Iron Maiden - Somewhere in Time

Originally released on September 29th of 1986, Somewhere in Time is the sixth studio album of Iron Maiden. That day, we got a glimpse of the future. Let's remember...

by Andreas Andreou

Following the groundbreaking World Slavery Tour (more than 300 days with more than 180 live shows), Somewhere in  Time was a difficult album. Bruce Dickinson's acoustic-based song ideas were rejected by the band and there isn't any song contributed by Dickinson on the album. According to Dickinson, "I went off into 'acoustic world' and I wanted to do almost like an 'unplugged' record for the next Iron Maiden album". On the other hand, Adrian Smith's contribution is more than important since he wrote the album's singles, "Wasted Years" and "Stranger in a Strange Land". I can't even imagine how Steve Harris felt when Dickinson presented his new ideas, especially after songs like "Powerslave" and "Flash of the Blade" that he wrote for the previous album. Dickinson also, didn't work with Adrian Smith this time and wrote alone, so we are missing again the great songs they were composing together, like "2 Minutes to Midnight" and "Flight of Icarus". It took many years for Dickinson to write again alone a song for Iron Maiden.

The futuristic song themes of space and time fit perfectly with the guitar synth and the grand production of the album (even if it is not a concept), but some fans and critics back in the day didn't like them. The amazing cover art with the cyborg Eddie in the post-apocalyptic environment is also the perfect match. However, while years pass by, Somewhere in Time stands as the ultimate Maiden favourite among few fans, but in the Maiden history (Iron Maiden themselves, the band) it is like a forgotten album. At least for Harris and Dickinson.

Producer Martin Birch and the band used the latest technology of 1986 and Somewhere in Time, even if it has all the elements that made Maiden (probably) the greatest metal band, it sounds "different" for first time. The use of guitar synthesizers is the most obvious thing you listen to. In the next album (Seventh Son of a Seventh Son, 1988) Iron Maiden replaced synth guitars with keyboards.

Somewhere in Time is sophisticated with a futuristic approach and it has some strong progressive elements. It was something new, exciting and different. The opening track "Caught Somewhere in Time" is one of the best album opener tracks ever (not the best song, the album opener), and it sets at once the album's new identity. Everything is here, new and yet so similar: dual guitar harmonies, galloping tempos, melody, amazing guitar solos and sections. The middle section on "Caught Somewhere in Time" and the guitar solo on "Stranger in a Strange Land" are among the best of the band. There were also hits on the album, and those were the Adrian Smith songs. "Wasted Years" is an immortal nostalgic anthem, but Smith didn't write again a song alone. At least Harris didn't use any and over the years it seems that Harris and the the management wanted to keep in "borders" Dickinson's and Smith's ideas during the '80s so their songs won't change the Iron Maiden identity and Harris' vision. That changed in the future.

The tour that followed was more difficult than the album itself. That was probably the first time where Iron Maiden kept changing the tracklist of the tour and dropping some of the album songs. "The Loneliness of the Long Distance Runner" was even dropped after the first show... Somewhere on Tour started in September of 1986 in Yugoslavia and ended in May of 1987 in Japan. Support acts during the tour included Waysted, W.A.S.P., Vinnie Vincent Invasion and Yngwie Malmsteen's Rising Force. Somewhere in Time has sold more than 1.000.000 copies in the United States.

My personal opinion on Somewhere in Time? It is my favourite Maiden album and one of the three albums that I've listened most of the times in my life. The other two are Ozzy Osbourne's Bark at the Moon and Black Sabbath's Heaven and Hell. By the way, just have a close listen to the drumming of Nico McBrain on this album. Outstanding and extremelly underrated.

