Album review: Don Airey “One Of A Kind” | Solo album from Deep Purple’s keyboardist

Don Airey

By Stefan Nilsson, Roppongi Rocks

Deep Purple’s Hammond master Don Airey has a new solo record coming out. It’s way better than anything Purple has released in recent times.

Don Airey joined Deep Purple as stand-in keyboardist in 2001 and subsequently as a permanent member the year after when Jon Lord retired from the band. But he has done so much more than just Purple in his career: he’s played with Rainbow, Black Sabbath, Gary Moore, Cozy Powell, Ozzy Osbourne, Whitesnake, Judas Priest, Jethro Tull, Brian May, Bruce Dickinson, Michael Schenker, Helix, Fastway, Graham Bonnet, Saxon and much more. This is a musician whose middle name is “Pedigree”.

Don Airey’s “One Of A Kind” is an album living somewhere between American classic rock and British blues-based hard rock. His backing band is made up of musicians Airey has played with in other bands: Nazareth’s current singer Carl Sentance (who Airey played together with in the band Persian Risk and on a solo album by Sentance), bassist Laurence Cottle (who played with Airey in the Gary Moore band) and drummer Jon Finnegan and guitarist Simon McBride (who both played in Ian Gillan’s solo band with Airey). And speaking of Ian Gillan, some of the music on this album – such as the splendid “Victim of Pain” – reminds me of the sound of Gillan, Deep Purple singer Ian Gillan’s solo band in the early 80s. Great stuff.

“Children of the Sun” is terrific and so is “Respect”. The title track “One Of A Kind” is a good-fun rocker with phenomenal orchestration. Airey allows himself to shine on many of the songs by adding a keyboard solo here and there. It is his album after all and he does his showing off in a tasteful and proportional manner. Welshman Carl Sentance is such an underrated singer. In addition to Persian Risk, he has also sung with Krokus, Geezer Butler and Nazareth. He is doing a stellar job in Nazareth, but there he is always compared to his retired predecessor Dan McCafferty. With Don Airey he has a better chance to get his due recognition because he hasn’t replaced anyone and he is singing new material that he has co-written with Airey. What a pair! They can write and perform together and deliver the goods on this album.

Don Airey’s album “One Of A Kind” will be released on 25th May via earMUSIC internationally and Ward Records in Japan.

Album review: Dimmu Borgir “Eonian” | A symphonic black metal masterpiece

By Stefan Nilsson, Roppongi Rocks

Norwegian symphonic black metal masters Dimmu Borgir are back with their first studio album since 2010. It’s bombastically brilliant.

Norwegian symphonic black metal masters Dimmu Borgir have got a new album ready, the band’s first studio album in eight years. It is massive. It is everything I had hoped for and more. It’s sensationally good. It is Dimmu Borgir at its best with its trademark dark and bombastic melodic metal, combining sinister guitars with splendid choirs and prominent use of keyboards to create a fantastic soundscape. At times, as is the case with the tracks “Alpha Aeon Omega”, “I am Sovereign” and “Rite of Passage”, it sounds like a soundtrack to an epic movie. There are majestic choral arrangements here that could come straight out of “The Omen” movie.

Dimmu Borgir formed in Oslo, Norway in 1993. The band is fittingly enough named after an Icelandic volcano: this band is a Nordic force of nature. In its early days, the band had a rawer sound closer to other early Norwegian and Swedish black metal bands. Over time, Dimmu Borgir has evolved and created its own signature sound that is still best described as symphonic black metal. While they established their signature sound, they still offer quite a lot of variety within those parameters. On the splendid track “Interdimensional Summit” they manage to combine a lot of things, even managing to sound like “Floodland”-era Sisters of Mercy. Fantastic! Dimmu Borgir never lets any genre limit is creative output. Another immediate favourite is “Council of Wolves and Snakes” with its gloomy and haunting soundscape and what sounds like chanting by some sort of indigenous people. The album is rock solid with absolutely no weak spots. If you like dark symphonic melodic metal, this is a masterpiece you need in your record collection.

Dimmu Borgir’s album “Eonian” will be released on 4th May via Nuclear Blast internationally and Ward Records in Japan.

Gig review: CTA featuring ex-Chicago members Danny Seraphine, Bill Champlin and Donnie Dacus

CTA on stage in Tokyo. Photo: Masanori Naruse

By Stefan Nilsson, Roppongi Rocks

A fine evening of grown-up rock at Billboard Live with former Chicago members Danny Seraphine, Bill Champlin and Donnie Dacus reunited in CTA.

