Gig review: Lucifer | “Black Sabbath meets Fleetwood Mac” on stage in Tokyo

Johanna Sadonis of Lucifer on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

Lucifer, one of the best rock bands in Sweden right now, returned to Japan with a close to flawless rock show of the best kind.

Lucifer at Club Quattro, Shibuya, Tokyo on 10th June 2019

Lucifer on stage in Tokyo. Photo: Aki Fujita Taguchi

It’s a rainy Monday evening in Tokyo. But it’s OK as Lucifer from Sweden is here to entertain us with a terrific rock show. To call Lucifer a Swedish band is a bit of a stretch. The band formed in Berlin, Germany in 2014 with no Swedish members. From those early days of Lucifer, only German lead singer Johanna Sadonis remains. The band is nowadays based in Sweden and three of the five members are Swedes: Nicke Andersson (The Hellacopters, Imperial State Electric, Entombed, MC5) on drums, Linus Björklund (Vojd) and Martin Nordin (Dead Lord) on guitars – and some awesome coordinated stage moves. The current line-up also features Austrian bassist Alexander Mayr.

Lucifer’s music is doomy, at times dreamy and always very good. Backstage after the show, Nicke Andersson describes Lucifer’s music to me as “Black Sabbath meets Fleetwood Mac” and that is a fitting description. Lucifer’s song material is strong, very strong. Initially, Sadonis wrote songs with legendary Cathedral guitarist Gaz Jennings. Gaz was an original member of Lucifer who made his mark on the first album and the first few tours. Nowadays, Sadonis writes the songs together with her husband Nicke Andersson, who joined the band in 2017 after Gaz had departed.

Nicke Andersson of Lucifer on stage in Tokyo. Photo: Aki Fujita Taguchi

This evening at Club Quattro in Shibuya we get a tremendous 19-song set. We get all the nine songs from the band’s most recent album, 2018’s “Lucifer II”, including the Rolling Stones cover “Dancing with Mr D”. From the band’s 2015 debut album, we get treated to five terrific tracks: “Abracadabra”, “Izrael”, “Morning Star”, “Purple Pyramid” and “Anubis”. We get a few more covers: “Snowblind” (Black Sabbath), “Bomber” (Motörhead) and, a husband-and-wife duet by Nicke and Johanna, “Beer Drinkers and Hell Raisers” (ZZ Top). We also get an absolutely fantastic version of “Take Me Away (Together as One”) from KISS legend Paul Stanley’s 1978 solo album. It’s a fitting song choice as Johanna Sadonis, like Paul Stanley, is a complete entertainer that commands attention. She has a terrific voice that gets to shine on all songs. But she’s not just a voice, she has a stage presence and charisma second to none. She has the whole package and is a dominating force on stage that leads her band from the front.

Lucifer on stage in Tokyo. Photo: Aki Fujita Taguchi

There seems to be nonstop energy on stage throughout the show. This is a band that doesn’t stop – they are here to perform and will do so no matter what. The show’s highlights for me include the smashing tracks “Dreamer”, “California Son” and “Purple Pyramid”. A brand new and yet unreleased song, the splendid “Ghosts”, shows us that the band already has started to create some great new material for the band’s third album which is expected to be released in the spring of 2020. This is one fine evening of exquisite rock delivered almost flawlessly by a terrific band. Swedish or not, this is, without doubt, one of the most interesting and best bands in Sweden.

Johanna Sadonis of Lucifer on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

www.facebook.com/luciferofficial

EP review: The Babes “It Ain’t Easy”

By Stefan Nilsson, Roppongi Rocks 

Aussie rock band The Babes has a great EP out and will tour Japan this month.

“It Ain’t Easy” is a four-track EP that is a great introduction to The Babes, a good-fun rock band based in Adelaide, Australia. It’s a family business: three of the four members are siblings and their dad is their manager. Of the four great tracks on the EP, my favourite is the terrific “Ride It”, a rock song with a punk attitude. The band has opened for artists such as Ace Frehley, Hardcore Superstar, Cherie Currie and Sebastian Bach, which should give you a hint of what type of music this is. This is meat-and-potatoes rock’n’roll made to entertain. It’s straightforward party music, nothing too deep. Bring out the beers and turn up the volume. The Babes are here to give you a good time. The EP closes with “Always Ridin’” a hair metal power ballad that is a soundtrack to get laid to. They call their music “underdog rock”, but that will have to change soon as these Aussies are now winners. Live on stage these songs will be great at getting a crowd going. The band has already toured the US and extensively at home in Australia. Now they’re taking on Japan.

