To date, we have conducted 1275 interviews. If your band is available for an interview, feel free to contact us and we'll see what we can do. Here are our latest:
By now, most of the metal world has probably listened to At The Gates' brand new, critically-acclaimed album "At War With Reality." With this relentless recording, the legendary Swedish band demonstrated that it was possible to live up to the hype and create something as imposing as the previous, highly influential opus "Slaughter Of The Soul."
MetalUnderground.com had the opportunity to interview vocalist Tomas Lindberg about the genesis of the album, how it developed in the studio and its importance for At The Gates' decades-long musical journey.
Oscuro: At what point, after your initial 2008 reunion shows, you decided not to be just a "nostalgia act" but to write/record a proper album?
Tomas: From the beginning of the reunion we had a really good feeling. We had fantastic feedback from the crowds, we really enjoyed playing together and we felt that musically we were better than ever before. As we kept playing more and more shows the feeling never wore off, so the creative urge slowly crept up on us. Once the rest of us heard Anders' first musical ideas it was a no-brainer, we just had to make this record.
“Obsolescence” is the fourth album released by modern death metal group Abysmal Dawn. Released in late October via Relapse Records, the album offers more than mere DM brutality and speed. The album reveals elements of black metal made obvious by the band’s cover of Dissection’s “Night’s Blood.” The band’s technical abilities recall Nile, while its use of melody and rhythm bring to mind Hypocrisy. Overall, the album’s European feel makes it almost seem out of place in America. Americans love Euro style death metal, though, and the band has received its largest contingent of fans opening for Deicide.
During the last night of their tour guitarist/vocalist Charles Elliott joined me in the alleyway behind Dirty Dog bar in Austin, Texas, the preferred area for interviews at said club. In the following interview, Elliott discusses the tour, which also featured Septicflesh, Inquisition and Carach Angren, and recounts writing and recording “Obsolescence.”
Heralds of the Canadian technical death metal scene, there was a time when Beyond Creation was an unknown metallic entity (even being covered in our look at the technical metal underground a few years back).
Rising out of obscurity and landing a record deal, the band just dropped new album "Earthborn Evolution" last month via Season Of Mist, letting the world know tech-death isn't even close to slowing down or going tame.
With a new full-length in stores and upcoming world tour dates lined up for Australia and Japan, we got the chance to check in with Beyond Creation and hear a first-hand chronicle of the album's creation. Read the full interview below.
Lich King's "Do-Over" Vs D.R.I's "Crossover": A Thrash homage goes wrong.
American old school thrashers, Lich King, recently announced the release of their new EP "Do-Over." According to vocalist/founder, Tom Martin, the idea behind the recording was to give a second chance to some of their old material. "The first two albums are horribly recorded—I did them myself," Martin says. "The 'when will you re-record those albums' was a question we got often. So this is just five old songs, one cover and a demo of one of the new songs on a goofy EP. No big whoop."
One of the attributes that has always characterized this American band is its irreverent brand of humor. Because of this, it's perfectly to understand their decision of giving the new EP's title and cover art, a sort of postmodern, pseudo-satiric treatment. Taking as reference D.R.I's now-classic recording, "Crossover," Martin created (via digital techniques) a look-alike version of that blue-dominated artwork for "Do-Over." He would opt to feature Lich King's mascot (an undead king) instead of D.R.I's iconic running man present in the original.
Mexican black metal band Black Hate is working on upcoming material for a 2015 release, and this weekend we'll be premiering a new single in full (check out the teaser below) to give a taste of what to expect.
This upcoming new release follows both the "Los Tres Mundos" album and "The Dark Key of Enki," a split with Be Persecuted that came out earlier this year.
Black Hate mastermind B.G. Ikanunna can't wait for the world to hear the "Aneetmaa" single, which he refuses to classify either in terms of sound or lyrics, stating its up the fans to interpret it how they want. Eschewing the typical tunnel vision and elitism that plagues metaldom, he states "I'm not into just one genre you know? I just see the music as a gift for my satisfaction and I never care about the 'what people will think if I listen to this band, or that'."
Read on for the full interview to find out how the band is continuing to evolve and what's on the horizon for Black Hate.
Shane Embury (bass), Mitch Harris (guitars), Danny Herrera (drums) and Mark “Barney” Greenway have led the field of grindcore for over two decades. Now that we’re approaching the midway point through the teens of the 2000s, the band is showing no signs of slowing down. In early 2015, the group will release its follow up to “Utilitarian.”
