Q&A with Satan's Host

Some bands make great music... but just never got to make it big. Satan's Host is one of them, and these peers of Iron Maiden are going back to explore their blackened power metal roots from their early years with the release of their fifth and latest studio effort, "By The Hands Of The Devil". Underground they may still be, but Satan's Host still haven't forgotten how to make darn good NWoBHM-ish music on this latest album!

Zetalambmary: Firstly, allow me to express my congratulations to the band for 34 years of existence thus far! When the band was first formed back in 1977, bands with overtly satanic names like this were still not very common. What prompted you guys to come up with such a name?

Patrick Evil: Originally, I wanted a name that would stand against Black Sabbath or Led Zeppelin and all the other great bands of that time.
Evil Little Hobbit: Patrick Evil came up with the name when he was a teenager. He felt he had to come up with an evil name that was better than Black Sabbath.

Zetalambmary: You all are almost as old as the titanic Iron Maiden. In fact, both Iron Maiden and Satan’s Host seem to share some similar traits musically, such as the high-pitched wails done by the vocalists and the NWoBHM-ish guitar riffs. Yet you all have a lyrical theme that is dark and unconventional for a band that has a heavy/power metal playing style. So between Iron Maiden and Venom, which band would you guys consider to be a bigger influence on the band?

Patrick Evil: I would say that for me, both of these bands had a great fire that I had interest in.
Margar: Venom is a great band and I enjoy their work, especially “Black Metal”, but Iron Maiden has definitely been a bigger influence.
Evil Little Hobbit: For me it’s Iron Maiden. I’ve been an avid fan since I was a kid; both Clive Burr and Nicko McBrain have been huge influences on me. But as far as what Satan’s Host is all about, I’d have to say that both Iron Maiden and Venom have been an influence.

Zetalambmary: America is also home to the famed Kamelot led by suave frontman Roy Khan. Have you all ever considered moving Satan’s Host towards the direction of modern power metal by incorporating keyboards into your music and lyrical themes that deal with humane problems like questioning the purpose of existence and human solitude?

Patrick Evil: No, I would say I have always been a fan of the more extreme forms of music that are aggressive and guitar-cum-vocal driven. I do like keyboards if they are written in a certain way for the mood of the song.
Evil Little Hobbit: We have had keyboards in past albums, Patrick used to use them before, and the thought of bringing them back is always a possibility. I think the themes we have in “By the Hands of the Devil” does have a lot of questioning, but not on the purpose of our existence, but more about where we came from, what’s happening around us, and more about uniting against the lies and enslavement of the human race by governments and religious ideologies.

Zetalambmary: Do you guys think that there is such a thing as a “black metal star”?

Patrick Evil: It all goes into the conception of thought and mortality; it would be in the way you would look at the star. To me, all great people are different kinds of stars in their own way.
Margar: Sure, there are plenty of black metal stars.

The channelers of Satan - Clockwise from top-left: Leviathan Thisiren (Vocals), Patrick Evil (Guitars), Margar (Bass Guitar) and Evil Little Hobbit (Drums)

Zetalambmary: When Jon Nödtveidt of Dissection was still alive, he often criticised that most of the black metal groups that are active in the global metal scene aren’t truly satanic in the very essence of the word itself, but are “mentally passive, easily-guided apathetic flocks of cattle”. Do you all agree with him?

Patrick Evil: I would agree with him. I think that many people just follow like sheep and don’t strive to create their own sounds and beliefs.
Evil Little Hobbit: Yes. But that is just a human trait in any formal organization. The thing with Satanism is to live as an individual.

Zetalambmary: What kind of beliefs does each one of you hold and what kind of messages do you all want to bring across in the music of Satan’s Host?

Patrick Evil: I think as individuals we all have our own belief systems, mine being spiritual and Satanic. There are so many ways to open the mind; I think it is hard just to limit yourself to certain beliefs. I think there are so many avenues of mystery to be explored and applied in what we wish to attain.
Margar: I don't hold any religious beliefs whatsoever. Because of this, I like to leave the messages to the other guys. I care more about making good music than sending a message.
Evil Little Hobbit: The truth is in the unopened mind, seek enlightenment.

Zetalambmary: What are the 5 favourite albums ever for each one of you and which metal musician do you all admire the most?