The Babes will play in Tokyo on Sunday 23rd June as one of the opening acts for Girlschool and Venom Inc, and will also do gigs in Tachikawa and Kyoto as well as an in-store appearance in Osaka. 

www.thebabesrock.com

www.facebook.com/thebabesrock

Interview: Conrado Pesinato | Escaping from Alcatrazz to get Out Of The Woods

Conrado Pesinato in Roppongi, Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

He made a name for himself as lead guitarist in Graham Bonnet Band and also sitting in for the Alcatrazz reunion of 2017 when he filled in for Yngwie Malmsteen and Steve Vai (as documented on the live release “Parole Denied – Tokyo 2017”). Now Brazilian guitarist Conrado Pesinato is hard at work with his new band, Out Of The Woods in Los Angeles. When he recently visited Tokyo again on tour with Marco Mendoza, Roppongi Rocks sat down with Conrado at his hotel in Roppongi to talk about his career.

Conrado Pesinato played with bassist Beth-Ami Heavenstone in Hardly Dangerous, an LA rock band fronted by Tomirae Brown, the widow of James Brown. In 2015, Beth-Ami subsequently brought him into the Graham Bonnet Band which she was forming with the legendary Rainbow, MSG and Alcatrazz vocalist. In GBB, Conrado played a significant role as guitarist, songwriter and producer of the band’s 2016 album “The Book”. He toured Japan twice with GBB. First in 2015 when GBB opened for Michael Schenker’s Temple of Rock (when Michael Schenker and Graham Bonnet reunited on stage for the first time since their brief time together in MSG). In 2017, GBB did a headline tour of Japan which also included the terrific Alcatrazz reunion with Graham Bonnet, Jimmy Waldo and Gary Shea reunited on stage in Tokyo.

Conrado Pesinato in Roppongi, Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

You’ve done two Japan tours and now you’re here for the third time. “That’s right! The first time was 2015 and…2017, yes. It seems to be the pattern, every two years I am back” says Conrado with a big smile as we sit down at his hotel a few hours after he has landed in Japan. 

What’s your best Japan memory so far? “Too many. Too many! Ah, Jesus. Where do I even start? The first one was really special. It was my first time in the country. It was my first time experiencing all the excitement about rock music that the Japanese fans have. It spoils the whole thing for you and anywhere else you play after that. It’s not quite the same. And seeing Graham and Michael for the first time together, being a fan, that was cool. But the second time was really special too because that time we were headlining.”

Is it different for you as a guitarist to step into a band like Alcatrazz compared to playing your own music? “Yeah, that was a lot different, for sure. I’m a lot more comfortable… I think I excel as a songwriter and doing my thing. I think I did a decent enough job honouring those songs in those performances. But, by all means, I was never to do that, playing Yngwie note for note. That’s just not the kind of player I was. So, it was challenging. A lot of growth for me, I learnt a lot trying to make justice to those songs. It was challenging because I was never that type of dude that sat down… I can definitely count on my fingers the number of solos I’ve learnt note for note. I have always tried to find my own voice and that’s always what I prefer to do. As much as I had fun and I felt honoured to be part of that, especially being a guitar player… At the same time, I was a lot more excited to play the songs we wrote back in the day on the album that we just released, ‘The Book’. I was a lot more excited about the response of people from those songs, because those were my babies, than doing the whole Alcatrazz thing. Then, of course, there was a little bit of guitar ego there. ‘Yay! Look at me playing in Alcatrazz!’ It was good. It was fun.”