Tracklist:
1. Caught Somewhere in Time (Harris)
2. Wasted Years (Smith)
3. Sea of Madness (Smith)
4. Heaven Can Wait (Harris)
5. The Loneliness of the Long Distance Runner (Harris)
6. Stranger in a Strange Land (Smith)
7. Déjà Vu (Murray/Harris)
8. Alexander the Great (Harris)

Line-up:
Bruce Dickinson - vocals
Adrian Smith - guitars, guitar synth, backing vocals
Dave Murray - guitars, guitar synth
Steve Harris - bass, bass synth
Nicko McBrain - drums

Produced, engineered & mixed by Martin Birch

Sleeve illustrations by Derek Riggs

Black Sabbath - Sabotage : Heavy, strange, schizophrene and sabotaged.

You can only trust yourself and the first six Black Sabbath albums, the voices say. "Sabotage" is the sixth of them, released on July 28th, 1975. 

Let's remember...

The music diversity that started on "Vol. 4" (1972) and reached unique artistic heights on "Sabbath Bloody Sabbath" (1973), sounds different on "Sabotage". But mentally, psychologically and business wise, "Sabotage" is the ultimate title for Black Sabbath during 1975. Music had its natural outgrowth but everything is sabotaged for them. 

If there is one thing that no one can blame Black Sabbath of, it is the fact that they always composed and played the music they felt right in order to satisfy themselves. At least for their great albums. That's why they are great. But "Sabotage", despite its greatness, it is also distracted and confused and the paradox is that everything worked in favor of the artistic creation and the music. It was an angry album, it was experimental, a difficult album to make and there are parts that are also difficult to catch or seem out of order but in the end, "Sabotage" is one of those great album of the mid '70s when music was still evolving and changing. The writ was delivered.

Black Sabbath started from underground and became mainstream in just 2 years. Tony, Ozzy, Geezer and Bill, cared only for music and everything else was laid in the hands of their managers and record labels. How could they know that they would change the face of music in just a couple of years? How could they know what to do in the business part? How could they tour worldwide and record 5 albums between 1970-1973, if they also had business plans to take care of? Leaving aside the fact that probably they would screw everything on that part those years. But times change and in 1975, just few bands on the heavy side of rock could face Black Sabbath, their popularity, their concerts and their albums. There was lot of money in some bank accounts and the band members didn't have any access and didn't even know any numbers. Managers fired, managers changed, lawsuits followed, they were ripped off and money was taken away from them. Even lawyers and writs were between them during the recordings of "Sabotage". Literally. So that was the best title for this album. They were sabotaged. Even the album cover was sabotaged and wasn't even meant to be, since it was supposed to be a test photo shoot with random clothing (most of them not even theirs) and not the final cover. 

By the way, after parting ways with manager Jim Simpson and later with Patrick Meehan, Black Sabbath tried managing themselves for a short while but later they signed up with Don Arden, father of Sharon Arden, that later became Sharon Osbourne...

"Sabotage" is a very special album. Tony Iommi had in mind something more of a basic rock album but the "basic rock" idea didn't really happened because despite being the main composer and riff-lord, Black Sabbath is also four different personalities, and it turned out as a diverse record without any logical flow. There is hard rock, heavy metal, progressive, crushing riffs, acoustic layers, piano, synths, a choir and the "usual" lyrical themes, everything blended in anger and mental instability. But that's the magic of "Sabotage". 

Starting with a song like "Hole in the Sky", you know from the beginning that this is going to be a very special journey and Ozzy's vocal melody on the opening song is equal to the memorable great riff of Tony Iommi. "The food of love became the greed of our time, but now we're living on the profits of crime".

In the recent issue # 311 of Metal Hammer UK, "Symptom of the Universe" was voted as the greatest riff of all times. I can't tell if it is the greatest riff of all times, but for sure, if you will make a list with the 100 greatest riffs ever, at least 20 of them must come by the Great Lefty. And all of them in the first 50 positions. "Symptom of the Universe" is ahead of its time and a very influential song. Perhaps it is one of those few tracks that inspired thrash metal during early '80s, since it is largely mentioned by many extreme metal musicians. It is definitely one of the most iconic heavy metal songs of the '70s and besides THE riff and Ozzy's aggresive performance, another highlight is Bill Ward's drum fills. "Take my hand my child of love come step inside my tears, swim the magic ocean I've been crying all those years".