Napalm Death was in Austin, Texas for the Housecore Horror Film Festival. They headlined the outdoor stage at Midway. Before the fathers of grind took the stage, front man Barney Greenway talked to us about this new recording. While some of the details such as the title of their album has been released to the public—they’re calling the album “Apex Predator-Easy Meat,” there are other details about the direction of their songs and Greenway delves deeper into the topic of the album.
In May, the sludge lords from Eyehategod released their first full-length in fourteen years. This period wasn’t void of activity. The band released short-play recordings such as a split with Soilent Green, “99 Miles of Bad Road” EP and “New Orleans Is the New Vietnam.” But the band hadn’t released a full-length recording since “Confederacy of Ruined Lives” dropped in 2000.
14 years is a long build towards a record and they needed to make something good. Their self-titled recording proved well worth the wait. The group couldn’t have picked a better title for the record. It is the ultimate EHG recording.
It contains what one expects from EHG—heaping loads of feedback, groove and punk-addled speed. It’s a faster, more aggressive beast. It’s also the final EHG recording featuring drummer Joey LaCaze who passed away in 2013. Possibly their fastest record, it was the perfect medium for LaCaze to showcase his skills—skills that showed him at the top of his game.
Front man Mike IX Williams was in Austin, Texas to play two shows at the Housecore Horror Film Fest. Early Sunday, he played with his industrial band Corrections House and then with Eyehategod later in the evening. We found Williams in the press room with his podcast cohort Perry P. The two had completed another podcast for the Thee Garbage Men show on Core of Destruction Radio. In the following interview, Williams discusses his involvement in various bands including spinning albums on Core of Destruction Radio. He tells us about EGH’s cryptic messages, playing with new drummer Aaron Hill and being interviewed for the NOLA series on Noisey/Vice.
When Dave Brockie died earlier this year, many fans of Gwar (bohabs as the group calls them_ wondered if the band would continue. Gwar is a large collection of artists and musicians, but Brockie played Oderus Urungus, the voice of the galactic space outfit.
Gwar is a joke that just can’t be stopped and the circus continued at the 5th Annual GWAR B-Q. There the band welcomed new members Blothar and Vulvatron. Blothar is a fat, filthy space Viking who enjoys ice fishing and ritualistic murder. Vulvatron is genetically engineered Scumdog assassin from the future. She has her own line of signature drag-racing motor oils, Vulvoline.
The Scumdogs are currently on the road as part of the “Gwar Eternal Tour 2014.” When the group showed up at the Housecore Horror Film Fest in Austin, Texas, I found Mike Bishop, aka Blothar in the press area enjoying Rudy’s BBQ. It didn't take long for him to get into his beserker character. In the following interview, the cordial Bishop, formerly Beefcake The Mighty, provides insight into the band's newest vocalist without accepting a single yam for his time.
26 years have passed since Bruce Corbitt recorded vocals for Rigor Mortis. The band recorded the “Freaks” EP (1989) and “Rigor Mortis Vs. The Earth” in 1991, but both recordings featured Doyle Bright on vocals. Rigor Mortis was put on a shelf after the latter album release, but returned in 2005. During this time of inactivity guitarist Mike Scaccia metalized industrial icons Ministry on the “Psalm 69” album and bassist Casey Orr assumed the role of Beefcake The Mighty in Gwar and Sheriff “Tubb” Tucker in X-Cops.
Just a year after Rigor Mortis’ reformation, Corbitt and members of fellow Dallas/Fort Worth ‘80s thrashers Gammacide formed Texas Metal Alliance. The group changed its name to Warbeast and recorded its first album “Krush the Enemy” in 2010. This album and their second full-length were both released on Phil Anselmo’s Housecore Records.
A year prior to the release of Warbeast’s “Destroy,” Corbitt joined original members of Rigor Mortis—Casey Orr-bass, Mike Scaccia-guitar and Harden Harrison-drums and recorded the 10 tracks that would become “Slaves to the Grave” at Al Jourgensen’s 13th Planet Studios in El Paso. The speed picking of their eponymous debut was maintained while Scaccia showed a knack for shredding that wasn’t as obvious on the first record. “Slaves to the Grave” was without a doubt Mike Scaccia’s best playing. Unfortunately, it was his last. Near the end of 2012, Scaccia died of a heart attack doing what he did best, playing a concert in front of his fans. Since Scaccia’s death, Rigor Mortis has played under pseudonyms such as The Scaccianators and most recently, Wizards of Gore. The former name performed to benefit the Mike Scaccia Heart Rock Foundation.