On the Graham Bonnet Band album “The Book”, Conrado not only played the guitar, he wrote songs and produced the album which also featured Beth-Ami Heavenstone, Mark Zonder and Jimmy Waldo. “I co-wrote ‘The Book’ with him. It was mainly me and him and Zonder did a lot of good ideas. Great drummer, great guy. We co-wrote the songs and I ended up producing. I was wearing many hats in that band. That was one of the reasons that that band was very challenging for me too, other than all the legendary guitar stuff. I was always so busy with everything else, helping with arrangements and recording and writing. I produced the album, but I didn’t mix or master, but I engineered the whole thing. I’m proud of it. It’s a good album.”

Now you’re here in Japan for two gigs with Marco Mendoza’s trio with Marco and British drummer Kyle Hughes. These are your first-ever gigs with Marco. “That was an invite that came through my good friend Kyle. I knew of Marco and I think we spoke a couple of times previously on different occasions. Kyle was like ‘Hey, we need a guitar player for Japan’. I was like, wow, that will be fun! I love Marco’s material. I think, even me as a guitar player, I’m a lot more comfortable with that kind of classic rock-funk-bluesy type of thing instead of the neoclassical stuff. I think that is a lot more who I am as a guitar player. It’s my first gig with them so that’s definitely exciting.”

Conrado Pesinato on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Marco and Kyle have come straight from a European tour and you flew in from LA. Have you had any chance to rehearse together as a trio? “No! Haha!! So, we’ll see how it goes. We have not, but they have been very solid together. They are the rhythm section and the front men together. I just have to sit in and do my part. I think we will be alright. It’s gonna be a good time, no doubt. At least for me! Marco is such a legendary musician, playing in such legendary bands like Thin Lizzy and Whitesnake, which I love. Thin Lizzy is one of my favourite bands of all time. Even his solo material has so many guitar players, like Richie Kotzen and Steve Lukather and all these kinds of guys. I have to do justice to those songs at those gigs. It’s an exciting part of the process. Yeah, it will be a fun time!”

Recently Conrado formed a new contemporary rock band in Los Angeles called Out Of The Woods together with vocalist Zach Jones and drummer Tomas Slemeson. The sound is quite different from the classic rock we normally hear Conrado play. “Yeah. The way I see it is… I would call it modern American rock radio. Bands like Bad Wolves and Bring Me The Horizon, that kind of stuff. It’s a whole different thing. I co-write everything with the guys and I help with a bit of the production. I don’t do the full production, but I do a little bit of it. That’s kind of exciting, to not be the guy that does everything. I use a seven-string guitar, which is something I don’t use in the most classic rock sound bands that I do. Seven-string guitar, I try to do more effects, I try to do beats and samples and things like that. It’s different stuff. That’s the beauty of it. I like it all. From The Beatles to extreme death metal to ABBA to whatever, you name it. Linkin Park and Ramones and whatever else. I dig songs!”

Out Of The Woods has done some gigs in the US and released its first song. “We have one single out and finishing an EP. We’re excited about it. We’re shopping it around with some labels for that type of music. It’s nice doing something different. It’s definitely refreshing.” Out Of The Woods is Conrado’s main focus now. “There’s a couple of other things I am working on, but, for sure, Out Of The Woods will be it. We have this EP coming out. I am trying to get busy. I like to do it all. I was even making beats for hip-hop artists! I just like to be busy and collaborate with creative people with a good heart.” 

Keep an eye (and both ears!) on Conrado Pesinato. He likes to stay busy and there will no doubt be more interesting music coming our way from this creative musician.

Conrado Pesinato in Roppongi, Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

www.facebook.com/ootwla

Single review: Dambusters “All the Way to Your Heart”

Dambusters. Photo: Lori Bockelken

By Stefan Nilsson, Roppongi Rocks 

With pedigree from Cactus, Quiet Riot, Dee Snider and Noisy Mama, American band Dambusters play straightforward, but groovy, rock’n’roll. Their first single is out today.