Patrick Evil: I am not sure I could limit it to 5 albums. I would say “Blizzard of Ozz” by Ozzy Osbourne, “Heaven and Hell” by Black Sabbath, “Led Zeppelin 4” by Led Zeppelin, “Black Metal” by Venom, “Killers” by Iron Maiden, “Master of Disguise” by Savage Grace and many others.
Margar: Right now, it would probably be “Blackwater Park” by Opeth, “Sailing the Seas of Cheese” by Primus, “Horrorshow” by Iced Earth, “Viva Emptiness” by Katatonia and “Fate of Norns” by Amon Amarth. But that list changes about once a week depending on what mood I am in. I would have to say that I admire Mikael Åkerfeldt of Opeth because he is such an unbelievably talented musician and I like how he composes his music.
Evil Little Hobbit: “Powerslave” by Iron Maiden, “Melissa” by Mercyful Fate, “Wish You Were Here” by Pink Floyd, “Sons of Northern Darkness” by Immortal and “Moving Pictures” by Rush. I admire King Diamond the most.

Zetalambmary: Since Harry’s rejoining of Satan’s Host last year, how do the other members feel about his contributions to the band so far?

Patrick Evil: With Harry, the sky is the limit. We can do anything we have ever dreamed of and more. There is so much room to grow and evolve as a band. We have such great chemistry together.
Margar: It has definitely been a welcome change. I am both proud and honoured to have the opportunity to work with such an incredible vocalist.
Evil Little Hobbit: Harry is stellar. He is a great vocalist, a great musician, a great friend and he has done all he can do to contribute.

Zetalambmary: The latest record, “By The Hands Of The Devil”, takes a nostalgic step back in time to Satan’s Host’s original power metal musical style and departs from the death metal musical style of the late ‘90s to 2009. How has fan reception of this new, or rather, old Satan’s Host been so far and how do you guys feel about it?

Patrick Evil: I think so far it has been an amazing reaction to this album. We wanted to go against the norm and invent something that has been lost for a very long time.
Margar: So far the fan reception has been great. It's satisfying to have something that we have worked so hard on be met with such good reviews.

Zetalambmary: Are you guys going to embark on any tours soon?

Patrick Evil: We do really want to go on tour because we live to play live. At the same time, we are loving song-writing and recording because we have so much fire inside of ourselves to create. We will tour and get the music out there to the fans, it is all just a matter of timing and to make sure we do it right!

Zetalambmary: Will you all ever consider coming to Asia to perform?

Patrick Evil: Of course, we know how passionate the fans are over there. All anyone has to do is make us offers and set up shows and Satan’s Host will play anywhere!
Margar: If the opportunity arises, the answer would be “Yes”.
Evil Little Hobbit: We want to hit every corner of the Earth at some point.

Zetalambmary: Before we end off, does any one of you think that Beethoven would probably make a pretty good heavy metal musician if he was still alive today?

Patrick Evil: I think he would make the ultimate metal musician, you can hear it in all of his works. Give him the technology we have and music would explode from him!
Margar: Without a doubt. Since metal has roots embedded so deep into classical music, he would probably be undeniably great.


"By The Hands Of The Devil" was released on 3rd May, 2011 through Moribund Records.

Cain's Offering: Gather the Faithful

Year released: 2009
Website: www.cainsoffering.com
Label: Avalon (Japan), Frontier Records

Tracks:

1. My Queen of Winter [4:15]

2. More Than Friends [5:38]

3. Oceans of Regret [6:31]

4. Gather the Faithful [3:50]

5. Into the Blue [4:25]

6. Dawn of Solace [4:18]

7. Thorn in My Side [4:07]

8. Morpheus in a Masquerade [6:51]

9. Stolen Waters [4:35]

10 Elegantly Broken [2:46]

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A Finnish power metal supergroup. Wow, does that sound impressive or what. Ironically though, for a band featuring musicians who are already accomplished in their own rights within the metal scene, Cain's Offering sounds more radio-friendly and pop-ish than really metal. At least, that's what their debut album, Gather the Faithful, gives the impression of. Their label, Frontier Records, is notable for working with bands that play melodic music, and that's a sure indication of what's to come for anyone who just got their hands on this album.