"Megalomania" is a progressive statement on delusions, obsession and paranoia. In the end, happiness comes from the depths of sorrow. Ozzy is overdubbed and sounds like he is singing along with the voices in his mind. Lyrically, Geezer Butler probably sums up the mental status of Black Sabbath after few years of unstoppable touring, five groundbreaking records, extreme drug and alcohol abuses, burnout and their social distortion. "How could this poison be the dream of my soul. How did my fantasies take complete control".

"Thrill of it All" is dominated with riffs and massive guitar themes by Iommi and there is a special arrangment with a beautiful middle part. Ozzy's vocals sound very melodic and this performance is a hint for his early solo career in 1980-1981. "If my songs become my freedom and my freedom turns to gold, then I'll ask the final question if the answer could be sold".

"Supertzar" works in a mysterious way. It could be a great cinematic theme but sounds out of order in the album or somehow "unfinished", like Iommi had something bigger in his mind and just didn't complete it. However, it gives an extra credit in the album's weirdness and diversity. For years it was used as a recorded intro in Black Sabbath shows and there is a funny story where Ozzy entered the studio while the choir was there and when he saw all those people, he walked out because he thought he was in the wrong studio.

"Am I Going Insane (Radio)" is one of the few Sabbath songs completely written by Ozzy and its lyrics represent his state of mind. "So I'm telling all you people, listen while I sing again. If I don't sound very cheerful, I think that I am a schizophrene". Ozzy asks people if he is going insane, but he actually already knows the answer. And there might be multiple answers, from various voices. "Sabotage" is definitely the most Ozzy-driven Sabbath album. His aura is everywhere.

However, Ozzy's lyrics on "The Writ" are straight to the point, bring you back to reality and are totally different from Butler's lyrics, that was the main lyricist of the band. "The Writ" is against managers and record labels and that's the best way to close this record, with one of the most underrated Sabbath songs. "What kind of people do you think we are? Another joker who's a rock n' roll star for you, just for you".

Some copies of "Sabotage" included at the end of "The Writ" a half-minute outro joke song called "Blow on a Jug", performed by Ozzy Osbourne and Bill Ward.

There is a rumor that "Am I Going Insane (Radio)" was written by Ozzy for a solo album and actually it really fits next to another similar composition he wrote on synthesizer ("Who Are You?" from "Sabbath Bloody Sabbath"), so the rumor might be true, if we will add to this the fact that he wanted Black Sabbath to stay heavy as they were on "Master of Reality" and that was one of his differences with Iommi those years and the change of Sabbath's style.

"Sabotage" is strange and beautiful. "Sabotage" is a great Sabbath album. "Sabotage" is a great '70s album. Black Sabbath were sabotaged. But from that point and until the end of the '70s, they also sabotaged themselves and their music. 

Track list:
1.Hole in the Sky, 2.Don't Start (Too Late), 3.Symptom of the Universe, 4.Megalomania, 5.Thrill of it All, 6. Supertzar, 7.Am I Going Insane (Radio), 8.The Writ

Ozzy Osbourne (lead vocals), Tony Iommi (guitars, piano, syntesizer, harp), Geezer Butler (bass), Bill Ward (drums, percussion)
Produced by Black Sabbath with Mike Butcher.

Originally released by NEMS Records in UK and Warner Bros in the United States.

OPEN BURN interview - Music, Lethal, Divine Intermission and a band you got to know.

Do you like progressive power metal from the United States? Keep reading. Do you like bands like Lethal and Queensrÿche? Good for you. Now forget everything and check Open Burn. You got to know Open Burn. You got to learn them and folow them.

What is Open Burn? Eric William Johns on vocals, Dell Hull on guitars, Glen Cook on bass and Jerry Hartman on drums. Back to start. If you like progressive power metal, some names above might ring you a bell, since all of them are related with Lethal, besides singer Eric that has also a long past with bands like Simple Aggression.