Danny Seraphine of CTA on stage in Tokyo. Photo: Masanori Naruse

CTA at Billboard Live, Roppongi, Tokyo, 19th April 2018

American rock band Chicago’s original band name was Chicago Transit Authority. When original drummer Danny Seraphine created a new band he paid tribute to his legacy by naming the band CTA – California Transit Authority. In CTA, Seraphine (who was Chicago’s drummer from 1967 until 1990) has reunited with two of his former Chicago band members, Bill Champlin and Donnie Dacus. Champlin sang and played guitars and keyboards with Chicago between 1981 and 2009, while Dacus had a shorter stint as a guitarist and vocalist with the band in 1978-79. In addition to his stint with Chicago, Dacus famously starred in the 1979 movie “Hair” and was a member of Badfinger.

Bill Champlin of CTA on stage in Tokyo. Photo: Masanori Naruse

In addition to the three former Chicago men, CTA features some serious firepower and musical pedigree in the form of guitarist Marc Bonilla (Keith Emerson, Glenn Hughes), keyboardist and pianist Edward Roth (Glenn Hughes, Sebastian Bach, Rob Halford, Impellitteri), bassist Travis Davis (Keith Emerson) and vocalist Tony Grant. They are complemented by a fabulous three-person Japanese brass section dubbed the Banzai Brass.

Just like Chicago was at its best, CTA is a terrific grown-up classic rock band with elements of jazz, blues, soul and funk weaved into the mix and with an elaborate use of the brass section as well as keyboards and piano. With a ten-member band, we get no fewer than four people singing lead vocals on various songs, providing great variety in musical style. This evening we obviously get some classics from the Chicago back catalogue, such as “Saturday in the Park”, “You’re the Inspiration”, “Look Away”, “Take Me Back to Chicago” and “25 or 6 to 4”. The highlight of the evening is no doubt the rocker “Turn Back the Pages” with Donnie Dacus on fire on the guitar and also providing lead vocals. This is a song Dacus originally wrote and recorded with Stephen Stills and then also performed with Chicago. Fabulous!

Donnie Dacus of CTA on stage in Tokyo. Photo: Masanori Naruse

But it is not all Chicago, we also get things such as “Turn Your Love Around”, a song co-written by Champlin for George Benson, here turned into a great jazz-rock jam by the band. Champlin’s voice is intact and sounds as good now as it did in the 80s while Seraphine shows us that he is still a world-class drummer. “We’re 70 and still rocking!” he says between a couple of songs and he is right. These veterans are still relevant and they sound great. What a fine evening of grown-up rock music.

Billboard Live is a terrific intimate venue where the artists have to walk through the audience in order to get up on stage. With tiered seating, everybody in the audience has a great view and the sound quality is superb.

CTA on stage in Tokyo. Photo: Masanori Naruse

Gig review: Destruction destroys Tokyo with a thrash metal attack in Meguro

Schmier and Mike Sifringer of Destruction on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Thrash Anthems Live: German thrash metal veterans Destruction kick off their Asia-Pacific tour in style in Tokyo.

Destruction at Rockmaykan, Meguro, Tokyo, 16th April 2018

Schmier of Destruction on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

Destruction walks on stage and completely destroys Tokyo on this fine evening in Meguro. They are on fire for this first gig on their Asia-Pacific tour. Thrash metal in general and specifically German thrash is popular in Japan. Destruction is at the top of the German heap together with Kreator and Sodom. Like their American Bay Area cousins, Destruction serves up world-class thrash metal and once again prove that they are one of the genre’s best bands.

This evening in Tokyo we get a killer set list that is almost flawless and near perfection. They open with 80s favourite “Curse the Gods”. They immediately follow that with the more recent “Armageddonizer” before they return to the 80s back catalogue with “Tormentor”. One of the evening’s obvious highlights is of course “Nailed to the Cross” when the whole audience goes wild and shouts “Nailed to the fucking cross!”. The anthem “Mad Butcher” follows. The evening continues like that with a mixture of old classics and newer material. All of it is bleeding terrific.

The band’s co-founders Mike Sifringer (guitar) and Schmier (bass and vocals) are as good as they ever were since they founded the band in 1982. They are tight and they deliver. Even the early classics sound better now than they did back in the day as the band members are now much better musicians.

Randy Black of Destruction on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

The Tokyo gig is not only the first gig on the Asia-Pacific tour, it also marks the first time that powerhouse drummer Randy Black plays a full set with the band (a few years ago he toured with the band as a fill-in when Destruction performed a shorter set). The former Annihilator, Primal Fear and W.A.S.P. drummer is an animal behind the drum kit and he brings the songs up a level with his energy, power and finesse. Let’s hope that he becomes a permanent member of the band. The Canada-born drummer is already based in Germany and he’s a great fit for the band.

