TEN / Gary Hughes interview

TEN is a melodic hard rock British band formed in 1995 by singer/songwriter Gary Hughes. That's for those unfamiliar with TEN... For the rest, TEN is one of the best bands of its kind. Sounds simple and becomes simpler when you experience the music. There is a new album out there called "Heresy & Creed" and TEN will play for first time in Greece, so there is no better opportunity for me to exchange a few words with Gary Hughes.

So, what took you so long to come at Greece for a live show?

Greece has always been a country that TEN wanted to play but it can be very difficult to schedule in a one off show in the middle of a European tour. In the past when TEN toured it was done in a tour bus and as much as possible the gigs were all driven to this was to keep the costs to a minimum as flying a band a crew is very expensive. The exception being Japan when we always played at least three show which made the tour financially viable. The Athens shows we’re about to play have been kindly organised by our good friend Jason Thanos who’s arrange everything for us. He’s been telling us for years that the Greek rock fans are the best in the world, so now we’ve got the chance to come and find out for ourselves and play for everyone which we’re so excited about.

“Heresy and Creed” is your last TEN album, just one year after “Stormwarning”. What is the response to these two albums from press and fans?

The response has been tremendous. It’s was always a concern after our hiatus of five years between “The Twilight Chronicles” and “Stormwarning” if the fan were still out there? Thankfully we needn’t have worried because our fans are some of the most loyal in the rock work. The press we’re also very complimentary and we got some really great reviews. All in all we’re happy to be back and I can promise we won’t be leaving it five years to do the next record. We have many ideas and plans including an un-plugged DVD and also a Live DVD/album.

It is obvious that most of your songs are lyrically inspired by life, what surrounds you, and personal moments, so what grows old and dies after the love has gone? What’s more important in life?

The lyric in “After the Love Has Gone” is basically saying that your soul and reason for being is eternal and that’s what’s important but love can be a fleeting, passing moment, enjoy it for what it is because it might not be there forever.

Musically, where does your inspiration dwells?

Many things inspire me to write songs but with the “Stormwarning” album for example I wanted to go beyond the standard love or tragedy songs on previous records. My inspirations come from instances and experiences in my own life, news stories and the events in the lives of people around me. For instance with “Endless Symphony” which is a comparison between someone’s life and a musical score. The idea being life goes through many moods and emotions just like the music in a symphony the light and shade thing again. Music and life are very much paralleled and I though it would be interesting to make that comparison in a song.  I’m also inspired by Sci-Fi books and films, the dark side of the mind and strange phenomena. The song “Centre of my Universe” is based on the idea that a person can instantly become everything to you, you’re reason for being and the strengths created when those two factions meet. Another concept I had was “The Wave”, this is based on the idea that waves come onto the beach and then retract and head back out to sea. I compared the tide to the ebb and flow of our lives, again a very emotional song.

In the times of downloading and “free” music, how easy or difficult is for a band like TEN to survive? What’s your opinion about the present situation in music industry?

Each year it gets tougher and tougher for a band such as TEN to balance the books and continue. Record companies are continually reducing the advance which can make it even harder to produce a quality product with less money available. The record companies are not making what they used to so cuts have to be made. Last year we got a clear example of this when “Heresy & Creed” appeared on various free download sites before it had even been officially released. It doesn’t take a genius to know this is really bad for the band and the record company. I don’t know what can be done to stop these things from happening but I think you have to look at the bands that are still successful and it appears that the shift has taken place from making money on CD’s to making money on touring and merchandise. This is now the market place, the album is now only a vehicle for a tour and that’s where the money can be made for a band to survive in this difficult financial climate.

In the second half of the 90s, you came up with “Ten”, “In the Name of the Rose”, “The Robe” and “Spellbound”. Four melodic hard rock landmarks released in less than five years. Which are your memories of that era?

It’s interesting now thinking back to that era because at the time you’re too busy experiencing everything and living the dream that you have no time to stop and really analyze what’s actually going on. It all seemed to take place in a flash and you left thinking how did we fit it all in, in such a short period of time?  The most memorable period being for me were those first Japanese shows when we really didn’t know how we’d be accepted. We needn’t have worried, it was TEN mania from day one. I remember us being followed by fans from the airport to the hotel, then from the hotel to the show and then from the show to the “Hard Rock Café”. It was so intense but also very enjoyable, after all this is what you do it for and you have to embrace and soak it all up while you can because it definitely doesn’t last forever.

You had too many line-up changes over the years and you are always the main composer. Is TEN really a band or just a vehicle for Gary Hughes?

No one likes to see a band change personnel but sometimes it’s unavoidable. Musicians feel the need to move onto pastures new and that has to be expected. TEN is no exception but having said that we still retain 50% of the classic line-up with John, Steve and myself. TEN is still a band and everyone contributes their own ideas and styles when recording and playing live. I’m not averse to collaborating on tracks but when I write I have a complete vision of what the songs should be. It’s a system that’s served us well for the past 17 years and I don’t see any reason why it should change now.

