Shadowside – “Inner Monster Out”

Shadowside – “Inner Monster Out” (Inner Wound Recordings)

Brazil’s Shadowside are quite a mix befitting both the ethnic composition of their nation as well as their sound which melds angry guitars and nu metal rhythms with progressive melodies. Added to this is vocalist Dani Nolden whose vocals which remain sexily husky (down boy – Ed) whether she’s being melodic or aggressive, but able to stand their own ground against guest vocalists Mikael Stanne (Dark Tranquillity), Björn “Speed” Strid (Soilwork) and Niklas Isfeldt (Dream Evil) be it on the title-track, or the bottom heavy bounding ‘Habitchual’ as well as their closing cover of Motorhead’s ‘Ace Of Spades’ – where rather than compete with Lemmy’s glass-in-throat larynx, Dani instead thrashes it out Sabina Classen style – yea babaay! Musically, Shadowside seem to reflect a wide range of bands from a heavy Skid Row to Disturbed to even Maiden, who they incidentally supported in Rio de Janeiro last year, and having undertaken a successful European tour supporting WASP previously, this all important 3rd release looks set to move them into the light.

Marauder – “Elegy Of Blood”

Marauder – “Elegy Of Blood” (Pitch Black Records)

Marauder are Greek heavy metal legends who have been around for over 20 years. In fact, when they first started, Pitch Black Records manager Phivos was sending off for their demo, so he must be really savoring that two decades on they’re now signed to him! Despite their aggressive name, Marauder play a classy brand of power / melodic heavy metal but with enough guts to be worthy descendants of Alexander: vocalist Alexandros Kostarakos can certainly hit the highs while ably shifting into a melodic stance as does the rest of the band on songs like ‘Roman Empire’, ‘Hiroshima’ and ‘Black Gold’ which contain a mixture of heaviness and melody, essentially the components of classic HM. Truth be told Maraude’s music is more likely to appeal to the true metal genre, given its classic style with scarcely any sign of modernity, and is as bold and uncompromising as the Spartans who held Thermopylae!

End Of September – “End Of September”

(Ulterium Records)

This Swedish female fronted band started only a few years back, but suffered a 2 year hiatus when their original vocalist left before Elin Redin joined them. Despite being compared to the likes of Evanescence or Within Temptation, listening to songs like ‘Fallen’, ‘Left In This World’ and ‘Waiting For The Rain’ I’d say there’s really nothing gothic nor symphonic about them but essentially they play hard rock with Erik Tordsson’s guitar being almost Alter Bridge / Creed like in its heavy, fuzzy, post grunge sound, while Redin’s femme vocals, while being high, aren’t in any particular style. Overall, End Of September show a lot of promise musically but having not played any gigs yet, it remains to be seen whether they can take this band beyond a personal passion to that of a commercial one.


CASSANDRA SYNDROME sounded like an interesting entity when I looked them up on the Net. So much so that I had to find out more about this American goth metal band. Anders Ekdahl ©2012

With Maryland being one of the smaller states in the US but with one of the highest crime rates what is it like to exist in a place like that?
-I count myself beyond blessed to live in such a culturally diverse state. Other than a few years in Okinawa, Japan, and Virginia, U.S., I’ve lived in Maryland my whole life. It’s interesting to think about the influence my home has on our music. We’re an hour away from Washington, D.C. The proximity to our nation’s capitol definitely holds a lot of sway. Living this close to D.C. tends to mean the local population is a lot more aware of the political conflicts and decisions taking place just down the road. The socio-political lyrics of Cassandra Syndrome are definitely inspired by that political awareness. In terms of the crime rate, I’m fortunate enough to live in a fairly rural part of Maryland. Although we do have crime in my town, it’s nowhere close to what the larger, more densely populated Maryland cities experience. That said, I’m aware of it. When I was writing the lyrics to the opening track of Satire X, “No More Peace Forever,” the line “One more falls to knife or gun/One more roadside bomb/One more fight/One more war/More bodies to embalm,” not only referenced the conflict in the Middle East, but I was also thinking about gang violence in our own region.