To their credit, Cain's Offering sound graceful and classy. That is mainly because of their vocalist. Fans of Stratovarius will agree with me that Timo Kotipelto has an amazing voice. Its soft but powerful, with a type of soulful flair that makes the relationship themes of the lyrics suit him very well. Mind you, not that the lyrics are well written. I reckoned former Sonata Arctica guitarist Jani Liimatainen was a romantic when I learned "My Selene" from SA's 2004 album Reckoning Night was written by him but this is bordering on the ridiculous. His attempts at poetry are not succeeding and luckily Timo is such a good singer coz it takes one to not make the lyrics sound crass really.

Other than that, there isn't a lot to find fault with in the music. Its heavy on the keyboards though, so its generally more accessible to the mainstream audience but it depends on how you like your metal really. Despite that, the guitars also do their part to form very enchanting melodies, such as in "Morpheus in a Masquerade", which just changes and shifts into different beautiful melodies. And to represent the speed that is indicative of power metal songs are tracks like "Dawn of Solace" and the opening track, "My Queen of Winter", where the drums are not loud or heavy, but definitely rocket off at a relatively comfortable tone. Keyboardist Mikko Härkin, another former Sonata Arctica member, really stands out though, in the ballad "Elegantly Broken" where only the piano complements Timo Kotipelto's emotion-filled voice. Add to the fact that its the only song where the lyrics are slightly well-written, and there we go, its positively one of my favourite ballads ever.

Left to right: Jukka Koskinen (bass), Jani Liimatainen (guitars), Timo Kotipelto (vocals), Mikko Härkin (keyboards), Jani "Hurtsi" Hurula (drums)

Ultimately, Cain's Offering sounds very good, which isn't something common for power metal bands these days. But we shouldn't expect less from the likes of Timo Koltipelto, Jukka Koskinen and the rest. I also appreciate the lyrical theme better than the fantasy stuff that most of their peers are doing, its a personal preference. But aside from the theme, the lyrics are really not up to par. Someone else should do the writing, I think its absolutely crucial. Gather the Faithful is still highly recommended though.

There doesn't seem to be an official music video, so below is just the youtube vid I found for "Oceans of Regret" and just for a treat (which means I feel like it XD), the ballad, "Elegantly Broken".

Verdict: 9.2 / 10

Song of the Week: Avantasia - Lost in Space

The saga of pop sounding metal continues at zetalambmary! This time with what is positively the lynch pin of Avantasia's latter day career, "Lost in Space". Why is that? Well this catchy melodic song first made its appearance in a single entitled (you guessed it) Lost in Space in 2007 and went on to feature in 2 EPs (Lost in Space (Part 1) and Lost in Space (Part 2)), one compilation album (Lost in Space (Part 1 and 2) yes the creativity with album titles are not lost on us) and just for good measure, was included as the last song in Avantasia's most recent album, The Scarecrow. About half a dozen different versions of it exist, but they don't deviate from each other a great deal, which makes it either a really good song, or Avantasia is simply milking it for as much as it can fetch in aesthetic value.

As a side project of Edguy's frontman Tobias Sammet, this symphonic power metal band was founded in the turn of the new millenium and has since released 3 studio albums, with Toby as the consistent vocalist while numerous guest musicians lend their hand in this endeavour to create "a world beyond human imagination". This is aptly reflected in "Lost in Space", with its lyrics attempting to place a setting for introspection in a out-of-this-world context. And I dunno, there's something about the debonair charm of Toby that allows the suave German to pull it off. Musically though, it resides very comfortably within the pop zone that ensures a guarantee that even if one isn't hooked on the song, they're not likely to dislike it. After all, what's there to dislike? There's a handsome young guy with an interesting voice (am I sounding way too jealous here? XD) singing a totally catchy chorus that at least has more depth in content than most gormless pop songs out there. It exhibits a sense of romance and wanderlust. How many metal songs out there can accomplish that?