If you could turn back time, what would you change and which are your best memories in TEN?

I’m not the kind of person that looks back and has any regrets, the past is the past and there’s nothing we can do to change it. I’m more interested in the here and now and what I’m going to be doing in the next few weeks and months As the song says “Don’t look back”. I stated in the previous question about the first Japanese shows which hold my fondest memories of the early days of TEN.

What the future holds for TEN and Gary Hughes?

TEN will continue, as always, to release records for as long as the fans want us to. We have no intention of stopping anytime soon let me assure you of that. As I stated previously we have many great ideas for the future including an unplugged and live DVD/CD. We’re also looking into the possibility releasing all the previously un-released material, studio and live, possibly as a box set containing a booklet and rare un-seen photography.

Give a message to the TEN/Gary Hughes Greek fans and what should we expect from your upcoming live show?

We’ll be hitting the stage with all the good stuff, the best of the best from each album. We simply can’t wait to be over there playing for our very first time on Greek soil. It’ll be an honour and a privilege to play in the birth place of civilization, where it all started. You guy’s have a lot to be proud of in your beautiful country. I know you’ve gone through some tough times recently and so have we over here in the UK but hey just for one night we’re gonna forget about all the negative stuff and have a real party. So please come along and help us take the roof off!

TEN latest album "Heresy & Creed" is released from Frontiers Records.

TEN will perform in Athens - Greece on March 1st, at Kyttaro Live Club. One day before, there will be a special acoustic show at Bat City Club.

Visit: http://www.tenofficial.com/

ALIEN interview with Ken Sandin

ALIEN is a Swedish AOR / Melodic Rock band formed in Gothenburg  in 1986. Two years later they released their first self-titled album, a landmark of AOR, recently re-released from EMI/No Remorse Records. The band is active and they enjoy what they do, more than ever! At the moment, they're writing a new album and Crystal Logic speaks with bassist Ken Sandin. 

First of all, you will play in the next Firefest, on October 20th. It is the 10th Anniversary of the festival and also the 25th Anniversary since your debut album! What does it means for you?

Firefest is asking us back for the 10th Anniversary and of course, this is a great compliment! The reunion was all about nostalgia, we're having so much fun performing the (debut album) songs again. What could be a better place to celebrate than at FF, together with fans from all over the globe!
I’m also performing with Fergie Frederiksen (TOTO), Joe Lynn Turner (Rainbow) and Eric Martin (Mr. Big), in “LEGENDS - Voices of Rock”, headlining the festival. So, the 20^th will be something else!

Your debut album was recently re-released in its original form and it seems that there are people that didn’t forget you! How important do you think is “Alien” album for AOR fans and the band?

I've come to understand it's considered an absolute AOR classic around the world. It's a cool thing to be part of the legacy of 80's melodic rock, especially since there's a new wave of bands now - some of them list us as major influence. 

For us it's THE most important record, as far as experience and success. An unforgettable insight in the process of writing, arranging, performing, producing, dealing with producers, major label A&Rs, managers, agents, media etc. Those memories will always have a special place in our hearts!

Back in 1988. What do you remember from the recordings of “Alien” and how did you sign a deal with a world wide major label like Virgin Records?

I remember it well... First session was at (ABBA's) Polar Studio, Stockholm with producer Mark Dearnley. We cut three songs, one being “Only One Woman” released as single. Relocated to Sound City Studios, L.A. with producer Chris Minto and cut a whole albums worth of songs. The U.S. recordings, plus “Only One Woman” (just had to be in there, being a #1 hit!), made up the debut album (Scandinavian version).
For the international version Virgin America had some remixes done, new album cover. Should've been Simon Fowler pics, shot in London. Scraped, of course, when Jim quit. Made new pics and the “Tears Don't Put Out The Fire” video in L.A. and the first single (2 songs) with Pete were added to the album, to introduce him.
Virgin Scandinavia had their eyes on us, so we recorded two songs (Dec ‘86) which became the first two singles (they’re both on the “Best & Rare” compilation). Our CEO presented coming releases on a Virgin head quarter briefing in London, they believed that Alien would appeal to further territories and hence rewrote our contract into a worldwide deal!

The cover for “Only One Woman” was a major hit back then, but I always preferred your original material! How did you come up with this cover and what’s the story behind “The Blob” film and “Brave New Love” in its soundtrack?

It had been 20 years since the Marbles had a hit with it (with Graham Bonnet singing his heart out!). Virgin saw the potential in an 80’s take on it, and asked us to. Turned out great!
Hollywood made the remake of “The Blob” while we were working in L.A. and our music was recommended. “Feel My Love” is in the film and “Brave New Love” in the end credits.

What do you remember from your live shows back then?

Amazing! Coming back from L.A. to find “Only One Woman” sky-rocketing the charts. Bringing the album on tour, beating box office records, being all over media. The time of our lives. 

Later there was a re-worked version of your debut album for US market with different track list and a new singer for two songs. That seems complicated, so, what Ken Sandin’s diary writes for that time?