When the idea for Cassandra Syndrome came up how much of an already thought out plan did you guys have? How much has been an organic process?
-We only had a few basic ideas when we decided to create Cassandra Syndrome. It was a new style of music for me. My previous musical endeavors had been within the worlds of folk and classical music. We knew we wanted to try to fuse metal with classical vocals, we knew we wanted to continue in the socio-political commentary vein on the lyrical front and we knew we wanted to have a good time. Other than that, the process has been quite organic. We’ve learned a lot along the way and the look, sound and feel of the band has changed quite a bit over the past 6 years. That said, those first simple three concepts are still very much at play.

Where does your sound come from? Any influences that are greater than others?
-Our particular sound is an amalgamation of the diverse musical interests of all the members of the band. We write as a group. I bring a sheet of lyrics to the table and the band begins to experiment with different riffs and melodies. Different sections of each song tend to come from different people, and there’s a lot of give and take for each part. We really enjoy the end result because each of us knows we’ve contributed to the finished song. Due to that group-oriented style of writing, we don’t have any one influence that’s stronger than another.

You had some time now to work the album “Satire X.” What kind of reactions have you had to it so far?
-We’ve been really happy with the response to ‘Satire X.’ The reviews have been fantastic and the album has been picked up by some publications we didn’t expect. Best of all, our friends and fans really love it. We also began UK distribution through Ravenheart Records. It’s been wonderful to see our international fan base grow so much since the release of the album.

For me standing on the outside looking in I sometimes think that it is all glamour and champagne brunches being in a band (at least that is what I like to think it is like). How hard do you work at making the band happen big time?
-Champagne brunches sound fantastic! The truth of the matter, for us at least, is that for every hour on stage, there are 20-30 hours of practice time as a group (and even more if you count individual practice time) behind it. We’re pretty disciplined when it comes to rehearsal time. My roots are in classical music, and when one rehearses with a classical group, there’s a plan of what material to cover in what time-frame. That mentality has bled over to Cassandra Syndrome rehearsals in a big way—it’s part of why we get so much work done. There’s also the time spent promoting the band, lining up shows, interviews, etc. If you add all that in, it turns into a pretty serious part-time job.

What kind of touring opportunities is there for a band like yours in the States? How much of a “need to know the right people” scene is getting on the right tours?
-We’re very fortunate in our location when it comes to regional tours. We’re four hours away from New York City, an hour from D.C. and Baltimore and a couple hours from Richmond. Playing that circuit has been great for us. One of the biggest issues with larger tours is funding. We’re a five-piece, so making enough on a tour for everyone to eat and pay rent is challenging. As a result, we tend to focus more on our local and regional fan base and less on trying to join the larger, countrywide tours.

When you have a couple of albums out does it make it easier to get people to notice you? Are you taken more seriously when you have something to show for?
-I think so. Although we’re rapidly moving into a post-disc era, a discography still helps a band gain traction. With the internet as the primary source of new music for people, good quality recordings are very important. Even if a fan just picks up one or two songs off I-tunes or Amazon MP3, seeing that those tracks come from a full album lends a band more credibility.

How important is having some sort of merchandise going on for people to identify with the band?
-It’s vital. We all love to support our friends in what they do. The same way we wear a team jersey to sports games, wearing a band’s t-shirt is a tangible expression of that love and enthusiasm. From the perspective of the band, our merchandise is a big part of how we pay for the next album. Plus there’s nothing more awesome than looking out from the stage and seeing a sea of Cassandra Syndrome t-shirts.

For the longest of times I thought I was unique until I googled myself. I guess you too have googled yourself like any sane person has. What is the strangest things you’ve come upon searching your band name.
-We took the name Cassandra Syndrome based one particular definition of the term: to see a dark future but be unable to convince others of the truth of your perceptions. We found out after the fact that the words ‘Cassandra syndrome’ are also associated with Asperger’s Syndrome as well as concern with future environmental issues. It was interesting to see how many ideas the phrase can bring to mind.