Open Burn have their first full-length album just released via No Remorse Records, under the title "Divine Intermission" and we talked with all of them. You got to love Open Burn.

 - When did you start Open Burn and what the name of the band stands for?

DH: I think Jerry, Eric and myself first started in mid 2015 playing cover songs at a benefit? Soon after we started working on original material. Glen joined us after we returned from Greece with Lethal in 2016. The term Open Burn is used in the U.S. by people who are actually burning fields or brush on their properties. You can usually see hand made signs posted "open burn" from time to time throughout the countryside wherever someone is doing this. I saw one of those signs one day on my way to the studio and sort of jokingly brought up the idea to the guys to use it for a band name. Glen said he liked it so it stuck. Haha.

EWJ: Since someone asked me, once they saw our EP artwork, what the cover was supposed to represent, I thought I'd give you all the scoop. Once we had decided on the name Open Burn, I went to work trying to think of a visual that matched the name and still had an identity of its own. What immediately came to mind, to me, was the chemical burn scene in David Fincher's brilliant film Fight Club. By the way, guitarist Dell Hull took the idea and ran with it on Photoshop to create all the artwork for the EP. He did a pretty amazing job, if you ask me...

- Which are your influences and besides bands and musicians, what things inspire you to create music?

GC: My musical influences are broad but the ones who had a real impact on me include The Beatles, Elvis Presley, Duke Ellington and Iron Maiden. As for ongoing inspirations, I believe they really just feed a chronic desire to communicate musically and might come from my family, my dog or anywhere else. From a practical perspective most of my musical inspiration comes from my band mates since that is with whom I am typically making music.

EWJ: I have answered the question of my musical influences dozens of times probably over the years. As far as why I make music, you have to first understand what music is. It is the oldest form of communication we know to exist. Listen to the whales in the ocean or the birds in the trees or the wolves in the forest. They all sing to each other. It's in our shared DNA. All of us. When I sing, all of the obstacles of language are removed. Its the only time when I communicate I feel anyone might understand me. Music is my tether to the world; without it I would float away.

DH: I guess music is just an outlet for me to speak without words. I draw basic inspiration from my long time musical influences, The Beatles, Led Zeppelin, Iron Maiden, Pink Floyd and Metallica. When I come up with a part or section of music that we play as a band I get additional inspiration from what my band mates add to it. I rarely know what they’re going to do but I do know it will always be good. That inspires me further.

JH: The guys I’m playing music with are my biggest influences. They make it easy to go to rehearsal and have a great time doing what I love to do which is play music. I’ve always been drawn to music from an early age and anything that had some kind of rhythm seemed to catch my attention. As far as bands, I like the classics, Led Zeppelin, Deep Purple, The Doors, Black Sabbath, Judas Priest, etc. I do listen to all types of music, new and old. There are always some new sounds and textures you can learn from and draw inspiration from
 

- Having three members from Lethal, does it mean that actually you guys wanted to write new music and somehow, something in Lethal was moving slow, so you started something new? Is Open Burn a different beast, which are the similarities and which are the differences with Lethal?

GC: We've all played in multiple different bands since no one band can outlet all of our inspirations. Starting Open Burn had nothing to do with Lethal. Eric hooked up with Jerry and Dell to play some cover tunes at a local benefit show. There was clearly some chemistry so they decided to put a band around it. Since I was in Lethal with Dell and Jerry and had been playing in another band with Eric for the previous 4 - 5 years (Graves Road) I was a natural fit when they needed a bass player.

EWJ: The biggest difference is that there is a different singer.  The next biggest difference is either one or two less guitarists (depending on which version of Lethal). As to the speed or slowness of Lethal, I was not in that band. It's not for me to say. I assume Jerry, Dell, and Glen wanted to make new music or they wouldn't have hung out with me.  All beasts are different beasts; just like all snowflakes are different.  Even identical twins have tiny differences...