We had to release the Scandinavian album asap, expectations were high after our chart topping single and successful tour. Preparations for the international one were more thorough. Guess it’s confusing with the change of singers. For instance, in the “Tears…” video you see Pete but hear Jim!

“Shiftin’ Gear” followed, but it seemed that something was missing from the success link. What can you recall from that time and why did you left the band?

First of all, I never left the band! We split up in the end of ‘89, disbanded. Mutual agreement, no one to use the band name without the others. What happened later is another story, out of my control.
We had the follow up album written and made a first session at Townhouse Studios, London with Mark Dearnley. “Easy Livin’”/”How Long” released as (our last) single and “Wild, Young & Free” and “21^st Century Man (demo)” later on the “Best & Rare” collection. Four other songs are on “Shifting Gear”, but EMI actually plan to add our original versions as bonus for digital download.

There was quiet a difficult era for Alien during the 90s and 00s, but first at 2005 original singer Jim Jidhed rejoined the band - and also recorded a new album with the rest (“Dark Eyes”) - and finally, during 2010 the original line-up came up together. What made you guys work together again and how were these two last years for Alien?

From what I heard, “Dark Eyes” was a solo album project of Tony, with different singers (Jim being one of them), to start with. I was sure that calling it a reunion of Alien meant the original lineup would never get together... can’t make a reunion twice. But, here we are.
As I’ve said, the one album we did together has so much sentimental value to all of us. To consider playing those songs once more was a no-brainer! We’ve done few but very cool shows, like Sweden Rock Festival, Firefest, Live4AOR (Madrid) etc. …sounding as good as ever. It’s been a blast!
A new single, “Ready To Fly” (released 10.10.10), to mark the reunion. Hope you all liked it!? 

Do you think you had a missed chance for a huge break-through?

Possibly, back then. We had everything set for the international launch - major label/publisher and management backup. Supposed to open for a major act, had Jim only stayed. Who knows…

So, what the future holds for Alien?

There will be more shows. As for new music, we’re writing a new album right now, taking our time. We decided early on that if we make a new record, it shall be a natural follow up to the 1988 debut  in terms of style, melodies etc. …with an up to date production, of course.

Best regards // Ken Sandin (ALIEN)

MEMORY GARDEN interview with Tom Björn

The Tides of Doom Metal...

 

Swedish Doom Metal masters MEMORY GARDEN just finished the recordings of their new album that will be released in early 2013 from Metal Blade Records. Standing always by the side of the band, since the first years, I contacted drummer/songwriter Tom Björn and discussed about the recordings and all the latest news of the band.

It’s been already 4 years since your last album “Carnage Carnival” and now you are in recording sessions for a new album. So, give us all the available info about it.

Yes, time really flies! We started to record the drums in June 2011, so it has been a long process for us. Because most of us have small kids we felt that it was impossible to hire a bigger studio for this album, and be away for weeks. So with the help of Dan Swanö we upgraded our own studio, and have spent in general five hours per week there. We all have daily jobs to go to, so we met one night per week after work to get something done. And here we are in December 2012, finished! The album is right now being mixed and mastered by Dan Swanö, and the cover is almost done as well. Once again by Hjules! This album will both sound and look fantastic, and I consider it to be one of our best efforts ever!

Since you are back in Metal Blade Records, why did you left at first place, after “Mirage” and how did you join them again?

Well, this was in  2002 if I recall correctly. We had once again planned on visiting studio Fredman, so we called him up and booked the studio for about two-three weeks during 2003. We needed some months to complete the songwriting. Then, for some reason, MB decided to cut our budget drastically. That meant we could no longer afford studio Fredman, which we had been looking forward to so much. We kind of lost all inspiration in a heartbeat, and wouldn't settle with some other studio. Which was pretty stupid of us... MB decided to drop us when we said we couldn't make a good album with that budget cut in half. 

Some years later we signed with VIC records and they released Carnage Carnival in 2008. When we were getting ready with material for the new album, VIC was in some financial trouble. They simply couldn't afford to pay for another album.  So, without label again we decided to check with MB (among others) once more and they were happy to take us back for another round!

What about your musical direction? The early doom metal era of Memory Garden was watered with many progressive and power metal drops over the years and the last album had lot of differences from “Forever” or “Tides”, but all these years I consider you as a Doom/Power Metal band. What should we expect now?

I can promise that no MG-fan will be disappointed on the new stuff! It's pretty much the same foundation, doom with a few progressive elements and lots of heavy riffs to bang your head to! The melodies and Stefan's powerful voice are still there of course. 

We have also used a bit more clean guitars and keyboards this time, and that has brought a more dynamic and atmospheric sound. 

The line up remains the same?

Yes, it's the same since ‘08 when Andreas joined us. We don't want any more changes in that section now... We're working better than ever together and that feels great!

I am a big fan of Simon Johansson’s guitar playing - and also a big fan of Mike Wead of course (and Mercyful Fate/King Diamond style in general). How it feels to work with such a great guitar players?