What does the plan for 2012 look like?
-2012 is going to be an interesting year for Cassandra Syndrome. We just announced that one of our founding members, bassist Joe Cariola, is leaving the band in April. He’ll play a final show with us on April 14th. The split is amicable, but of course it means that we’re going to be on the hunt for a new bass player. That means that for the early part of this year we won’t be performing out very much. Our friends and fans can expect to see us hit the stage again come June if all goes according to plan. We’re also four songs in to the collection of material for the next album. We hope to return to studio to record our next full-length disc in Autumn.


I’m trying to remember how it was that I came upon DEAD CITY RUINS but I can’t seem to recall where I heard of them. I do know why I got stuck on them. This is hardrock the way hardrock used to sound like in the 70s/80s. No fuss – just buzz. Singer Jake answered the questions. Anders Ekdahl ©2012

I might be out on thin ice but I say that there is a specific Aussie metal sound that is immediately noticeable. How much of an Aussie band is Dead City Ruins?
-Well our passports say we are all Australian citizens… if you are asking us do we think we sound like AC/DC then the answer is no

What does it mean to have two of the greatest bluesy hardrock bands in the world in AC/DC and Rose Tattoo coming from Australia when you are a young and struggling band?
-They are great bands , the reason they are great is not just their music, to be in a rock band in Australia you have to have a better work ethic than say Europe or America because there is no market for rock here. To play shows in a different city we have to drive for 10 hours just to play for free and to no one. This creates a great hard working band, keeps us hungry and willing to do anything to get out of here. Bands like AC/DC and ROSE TATTOO just show us that there is a light at the end of the tunnel if you work hard enough.

On that note. With so much people living in Australia why do we see so few hardrock/metal bands making it big abroad? You seem to be good at exporting actors/actresses but not rock bands.
-We just toured Europe for three months last August, September, October and it cost us over $35,000 Aussie dollars. To pay for this I personally worked 10 hours a day digging holes and the other boys didn’t have it much better. Australia does not have any support for rock or metal, these bands have to do it them selves and its just too damn expensive for most.

With an album out does the exposure you’re getting in media change? Is it like they take you more serious now when you have something to show for?
-I think as a band these days you have to have something recorded even before you can get a gig. Every band has an album or E.P out I think it has lost its power to impress. People take us seriously because we are willing to financially cripple ourselves just to tour outside of our own country.

How do you take it from releasing an album to the next step? How hard are you ready to work for it to happen?
-I have lost jobs because I spent the whole day booking shows on the work computer. A band has to be ready to starve, to be ripped off and sold for nothing. Get a recording, book more shows than you think you can handle, take it to the masses.

How hard is it to find your own sound when you have just a limited number of chords you can use? How does one find its sound?
-All you can do is practice, practice, practice it will come to you. I think music and bands should be constantly evolving, looking and listening for new inspiration. We can’t all be AC/DC and just keep making money off the same album.

How much have you modelled yourself on bands of yesterday? How much do you look to the present for bands to identify with?
-Our influences are all from the past, Maiden, Motorhead, Alice in chains, Megadeth, Thin lizzy etc.. when you grow up listening to and playing this kinda stuff of course it’s gonna influence your sound and style but we don’t really model ourselves from any one band. We seek inspiration from today’s rock bands for drive and motivation to keep rock and roll alive.

What kind of crowd do you attract? Are you popular with a specific section of the hardrock/metal audience?
-Our Melbourne crowd are a bunch of drunken lunatics who spend most of the show either falling over or making out with filthy women. I would say, like all rock and metal, we attract the social misfits, the crowd with no crowd to call their own.