A great thrash metal attack gig is topped off with an encore featuring “Thrash Till Death”, a cover of the Dead Kennedys’ “Holiday in Cambodia” and, of course, “Bestial Invasion”. Total thrash metal awesomeness. Thrash at its best. The rowdy crowd of Japanese Destruction lovers helps the band from the first note until well after the band has rushed off to the airport to make the Bangkok flight. This was one of the best gigs in Tokyo this year (so far). A big thank you to local organiser Metal Justice Tokyo for bringing Destruction back to Japan. It is great to see this kind of grassroots organisation made up of fans bringing their favourite artists to Japan independently.

Schmier of Destruction on stage in Tokyo. Photo: Caroline Misokane, Roppongi Rocks

Album review: Gus G “Fearless”

By Stefan Nilsson, Roppongi Rocks

Greek guitar wizard Gus G is back with a new solo album.

Greek guitarist Gus G first made a name for himself in bands such as Nightrage, Dream Evil and Firewind and even played in Arch Enemy for a short while. But it is as Ozzy Osbourne’s guitarist he became known to the masses. With Zakk Wylde now back in Ozzy’s band, Gus G has more freedom to get on with his own musical projects, now mainly focusing on his band Firewind and his solo career.

A year ago he did some terrific solo shows here in Japan and now he’s back with a new solo album, “Fearless”. The album kicks off in style with the energetic track “Letting Go” and it is followed by “Mr Manson”, one of the album’s standout tracks where we – obviously – get some guitar thunderbolts but also a catchy, modern rock song. “Don’t Tread on Me” is another contemporary sounding rocker of a song. The instrumental title track “Fearless” sounds a lot like something that could have been done by Marty Friedman. It is my favourite track on this album. “Nothing to Say” is an AOR-type melodic rock ballad. The album continues to mix musical styles, instrumental pieces and tracks with locals throughout its ten tracks. Gus G’s amazing guitar wizardry remains at the centre of it all but without crossing the border to guitar wankery country.

One of the instrumental tracks, “Thrill of the Chase”, is a wonderful showcase for what Gus can do with his guitar. Dire Straits’ monster hit “Money for Nothing” gets the Gus G treatment. If one is going to do a cover song, one has to do something different, adding something to not make it pointless. Gus G does that here. The classic 1985 Mark Knopfler song gets a modern makeover that works very well. On this album, Gus is backed up by vocalist/bassist Dennis Ward (Pink Cream 69, Unisonic) and drummer Will Hunt (Evanescence, Black Label Society). The trio delivers on every song. “Fearless” is a solid and accessible melodic album showcasing Gus G’s guitar skills.

Gus G’s “Fearless” album will be released on 20th April via AFM Records.

Gus G backstage in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

Live album/DVD review: Anthrax “Kings Among Scotland”

By Stefan Nilsson, Roppongi Rocks

American thrashers Anthrax on top form in Scotland as they mark the 30th anniversary of “Among The Living” with a live release.

American thrashers Anthrax are always great live. I first saw them live in 1990 when they opened for Iron Maiden and most recently last year when they opened for Megadeth. Always full of energy, attitude and ready to entertain their audience. On the new live CD/vinyl/DVD “Kings Among Scotland” we get exactly that. Anthrax has released some brilliant studio albums over the years, but it is live on stage, in front of their fans, that these American thrashers really become kings of Scotland and the rest of the world. The sweat, the headbanging, the singalongs, the air guitar duels, the circle pits and the metal horns in the air take this to another level.

The two-disc release “Kings Among Scotland”, recorded in Glasgow on 15th February 2017, is split into one best-of disc and one where Anthrax plays their 1987 album “Among The Living” in its entirety to celebrate its 30th anniversary. On the first disc of “Kings Among Scotland” we get all the good stuff we would expect from an Anthrax gig: “A.I.R.”, “Madhouse”, “Evil Twin”, “Medusa”, “Fight ‘Em ‘Till You Can”, “Blood Eagle Wings” and more. Anthrax is in great form and the current line-up is killer. Charlie Benante (drums), Scott Ian (rhythm guitar), Frank Bello (bass), Joey Belladonna (vocals) and lead guitarist Jonathan Donais are on fire here. Only guitarist Dan Spitz is missing from the line-up that recorded the original “Among The Living” studio album.

On the second disc, the band gets challenged as they don’t usually play some of the tracks from “Among The Living” in their live set. But they pull it off big time. What a treat! One of the best thrash metal albums of all time performed live in front of a sold out rowdy crowd of Scots at Barrowland Ballroom in Glasgow. “Caught In A Mosh”, “I Am The Law”, “A Skeleton In The Closet”, “Indians”, “”Efilnikufesin” and all the good stuff served up as a thrash metal feast. The band finishes with “Antisocial”, a cover of a song by French hard rockers Trust that Anthrax has made into its own over the years.