Freddy Villano is one of the nicest guys in American rock and also a rock-solid bassist. Having made a name for himself in the early part of his career with Quiet Riot and Dee Snider’s Widowmaker, more recently he has been releasing music with American Mafia and now with Dambusters. “All the Way to Your Heart”, the band’s first digital single, is an unpolished gem of a song. The production is raw and straightforward, no fancy stuff. And that is a good thing. This kind of music is best served straight-up and raw. Should this be repackaged in some overproduced, fancy and shiny format, it wouldn’t work. Now, as a straightforward rock song performed more or less live in the studio, it sounds great. In Dambusters, Villano has teamed up with guitarist Jimmy Gumina (Noisy Mama), drummer Vic Pullen (Larry Mitchell, Francis Dunnery) and a guest appearance by vocalist Jimmy Kunes (Cactus, Savoy Brown). Having also heard some more yet unreleased songs from the same studio sessions, it is obvious that the Dambusters boys have something interesting going on here. There is pedigree, know-how and also chemistry. This is blues-based hard rock performed by a bunch of seasoned rockers. It’s good stuff.

Dambusters’ single “All the Way to Your Heart” is out today.

www.facebook.com/dambustersbandofficial

Album review: Xentrix “Bury the Pain”

By Stefan Nilsson, Roppongi Rocks 

British band Xentrix is back with a new line-up and a terrific album of excellent thrash metal.

British thrash metal band Xentrix may not be known to the masses, but they formed already back in 1985. They are perhaps best known for their tongue-in-cheek thrash metal version of the “Ghostbusters” theme song. But gimmicks aside, it is very evident on their new album “Bury the Pain” that this is a quality thrash metal band. They have both the musical skills and the songs to be real contenders. Xentrix’s music is firmly rooted in old-school thrash metal, but they do not sound dated at all. They have brought the classic thrash metal sound with them to here and now. 

New vocalist Jay Walsh’s voice reminds me a lot about how Dee Snider sounds on his latest album, 2018’s “For the Love of Metal”. The more I listen to Xentrix I realise that the music is also not miles away from the songs on Snider’s album. Just listen to the fantastic song “There Will Be Consequences” and it oozes Dee Snider. It’s as if someone has listened to Snider’s album and decided to do a thrash metal version of it. I don’t know if that is the case, I guess not, but the result is terrific. This is a hard-hitting thrash metal album with terrific guitars, great melodies and a vocalist that does this music justice. Bassist Chris Shires is another newcomer in the band which also includes Kristian Havard on guitar and Dennis Gasser on drums. The hard-hitting “Bleeding Out” is the highlight of the album, but there are also many more great tracks on this terrific album. In fact, there are no weak songs at all. This solid and modern thrash metal album has been produced by Judas Priest’s Andy Sneap. I dig it.

Xentrix’s album “Bury the Pain” will be released on 7th June by Listenable Records. The Japanese edition will be released by Spiritual Beast on 17th July with a bonus track. 

www.facebook.com/xentrixmetal

www.xentrix.co.uk

Gig review: Tobias Sammet’s Avantasia – a three-hour melodic metal extravaganza

Tobias Sammet and Ronnie Atkins on stage with Avantasia in Tokyo. Photo: Takumi Nakajima

By Stefan Nilsson, Roppongi Rocks 

Tobias Sammet’s Avantasia gives Tokyo a three-hour melodic metal extravaganza with some serious star power.

Geoff Tate and Miro Rodenberg on stage with Avantasia in Tokyo. Photo: Takumi Nakajima

Tobias Sammet’s Avantasia at Akasaka Blitz, Tokyo on Thursday 9th May 2019 

With Avantasia, German musician Tobias Sammet has created a wonderful magical world. Obviously, I knew the Avantasia albums were great, but experiencing this live on stage for the first time, I am just in awe. Avantasia has no fewer than 13 artists on stage during their Tokyo show. I don’t know how Edguy’s Tobias Sammet manages to get this all together. But, somehow, he does and we should all thank him for it. He is a world-class songwriter and performer. The Avantasia show is incredible. One notable thing about Avantasia is that, despite all the veteran rock stars on stage, none of them gets to sing any of their past classics. They only perform Avantasia songs (well, there is the Avantasia version of the “Flashdance” movie soundtrack “Maniac”). With Avantasia, Tobias Sammet has created a wonderful fantasy world of rock opera-meets-metal musical. Musically, it is a dramatic mix of power metal, melodic rock and West End musical.