Bruce Corbitt was in Austin to play with both bands on the Housecore Horror Film Festival. When not enjoying the plethora of great bands, Corbitt was involved in other aspects of the fest. He sat next to metal dignitaries such as Phil Anselmo and film icons such as Bill Moseley on the Masters of Metal and Horror Panel. He also saw his documentary “Welcome to your Funeral (The Story of Rigor Mortis) debut. Corbitt’s directing earned him the award for Best Documentary by Housecore judges.
I caught up with Corbitt early on Friday to find out more about what he had in store for HHFF. He recalls recording “Slaves to the Grave” and talks about the future as Wizards of Gore and Warbeast.
Halloween hit Reading with a bang, as Indiana rock band SOiL hit town. Supported by American Head Charge, HEDp.E and Wolfborne, this tour has gone through Europe like a tidal wave of rocking beats and headbanging hair.
I managed to catch Ryan McCombs of SOiL pre-show and had a very interesting talk... Check it out below.
From a non-musician viewpoint, its difficult to comprehend just how hard it is to play one single instrument. For some of the more gifted musicians, they play them all. Enter Snowy Shaw, who early on in his career was best known as the blonde beast behind the drum kit for King Diamond and Mercyful Fate.
However, he is more than just a drummer....Snowy can out play so many other on guitar, bass, and even vocals. Having played with many bands (notably: King Diamond, Mercyful Fate, Notre Dame, Opera Diabolicus, Memento Mori, Dream Evil, Illwill, and more recently Mad Architect and his solo band) Shaw is a master of both music and the visual arts.
Earlier this year, Snowy celebrated his 25 year career with the release of new DVD/CD "The Liveshow: 25 Years of Madness in the Name of Metal." The DVD is a combination of material recorded in 2011 and 2012 with a myriad of guest stars to complement his solo band. In it, Snowy does it all with all the visual creepiness of an old time horror flick.
The musician....the artist....the animal activist - Snowy Shaw has never been shy about how he feels. He sat down with Metal Underground.com to talk about his stellar career and his forecast for the future.
Psychostick is back, and thanks to the crowd funding efforts of fans, the musical institution will again address truly important topics, like the intoxicating allure of beards, voting for President Rhino (who will answer the tough questions and get a real political dialog going in this country), the love dogs have for socks, and the all-encompassing power of Bruce Campbell.
All of these issues and more will be addressed on "IV: Revenge of The Vengeance," due out on November 4th, 2014. Before the album's release, the band needed to connect directly with the fans to thank them for their support and deny any vicious rumors that an upcoming song will be about "Sharknado."
See what the comedy metal troupe had to say below, including a scandalous and patently false claim that the universe imploding into a singularity would be a bad thing.
While Heaven Wept is, beyond any doubt, one of the front-runners of the American prog metal scene. Their unparalleled mingling of contrasting sonic landscapes, dynamics and sweeping melodies has seemed to reach a new pinnacle thanks to their brand new album “Suspended At Aphelion.”
Basically, this is a long 40-minute track (divided in several parts) that transports the listener from top notch progressive sounds to filtrations with Black Metal, Spanish guitar acrobatics, and dramatic dynamic changes.
We interviewed the band's leader, guitarist Tom Phillips, about the development of this impressive recording, the history of the band and the future to come.
Oscuro: Since 2009's "Vast Oceans Lachrymose," While Heaven Wept's fans have been waiting relatively short periods of time between new studio albums. Why is this happening? Is it because of your involvement with a proper record label like Nuclear Blast?
At once familiar but still offering a refreshingly new take on the style, In Search Of Sun creates a melodic hybrid of rock and metal that is seeing the band rising quickly through the ranks.
Having progressed far enough in sound in just a few years that the band ended up changing names entirely, In Search Of Sun's debut full-length album "The World Is Yours" dropped at the beginning of the month via Raging Demon Entertainment.
The hungry young group will embark on the "No Money No Bitches" tour across the U.K. starting on Halloween, and while preparations ensue we got in touch with vocalist Adam Leader to discuss the new album and the struggle of creating lyrics that are both personal but can still be related to by the audience.
Tuesday, October 14th. I step outside the parking garage across from Greene Street Club in Greensboro, North Carolina, and am nearly swept right off my feet.