DH: I think any similarities musically are just coming from our common influences. Glen and I first started playing together in Lethal in early 1983 so we’ve pretty much always had the same influences. I’m not trying to write anything new that purposely sounds like Lethal but at the same time I’m not trying to avoid it either. Just whatever comes out, comes out.

- You privately released a 5-track CD in 2017 and now a full-album under the title "Divine Intermission" is out on No Remorse Records with some same tracks in both releases. Are they the same or different recordings? Different mix? Where all the songs written at the same period and do you have more songs that probably are not recorded?

EWJ: The five songs on the EP are the same recordings that appear on "Divine Intermission" along with four songs that were recorded later.  All of them except the acoustic version of "Statues" (which is included as a bonus track, really), were recorded at the same studio with the same producer; just at different times. So the five songs that are on our debut EP are remastered on "Divine Intermission" to match the mastering of the 4 songs that appear on the album for the first time. I think each of us have plenty of ideas for the next record. I have a bunch of lyrics and melodies sketched out in my phone and laptop. I'm sure Dell and Glen have stuff too.  We work fast when we all actually are able to get together.

DH: Yeah, the songs come together pretty quickly when we start jamming on the ideas. I probably have enough newer musical ideas for 2 more full albums. At this point it’s just a matter of putting them together.

- What's the idea behind each song of "Divine Intermission"?

EWJ: The idea is to make good music. If I told the meaning behind the lyrics I have ruined the surprise and discovery of figuring out for yourself. If you really like the song; if you really want to know what it means, go and search. Discover.

GC: I would gladly spill the beans but Eric will not divulge any hidden meaning to us either, lol! One of my favorites on the album is "Mary's Lament" which is a reference to Mary Shelley and the monster she created.

 - How do you see the current status of metal music in United States? Are there any bands that you distinguish?

EWJ: I don't really listen to any music that I haven't loaded myself on my phone or flash drive that plug ins my car stereo.  That leaves me pretty oblivious to what is current in the metal world.  Unless I know them personally, worked with them in the studio, or played shows with them, there is a good chance I haven't heard them.  Friends of mine are routinely amazed that I have never heard of (insert band or artist here).  I'm just a creature of habit.  The old stuff still sounds good so I rarely deviate from the stuff I know for sure I will enjoy.

DH: I really don’t listen to much new music and really haven’t since the late 80’s / early 90’s. The scene got really stale for me then and most of the new music coming out, then and since, is really just a rehash of earlier stuff that I already liked. I suppose if I heard something with a fresh sound I would explore it more. I don’t mean to say there’s not any music since that I don’t like. I do like some stuff I’ve heard but I purposely don’t listen to it more than once or twice so I won’t be influenced by it. I’d rather stick to my roots for my influences.

- Speaking of United States, I can't pass the opportunity to ask a musician-artist like you, how do you see the current status of politics in your country?

EWJ: Nothing good will come from me answering that directly.  I would potentially be alienating half of my fan base at home who doesn't agree with my politics. Instead, let me quote the Gospel of St, Matthew (7:15) "Beware of false prophets, which come to you in sheep's clothing, but inwardly they are ravening wolves."  Each of you can interpret that how you wish...

- How did the Lethal reunion (at least for few live shows) happened?

JH: We are lucky enough to have fans that want to see us play. Martin Brandt contacted us in 2007 and put us in touch with the KIT festival and the rest snowballed from there.

DH: Like I said, Jerry and I started playing and forming what is now Open Burn in 2015 so that is really what led up to me joining Lethal for a few shows the following year. I’ve really been focused on Open Burn since.
 

- If Lethal will be active again (full active and not just posts in facebook) will it affect Open Burn?
 
GC: No.

DH: There’s no reason for it to affect Open Burn at all.

EWJ: I'm not in Lethal so I would have to wait and see how it affects me like everyone else.

- Are there any plans for live shows with Open Burn?