Eric Martin on stage with Avantasia in Tokyo. Photo: Takumi Nakajima

In addition to Sammet himself, who kicks off the show with the terrific song “Ghost in the Moon”, we get splendid vocal performances by Ronnie Atkins of Pretty Maids, Jørn Lande (ex-Masterplan), Geoff Tate (ex-Queensrÿche), Eric Martin (Mr. Big) and Bob Catley (Magnum). Geoff Tate sounds absolutely fantastic like it’s still 1988. Him performing “Alchemy” is one of the absolute highlights of the show. Another peak during the evening is “Twisted Mind”, Tate’s duet with Eric Martin. At 71 years old, Bob Catley is the elder statesman in Avantasia. His voice is still beautiful and he rocks out on stage, clearly loving to perform in front of his fans. Among all the big star names on stage, there is a lesser known name that is no less a terrific singer and performer: Adrienne Cowan. She has a terrific voice and she also has the stage moves to go with her vocal talents. For most of the show, she’s in the background, but on songs such as “Book of Shallows”, “Moonglow” and “Farewell” she gets to step into the limelight and shine like the terrific lead singer she is. Back-up vocalist Herbie Langhans also steps up to perform some of the lead vocals on “Shelter from the Rain”. But Avantasia is not all about the fabulous voices. Tobias Sammet also has a rock-solid band of musicians: drummer Felix Bohnke, bassist André Neygenfind, guitarists Sascha Paeth and Oliver Hartmann and keyboardist Miro Rodenberg.

It’s one thing to put together a concept album. Taking all these ingredients and making it work as one band performing a show on stage isn’t easy, but Tobias Sammet pulls it off. It’s been 20 years since Sammet started this magical journey. I hope he will keep Avantasia going for many years to come. 

Avantasia on stage in Tokyo. Photo: Takumi Nakajima

www.facebook.com/avantasia

www.tobiassammet.com

Interview: Ian Haugland of Europe | “We have our roots in the hard rock of the 70s”

Ian Haugland of Europe backstage at Club Citta, Kawasaki, Japan. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

When Swedish rockers Europe recently returned to Japan for three special shows at Club Citta in Kawasaki, Roppongi Rocks’ Stefan Nilsson caught up backstage with drummer Ian Haugland to talk about working with producer Dave Cobb, life on tour now versus in the 80s, performing deep cuts from the back catalogue, when work on the next album will start and much more.

Swedish rockers Europe – with the band’s most classic line-up consisting of Joey Tempest on vocals, John Norum on guitar, John Levén on bass, Mic Michaeli on keyboards and Ian Haugland on drums – are back in Japan for three special shows at Club Citta in Kawasaki. They last performed in Japan in 2015 and during their four-year absence from Japan, Europe has released two new Dave Cobb-produced studio albums that have a more mature classic rock sound.

It’s been 40 years since the band was founded in a Stockholm suburb in 1979 and the sound keeps evolving. The early days of rough-around-the-edges hard rock morphed into the more polished melodic metal of the late 80s and early 90s and then, following your reunion, we got mature hard rock and, more recently, grown-up classic rock. Are these musical changes deliberate actions? “No, they are not!” explains Ian Haugland as we sit down backstage at Club Citta shortly before Europe will perform its second show. “It feels as if we’re on a musical journey. We let the music lead us in the right direction. We have never started to produce a new album thinking it should sound in a certain way. It just turns out a certain way. But, of course, we have our roots in the hard rock of the 70s. It’s from somewhere there we get our direction. Then we also get influenced a bit by current temporary favourites, albums that are influencing us a bit extra. But as a foundation, we always somehow have the 70s. I also think that with the last two albums, that we have done with Dave Cobb, the producer, it feels like we have dug out the 70s in us even more.” Nashville-based Dave Cobb has produced a lot of country music, but also rock bands such as Rival Sons. “Yes, that was one of the major reasons we chose him because we liked the Rival Sons albums. We don’t decide any musical direction in advance, it’s the music that takes in whatever direction we end up going.”