I guess that you have pictured a perfect world for Dead City Ruins. Where do you see yourself fit in on a world wide scale?
-This question is written quite insultingly, “I guess that you have pictured a perfect world for Dead City Ruins” we are not 15 year old children dreaming of being Motley Crue, we are a hard working, touring rock band. We are not looking for any handouts, we will continue to play and tour till we are dead. I don’t see this band being on the world wide top 10 charts but I do see us playing bigger shows to bigger crowds in Europe and eventually America and playing the music we want to hear.

What would you like to happen next to the band?
-We are aiming to be on the large European festival circuit in 2013 till then we will be playing bars and clubs in Australia, France, Germany, Italy, Spain, Switzerland, Netherlands, Belgium, England and where ever the hell we can.


DESULTOR from Stockholm, Sweden should not be confused with Desultory from Stockholm, Sweden. Musically you’ll never get these two acts confused. The one without an Y s extreme metal in the widest of its meaning. Anders Ekdahl ©2012

The first thing I thought when I saw your band name was that somebody spelt the name Desultory wrong. Why chose a band name that could that easily be mistaken for another band, still active?
– Because we didn’t know they existed and we still don’t care. We have asked them to play with us, so that the audience will be more confused.

What do you call your music and what is the major influence? Is there anything in particular that shaped the sound?
– Extreme metal. Because we take metal to the extreme. We don’t have any specific major influence, we are inspired by a lot of music. The major influence would be to create own stuff and not copy anyone else. Create your own scales and do your own awesome melodies, we recommend it!

You seem to be a two-piece. Is that a drum machine we hear or is the drummer that precise in real life? Is it easier being just two in a band?
– Yes, he is absolutely human. He plays that in his sleep, you should see him when he plays the “really” technical stuffs.
– We think so, yes. We think similar and every process just runs much smoother in every area.

What limitations are there to just being two in a band? Anything that you want to do but can’t?
– Only money but besides that, none. When we work with music it goes exactly how we want it. We love to play everything that has to do with the simplicity in the music as well the very complex. And a lot of musicians doesn’t think like that in metal any more these days, they are all traditional players. Mikael Ibrahim is the only person I know who can think outside the box like I do when it comes to playing metal. And that´s how we want it.

I must admit that you are a blank card to me. What’s the history of the band? What have you done before Desultor?
– Well we are kind of new in the business, this is our debut album you know. We have struggled among like all the other billion metal bands out there. We have played mostly in traditional metal bands both of us before Desultor. Ibrahim and I met for the first time 4 years ago when we played together in Goatsodomizer. At that time we where both session musicians and we kind of still are. We both happened to end up on the same gigs and tours all the time and play in the same bands so we kind of built up a lot of routine and chemistry between us. And when we write our own music and not play by others music we kind of feel like we can do whatever we want without any rules. And by that inspiration to each other we kind of built up Desultor what it is today. We have sacrificed a lot of time and money to turn down tours and music jobs in the business. We still work as session sometimes when we need some extra dollars to pay the bills. But that´s why it took us so long to release our debut
album because it took us to pay the studio like two years of hard work. The album was finished already in 2011. What we play today is a whole another story. This is our debut album we have just released and we are very happy people seems to enjoy it. But we have more routine now on the new stuff and with the same hunger and fire like before. So it´s gonna be awesome to show you guys the new stuff as soon as we get some money from gigs and tours and maybe some from the album so that we can go back to studio and record again.

What intentions do you have for the band now that there is an album out? How serious is this to you?
– This is what we live for and have fought for. This is our dream. Our goal is that to some day to make a living on the music so that we can spend all our time and money on the music we love to play most, Desultor. That´s how serious this is to us.

How do you best make a name for yourself? Do you just let the music do the talking and trust it to be enough?
– Yes. When the word spreads around is the best and genuine PR you can get. We rather have few hardcore fans than a lot of brainwashed fans by the media. This our little secret how good this music is. The journalists are all about the finesse and structures in music and compares us to all kind of crazy artists and genres and we have no idea what they are talking about most of the times. But the fans are just glad they got something to headbang for. Some of them have said it feels like they have gone to headbanging heaven hahahaha! There is no finesse to our music, we just love to play what sounds good. It´s that simple.

