and “Schools Out,” but how that singing continued even with slower tracks like “My Stars.”

The last time I saw Alice live it seemed like the theatrical side to his show had died off a little, last night he proved that wasn’t the case though. Last night he had a masked psycho kill fans who ‘invaded’ the stage during “He’s Back (The Man Behind The Mask),” his bloodied bride appearing during “Rose On White Lace.” Then of course there was the epic performance of “Steven” and “Dead Babies” ending with Cooper being put to death before ultimately returning to the stage.

An Alice Cooper show though is just a glorified Dracula’s performance though. No, Cooper has surrounded himself with one of the finest bands in the world. When you have Nita Strauss, Tommy Henriksen and Ryan Roxie delivering the goods like they did last night on guitar and then joined by Glen Sobel who delivered a literal ground-shaking drum solo on “Black Widow Jam”, then your band is something pretty special.

Perhaps though my highlight of the night was Cooper himself picking up the harmonica and playing soulfully alongside his band as he brought a haunting sound to the very catchy “Fallen In Love”. If there was anybody out there dumb enough to suggest that Cooper’s time is up, then that was the time that showed it certainly isn’t.

Cooper last night showed Melbourne that there is still life in ol’ black eyes yet. A stunning band, entertaining theatrics and tracks that had people singing along all night, that is all you really want from a show like this. Perhaps Joel O’Keeffe best summed it up last night when he said “As long as I’m still alive, as long as you’re still alive, rock ‘n’ roll will never die!”

“It is with great sadness that we have to inform you that our tour in Singapore, Australia and Japan will be postponed, due to circumstances beyond our control. We were very excited about performing songs from our new album ‘Verkligheten’, as well as songs from our entire career. It really hurts but at this point there’s really nothing we can do. All we hope is for your understanding, cause this not something we take lightly and we also realize that a lot of people will be disappointed. We kindly ask for your patience, as we will return in the Spring of 2019’’.

SOILWORK release their new album ‘Verkligheten’ on Friday 11th January via Nuclear Blast. SOILWORK singer Björn “Speed” Strid on‘Verkligheten’: “I’m really, really pleased with it – it’s really, really cool. It’s possibly the most epic and darkest album we’ve done. And it’s also very melancholic, but it’s also very sort of uplifting. It’s huge. I’m really happy with it”.

SOILWORK 2019 Re-scheduled tour dates are:

Thursday 31st October – The Triffid, Brisbane

Friday 1st November – Manning Bar, Sydney

Saturday 2nd November – Max Watt’s, Melbourne

Brisbane’s Lavidius are today announcing the release of their brand new LP, “Helisma” on Friday September 1st. The five-piece brutal crew out of Brisbane premiered their new single ‘Days Get Darker’ (featuring  from massive Swedish metal act Soilwork on guest vocals!)  on The Racket with Lochlan Watt and online with Hysteria Mag. The band released first taste of Helisma with single Cold and Alone last month.

The new single ‘Days Get Darker’ will be available in Spotify this Friday, as will the pre-order for ‘Helisma’ in iTunes, Google Play and all other online outlets. Physical product pre-orders will be available at the band’s Big Cartel online store same day.

2014 saw Lavidius enter studio Anders Debeerz to record their debut EP “Prison Within”. It was mixed by Adam Merker and mastered at Fascination Street Studios by Jens Bogren and released on September 20, 2014. In June 2016, Lavidius entered studio Anders Debeerz again with Adam Merker to record this, their debut album “Helisma”. It was through Adam Merker that the connection Soilwork’s Björn Strid was made.

Jon Shedden, guitarist for Lavidius, said this about the collaboration. “We are absolutely stoked to have been able to work with Björn, Soilwork have been a massive influence on all our lives and our music journeys. Soilwork are personally one of my all time favorite bands. We all really hope everyone digs the direction of this album – because we couldn’t be happier with how it’s all sounding!”

Lavidius have supported and played shows with Spanish thrash band Angelus Apatrida and Australian legends Orpheus Omega, Witchgrinder, DarkCell, Chronolyth and Vanishing Point.

Days Get Darker will be available online this Friday 28th July in Spotify and the album ‘Helisma’ will be available to pre-order on iTunes, Google Play and all online outlets same day at at Big Cartel for physical products.