Ah but therein lies a cause for repulsion- "Lost in Space" hardly constitutes as rock, to say nothing of metal. There are generic female vocals at the back, largely simple tunes are coming from all instruments that serve as ambiance at best and without Toby's voice driving this song, it could very well serve as a backdrop for taichi or meditation. In any case, "Lost in Space" is not particularly original or amazing, it just sounds.. so difficult to dislike. Just that as a matter of principle, metal fans would utterly resent the fact that Avantasia seems to be selling out to a larger audience and neglecting the core metal community that it first based its very existence on. But I'd say give the guy a break, its his side project, he's doing his time with Edguy. This isn't bad anyway if you're willing to let your prejudices go. I'd pick this over Backstreet Boys any day.

Official MV for "Lost in Space". Watch it, and get a feel of Avantasia's world.

Song of the Week: WarCry - Espíritu de Amor

Yes, its a Spanish song, by a Spanish metal band. But its not just any Spanish metal band, its one of Spain's premier power metal bands, who have collected numerous accolades throughout their career from Radial Awards, Rockferendum, MetalZone etc, ranging from best keyboardist and guitarist and vocalist to best album and even best website (oO?). Its state of existence fluctuated during its initial years and it wasn't until 2001 that WarCry became a full-time band, fronted by Víctor García. Since then, its line-up has gone under constant change, with the exception of García, but its quality remains top class and it has quickly risen to fame first in Spain and then across Latin America.

"Espíritu de Amor" is from their 2004 album, Alea Jacta Est, and it means "spirit of love". Its an intricate piece of work, befitting the band's genre of power metal. Everything from the twin guitar riffs to the powerful keyboards solo to García's gravelly voice gives the song a simultaneously complex and simple beauty. And at the centre of this paradox is the lyrics itself, a sad poetic declaration of love for someone who has passed on that is delivered in a soaring energetic fashion. There is passion in its creation, with some sort of certainty that love transcends life or death. Even if you didn't know a single bit of español, I bet you can still feel all that emotion from the music itself.

Perhaps its not such a conventional song for making confessions of love, but it takes a different kind of appreciation perhaps. In that whirlwind of power metal melodies, with 5 instruments and a single voice playing out their separate roles to form a complicated song, there is just that simple meaning of wanting to be with the one you love. And experiencing the same loss of life within yourself when you lose your other half. Porque tu dolor es mi dolor.

No matter how difficult things can get, how messed up everything is, there can be meanings that shine steadfastly through all others, always strong, just like the quality of WarCry. For all those who are in el espíritu de amor, this is for you *winks*:

Kamelot: Ghost Opera

Year released: 2007
Label: SPV/Steamhammer Records
Official website: http://www.kamelot.com

Tracks:

1. Solitaire [1:00]

2. Rule the World [3:41]

3. Ghost Opera [4:06]

4. The Human Stain [4:01]

5. Blücher [4:04]

6. Love You to Death [5:13]

7. Up Through the Ashes [4:59]

8. Mourning Star [4:38]

9. Silence of the Darkness [3:43]

10. Anthem [4:25]

11. EdenEcho [4:13]

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Sorry about the long hiatus once again, I've had a spout of injuries and ailments while Shadori has had to deal with... positive changes to his relationship status (guess I've got the worse karma), so yeah, major adjustments in life. But now I've overcome the mental inertia of not posting anything for the past weeks by talking about one of my absolute favourite bands ever. Not that Kamelot isn't famous enough as one of the most prominent power metal bands around.

With 8 studio albums and 3 live albums under their name, Kamelot has been around for quite some time and with few line-up changes, save for the significant change in vocalist early on to their current charismatic opera-trained frontman, Roy Khan, and the more recent inclusion of Oliver Palotai as a full-time keyboardist, has been very consistent in their aesthetic brilliance. This is in spite of the fact that they have never particularly limited themselves within any genre and have developed their signature sound to be somewhere vaguely between power, symphonic and progressive metal.

This American band (albeit with a Norwegian singer and a German keyboardist) has gone down a markedly different path than its previous works, however, with Ghost Opera sounding exactly like its name suggests: more eerie and dark but also more symphonic, ultimately being less thought-provoking and discarding Kamelot's more energetic and powerful elements. As Kamelot's first album featuring a full-time 'boardist, it accentuates Oliver Palotai's talented keyboarding very much but perhaps at the expense of Thomas Youngblood's guitar prowess. While he continues to craft catchy riffs and intricate solos like at the start of "Rule the World" and in the middle of "The Human Stain", the only real guitar-driven song is "Silence of the Darkness" and otherwise, Youngblood just spends much of his time chugging along with Glen Barry's bass. There's nothing really wrong about this, just a difference in style, depending how each individual listener likes it.