The production is fabulous as it has managed to capture the energy and rawness of Anthrax live. The album cover art is a terrific tribute to the classic KISS album cover “Rock And Roll Over”. Buy the vinyl version and frame it.

Anthrax’s “Kings Among Scotland” will be released on 27th April in Japan via Ward Records in Japan and Megaforce internationally.

Scott Ian of Anthrax on stage in Tokyo in 2017. Photo: Stefan Nilsson, Roppongi Rocks

Album review: QFT “Live in Space” | Therion’s Linnéa Vikström and Dynazty members unite on new album

By Stefan Nilsson, Roppongi Rocks

As Therion’s Linnéa Vikström goes out on her own with QFT, she brings a big chunk of Dynazty with her into the studio.

Linnéa Vikström has made a name for herself as one of the vocalists in the Swedish symphonic metal band Therion. She’s been touring the world with Therion since 2010. She is also the daughter of Thomas Vikström who’s been fronting Candlemass, Talk of the Town and currently Therion.

Now Linnéa makes her solo debut under the name QFT, which is short for Quantum Field Theory. Lyric-wise we get a space journey covering everything from modern science to the big questions about eternity. This album is rather varied and showcases very well the many sides to Linnéa. Her terrific voice is backed up by her fiancée Georg Härnsten Egg on drums. He brought with him fellow Dynazty member Jonathan Olsson bass and former Dynazty touring guitarist Mano Lewys as well. It doesn’t end there. Dynazty’s guitarist Mikael Lavér appears as a guest on the album’s title track. So, we get a lot of Dynazty people in the studio, but the end result is a very different sound.

The album’s opening track, “End of the Universe”, is bombastically terrific. The song lives in the same musical neighbourhood as Therion and also has some of that Candlemass doom in it. The next track, “Big Bang”, is more pop-like, and it is followed by “Black Hole”, which is somewhere in the middle of the first two songs. And this is how the album continues, with constant changes in styles. It covers a wide spectrum of music, but it always has Vikström’s strong voice at the centre. The title track “Live in Space” is a full-on power ballad with an 80s guitar solo and all. The album closes with an unexpected cover of the Björk song “Joga”.

The album sounds great. It was, for the most part, recorded live in the studio which means it captures that proper feeling of real music being performed by a band. Lording over the production was sound engineer Lennart Östlund, a man who learnt his trade in the classic Polar Studios in Stockholm where he worked with ABBA, Genesis and Led Zeppelin.

QFT’s album “Live in Space” will be released on 4th May via Despotz Records.

Album review: Metalwings “For All Beyond”

By Stefan Nilsson, Roppongi Rocks

Metalwings gives us symphonic metal with folk music touches on its second album. But most of all, we get the angelic voice of Stela Atanasova.

Bulgarian band Metalwings, founded in 2010 by classically trained vocalist and viola player Stela Atanasova, released its debut album in 2016. Now they’re back with a brand new album filled with great symphonic metal.

Most journos want to put labels on artists to make it easy to describe things and relate an artist to other acts. Many artists don’t agree with the labels they are given and most don’t want any labels at all. So, Bulgarian symphonic metal. That’s what this is. “Immortal Metal Wings” is a great song that gets it all into one song. It’s a great showpiece for what this band is all about. “When We Pray” is terrific with great musical arrangement and instrumentation. “A Wish” combines some brutal riffs with beautiful vocals. On this album there is certainly some of that Nightwish-like atmosphere, combining symphonic metal with operatic vocals and many changes in tempo and style. As is the case with some other bands in the symphonic metal genre, we also get some folk-inspired elements in the music. This is a beautiful album built around Atanasova’s splendid voice. The music is dominated by keyboards, given extra life with the addition of viola and flute parts, and with metal guitars and drums as an overlay, just like you’d expect from a European symphonic metal act.

They are not reinventing the wheel here, but it is rather good. Metalwings sounds similar to many other symphonic metal bands, but they do show us some other sides as well. In “Tujni Serca” we all of a sudden hear a more personal musical performance. The song stands out as it is focused on a beautiful voice and it completely leaves out the electric guitars. On this solid album, we also get alternative versions of two of the album’s tracks, a dramatic orchestral version of the title track and an instrumental version of “Fallen Angel in the Hell”.

It is still early days for Metalwings but they have now built a solid foundation for a promising future.

Metalwings’ album “For All Beyond” will be released on 19th April.

Interview | Venom Inc: “We can only be who we are”

Venom Inc: Abaddon, Mantas and The Demolition Man in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Venom Inc talks to Roppongi Rocks about an unplanned reunion, being cheeky, writing very long songs and staying relevant.