I am pretty impressed with the album “Master Of Hate”. It reminds me of a harder and faster version of Oxiplegatz. How hard was it to come up with the stuff that makes up the album? What kind ofvision did you have for the album?
– It´s “Masters of Hate”. I don´t know why alot of people miss that… The vision for the album was to have the clean song to all the music me and Mikael comes up with when we are jaming. We have written like 30 songs for the album so we picked just some of the best of them and started to play with them and it was just plain fun and not hard at all to do it.

What is the hardest part; writing music or lyrics? How do you make the lyrics fit the music?
– Well, I don’t know. I don’t see anything hard or struggling with both parts, I see them as hobbies which I like to play with. And I think that´s why everything fits so well, because you can hear there is passion and it´s genuine. I think that´s why a lot of people appreciate it.

What kind of future do you envision for Desultor?
– Big stage arenas with a lot of party going on backstage and after parties and have a really great time with the band and play great music we love to do. And just everything that comes around the band is just we want to do. That´s our dream.


There is something to END OF SEPTEMBER’s female fronted metal that intrigues me. So much so that I need to interview Erik Tordsson [vocals, guitar, song writer] to find out more. Anders Ekdahl ©2012

How far can you take this whole female fronted metal before it becomes another fad that fades away?
-I think female fronted bands will always be interesting. It’s all about bringing something new to the table. And that’s no different from male fronted bands I think.

Is there a difference in having a woman fronting the band in terms of what you can do range wise vocally than having a man fronting? Does the register become wider as to what you can do musically?
-I find that female vocals has a wider usable range than male vocals in this genre. A female can pretty much use all her register and it will sound good while a male sounds best somewhere in the middle, at least in my ears. Also I think the female vocals has a bigger range of dynamics and coloration. We use male vocals and growls as well to bring another color to the table.

3. Something I’ve been wondering is where do you find all these smooth voiced females that are into metal too? Do they grow on trees?
-No they are really hard to find. I think you need a big portion of luck. 🙂

How much has the impact of Nightwish had on the metal scene? Are they to be blamed for the resurgence of female fronted metal bands with a symphonic/operatic style?
-Nightwish is absolutely one of the pioneers in the female vocalist metal genre. Although I’ve never listened to them myself so they’re not to be blamed for the birth of End of September.

With what intentions did you start to write the music for the album? Did you have a grand master plan or was it more that the feeling dictated what came out?
-I pretty much had the concept figured out when I started to write the songs. And maybe even some guidelines on how I wanted it to sound. Then it’s been a long process and I’ve changed my mind several times along the way. But now I feel I’ve found the sound of End of September.
Swedish melancholia is world known but is there actually such a thing as a Swedish melancholy? How does that work in music?
-Music is all about expressing feelings, and melancholy just works great with metal. And pretty much everyone in Sweden is somewhat melancholic I think, maybe it’s the weather that we call “mulet”.

How do you take your music from the studio to the stage without losing too much of the feeling of the music? Is studio and stage two different animals entirely?
-For us I don’t think there’s much of a difference. Our production is not that complex that you can’t recreate it live. And I want the two to sound pretty much the same.

To me Ulterium Records still feel like a small label. How do you best take advantage of what they have to offer to further the band?
-Nowdays it’s not necessarily better to be on a big label. A smaller label might not have the same financial resources but you are important to them in a different way. They depend on you as much as you depend on them. We work close together on everything, and I think that’s great.

Do you see a specific market being more inclined towards the music of End Of September or are you intent on targeting the whole metal universe?
-What we’ve seen so far, all kinds of people seem to like our music. Even those that normally don’t listen to metal. So we’re aiming for the whole metal market and beyond.