Two members of Lynchburg, Virginia-based metal trio Mourn The Illusion, Jeremy McConville and Matt Burks, and I have just kicked off a whirlwind double-header concert trek through our neighbor to the south, braving relentless rain most of the way. For now, the rain has dissipated, replaced by a bracing wind that almost makes me want to perk my ears for the town tornado siren.
Tonight’s show is headlined by none other than Italy’s Lacuna Coil, and I'm set for an early “date” with co-singer Cristina Scabbia. As the first arrivals begin to congregate outside the box office, I punch in the number for the band’s tour manager, Gus, and realize it’s already stored on my phone.
“I think we’ve met before,” I tell Gus as he steps off the parked tour bus. The behind-the-scenes world of metal is a rather small one, after all.
“Some things never change,” he chuckles, “and another thing that apparently never changes is Musicians Forgetting To Check Their Watches. Cristina went shopping and hasn’t returned. Meet us back here in half an hour?”
Fair enough. We discover a cozy bar literally ten seconds around the street corner, the aptly named Stumble Stilkins, and thankfully remember to keep eyes on our own timepieces. After getting loosened up from the drive, we “stumble” against the whistling wind back to the bus and are finally ushered aboard.
With our ears still ringing, Cristina - an embodiment of several endearing Italian stereotypes, including talking excitedly with one’s hands - instructs us to make ourselves at home in the comfy back lounge. As I fire up my recorder, Jeremy and Matt casually inquire about her recent shopping jaunt.
Thursday, October 2nd saw Avatar, one of the most intriguing and visually arresting metal acts to emerge from Sweden this decade, perform in a support slot for Mushroomhead at Phase 2 in Lynchburg, Virginia.
Well prior to showtime, as early arrivals were casually gathering outside the venue doors, I sat down at a table in the adjacent restaurant with Johannes Eckerström, a true frontman if ever there was one. An outgoing giant of a young man, both in physical height and in spirit, Johannes is the latest in a long line of theatrically-inclined metal figureheads such as Marilyn Manson and King Diamond.
With the donning of trademark ghoulish face paint still a couple hours away, the German-Swedish singer and I were able to relate as contemporaries on a multitude of topics, starting with his band itself and running the gamut from musical nostalgia, to “selling out,” to nü-metal woes, to piracy, to cultural differences, to the “Rock God” myth and the “groupie mentality,” and much more.
We discussed artists as diverse as KISS, Foo Fighters, Christina Aguilera, Black Sabbath, Mayhem, Pink Floyd, Opeth, Cannibal Corpse, Slipknot, In Flames, Rammstein, System Of A Down, Limp Bizkit, Soilwork, Blind Guardian, Devin Townsend, The Beatles, Beethoven, Machine Head, Nine Inch Nails, the Jonas Brothers, and Led Zeppelin.
If ever an interview could be described as a portrait of a person, I daresay it would be this one. I give you Johannes Eckerström of Avatar - unabridged, unedited, and uncensored.
On November 9th a new star will blaze into the sky, rising from the depths of New Zealand to light the way of a new era where the morning star alone reigns.
Covered back in 2012 in our look at the underground genre-blending metal scene, The House Of Capricorn's new album "Morning Star Rise" is nearing official release next month through Svart Records (read our review here), and pre-order info can be found at this location.
Vocalist Marko Pavlovic of the Aukland-based group was eager to share his vision of apocalyptic devil rock for the world, and now you seekers of the left hand path can dive into his dark wisdom through our interview below.
Blurring the lines between the genres of extreme music, Khold is just as comfortable in black metal mode as in groove or thrash territory.
It's been six years in-between releases since "Hundre år Gammal" came out, and with the other projects of the band's various members on hold, Khold came together once again to unleash "Til Endes," which is out now through Peaceville.
Khold member Sarke (also known for his self-titled black metal project) checked in with Metalunderground.com to discuss the Norwegian outfit's sixth full-length album (reviewed here). Below you can see what Sarke had to say about the band's Sepultura cover, how the new album came together, and discover the fate of Tulus, which features several other members of Khold.
Polyptych's second full length "Illusorium" is one of the most interesting extreme metal recordings of 2014 as it exudes a unique kind of frantic ferocity and epic scope.
Mixed at the legendary Tampa's Morrisound Studios, its sonic and musical pedigree definitely stands alone. If you haven't heard much about it before, please don't blame yourself. You should blame the circumstances surrounding its release. After all, the Chicago-based band wasn't able to find a proper label that could help to expose the new genre-blending juggernaut to the metal masses out there.