We have been playing together since ‘96 and Simon has really become a great guitarist. No wonder with a mentor like Mike Wead! Simon has developed his style during the years and you can clearly hear influences from Mike in his playing, but I think he has a little different tone and has created his own style. I'm very happy to have Simon in the band, and also to have had the honour to play with Mike in Memento Mori. 

You are one of the few drummers that contribute in writing music and lyrics. What’s the composing procedure in Memory Garden?

I got too tired hearing that every band has a couple of musicians and also a drummer... :)

No, actually I've been writing songs since I was 12 years old or something, maybe not so good ones but still... I think I have a good ear for melodies, harmonies and so. 

We have always brought our ideas to the rehearsals and tried to put things together. And sometimes one of us brings a complete song to the table as well, then we try it out to see how it feels. We usually make the songs first, then vocal melodies and last the lyrics. I have written most of the lyrics for the new album, and I think it's easier to have a melody in mind to make the words fit better. 

What is the true essence of Doom Metal for you?

Well, it must be the heaviness and slow-to mid-tempo. But on the other hand I can't stand listening to stoner-doom or songs that are too monotone, I find it boring. So I guess, for me, the important stuff are heaviness, groove, melodies and variation. A good singer is also a must!

It is obvious that you play the music you like, but how easy or difficult is for a band like you to survive in the music industry?

Since we're not making a living on our music it's not a problem. We have been lucky to land deals with record labels and play a lot of cool shows, and I think those two things are of great importance to stay on the scene. We don't have any hopes of riches or fame (that would be pure stupidity) and we appreciate every opportunity we're given. As long as we feel we have something to give to the doom metal scene, and the fans want us, we will keep composing the best we can. 

I know that it is very early, but are there any plans for live shows after the release of the new album? People here, really enjoyed your shows in Greece.

Not at the moment. During the whole recording process we didn't play live even once, so now we look forward to that a lot! We will soon start rehearsing a setlist with some new songs in it, and as soon as the album is out we will hopefully be ready for some gigs again. But nothing is planned yet. 

We would love to come back to Greece again! 

Last words.

Thanks for keeping up your interest in Memory Garden, we need your support! Hope you will enjoy the new album, cheers!

Discography 
Blessed Are The Dead 7”EP
Megagrind/Immortal Underground Rec. 1994 
Forever EP
Heathendoom Music 1995
Ta någon hårt i hand, så ger vi oss av till tomteland 7”EP
Private released 1995 
Tides 
Heathendoom Music 1996 (Rereleased by Vic Rec. 2009) 
Verdict Of Posterity 
Metal Blade Records 1998 
Mirage 
Metal Blade Records 2000 
Marion 7”Single
Heathendoom Music 2004 
Carnage Carnival 
Vic Records 2008

Visit the official Memory Garden Facebook page HERE for the latest updates.

AGATUS Interview - The Dark One speaks...

AGATUS... A legendary band from Greece that dwells in Black Metal with many traditional metal elements, epic atmosphere and great musicianship. After many years, Eskarth The Dark One and Archon Vorskaath are back in Greece and recently the performed a return live show in Athens, supporting Primordial. This year, they released a new EP entitled "Gilgamesh" and a remastered version of their first album "Dawn Of Martyrdom" is on the way. Crystal Logic took the opportunity to exchange a few words with The Dark One...

So, you are back! After a few years of absence, first last year with “Night Mares” EP and this year with “Gilgamesh” EP. What have you done these years?

Indeed we are. I have been busy with various diverse projects over the last few years. The pre-production of the new Agatus album was recorded, (hopefully available next year). I toured with Zemial, did various shows and recordings with Raven Black Night and composed and recorded bits and pieces for my solo acoustic project. Over summer I was involved in the recording sessions of the next Zemial album “NYKTA” which is anticipated for release in 2013 through Hells Headbangers Records. 

Early 90s and the cult begin… Give us a brief bio of Agatus.

Formed in 1992 in Athens, Greece. Recorded and released our first demo “A Night of The Dark Ages” in 1993 and our debut “Dawn of Martyrdom” in 1994 with the line-up, Archon Vorskaath, Eskarth The Dark One, Prince Korthnage. The same year Vorskaath and myself moved to Australia where we re-established the band. In 1996 we recorded the 7EP “Rite of Metamorphosis” with our new member Dracon (Destroyer 666, Razor of Occam). In 2001 Vorskaath and myself recorded our second album “The Weaving Fates” with of Jimmy Petkof (Raven Black Night) as guest vocalist. Due to other commitments the band remained dormant until 2009 which was when I re-incarnated Agatus in order to participate in Hell’s Pleasure where we shared the stage with Pentagram (US), ABSU, The Devil’s Blood and many other great bands. In 2010 I recorded songs for the 7”EP “Gilgamesh” which was released in 2012 by Those Opposed Records and marked the band’s return and new stylistic direction.   