Ian Haugland of Europe backstage at Club Citta, Kawasaki, Japan. Photo: Stefan Nilsson, Roppongi Rocks

In 2015, when you last toured Japan, you performed a “Wings of Tomorrow” special. This time you’re doing three different special gigs, each focused on different Europe albums. Where did this idea come from? “It was probably a request by Club Citta that we should do three nights with different themes, to focus a bit more on different albums. It’s fun. It gives us the chance to revisit music that we perhaps haven’t played in a long time or never. I think it is quite exciting. Some of the songs I feel like: Oh shit! This song is really adolescent if you know what I mean. Whereas other songs I feel have aged better somehow. We get a great overview of our own musical journey. Oftentimes, you’re too busy with here and now when you are composing and touring. This is actually really exciting.” 

This evening you are focusing on the debut album “Europe” from 1983 and the reunion album “Start from the Dark” from 2004. How have you chosen the songs you play from these albums? “In these two cases, it has really been more about what we want to play, what we think are the best songs. With ‘Start from the Dark’, that’s an album we played many songs from on the first tour after its release. But after that most of those songs have dropped off. We chose a few that we haven’t played earlier and a few we did play on the ‘Start from the Dark’ tour. From the first album, we’ve thought about the fact that Japan was the first country, outside Sweden, that discovered Europe. Here in Japan, it’s always been… They have loved ‘In the Future to Come’ and ‘Seven Doors Hotel’ and ‘The King Will Return’ and those songs. Thus, we thought we should treat the fans to those songs that we know that they like. That’s how it is.”

Last time you were here, you had recorded but not yet released the “War of Kings” album, which meant you didn’t play any songs from it. Now you’re back after having released “Walk the Earth”, but not doing the usual “Walk the Earth” shows. Thus, the Japanese fans have kind of lost out on your last two album tours. Have you faced any disappointed Japanese fans because of this? “No! I think that the Japanese fans are the most grateful in the whole world when we come here to perform. They are really grateful just because we come back here. It’s really fantastic. We’ve been to Japan… I am not sure if we’ve been here after every album, but in principle, we’ve been here after every album since ‘Final Countdown’. They’ve been with us since the first album. The Japanese have always been loyal to Europe. It’s fantastic! I think it is incredible, especially as it is an isolated territory on the other side of the Earth from Sweden. And there’s still interest here. I think that’s terrific!” 

It’s now 40 years since the band was formed. Do you feel it is different touring now compared to how it was in the second half of the 80s? “In the 80s, everything happened so damn quickly with ‘Final Countdown’. When it took off with a bang, it became a rocket ride, so to speak. We didn’t have time to reflect on anything, really. It was so unbelievably intensive right then. But then when we reunited the band at the beginning of the 2000s, we decided that it always had to be the love for the music and the inspiration for the music that should steer the band somehow. We didn’t want to milk it by just going out and playing old hits. Thus, we’ve always been careful to ensure that we all feel good, that we don’t tour too much and especially now as a few of the boys are on their second round of having kids with more or less small kids at home. You have to find a balance between tour life and family life in order for it all to work. I think we have a pretty good balance. Personally, I think we perhaps could tour a bit more, but then I don’t have any small kids anymore.”

You joined Europe in 1984 when the band had already achieved a bit of fame and success. Was it an obvious yes from you when the offer came? “Yes! I had reached a point where I had to consider giving up this big rock’n’roll dream. I was working at Arlanda airport, driving some truck or whatever it was. I sat there that summer and thought: I probably have to reconsider. Music can perhaps not be my number one. Perhaps I have to grow up and become more responsible, like a normal person. Just a week or so later I got the phone call with the offer. Nothing else could have been better than this! Europe was the first and, at that point, the only band that had this kind of success in Sweden. Yes! Let’s go!”