MetalUnderground.com wants to help to change that. We spoke with the band's bassist/vocalist, Frank Lato, about the creation of this commanding 10-track journey and the complexities of working as true independent artists in the already saturated underground scene.
Oscuro: It's been 2 years since your fierce debut "Panels Engraved." It's a relatively short period between albums having in mind that you basically are an independent band.
Frank Lato: Polyptych was initially conceived as a studio project only, and has never had a stable lineup until the inception of “Illusorium.” When “Panels” was written and recorded, the band only consisted of [guitarists/vocalists] Young Werther and Scott Skopec, with Matt Kaminsky providing session drums. Following the release of "Panels," I joined the band, and “Illusorium” quickly came together. Having a third member allowed our songs to develop much differently than they did on “Panels” because there was an extra person on which ideas could be bounced. Once the album was written, we decided that Matt would also be a great fit for this new material, so Matt once again recorded drums for the album.
Oscuro: The previous album was more straight forward Death/Black Metal with a lot of Scandinavian influences. However, "Illusorium's" musical scope is broader, with richer textures and atmospheres, more complex rhythmic patterns and occasional dissonant riffing. Is this a sign of musical 'maturity' for Polyptych; maybe as a consequence of the growth you've experienced as musicians during your 6 years-career?
Frank Lato: It is definitely a combination of all those things. As you grow older and play your instruments longer, you develop as a songwriter, and you acquire new musical influences. We knew with “Illusorium” that we did not want to repeat ourselves, so we made it a conscious point that this new album would be more varied, dense, and complex, while allowing it to retain a very specific atmosphere.
Also, as mentioned before, the addition of a full time bass player helped the band to develop ideas more fully, and "Illusorium" has bass lines that either complement or counter what the guitars are doing – something that is not present on “Panels.” Frank also helped introduce some other textures not present on “Panels” such as extra vocal parts, synths, and fretless bass. Frank would compose synth parts, and then as a band, we would decide where they should go, how frequently they should be used, etc. Due to this new focus on the band writing music as opposed to individuals, “Illusorium” took the shape that it did.
It’s hard to gain respect as a black metal band, with many purists in the scene believing in order to be considered a black metal band you must live up to a certain standard. You must dress a certain way, have certain beliefs, and sound a certain way. Odinists can’t sing odes to Satan. Bands definitely can’t use keyboards or instruments other than traditional heavy metal drums-guitar-bass.
In the case of New York’s Black Anvil, the members are guilty of being from a region, New York, considered to be “hipster.” Many journalists focus on Black Anvil’s members playing in hardcore bands, a fact that has no bearing on the group’s sound. The group's latest record (reviewed here) “Hail Death” features elements considered untrue such as clean vocals, melodies, and even some groove.
In the following interview conducted during a tour with Skeletonwitch and Ghoul, vocalist/bassist Paul Delaney expresses frustration in that so many do not get his band. He makes its very clear that Black Anvil, is indeed, a black metal band. Expressing dark emotions, “Hail Death” is a passionate album with plenty of black metal elements such as blast beats, tremolo-picked riffs, and goblin shrieks. A reading of his lyrics brings all this passion together and puts into perspective the band’s convictions.
One of the major draws of the fifteenth ProgPower USA festival was the opportunity to get to see Sweden’s super-prog gents in Seventh Wonder perform their album “Mercy Falls” in its entirety (minus the awkward voice acting) for a live DVD. Judging by the crowd that they drew for that night, it was glaringly obvious that the fans had been wanting this. It was to be a fine performance, and neither Seventh Wonder’s first in the states nor their last of the 2014 festival. The band played again to a crowd of gold badge-holders and VIPs on Saturday morning, just hours later, which was also filmed for the DVD. These boys had some kind of crazy endurance!
During their first performance, members of vocalist Tommy Karevik’s other band Kamelot were in attendance, supporting Tommy’s first love in a gesture of solidarity and genuine enjoyment. After Seventh Wonder were through, MetalUnderground.com writer Frank Serafine was able to sit with them for a short time to get some answers that fans have been eager to dig up: Is the new record going to be a concept album and is “Inner Enemy” going to be on it? Will the new songs be more like “Inner Enemy” or is it just an exception? Will you come to Chile? How about an American tour? Charismatic bassist Andreas Blomqvist, eager drummer Stefan Norgren, quiet keyboardist Andreas "Kyrt" Söderin, guitarist Johan Liefvendahl, and the ever-smiling vocalist Tommy Karevik gladly revealed a few things while lunching backstage.