What I can see, is two brothers with unique musicianship and each one has a band as his main vehicle. Yours is Agatus, and Vorskaath’s is Zemial. But each one completes the other one sometimes. How didn’t you come up with one band?

Thank you for your kind words. As a matter of fact we do have a couple of bands in which we both share all duties, these being Alpha Centauri and The Watcher.  We are both contributors musically, lyrically and arrangement wise. Besides, both Agatus and Zemial are evolving into something entirely different from each other and all that we did in the past.

“Gilgamesh” EP is your latest release (earlier this year) and I can see that your Heavy Metal influences are more obvious than ever. Which are these influences and what is the next step?

I am a huge fan of  70’s - 80’s Rock and Heavy Metal Music and I felt the urge to combine some of my influences in the music of Agatus. From the very beginning the music contained a lot of Heavy Metal elements, however in a lesser dose due the fact I was trying to keep the band sounding more in the Black Metal vein but with melodic elements. The fact was that my skills at the time didn’t allow for many elaborations, hahaha. That was so cool... Creativity was so intense due to the fact that I had to somehow compensate with mood and melodies for all those parts that I wanted to compose but simply couldn’t. 

Where do you live now? Are you back in Greece?

Yeah, I am back in Greece again after nearly two decades of living Down Under.

Recently, in November 24, we witnessed a live show of Agatus supporting Primordial. How did you felt playing in your homeland almost 20 years after Agatus’ birth?

It was an excellent moment for us. Very much anticipated and almost surreal. It felt like I owed this show to the Greek fans who have supported us throughout the years and continue to enjoy and support what we offer with Agatus or Zemial. Simply put, the audience was brilliant! We do have a great fan base in Greece and we sincerely look forward to our next live endeavour where we can offer even more to the fans.

What Agatus stands for? Which is the essence of the band?

Movement. Throughout the years I have attempted to create a unique sound which I feel I have achieved. I exercise freedom in expression however in a more conservative manner in order to remain within the context of the genre I represent. In other words I am happy to mix elements together in order to create the picture I have in mind. 

Back I the mid 90s when you released your debut album “Dawn Of Martyrdom” you were somehow under the sign of Rotting Christ, Necromantia and Varathron, the leading forces of Hellenic Black Metal. Also your album then, released from Hypervorea Records had a limited press. How easy or difficult were those years and what do you remember from composing, recording and releasing your first album?

Indeed all three aforementioned bands where certainly well established entities within the Greek scene and appeared as a source of influence or inspiration in one way or another for many Greek bands. Certainly it wasn’t an easy thing to get a record deal, especially from labels outside of Greece. When we did the recording of the demo I recall the owner of the studio (and Molon Lave Records), expecting that we hand over the recording to him in order to release it through his label. Most bands did that. 
As far as the composition is concerned, the whole thing was taking place in my bedroom at home whilst studio rehearsals with Vorskaath, Korthnage and myself were less than a handful prior to the actual recording of the album. I was in Australia on the date of the release and I remember receiving a box of 20 or 25 CDs. I was hoping for more. That was it; never did I see anything more from the label that profited from my work. 

In “The Weaving Fates” album, you started moving slowly into the depths of a more traditional Heavy Metal sound, keeping though all the Black Metal elements that characterize Agatus. Again, for that album, do you have any interesting stories to share with us?

I remember recording the album preproduction minus the drums in my own studio on an Tascam 8-track cassette recorder. We rehearsed at my brother’s place with drums a few times and then we entered Mixmasters Studio for the big moment. The daily budget was around $800 AUS per day so there was no time for fucking around. We either knew the stuff or we didn’t. Very little time for improvisation and working things out on the spot. The entire album was recorded in 3 days and spent 2 days mixing it. We spent the biggest part of the first day setting up the drums and getting a sound. “The Weaving Fates” is a mostly a live album since the drums and one of the guitars were recorded live within just 90 minutes (I have the entire session recorded on video). Most pieces were one take. I invited Jimmy Petkof (Raven Black Night) to do a vocal part in the song “Conqueror of Fear” which worked out really well and that marked the beginning of a longer lasting collaboration on various fronts. The album was recorded and mixed using AMEK and SSL consoles and Studer multitrack reel to reel machines. Nice memories.

Give us a few words for all the other bands you participate in. As far as I know, Raven Black Night are going to release their album through Metal Blade Records, right?

Yeah, that’s right. The new album “Barbarian Winter” is scheduled to be released through Metal Blade Records in early 2013. 
I am also involved with the band Alpha Centauri that is moving in the realms of epic metal. Götz Kühnemund - chief editor for Rock Hard magazine once told me that he felt that Alpha Centauri was Europe’s answer to Warlorld. Subsequently he voted it number 1 in his list of personal favourites in Rock Hard Germany sometime in 2007? That was quite an encouraging statement for our work that to-date remains unreleased and has only been circulated in demos and through MySpace.