Ian Haugland of Europe backstage at Club Citta, Kawasaki, Japan. Photo: Stefan Nilsson, Roppongi Rocks

How does Europe record its albums nowadays? Do you record together in a proper studio or do each record your own bits and pieces in home studios? “We’ve been through different phases. In the 80s, then Joey did most of it in his home studio with drum machines and added guitars, just to create a demo. A song was more or less ready back then when we recorded ‘Final Countdown’ and ‘Out of This World’. Now, during the 2000s, it is more been a case of sending demos between us where keyboards, bass and some digital drums get added. But that has only been in order to do demos. Since we started to work with Dave Cobb, we no longer do demos in that way at all. He doesn’t want to work with demos. When we were going to start recording ‘War of Kings’, we asked him where we should send the demos. ‘No, let’s listen to those when I arrive later’, right when we will record the album. We had never experienced that before. We were like: Oh! He doesn’t want to hear the songs? Then when we were in the studio to start recording the album, he said: ‘OK, guys! What songs do you have?’ Then we played him a song that he was listening to on an iPhone, just to get an overview of the song structure. He didn’t care about all the details. He wanted to take the song apart and then put it together again from scratch. We realised that there was no point in coming in with ready song structures. It was better to come with a riff or just a rough sketch and then take it from there. At first, we were not used to working like that and even a bit afraid to do so. We thought: how is this going to turn out? We knew we only had so much time in the studio to get things done, what if it doesn’t work? We were a bit afraid of the unknown in a very Swedish way! We recorded ‘War of Kings’ in a brand-new studio in Stockholm. We were the first band to record there. That was a bit of risk-taking as we didn’t at all know how the studio sounded. There was nothing to listen to that had been recorded there. That was a big question mark, but it all worked out fine with Dave. He’s such a cool guy that it was easy to start working with him and integrating him with the band and the creative process. It turned out really great. Then when we did ‘Walk the Earth’, we just brought some riffs and stuff, because we knew we could do it. We went with real self-confidence into Abbey Road Studios. We worked on the songs more or less from scratch in the studio. It was really exciting. A creative and good way to work. Not being overconfident, but you know you have a good riff but that you need to be on the top of your game to get it done. If we will work with Dave again, then we will continue on the same path. We will see what happens.”

European summer festivals are up next for the band. And then a South American tour in the autumn. “Then we will probably start focusing more on ‘song fragments’ for the next album. The plan is that we will start recording the next album at the beginning of next year sometime. The wheel keeps turning.”

When Ian Haugland is not touring with Europe, he and keyboardist Mic Michaeli are working together as radio DJs in Stockholm at the Rockklassiker radio station. “I started already in 2000 to broadcast radio there. Thus, it’s been almost 20 years already! Mic joined about a year ago. We have started hosting a show together. It’s a lot of fun!” says Haugland before it’s time for the drummer to stretch and get ready for the evening’s Europe show.

Ian Haugland of Europe backstage at Club Citta, Kawasaki, Japan. Photo: Stefan Nilsson, Roppongi Rocks

www.facebook.com/europetheband

www.europetheband.com

Album review: The Rods “Brotherhood of Metal”

By Stefan Nilsson, Roppongi Rocks 

American band The Rods, fronted by former Elf guitarist David “Rock” Feinstein, is back with a new studio album filled with classic metal.

Vocalist and guitarist David “Rock” Feinstein, a former member of Elf and cousin of Elf bandmate Ronnie James Dio, formed The Rods in 1980 with drummer Carl Canedy. Bassist Garry Bordonaro joined soon thereafter. Initially active in the 1980s, the band reunited in 2008 and has since been touring on and off. The Rods has also been recording new music since the reunion. The new “Brotherhood of Metal” album is the follow-up to 2011’s “Vengeance”. The new album opens with the anthem-like title track “Brotherhood of Metal” which no doubt will be a live favourite. The Rods’ music is firmly based in the classic metal of the 1980s. With song titles such as “Everybody’s Rockin’”, “Louder Than Loud”, “Tyrant King”, “Party All Night”, “Tonight We Ride”, “Hell on Earth” and “Evil in Me”, it is obvious that The Rods is a band that follows a well-established metal tradition when it comes to both music and lyrics. Although there is nothing revolutionary about The Rods’ music, many of their songs are easily recognisable as The Rods. Somehow they have managed to establish somewhat of a signature sound which is not just built on Feinstein’s voice. “The Devil Made Me Do It” is my favourite track on the album, a song that I also think will be great live. The song combines great rock with fantastic guitars and a shout-along chorus. Feelgood metal!  Overall this album is filled with good and fun classic metal music. Many of the album’s eleven songs will fit in nicely in the band’s live set. I hope they will make room for them among their classic songs from their 1980s albums. 