Lyrically, Ghost Opera is a far cry from its immediate predecessors Epica (2003) and The Black Halo (2005), which were 2 parts of an epic philosophical concept story which not only managed to sound incredibly poetic but also intriguing enough for you to actually linger and ponder over what is being sung. The lyrics of this album, while still exceptionally beautiful, seems more personal and emotionally driven, which makes it more forgettable I guess. But it doesn't really matter all that much when we look at who's singing these words. I always tell people, anyone who doesn't appreciate Roy Khan's voice has seriously got to be tone-deaf. His soulful voice and dramatic singing, like he's carefully unfolding the next line to every story, is one of the main strengths of Kamelot and the largest motivation for getting this album. Listen to "Love You to Death" and you'll see just how profound the depth of emotion can go into his singing. Or "Anthem", which, in the absence of any rhythm instrument at all, is really just all about his voice.

From left to right: Thomas Youngblood (guitars), Oliver Palotai (keyboards), Roy Sætre "Khan" Khantatat (vocals), Casey Grillo (drums) and Glen Barry (bass)

Really, this is a great album- maybe not as awesome as Kamelot's older stuff, but then if I had to review The Black Halo, I'd probably give it 11 out of 10 (taking into account that I'm biasedly a worshipper of Kamelot XD). Its hauntingly beautiful, and after a few listens, it'll grow on you. This isn't powerful, energetic metal, but it is surreal art.

Below is the official music video for "The Human Stain", which is personally my favourite song from the album, and one of my all-time faves for all Kamelot songs.

Verdict: 9.2/10

Firewind: The Premonition

March 25 2008

Century Media

Tracks:

1. Into the Fire [6:29]

2. Head up High [3:46]

3. Mercenary Man [3:28]

4. Angels Forgive Me [4:57]

5. Remembered [3:38]

6. My Loneliness [4:04]

7. Circle of Life [4:14]

8. The Silent Code [4:48]

9. Maniac [4:55]

10. Life Foreclosed [4:52]

Ok, in a nutshell, this album isn't impressive. Its just unconventional and unusually good. Maybe its because they're Greek. This power metal band started out as Greek guitar god Gus G's idea wayy early on but didn't fully manifest itself as a real band for quite awhile because of Gus G's numerous duties in other bands such as Nightrage, Dream Evil and Mystic Prophecy. After several line-up changes and a somewhat shaky start, Firewind is finally a team that stuck, Gus G has ditched all the other gigs and they've produced this.. this.. piece of work..

As I've said, there's nothing groundbreaking about The Premonition but something about it makes it solid. Other reviews I've read have been comparing it to Allegiance, the only other album released by Firewind that features the same line-up in 2006, but since The Premonition is my virgin experience with Firewind so to speak, my opinions are solely based on this album alone. Quality is good, lyrics are decent. Apollo's voice is rather unique in my opinion, but in a good way- the vocal display is attractive, powerful but melodious. The melodies are unusual, but somehow its just catchy, especially how you'll find yourself humming the chorus of each song not long after.

Of course, when you get a mega superstar like Gus G in the band, he practically outshines everyone. Keyboards are practically atmospheric, with Bob Katsionis only wagging his fingers on a few short solos here and there. Petros Christo is almost non-existent, the bass is hardly audible. Hell if his guitar could enunciate words, Apollo would be gone too. But there's an obvious reason why Gus G gets to hog the playing time: he's good. This magician exhibits something rare in metal guitarists: talent in not just shredding. Oh he can rip, you can bet your ass on that, but if you wanna know how good he really is, listen to the parts when he slows down, such as in the middle of Angels Forgive Me, man its heartstrings he's got strung on his guitar.

And speaking of heartstrings, My Loneliness is one of the better ballads I've heard from metal bands. Generally throughout the album, from energetic tracks like Remembered and Into the Fire to midtempo rockers such as Life Foreclosed, there are creative bits of experimentation that pulls them off good. Its probably like nothing you've ever heard, but hmm.. I can get used to this.

Verdict: 4/5