I am also involved in The Watcher which is a progressive rock band with inspiration drawn by bands such as Eloy, King Crimson, Marillion, Tangerine Dream, Socrates Drank The Conium, Änglagård, Camel, Rush, Mike Oldfield, Hawkwind and many others. We have only done 3 live performances –all in Australia. 
Music, lyrics and all arrangements  in Alpha Centauri and The Watcher are handled both by Vorskaath and myself. I also compose my own material which is more like NWOBHM as well as acoustic contemporary material that does not belong to the metal genre. 

And back in 2012. The last words are yours.

Thank you for supporting Agatus and for the fine interview. A re-mastered gatefold LP version of “Dawn of Martyrdom” will be available early in December 2012. Those interested in reserving a copy can get in touch with me directly via Facebook: http://www.facebook.com/agatus.thedark

Organisers wishing to book Agatus for selected shows are welcome to get in touch.

Many thanks,

The Dark

OMEN interview - Kenny Powell speaks from the Arena...

While recording the new album "Hammer Damage", the mighty OMEN release through No Remorse Records "Into The Arena", a compilation of live recordings with the original line up and previously rare and unreleased demo recordings. Kenny Powell took a break of the hard studio work and shared with us some thoughts and memories from the OMEN history. 

Bow down to the Axeman!

 

OMEN were formed in Henryetta, Oklahoma in the beginning of the 80s. Then you moved to Los Angeles with Steve Wittig and Jody Henry. What can you recall from your first years in L.A. and how did you join Savage Grace?

That is pretty close to the truth, that line up in Oklahoma was never called OMEN, though several of the songs on “Battle Cry” were based on songs we were working on. There was another member, Roger Sisson on bass and vocals, he was my life long best friend and we learned to play together. He was going to make the move to L.A. with us, but his wife threatened to divorce him at the last minute and he did not go. She divorced him any way a couple of years later and I know he regretted not going for years, it really sucked because when we got to L.A. I could not find a bass player worth a fuck or a singer. After a year of trying to find members, I was asked to join Savage Grace. I agreed to do two records with them, but I was always going back to my own band and everyone knew that. It was a good experience for me and I meet a lot of people in the music business through them, including Brian Slagel.

During that time, you met Brian Slagel from Metal Blade Records and when you parted ways with Savage Grace, Metal Blade decided to work together with OMEN. Why did you part ways with Savage Grace and how did the co-operation with Metal Blade started?

I had made friends with Brian while we were recording the Savage Grace EP. That was before the Evil Music business corrupted everyone and he was a big fan of the two songs I had written for Savage Grace record, “Battle Cry” and “Die by the Blade”. At the last minute the guys in S.G. informed me that my songs would not be on the record, and that was the escape route for me to leave. I called Brian and asked him if he would be interested in signing my project when everything was in place. He immediately told me I had a record deal to get a band together.

How did you find J.D. Kimball and what J.D. stands for? What kind of person was he?

While I was doing the Savage Grace thing, Steve and Jody had started playing in some other start up bands. Jody in a band with Steve Addler, who went on to be in Guns and Roses, and Steve in a garage band that I don't think had ever played a gig. I called both of them up and told them it was time to do what we moved to L.A. for and asked them if they had run across any decent singers. Steve invited me to their rehearsal and I could not believe what I was seeing. Really good band, good songs and a singer that was everything I had been looking for. His lyrics were right in line with what I had been writing and he was not some Hollywood pussy boy. He was Metal! The J.D. stands for John David. R.I.P.

Three classic records followed. Three landmarks for Heavy Metal music. “Battle Cry” (1984), “Warning Of Danger” (1985) and “The Curse” (1986). What can you recall from the recording sessions of these albums and what was your writing procedure during composing?

Those records happened very quickly. There was great energy and we worked very hard, rehearsing almost every night. Jody was living with me and after  borrowing a bass from Brian East and pounding him every day to switch from  guitar to bass we were constantly  writing songs. “Battle Cry” was recorded in 7 or 8 days and the band had only been together for a few weeks. Many of the song ideas had been around for a couple of years so it was not hard to get them in order. We took a little longer with “Warning of Danger” but it was also recorded in only a couple of weeks. “The Curse” was our first time to get a decent budget and take a little time to record. The writing process has always been pretty much the same for OMEN, I usually have my ideas for the music worked out in my head, and sometimes vocal ideas and at least some of the lyrics. Jody was always good for some great bass intros or some times a partial song idea that I would help him finish. As time went on I just let J.D. take over writing most of the lyrics and he would come to rehearsal after we had the music all worked out which worked out great. Unfortunately by “The Curse” problems were creeping in, Jody and J.D. were not getting along and some personal demons were starting to creep in with J.D. That later ended in him having to leave the band.

How were things in your live shows? Did you give headline gigs in small venues? Did you play with big names of that time?