Where do you see 2012 taking the band?
All around the world! At last I just wanna thank you Anders and Battlehelm for this interview. And for further information and samples from our up-coming debut album make sure to visit us at and join us on facebook,


FATAL ERROR blew me away with their heavy sound. I usually don’t go for that heaviness immediately but there is something to this band that drew me to them. Anders Ekdahl ©2012

What was it that made you want to play in a band in the first place?
-Greetings, my name is Vyacheslav Smirnov, I am the vocalist in Fatal Error group. I do not know as others, but personally me to play to group has involved an extreme drive, a charcoal fumes and full creative freedom!!

How did you guys get such a heavy sound?
-All business in the excellent firm instruments, talent of writing and the abrupt studio sound producer which knows that from it is required and as it to make.

What kind of influence have Meshuggah had on you and why are they considered the greatest?
-This command has, of course, made some impact on us, to deny it senselessly, but we never aspired to copy someone stupidly. On the contrary, we aspire to write the ORIGINAL material. How much it manages – to be judged to you. Meshuggah not the most abrupt, simply they worked much, put the purposes and went to them. For it they should be respected. Now they serve for many as an example as it is necessary to approach to business.

I know very little about Russian cities apart from Moscow, St Petersburg, Krim and Vladivostok. What kind of city is Perm? Any great metal scene going on?
-Perm – a city of factories, prisons, accidents and any «real boys». Threw a party here on a minimum, sometimes pass local heavy concerts, legendary stars occasionally call in threw and as though all on it. Not densely, in general. All are content with music from ??3 players.

How much inspiration to write music and lyrics do you get from everyday life in Perm?
-Every week-day in Perm – as if a ready track to an album (all was in a reality). 1 – the people who have burnt down alive in a bar; 2 – the broken soft-boiled plane; 3 – the burning car with live people inside which gapers on phones etc. Corruptions remove, washing up of money, the politician.

When I listen to “Conglomerate” I hear so many different influences. How hard is it to write really good songs? When do you know that you’ve written a great song?
-As to music tracks we write all together directly on rehearsal. Each song contains a particle of each musician of group. Therefore a stupor at the material composition doesn’t happen almost. Ideas at one were exhausted; another always has in a stock some counters.
The song successful, as a rule, when all band breaks into a dance and slam. And still when on a point acquaintances come, will take pleasure in the fallen in love tracks, which else weren’t played at all concerts.

I gotta say that the cover to the album impressed me a lot. How do you go about finding and choosing the right kind of art work?
-The cover concept is born in my head in the course of a material writing. Always there is a certain factor which unites all songs, it and becomes the main thought of an album, so – a disk cover. In this case with an album ”Conglomerate”, uniting thought was that all tracks were different years and different in stylistics. A conglomerate – (an armor. conglomeratus — dense, condensed) — connection something diverse, a chaotic mix. On a cover we also wanted to represent this conglomerate. Like it would turn out))))

How much of a help is it to have a label backing you in promoting the band?
-Well, if on a minimum it would be desirable that the label has helped to pay expenses on record, mastering and work of the designer for a cover of a following album the material on which is already almost written. About concerts, rounds and merch also we do not speak.

Is it harder to break into the international metal scene when you come from Russia? Does it feel like you are far away from the European/American metal scenes?
-Well it is certainly hard. Russia never was abrupt threw power as, for example the countries of Europe or America. From here all complexities. It is not enough people listening to the present heavy music. Few the international threw festivals etc., etc.