Venom Inc on stage in Tokyo. Photo: Mikio Ariga

What a comeback! When the classic “Prime Evil” era line-up of VenomTony “Abaddon” Bray, Jeff “Mantas” Dunn and Tony “The Demolition Man” Dolan – reunited as Venom Inc a few years ago, I think many people saw it as a fun and nostalgic thing. Venom was founded 40 years ago in Newcastle in the north of England. It not only pioneered extreme metal, the whole black metal sub-genre was named after its second album. In August last year Venom Inc released the fantastic album “Avé” on Nuclear Blast internationally and Ward Records in Japan. It was one of 2017’s best albums and it became obvious that Venom Inc is much more than just a reunion and a celebration of the past. Venom Inc links the past, the present and the future. When Venom Inc recently returned to Japan for a second tour, I sat down with the band backstage before their Tokyo gig.

While a bleak Cronos-led version of Venom has been out there playing shows, the proper legacy of the band seemed to have died. But then guitarist Mantas and vocalist and bassist Dolan reunited in 2010 in the band M:Pire of Evil and that was the beginning of something which in 2015 led to a proper reunion of a vital Venom under the name Venom Inc.

“It was always a good version of the band,” says drummer Abaddon. “It wasn’t a short stint of the band. People tend to forget about that a little bit. Good albums, some good tours. We went to some places we hadn’t been to before. So, it was a good thing to reunite, it wasn’t a ‘let’s get some random guy back in the band and hope it works out’. It was a good version of the band to start building from. But it wasn’t meant to be a band. It was just meant to be a one-off thing for a festival in Germany. It was meant to be these guys playing as M:Pire of Evil and I was going to join for five songs, six songs.” Dolan adds: “Just to go ‘Surprise! There you go’.”

The Demolition Man backstage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Abaddon continues the story: “There were a lot of…I guess what you call hardcore Venom fans there anyway. It’s very central to where a lot of people live, handy for the French people, the Swiss people and obviously the Germans. So it was always going to be a hardcore group of people there. This just kind of added a bit of spice on that cake and it made it a bit more exciting for them. Right from the beginning, right from the first chords of the first song we played, you’re getting this wave happening… You only really get that with some of the bigger bands, like when Deep Purple getting someone back in or Black Sabbath getting Ozzy back in and you get that really big wave.”

“It felt unusual, not regular,” says Dolan and continues: “Not just another band. Even the signing. There was 20 minutes allotted for the signing and after like 35 minutes they were going: ‘You know you guys can stop now’. But there was still a line. I mean there was over a thousand people, I swear to God, lining the hall while the bands were still playing. And I said: ‘But there is all them.’ It was crazy. At 50 minutes they went: ‘Look, I think you guys should probably just…’ and I said: ‘Well, when they’re finished, if we can get to every fan.’ There were other bands signing their things and leaving and we were still there. That’s just how it is.”

Abaddon backstage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

What prompted the reunion of the “Prime Evil” era line-up? “There is a festival in our hometown Newcastle,” explains Abaddon. “Tony’s band Atomkraft was playing and he spoke to Jeff about getting to do some old tune in a very similar sort of way but in our hometown. I was there just watching what was going on as a fan of the music. I had been there maybe a couple of years in a row. I’m standing at the bar and a couple of these big German guys with ‘Black Metal’ on their backs, they turned and looked at me when these guys were on stage.”

As Mantas appeared on stage next to his old Venom bandmate Dolan, the Germans looked at Abaddon in the audience and said: “What the fuck! Why aren’t you doing this?” Abaddon was taken by surprise: “I was like: ‘I don’t know.’ It turned out that one of them was the promoter of the show. He does a few big festivals. The one in Newcastle I think was in February and the one these guys were going to do in Germany was in April, so it was a kind of a natural. ‘If I can make this happen, would you be up for it?’ Like I said it was ever meant to be that quick couple of songs.”

After the Newcastle festival the promoter approached Dolan: “He literally after the festival said: ‘That was really great to see all that and you got Mantas up and that was brilliant. Why don’t you get Abaddon and do some Venom stuff?’ and I was like: ‘Well, it wasn’t that kind of thing and I don’t know if that could happen’.” The promoter pushed on and got Abaddon to agree to turn up at the festival in Germany after being promised flights, a nice hotel and a bottle of whisky. “It was quite a shock. We all just had a giggle,” says Dolan about the one-off festival reunion in Germany. But by the next morning, says Dolan, “We had two or three management offers, we had four or five promoters worldwide go: ‘When can we book the band?’ We’re not a band, we just did that. ‘No, no, you guys should do this’.” Abaddon adds: “We got an offer for a live album, an offer for an album.” Dolan continues: “So we just said: Why not? But the misnomer is that we went out there to cash in and play the catalogue. It kind of wasn’t like that. We agreed to do a lot of stuff so the first thing was to go: ‘What would people like to hear?’ And they wanted to hear every single song that’s ever been done!” Abaddon adds: “Funny enough one of the first places we came to was Japan. We went to China and then Japan. The Japanese were some of the first people that saw this.”