We never really toured back then, not anything like I do now. Little stints of four or five shows sometimes headlining, other times with bands like Metal Church, Lizzy Borden, Fates Warning, Slayer and even Motörhead. Ever few months we would play a show in L.A. Phoenix, San Francisco or Seattle, but we always did well in Texas for some reason. We started getting on some bigger tours after the “Nightmares” EP, but that was when everything started to spiral out of control with J.D. and it was really heart breaking for me after working so hard and accomplishing so much the first 3 years.

How were things in Heavy Metal scene of L.A. during that time?

There were times when I thought it was great and going out to the clubs to see other bands when we were not playing was a great event, a lot of  comradeship  in the scene between musicians, especially with some of the Metal Blade bands. But it quickly changed when things got bigger, friends that I thought were close changed and suddenly it was only business and backstabbing and lies. I had enough of it by 1989 and left for Texas. I miss some of the real friends I made there, like Bill Metoyer, but honestly I am much happier being in Europe these days. The fans and bands seem real and honest over there and really into the music not to hang out and look cool. The music is what counts to me.

“Nightmares” EP followed in 1987 and OMEN appeared somehow more thrash-y in new songs like “Nightmares” and “Shock Treatment”. Meanwhile and during the 1987 shows, you were playing some unreleased songs like “Vicious Attack”, “The Jacket” and “Era Of Crisis”, destined for an album that was never released. Instead of that, Kimball left the band and in 1988 you released “Escape To Nowhere” with different music direction. Can you explain us how were things in the band that year? What happened to these songs, why did Kimball part ways with OMEN?

I have always been a little of a closet thrasher so that was easy to work into some song ideas for “Nightmares”, some day I will probably do a full out thrash song on an OMEN record, but Epic Power Metal is what I have in my heart, I like to think that we helped to invent that genre of music. The songs you are referring to, were written after J.D. left the band, and where going to be on what turned out to be “Escape to Nowhere”. It was originally going to be titled “Era of Crisis” which ironically is the song I have been working on for the past three weeks! An updated version will be on the “Hammer Damage” record. Finally twenty five years later it will see the light of day!

As far as J.D. leaving the band it was a situation that was impossible to continue. I always thought that we would get back together at some point. I loved his song-writing and we made some epic music together. It is a complete shame that it ended the way it did. He never got to see Europe and what he helped to accomplish.

Who was responsible for the change of your music direction in “Escape To Nowhere” (a good album in my opinion), who introduced you the singer Coburn Pharr and producer Paul O’Neill?

I meet Coburn through Steve Wittig, he was a room mate at a house that we were renting, so he kind of knew most of the OMEN songs already.  When things went bad with J.D. we were in the middle of a tour and he flew out and finished the tour. I think if we had done the “Era of Crisis” record with me and Bill Metoyer producing it would have been a far better record, I know what the singer for OMEN needs to sound like within what they are capable of doing better than anyone else, so it would definitely have been something totally different than “Escape...” I guess I will take responsibility for the music style changing on that record, it was not my intention, I was ready to record the heaviest, fastest OMEN record ever and I should have put my foot down on the change of styles. It was my first time to work with a producer and I just got up in the moment of doing something different. I want to make it clear that I have the utmost respect for Paul O'Neill, I think he is a musical genius. He was perfect for Savatage and “Hall of the Mountain King” is to this day one of my very favorite records of all time. I would love to work with him again on something else, I just feel like I am the only one that should produce OMEN, it is my baby and only my warped brain understands how it works!

After that what happened and OMEN disappeared? Did you play live gigs to support this release and how were things between you and Metal blade that time?

The funny thing is that we toured more for that record than all of the other ones combined! “Thorn in your Flesh” was a radio hit in several cities for months and we did probably forty headlining shows, tour bus for the first time, we actually made money for a change. There was no support from the record company, they hated the record, and the crazy thing was that was a song that kept being thrown off the record and I fought to keep it on. It was not even finished, like about half of the songs on that album. Metal Blade pulled the budget after they heard some of the songs.  Thank God for Paul O' Neill, who pulled money from his own pocket to pay for mixing the record. In the end though it was time to put OMEN on hold for a while, I was the only original member left after all of the touring, I did not want to do another record with Metal Blade, and there were three or four records left on the contract, so I just ended everything and asked to be released from the contract, which they did after a few months. It was a very depressing time for me, I realized that no matter how hard I worked at it, I could not control the actions of everyone else and that not everyone had the same passion for the band that I did. Serious reality check!

What have you done until the release of “Reopening The Gates” in 1997 and how did you come up with that album?

I was not going to have another band, too much Pain! I was thinking of producing other bands and writing songs for other artists, so I left L.A. for Dallas, TX to work for a music store chain called Guitar Center. Of course I went to see a band one night, I think it was Steve Stevens of Billy Idol, and I fucking knew I should be playing. I formed a band called Step Child with current OMEN bass player Andy Haas, I wanted to do something more for fun and not something to be so passionate about, it was lighter music, still metal by most people standards, but certainly not OMEN. It started to take off and we did a record and started playing all of the time, it was turning into a real band, had to quit my job etc. It just kind of hit me one day, if I will be serious for something it will have to be OMEN. I really did not know that OMEN had so many people that still loved the music, my son wanted to be involved, which I thought was great, but his heart was more new (at that time) U.S metal, so it kind of went in a little different direction. My heart was old school epic, but I did not want to be a dinosaur either. We did our first Euro tour ever, and every night it was one less new song, two more old songs in the set. Fucking awesome I thought, people really do care about what we did those first three or four years, I am not insane, this really was something special, something to be proud of.