EWJ: I think we will play live shows at some point soon.  We are all older veterans of touring and know what a toll it can take on you.  It's hard to agree to that kind of strenuous endeavor the older we get.

DH: I would love to do live shows. The sooner the better with our new album coming out. Hopefully we can get some set up soon.

"Divine Intermission" is out now on No Remorse Records.

Join Open Burn on facebook HERE

MANACLE: Chains, leather, pure metal and no fear to persevere.

“Music is both a way of expression and release for me, so it means everything! Without it I die!”

There is something about Canada when it comes to ballsy metal. Manacle is no exception to the rule. Forged in the underground metal scene of Canada, Manacle are all about shackles, chains, studs, leather and pure metal worship that will blow your mind. Founder and guitarist Inti Paredes talks to Crystal Logic about everything…

Give us a detailed bio of Manacle.

Inti: Manacle started sometime in 2013 as a trio, with myself on guitar and singing lead vocals, Amar on bass and Matt on drums. Initially started with the intent of being a speed metal band like the first Exciter album, or Agent Steel, we kind of just naturally turned into a more melodic heavy metal band that plays fast. We’ve gone through a few line-up changes since the inception but the idea and direction for the band remains the same. We managed to record ‘No Fear To Persevere’ in the end of 2016 and sat on it through a few line-up changes, among other complications with the album release,  until now. The band currently sits with myself on guitars, Shawn on bass, Spannah on drums and Jesse on vocals.

How do you compose a Manacle song? Do you have a specific idea, do you jam or it comes naturally in the studio?

Inti: Typically I have a lyric or melody idea come to me and start from there. I have a bunch of riffs in the old riff bank and it’s just a matter of arranging them in a way that sounds good to me. I like trying to jam out song ideas as well; usually I’ll just play a riff or two and see where it goes from there.

Give is few notes on each song of your first album.

Fight For Your Life – Opening track, I really clean/acoustic type intros, one of our older songs and typically a show opener.

Tears Of Wrath – This is the song that made me get a real singer, when I wrote the music I couldn’t play guitar and sing it. Kevin’s vocals are amazing on this track. I was working a shipping receiving job, and a friend there was talking and he said “tears of wrath” joking about something, I thought it would be a great song title!

Journey’s End – Longest song on the album. Don’t let your life pass you by!

Live Fast Die Fast – The oldest Manacle song, I wrote a couple of these riffs when I was briefly in Axxion with the intention of making it a song. When I started Manacle I turned it into a full song. 

Witches Hallow – I can’t remember whose idea it was to have the drum solo, maybe John Dinsmore or Jason Decay. This is a song we jammed out together in a rehearsal.

Stand Tall – We didn’t originally have the intention of recording this track. It was something we were still working on at the time, but Jason convinced us to try and record it and we finished writing it in the studio actually! Jason is part of the back-up vocals at the end.

How was the recording process of 'No Fear To Persevere' and how did you end up with Olof Wikstrand of Enforcer for mixing and mastering?

Inti: Jason Decay from Cauldron is a friend of ours and has helped us out a bunch over the years. Essentially, he knew John Dinsmore from doing previous Cauldron recordings, and recommend we book time at his studio. Jason was down in the studio helping us out, I wanna call him our unofficial “co-producer” since he didn’t want the official credit! John is also a really good engineer who taught us so much and had way too much patience! Haha… The studio was a great time because we were all really stoked to finally be in the studio, it was late August and the weather was scorching hot, and we were hungry with something to prove! We were sweating buckets but we finished it in a weekend.

Olof is a friendly acquaintance but also a close friend of Cauldron, so it came together the same way. Olof nailed the sound we were going for and I couldn’t be happier with how it sounds, not to mention all the other great albums he’s mixed.

Your musical inspirations are quiet obvious and they are from 80s US heavy power speed metal legends like Omen, Savage Grace, Agent Steel, but also classic bands like Judas Priest. What made you start playing music and what metal means for you?