Where do you like to see Fatal Error going in 2012?
-The band would like to act in several cities of Russia well and if it will turn out, and in near abroad cities. We plan to begin record of our second album. Thanks for questions, buy our disks and come on our performances, won’t regret!!! I am sorry for possible grammatical errors)))


What is there that needs to be said about GIRLSCHOOL? One of the few survivors from that classic NWOBHM era. Anders Ekdahl ©2012

I’ve been aware of Girlschool since the 80s. How do you view being a part of heavy metal history?
JAX: It’s an honour to be a part of it. There have been so many great bands throughout the years and I’m happy that the scene is still alive and well and that we’re still a part if it

Girlschool is one of few surviving NWOBHM bands that are still active. What is your secret to still being at it in 2012?
JAX: We all still love playing and as long as we do, we’ll keep on going. We’ve been together now since 1978 and never split up, a few line-up changes but only 10 members in all that time. We’re fortunate too that we have great followers who have stuck by us the whole time and whilst there’s still an audience there for us then we will keep on writing and performing.

To many your album “Hit And Run” seem like the high point of your career. Is it hard to shake of people’s expectations that whatever you do should sound like that album?
JAX : Every time we record an album we don’t even think about making it sound like something else, we write, we play and whatever comes out, comes out, we are true to ourselves. There are many who feel the “Hit and Run album” was the bands best album but then many others who would say “Legacy” or “Play Dirty” etc were, it’s all down to personal preference. We can’t and don’t even try to live up to other people’s expectations we just do what comes natural, that way we always enjoy what we do.

I guess it must feel a bit strange to see something you as a band recorded 30 years ago still being in demand. What kind of feeling do you have for the old Girlschool stuff?
JAX : It’s a great feeling when people still want to hear your music and people who are coming to hear the band for the first time now in 2012 are wanting to buy all the back catalogue. We re-recorded “Hit and Run” as it was its 30th anniversary year and thought it would be a good idea to give record it with how we play and sound now but still remaining true to the old songs. We won’t be re-doing all the albums of course, it was just that it felt right to do it for this one.

I have never been in a band so I have no idea what it is like to be creative in that sense. How strange is it that the stuff you record on tape/record isn’t your property while the intellectual stuff is?
JAX : Hmmm that really is a bug bear for all bands not to own their own material. One of the reasons we wanted to re record “Hit and Run” was to get back the songs once again but it didn’t quite work out as we’d hoped. Most bands sign deals that really do them no favours at all and Girlschool are no exception to that, having signed deals whilst young that didn’t benefit them.

Looking back at your back catalogue, how much control do you have over it? Is there something that you wish hadn’t put the name Girlschool to?
JAX : None at all unfortunately. There are record companies putting out collections all over the world that we have no say or control over. The only albums that we have some control over are the ones since 2000 and even then not full control. There’s probably hundreds of different albums out there we have no idea about and will never see but there’s nothing we can do about it. There’s no album that we actually know of that we’d be ashamed of having our name associated with.

What kind of interest is there in the back catalogue to be re-released on CD? What would be the ultimate re-release format for the old stuff? How would you like to see the re-releases getting treated?
JAX : There is a lot of interest and we’re constantly being asked how to get a hold of certain albums but we have no say in what of the back catalogue gets released. If we owned the back catalogue then we’d re release all of the old albums as they were so that anyone who wanted them would have access to them.

I guess that the career of Girlschool hasn’t been a high profiled ride all the time. How tough is it to have to take a straight job to pay the bills when you have been/is in a band that helped shape the way many looked at heavy metal?
JAX : No not at all, although we’ve kept going throughout the 34 years we’ve been together even when there wasn’t the profile there, mainly because we all love playing music. We’ve all had to do other things other than the band to make ends meet as do many musicians now but we’re still able to get out there and play too and that makes it all worth it in the end.

I have to ask this. What was it like to be a part of a so vital and powerful scene as the NWOBHM was in the 80s? It helped shape my musical taste.
JAX : Although I wasn’t in the band in the 80’s (joined 1999) I know that being a part of that movement has been good for the band and we get involved with a lot of the festivals with the bands from that era which is always great fun and like a huge party back stage with all the old bands getting back together again.