Mantas backstage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Since the initial touring after the reunion, the band then went into the studio and created nothing short of a masterpiece. A new album with new terrific music. Did the band members know that they had such great new material in them? “There was no plan,” says Abaddon and Dolan adds: “No plan to do anything. We just went: ‘OK’. To make it legitimate, I personally felt we should go back to the first single and then come as fast through the catalogue of Venom because it’s such great songs that lots of people hadn’t actually heard. They never got a chance to see the band. Make our way right through to where we are.”

Abaddon continues to explain: “Me and Jeff were founding members of the band but Tony is a fan of the band. I think it’s fair for me and Jeff to say that we’re not particular fans of Venom’s music. You can enjoy playing it and enjoy writing it and enjoy taking it out on the road, but would I have bought ‘Black Metal’? I would have bought ‘Prime Evil’ after I heard it, but I don’t think I would’ve then gone back to the back catalogue necessarily. But to have somebody in the band who is a fan of the band and who gets the band, knows about the songs.” Dolan originally joined Venom as a replacement for Cronos in the late 1980s.

Venom Inc with Roppongi Rocks’ Stefan Nilsson in Tokyo.

Venom has a proud legacy with some classic songs, but the new Venom Inc album beats the whole back catalogue. “That’s a big thing to say. That means a lot,” says Abaddon. “The one thing that we discovered,” explains Dolan, “because I didn’t want to go towards an album, I really didn’t. The live album, we talked about it, people were asking about it. A live album though? Maybe later once we’ve done… But there’s no new music. Do you want to give that to the fans? The same songs but just in a different configuration. Is that not boring? But there are collectors and they want it. An album brings a whole load of stress. I don’t want to get into politics anymore. I don’t want to do that. And then selling it to who and getting the best deal and publishing… You think: ‘Oh my God!’ We were having so much fun just playing the music to fans who wanted to hear particular songs. That’s what I want to be able to do, to just play the music that is there. With the way we feel, there’s something special with it. The first three of them had something and we have something. I don’t know what it is, it’s just something. Let’s just have fun with this. We’re too old to get into all that bollocks again. But, they kept pushing, they kept pushing, they kept pushing. So it was like: ‘Well, what is the best thing about us? Apart from we’re good-looking of course, we’re sexy, we smell pretty good’. If we’re going to do it, how do we take who we are in a live situation and put that on an album without it being a live album?”

Abaddon continues: “The big thing that is different, I suppose, now is social media. The way that bands are perceived, the way bands can build something or change something. It’s different now. We didn’t grow up with that. We grew up with tape trading and phone calls and word of mouth. We weren’t very good players. The interest in the band grew outside of how good we were and what we did. We relied a little bit on… You learn all this with hindsight. We were allowed to grow into what we were supposed to be. By the time we got the band there, when Tony came in, we could actually play a little bit and we knew a bit about what we were supposed to be about. Don’t forget that it was fucking five, six albums in or something! You know bands have that tricky third album? We had to go to six before we could put a good record out!”

Venom Inc: Abaddon, Mantas and The Demolition Man in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

While working on the new album, did the band feel any constraints to fit in with the Venom legacy? “When Jeff was composing this stuff, he’s constantly writing stuff,” says Dolan. “He was sending things through that I had to be thinking about vocally. I see music in images. When I hear the piece, I see whatever it is. If I don’t see anything then it needs something else. I don’t know what it is. But, OK, we’ll think about that. But if I see it, there it is. Anything sent through I kind of saw.”

“I think that the one thing that we all kind of agreed on, how the album came together and how it was done, was that we weren’t gonna go back and say: what made ‘Bloodlust’ good? Let’s do another one!” says Abaddon and Dolan adds: “No plagiarism!”

Abaddon continues: “I think that’s fair to say, we all thought: Right! ‘Witching Hour’ was great. People love ‘Witching Hour’. Let’s do another one! That was never gonna happen. Whether it was going to sound sonically like ‘Black Metal’ or whatever, or played like ‘Prime Evil’, it was never gonna be: ‘Just take that because it worked’. That was never gonna happen!” Dolan adds: “Not on purpose. That was the key. Jeff was like: ‘Do you think I am going in the right direction?’ I went, this is the direction you need to go in: You were Jeff Mantas, you are Jeff Mantas and you will always be Jeff Mantas. And I and Tony are the same. That’s what we need to record. Us! You don’t have to be that guy, you don’t have to be anybody! We don’t have to try and be that other thing. We just have to be us, the way we are. That’s what’s working and that’s what should happen. For me I think that’s what happened. It’s honest because that’s who we are. When we play the tracks live, people have been saying the same thing. When we play the new tracks, on one of the shows we did not so long ago, a festival show, I’m singing ‘Avé’ and when I was singing the chorus it sounded funny. Something weird happening. I’m getting some kind of weird reverb. And then I realised, the audience were all singing it! They were all singing it back. Wow! It was amazing to do those new tracks. That was always a Venom thing, when people would be singing the lyrics as loud as they could while we’re doing it. That’s a testament I think. But that comes from the other thing: plagiarism would have been death to us. Trying to be something we aren’t. We can only be who we are. That’s what works!”