The Rods’ album “Brotherhood of Metal” will be released on 7th June via SPV/Steamhammer.

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Gig review: Graham Bonnet brings an exquisite new version of Alcatrazz to Japan

Graham Bonnet on stage in Tokyo with Alcatrazz. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Alcatrazz at Tsutaya O-East, Shibuya, Tokyo on 28th May 2019 

Graham Bonnet brings an exquisite new version of Alcatrazz to Japan and shows us all that he’s still got it. Blimey! What a great evening of world-class rock’n’roll.

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

Graham Bonnet, one of the best and most legendary voices in the history of rock, has always had a loyal audience here in Japan, even when things have been a bit quiet elsewhere. But in recent years he has a had somewhat of a career upswing and he has been a very frequent visitor to Japan with Michael Schenker’s Temple of Rock, Michael Schenker Fest, Graham Bonnet Band and Alcatrazz. This week he’s back touring Japan with a reformed line-up of his classic band Alcatrazz. 

The 2019 version of Alcatrazz is splendid. Anchored by Mark Benquechea on drums and Beth-Ami Heavenstone on bass, there is a rock-solid foundation. Original member Jimmy Waldo is using his keyboard wizardry to create magic and Joe Stump quickly proves that he is a worthy lead guitarist (a band position previously filled by people like Yngwie Malmsteen and Steve Vai). The band’s live performance is world-class and topped by Graham Bonnet himself. His characteristic voice – which has been the voice of not only Alcatrazz but also bands such as Rainbow, Michael Schenker Group, Impellitteri and Blackthorne – is still there, 51 years after he had his first hit single. He still has his voice intact and he’s also an entertainer that gives us his all on stage.

Joe Stump on stage in Tokyo with Alcatrazz. Photo: Stefan Nilsson, Roppongi Rocks

This evening in Tokyo, the band performs almost the entire Alcatrazz debut album “No Parole from Rock’n’Roll” from 1983. They kick off with a high-energy version of the splendid “Too Young to Die…Too Drunk to Live”. Then we get “General Hospital”, “Jet to Jet”, “Hiroshima Mon Amour”, “Island in the Sun”, “Kree Nakoorie”, “Big Foot”, “Starcarr Lane” and “Suffer Me”. They only leave out the Yngwie Malmsteen instrumental “Incubus”.

Beth-Ami Heavenstone and Graham Bonnet on stage in Tokyo with Alcatrazz. Photo: Stefan Nilsson, Roppongi Rocks

The second half of the show is a collection of some of the best bits of Bonnet’s long career where we get to hear Rainbow songs “All Night Long” and “Since You Been Gone”, Bonnet’s solo hit “Night Games”, MSG’s “Rock You to the Ground”, “Stand in Line” and “Leviathan” by Impellitteri, “We Won’t Be Forgotten” by Blackthorne and Graham Bonnet Band’s “Long Island Tea”. It shows how varied and terrific Bonnet’s back catalogue is.

Graham Bonnet on stage in Tokyo with Alcatrazz. Photo: Stefan Nilsson, Roppongi Rocks

The encore consists of Graham Bonnet Band’s “Into the Night”, Rainbow classic “Lost in Hollywood” and Impellitteri’s “Goodnight and Goodbye”. It’s a great finish to a splendid evening which left no one in the audience unhappy. 

This was a world-class rock’n’roll show by a living legend who still delivers and who has a band to match his greatness. Alcatrazz will be back on stage in Tokyo on Friday with a different setlist, one more focused on the Rainbow album “Down to Earth”. Following the four-date Japan tour, the band will tour Australia and then Europe. There are also plans for recording a new Alcatrazz studio album. Log live Graham Bonnet!

Graham Bonnet on stage in Tokyo with Alcatrazz. Photo: Stefan Nilsson, Roppongi Rocks

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www.alcatrazzofficial.com