Are there any chance that we will see a new Girlschool album in the near future?
JAX : Hopefully so, as we’re still promoting and touring the “Hit and Run” revisited album we haven’t really thought about it as yet but give it time…lol


There is a fulfilment in discovering acts new to you. Austrian IRDORATH and my interview partner Markus Leitner were totally unknown to me before I heard their album. Now I want to know more. Anders Ekdahl ©2012

Let start with a short introduction of the band. Where and what is Irdorath?
-Hi! First of all we want to thank you for your interest in IRDORATH! We are a black/thrash metal band from Austria, formed in the year 2005.

What made you want to sing in German? Any limitations in using German as a metal language?
-That is easy to answer… our past singer, who was a member from the beginning of our band, has always written his lyrics in German and had some quite satisfying ones. So we started our band with German lyrics. German is a harsh sounding language, so it fitted to our kind of music. Yes there are limitations. You can find a lot of criticism in our lyrics but if you do not speak the language you cannot get it!

With 80+ million living in Germany I guess you could make a living playing music without leaving the national borders but how does singing in German work outside of your native country?
-That is true for Germany, but we are from Austria (only ~ 8 million people) and we are planning gigs across the borders in the future. I think there are a lot of people who like the sound of the German language also in other countries. We got quite good reputations from many people who do not speak German but I think it is harder than with English vocals.

What is a deconstructor of Flesh? What kind of lyrical themes do you deal with?
-A better translation is “Destroyer of flesh”. I think now you know what it means?! The main aspects of our lyrics are criticism according to mankind, the church and all different crimes and outrages people do to others. We present that in a provocative and some kind of brutal way, sometimes also with some sarcasm. I think this fits to our music.

How did you get a deal with Massacre Records? What are you expecting to get out of it?
-We sent the promotion CD of our album to Massacre Records and we got an invitation to visit them. There we had some good hours of talking and finally we signed the contract it. That is the classical way! We are expecting good promotional work and support and so far we are really satisfied. Massacre Records is a very professional label with good contacts, so we are looking forward to the future work with them.

Once you got a deal in your hand is everything from there a smooth ride? How hard do you have to work now to get even further down the road to stardom?
-Haha, no! Nowadays with that large amount of bands worldwide, the internet, downloads and so on, nothing is a “smooth ride”. But we love to make music and are proud that we could get that deal. Since then we are working even harder and are developing our music and sound. We are very realistic… is there any road to stardom in the present metal scene? If your answer is yes, call me!

What kind of scene is Irdorath part of? Do you feel like you are being treated with the kind of respect you deserve?
-We are not trying to fit in one scene or subgenre. I would say we are part of the whole metal scene. We are also open minded to other metal stiles than black metal, this is what you can hear in our music as well. I think every musician who works hard and honest deserves respect, no matter which kind of music. Everyone has a different taste, so if someone does not like our music, that’s okay for us. We get respect for our work and music, but of course not from everyone!

How much of a live band is Irdorath? What kind of live scene are you a part of?
-We really like to play live. But due to problems we had with our past members and their motivation, we did not play that much in the past. This has changed now. We use corpse paint and spikes live, cause that’s what fits to us, so due to that, you could see us as a member of the black metal live scene. But as I said before, we feel as a part of the whole metal scene (especially black, trash and death metal).

With some really great festivals in Germany how hard is it to get on them? What kind of live scene is there apart from the festivals during the summer season?
-There are a lot of festivals, also in our home country Austria. We play some of them this year, 2013 we hopefully play a lot more and the bigger ones in Austria and Germany. In Austria there are many concerts besides festivals, maybe too much. It is impossible to play or visit them all! But we do our best, as band as well as visitors.

Tell us the plans to further bring Irdorath into the limelight?
-We are busy writing songs for our next album and are very confident with the result at that time. Besides that we are practicing a lot and planning concerts. So you will definitely hear from us in the next year! Thank you for your interesting and comprehensive questions! Feel free to check out our music, come to our live shows… visit and like us on facebook or myspace. There will be our latest information what`s going on and we really appreciate it if you also leave a comment!