Hellbound is a Canadian-based metal site. That doesn’t determine our coverage – we can appreciate, evaluate and cover heavy tunes from anywhere in the…
Interview by Laura Wiebe
If you’re a metalhead you’ve heard of Wacken Open Air. Founded in 1990, the German festival is a mecca for metal pilgrims, a status immortalized in Sam Dunn and Scot McFadyen’s Metal: A Headbanger’s Journey (2005). But Wacken is a desired destination for more than fans. For a band, playing Wacken must be a tremendous high – a chance to reach out directly to some of the scene’s largest crowds, gathered together from some of its farthest reaches.
Relatively few Canadian bands have had the chance to storm a Wacken stage. So far…
Hellbound.ca’s Jason Wellwood in conversation with GWAR frontman Oderus Ungurus.
Sylosis have just unleashed their latest masterpiece Monolith through Nuclear Blast on October 5th. On this, their third album, the band has taken their blend of progressive thrash and moved things forward. While still a complete ‘shred fest’, Monolith has more feel to it, more ambience if you will. Taking the band to record where giants have tread before (Monnow Valley Studio, which has housed Black Sabbath, Judas Priest and Rush to name a few) seems to have given Sylosis the ability to convey mood a little more, and dial back on the technicality of their songs. Monolith is a fantastic achievement for this young band, and I had the pleasure of speaking with founding member/guitarist/vocalist Josh Middleton a few days after the North American release of the album.
“Sometimes album art can be misleading, but visual imagery is to some extent genre specific, so there’s usually a pretty good chance I can judge by an album cover if a band’s style is likely to be my kind of thing. Such was the case with Dark Forest’s Land of the Evening Star. What I can’t always predict is how good the music is going to be, but with Dark Forest’s third “Vinlandic pagan black metal” release, the tracks inside are not just well represented by the gloomy mountain and forest scene on the cover. They’re also very good. As impressed as I was with the recording I wanted to learn more about the band, so I went straight to the source.”
Interview by Laura Wiebe
” For years this album felt like the last thing I would ever do, before ultimately killing myself as well. Unfortunately for my enemies, that ended up not happening; instead, the disc was completed. “What doesn’t kill you…,” I guess, right?”
On the eve of the release of his third album, Laura Wiebe interviews Canadian digital hardcore artist SCHIZOID
Prominent American senators and presidential hopefuls have pointed their fingers at Cannibal Corpse, implying the band is partially responsible for society falling apart. Murder victim family members have also done the same. Censorship has reared its ugly head in Germany, a nation where the band has been legally prohibited from playing certain songs. And yet through it all, the Florida-based death metal machine continues to march on, hacking away at everything in sight—musically, that is—nearly a quarter of a century after its inception.
Jay H. Gorania interviews Alex Webster, bassist and founding member of death metal legends Cannibal Corpse.
I had the opportunity to chat with Thérèse Lanz about Mexican food, video games, being interviewed, stupid questions she is asked, Chicago (and what to eat late night), U.S. Politics and a little bit about music a few weeks prior to the release of The Pilgrimage (Sonic Unyon Metal) and the cross Canada tour that will probably be bringing Mares of Thrace close to your town. Regardless of how many times you speak to Thérèse, she is always entertaining and has a lot of very informed things to say on pretty much any topic. But mostly on tacos and video games…
Interview by Jason Wellwood.
Raymond Westland speaks with Paradise Lost guitarist and founding member Greg Mackintosh on the eve of the release of their new album Tragic Idol.
“I think that with these two recent records, Deconstruction and Ghost – specifically with Deconstruction in my head, I can probably write this sort of Andrew Lloyd Webber-esque sort of absurdity that, if I was in a genre which afforded me the opportunity to really go for it on the level that they’re able to do with The Lion King or The Phantom of the Opera, it would be, in my opinion, just this completely free piece of work that has no creative limits and no boundaries, and that includes everything from like the most vulgar to the most beautiful.”
Laura Wiebe in conversation with the one and only Devin Townsend.