When not defiling graves and taking the lives of their native Creepsylvania inhabitants as they sleep, Ghoul creates thrashing grindcore songs about the mayhem that occurs in their pathetic, pit-of-Eastern-Europe town. Whether it's battling marauding bikers, opposing Commandant Dobrunkum's dictoral decree against rock ‘n roll or just songs about grave robbing and consuming the succulent flesh of humans, Ghoul writes hilarious songs with catchy rifsf that skaters dig. These above-the-catacombs dramas play out on stage, too, in a Gwar-like-blood-spewing fashion.
The hooded miscreants once again arose from their tombs and took a barge to North America, Count Dracula-style, to join up with blackened thrash titans Skeletonwitch and NYBM force Black Anvil. In order to bring you the following interview, I had to lead the guitarist/vocalist Digestor into the closest thing to his catacombs, a rat-and-roach-infested alleyway. He felt more at home in that environment.
Not altogether unexpected, given Evergrey’s close relationship with ProgPower USA promoter Glenn Harveston, it was still a nice surprise to most to see drummer Jonas Ekdahl and mainman Tom Englund announce a listening party for the new album, “Hymns For The Broken,” at ProgPower USA this year. Their video for “King of Errors” got the world chattering when it revealed that Ekdahl and previous guitarist Henrik Danhage were officially back in the band after a few years’ time. The listening party at the festival revealed that the support for Evergrey never waned among their core USA fans, with the crowd giving applause after every single song that played.
During their time at the festival, the Evergrey men made time to have a nice long chat in person with MetalUnderground.com’s Frank Serafine, during which it was revealed that much of the new album was inspired by mainman Tom Englund’s descent into depression and self-doubt, as well as overcoming it to get to where he is today. In good spirits, the guys joked throughout the interview. Englund even almost got teary-eyed when describing several touching emails he received from Evergrey fans. Moreover, it was revealed that Evergrey would like to eventually release an acoustic album, which would be an excellent choice given their flirtation with acoustic songs on past records.
Eluveitie. In 2014, it’s more than just a band name (especially if you can pronounce it correctly). It’s a symbol, a trademark, a familiar signature on a distinct masterwork born of an eclectic labor of passion.
It wasn’t always this way. When Nuclear Blast signed the underground Swiss octet in 2008, the “folk metal” subgenre had barely begun to make itself a rising force outside of Europe. Seemingly overnight, all that changed with the furious shred of a violin, the insane interlocking precision of flutes and whistles, and the solemn drone of a hurdy-gurdy (“Time to buy a dictionary,” puzzled many a stumped metal fan), all packed in a cannonade of melodic death metal riffage.
This apparently instant success, of course, was in fact the result of several years of uncertainty and perseverance, a far cry from the humble project launched by frontman and mandolinist Christian “Chrigel” Glanzmann in 2002. That evolving journey has continued to this day, throughout a massive world tour for the acclaimed 2012 album “Helvetios,” an extended break, and now, perhaps the group’s finest hour, “Origins.” (reviewed here)
Following Eluveitie’s first-ever performance on U.S. soil in support of the album, at the Baltimore Soundstage on Friday, September 19th, I caught up with hurdy-gurdy specialist and backing vocalist Anna Murphy backstage. Though fearless leader Chrigel had opted to hit the sack, several of Anna’s bandmates decided to join us, including drummer Merlin Sutter, guitarist Rafael “Rafi” Salzmann, guitarist Ivo Henzi, and - last but not least - bassist Kay Brem, who made a belated appearance bearing some vital information.
Formed in 2007, Canadian traditional metal act Striker set to stake a claim in the crowded so-called “New Wave of Traditional Metal” scene. If metal bands emerging from the Great White North are known for anything – it is how to fight, survive and win. They represent some of the most criminally underrated and classic bands found in heavy metal, especially when you count legends like Anvil, Exciter and Helix among newer acts like Cauldron and Skull Fist.
Spearheading a new influx of “true metal,” Striker has dropped its latest monumental effort “City of Gold” via Napalm Records earlier this month. It is a continuation of the power burst made on the breakthrough album “Armed to the Teeth” (2012) (see review here). With a little more punk influence added in this time around, the band have seemingly found “Cibola” and continue the march towards metal glory. Metal Underground.com sat down with the Striker’s newest axeslinger Tim Brown (Shadowblade/ex-Kobra and the Lotus), who joined in 2013, replacing Ian Sandercock.