Inti: Something about music, rock music, heavy metal, it just clicked for me! When I was younger I looked up to the guitar heroes of my favourite bands and it definitely inspired me to play. Randy Rhoads was a big motivator; and Judas Priest was a huge discovery as well. I also think Canada has such a good library of rock and metal that it was easy to be influenced by Canadian classics. I think particularly watching music videos also made me think, “whoa! This is so cool, I want to do this. I CAN do this!” I had some friends who were also starting to play music around the same time and that helped me learn to play.

Music is both a way of expression and release for me, so it means everything! Without it I die!

There is a new wave of metal bands coming from United States and Canada with Gatekeeper, Eternal Champion, Visigoth and more. How is the current metal scene in North America and Canada? Which bands do you distinguish? It appears that there is something boiling and ready to explode but do you think that it will break through or it will remain underground?

Inti: I think it’s hard to say. Sometimes I feel like metal is becoming popular again and everything is big, lots of shows and bands, and then suddenly everything dries up for a bit and suddenly no one is around. If anything I think I don’t think it’s boiling over, but simmering down and becoming more concentrated. I’m more involved in what’s going on in Canada, so the bands I’m distinguishing are Spell, Barrow Wight, Possessed Steel, Emblem, Cellphone… Canada has lots of great bands, but we could always use more, the big cities in North America are too far apart. and maybe a few more fans while we are at it.

However, speaking of underground, do you think that underground can be the new mainstream and what's your view on "underground" and heavy metal music nowadays? There are many new traditional metal bands out there, various festivals appear everywhere, older bands reunite (even with just one "cult" album), there is a vinyl hype, cassette tapes return and everything 80s-related seems cool...

Inti: I think the underground could become the new mainstream, but it would take a lot to get it there. In the 80’s heavy metal was advertised on a mainstream level like pop music. If they gave it that kind of treatment again, I’m sure it would rise …although I don’t necessarily think it would be the best thing…

My view: Too much hype on everything!

What does it take for a new metal band to survive?

Inti: I’ll let you know if I survive!

The world is changing. Society is changing. Politics and extreme ideas are rising. Do you think that metal music should raise a voice and take place?

Inti: Absolutely, music is the common language that unites us and I strongly believe we can make a positive difference in the world through it. Music and the arts have always been at the forefront of social change and there is no reason that should stop now. Things like the Freddie Mercury Tribute Concert, Moscow Peace Festival, Hear N Aid, Rock Against Racism, Live AID , etc.  are some examples or music raising its voice for noble causes and I think we need more of that today. 

What will you do if you will find out that a member of one of the bands you love supports extreme ideas or will be convicted for a hateful crime?

Inti: Probably will be the end of that band for me, I can’t separate the politics from the music. But there’s also that Dave Holland thing? I guess we just tell ourselves he was a secondary member that didn’t matter and that he was out of the band anyways...

Then you start talking about how good Scott Travis is and Racer X or something instead… Les Binks was really good too!

I know that you are also running a metal record store and label in Canada. It seems that metal is your life but how easy or difficult is to survive?

Inti: I co-founded and ran Stained Class Records for 1 year (I no longer work there), I’ve been doing the label for a few years now and playing in bands, DJing, promoting shows and doing anything I can! Metal is my life and I love it, sometimes it feels like a lot, and there’s not much money in it…but what else would I rather do?

Where do you place Manacle in the current metal scene and what should we expect from you in the near future?

Inti: I’d place us in the bottom right now, but that’s not a bad thing, I’m hoping to play a lot more show this year and record a 7” soon before beginning work on a new album.

Are you still going to see Judas Priest without KK and Glenn?

Inti: I did! Priest will always be my favourite band, and I have the feeling this may be one of their last tours. Of course it’s not the same without KK and Glen, but what other choice do I have since I missed the glory days! They were still great and I regret nothing, long live the Priest!

Photo by Kimo Verkindt

No Fear To Persevere is out now on No Remorse Records