When did you find out about Kimball’s passing?

I received an e-mail from his brother, maybe one or two days after he passed. I had been trying to find him for a couple of years, I wanted him to go to Europe and see what he had accomplished, I wanted to write new songs together and release an album. He had just kind of disappeared and no one that I knew could find him. His brother told me that John had been following OMEN on the internet, and wanted him to contact me after his passing, that he thought it was great that I had kept it going and that being in OMEN was something he was very proud of. Apparently he had been sick for some years, and I wish that he would have contacted me, I would have done what ever possible to get some last songs with him before it was to late. The “Into the Arena” project was something that I wanted to do to honor him. Unfortunately there were very few live recordings of OMEN With J.D. and they are probably sitting in the Metal Blade vaults. Steve Wittig found a cassette tape of the monitor mix from a show in San Antonio Texas from around 1986 and sent me a copy. It was in horrible condition, out of phase, some gaps in the songs where the monitor guy was cutting it off and on, but all I had of him live. I worked on this for over a year, finding a little slice to move in from another part of the song to fill the hole, recording it over and over again to pick out music or voice, so I could up the E.Q. So as to hear everything. There are no overdubs of new music, everything is from that shitty cassette and am very proud to have brought it back to life so fans can hear it after all of these years. And by the way, the new OMEN record that will be out soon “Hammer Damage” that was the name of a certain garage band all those years ago, it will be my final recorded tribute to Mr. Kimball, but I know he will be with us in spirit every time we all sing along to songs like “Teeth of the Hydra” or “In The Arena”.

Your latest studio album (until now, August 2012) is “Eternal Black Dawn”. Give us all the info about its release and the years that followed with all the live shows around the globe, South America, Germany, Greece and festivals like Keep It True and Up The Hammers.

I feel that “Eternal Black Dawn” was an important step in getting OMEN back on track. I did all of the recording myself at the OMEN studio and it was a great learning experience. It took Kevin a while to get into the OMEN style, but I felt like he did a good job, I just kept sending him back home with the first three records until it clicked. It open a lot of doors for the band and I was hoping to keep that line up for the next record. But as I have found out from the past, not everyone shares the passion. Rick and Andy were the first to leave, Rick to start his own business, Andy had Three kids to raise, Kevin stayed on for a lot of the tours, but when we started to work on the new album, it was apparent that his priority was his own band. I can relate to that, I did the same with Savage Grace, and I just did not want to work around his busy schedule. I wanted the new OMEN record to be the number one priority. All in all, EBD was a good experience for me.

“Eternal Black Dawn” singer Kevin Goocher left the band, George Call from ASKA came, you gave lot of live shows together and I really liked his voice, and now a new singer is in the band, Matt Story. How did you meet Matt and what the future holds for OMEN.

To set the record straight, two people have left Omen on their own, Rick Murray, and Andy Haas. Andy is back in the band, his kids are old enough now to not need constant attention. I hate changing members worse than anything else in the world, especially singers, which I seem to have bad luck with. I don't like to air dirty laundry, I don't find it productive. If you want to be in OMEN, I expect only one thing, if you commit to something then I expect that you will do everything in your power to live up to those commitments. This is my life now, I have dedicated myself to OMEN for as long as I can physically continue to do it. As I have said, I know that everyone is not as committed as I am, I do not expect that. With the exception of the last three members, I hold no ill will towards anyone, but time and again people made commitments, that ended up costing me, or I should say my wife, who bust's her ass for me to be able to do this, thousands of dollars, damaged my reputation, which is the most important to me, because anyone that knows me, knows that if I say I will do it, I will do it or I will die trying. I tried everything in my power to get the last singer on the new album, but after three years of trying, I got a half ass effort on one song, and the excuses that, “don't really want to do this, because it does not matter what I do, people will say it is not as good as J.D. lets just keep touring with the old songs”. I don't need that, I still have a lot of gas in my tank, and I will never stop playing those songs, I love them. I am super happy with what Matt has done on the new record. He actually listens to what I have to say and I hope he is the last singer in OMEN, but I know the facts, you don't make any money in this band, people have families, travelling is a bitch and not for pussies, I always tell everyone, it is 23 hours of hell for one hour of glory, you better be willing to pay that price or you will not last long. For me, it's well worth it, and would not want to do anything else with my life.

Which are the mistakes of your past, that knowing them now, you would change?

You can not change the past, you can only hope to learn from it.

And which are the best moments in OMEN history?

Those are still to come!

This interview is also published in the limited to 100 copies 

"Into The Arena" box set - 2012