The cheeky side of the Venom Inc boys is always present which is evident when we discuss how much of the new material the band now typically plays in the current set list. “Eh… Jeff plays all of it, I play some of it,” says Dolan with a big smile across his face. Abaddon continues: “I play about two-thirds of it. Hahaha!!” And the banter goes on: “So, it depends on where you are in the audience. Haha!!” laughs Dolan and Abaddon adds: “If they’re at the back it’s a right fucking mess!”

Venom Inc: Abaddon, Mantas and The Demolition Man in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

On a more serious note, Abaddon explains: “It kind of depends on how long the sets are. You have to give a crowd-pleasing performance. As people want us to play the new stuff anyway, so it’s a kind of give and take and find what fits. There are certain songs on the new album that fit well in with a classic set. One of the things I used to love about band, the bands I was into, would change up songs when they played live. One of the big things that we’ve done, there are no actual changes in the song, in parts of the song, but the way we play parts, is ‘Warhead’. We used to play ‘Warhead’ all the time, you know with the other guy and it was always good and it was heavy. It was great. But somehow it’s become this thing which is central to the set, almost every night. It’s like you just get into a fucking groove and it really becomes massive. It’s a great song, there is nothing wrong with the song. We played it pretty much every time we played but it was always just a song.”

Dolan continues: “‘Sons of Satan’, it’s kind of become an anthem for the fans and us. When we play it, it’s like the punkiest punch in the face you’re ever gonna get. And it means something now. Before it was just another song, but it means something now. Like ‘Warhead’, stuff like that. We play with it. We want to put the new stuff in, but was is amazing is that a song you may have composed forty years after that song and we put them back to back and they sound like they could…all of the songs from ‘Live Like An Angel’, the B-side of the first single, to ‘War’ or ‘Bloodlust’ in the middle, they could all be on the same album. That’s amazing to have stuff like that. That shows great songs. That’s always something I’ve said about the legacy. Most bands might go out… If you went to see Europe, tell me five Europe songs! ‘The Final Countdown’…” Abaddon adds: “Ha! I couldn’t tell you two!” before Dolan makes his point: “’The Final Countdown’! Now if you went to see Europe and they didn’t play ‘The Final Countdown’, you’d be going: ‘Ah, I’m gutted!’ To be in a band where you have got more than one and you’ve got ten and we could play 30 songs over two hours, three hours and still people go: ‘You didn’t play my favourite song! Why didn’t you play that one?’ That’s that richness of the legacy and that’s what is really special about this and really wonderful. Every night is a different night. We have that flexibility because of experience and because of everything else. Each night is not the same night. A thousand years ago, if you came to see the first night of a 30-date tour, the guys on the last night didn’t know what was gonna happen. The reviews wouldn’t be coming out until later. They might see a photograph, but rarely. They might have had a friend who went to the show. These days, before we finish the set, everybody on the last date already knows because they have taken photographs of the set list, there’s video up. In a way it’s kind of like a spoiler to a movie. I’m dying to see this movie and then someone post it and tells you everything about it. No! So I’m trying to encourage people to wait a little bit so that people can enjoy that. But because of that it means that we have that movement so we don’t give you the same show. In Osaka it won’t be the same show as tonight so that people can feel it’s special.”

The Demolition Man backstage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

On the new “Avé” album there are some very long songs. Mantas, the main songwriter, explains: “There’s a couple of songs I actually had to strip back. They were even longer. ‘Forged in Hell’ was about a minute longer than it is on the album. I was listening to it and it was just… When I’m writing, I am all about hook lines and choruses and where can the audiences join in? And this particular song, to me it seemed it was taking too long to get to the ‘Forged in Hell’! It was taking too long to get to that, so it was about a minute cut out of that.” Dolan adds a cheeky: “And then you gave yourself a good talking to, didn’t you?” Mantas continues: “I did. But a track like ‘Avé’, that comes in at… even ‘Dein Fleisch’, that comes in at seven minutes. But the thing is, when I construct the songs, when I am listening back to them, the first time I have a song fully constructed, I press play and the stop watch and I see what it comes in at. Then once I have got all the parts together and it’s still the same length, even without vocals, if it’s not doing it without vocals, because the vocals are the key on every song. That’s it, that’s the storyline for it. But as an instrumental piece, if I’m sitting there going: ‘For fuck’s sake! Fucking hell, when is it going to end?’ But with both ‘Dein Fleisch’ and with ‘Avé’ and with ‘Blood Stained’ as well, it was like I didn’t notice that because I felt the arrangements and the parts were keeping the attention. Then I thought: once the vocals go on top and the story’s told, then you’re not gonna notice. Seven minutes is going to pass like that. We had to do an edit for ‘Dein Fleisch’ for some strip clubs in America. They wanted a three and half, four minute edit for pole dancers. So, I did that and then listening back to it, it actually sounded weird. It was ending too soon.”

“The thing about radio play,” explains Dolan, “‘Dein Fleisch’ was on radio constantly in America. Nobody was going: ‘It’s a bit long, isn’t it?’ They were just playing it. If it works, it just works and people don’t notice the length of it.” Mantas continues: “Purposely, that’s why the album ends with ‘Black N Roll’. Because you’re getting commentary on world, fucking shit that’s going on and you’re getting the usual stuff from Venom, you’re getting the song about metal and the fans and all that kind of stuff. And it is a pretty dark album at times. Some of the songs are long and then it just needed a good punch in the face to finish it off! With a bit of humour which we have always been known for. It was a tribute to everything we love really.”

Dolan makes a point about the cheekiness of the band: “I think that’s a highly important point as well. That humour thing is something – we always had that cheeky humour thing. Venom always had that. I think it lost itself somewhere. That is part of whole thing. To me having that cheeky side back in there, I guess was important. It’s part of the identity.”

Well, folks, the Venom Inc boys are here. They have a past, present and future together. They’re relevant and they’re better than ever before. Shortly after our chat they walk on stage and deliver a devastatingly terrific metal show. Metal we bleed indeed.

Venom Inc: Abaddon, Mantas and The Demolition Man in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Melodic hard rock knockout in Tokyo by The Poodles

The Poodles on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

A 35-year tradition of Swedish melodic hard rock triumphs in Japan now continues with The Poodles doing their first-ever Japan tour.

The Poodles at Club Quattro, Shibuya, Tokyo, 4th April 2018

The Poodles on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Sweden has a proud tradition of producing great melodic hard rock bands that become loved by Japanese fans. Since Europe first got noticed by Japanese fans in 1983, there has been a never-ending stream of quality Swedish bands selling both records and concert tickets in Japan and winning hearts along the way. The Poodles, which formed in 2006, took 12 years to get to Japan, but now they’re here and their first-ever show in Tokyo is a success.

28 years ago – in April 1990 – I last saw Jake Samuel perform on stage. At that time he was a young drummer in Talisman, sitting behind Jeff Scott Soto, Marcel Jacob and Jason Bieler. In The Poodles he’s the frontman, the centre of attention, the mainman who commands your attention. With seven The Poodles studio albums below his belt, he’s an accomplished vocalist and a frontman who knows how to entertain an audience. Original drummer Christian “Kicken” Lundqvist is still the anchor in the band and he is joined in the current touring line-up by Argentinian bassist Germain Leth (ex-Blackcept, Watchmen) and stand-in guitarist Rob Marcello. Marcello is best known as a member of Danger Danger but he’s also played with House of Lords and Shotgun, the partial Shotgun Messiah reunion. He’s an amazing guitarist who brings something extra to The Poodles. A terrific addition to the band, even if it may only be for this tour.

The Poodles on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

This evening in Shibuya they open their set with their brilliant cover version of The Osmonds hit ”Crazy Horses” and follow with “Night of Passion”, their breakthrough hit from 2006. What follows is a high-energy, melodic hard rock show. Most of the set is made up of the band’s most famous hits. But there is the odd surprise in the set list, such as the rarely heard track “Band of Brothers” from their second album, 2007’s “Sweet Trade”. We also get a couple of more covers (from The Poodles’ latest album “Prisma” which is a covers album): Elton John’s “Goodbye Yellow Brick Road” and Fleetwood Mac’s “Go Your Own Way” – classic songs given a The Poodles treatment.

Highlights of the night include “Thunderball” and “Crack in the Wall” as well as the band’s anthem “Metal Will Stand Tall” where the audience sings along like there’s no tomorrow. Speaking of which, “Like No Tomorrow” finishes the set before the band returns for an encore consisting of “Rockstar” and “Seven Seas”.

The love affair between Japanese fans and Swedish melodic hard rock continues. The Poodles is Japan’s latest glammed-up mistress of rock.

The Poodles on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks