It’s a dismal rainy evening in Toronto and I take refuge along with a slightly disgruntled Jesse Matthewson, who’s trying to relax before playing an early set at Sneaky Dee’s after apparently getting in a spot of trouble during soundcheck.

Jesse and his brother Shane have been gigging with their band Ken Mode (stylized as “KEN mode”) for almost 15 years, but the band has been featured steadily in rock press across North America since early 2012 when their album “Venerable” won the inaugural prize for Best Hard Rock/Metal at the Junos. It took a few people by surprise that the award would be taken by an obscure noise-rock band from Winnipeg, and as such they’ve certainly been put under the microscope by opportunist writers and metal fans that were offended by their perceived encroachment into some sort of unmarked territory. 

It’s no surprise then that many eyes are focussed on their new release entitled “Entrench” (their fifth). The album maintains the noise-rock tone that seems to be regarded as their signature, but it’s drenched in the sound of early 2000’s metalcore which makes much of it come across as rather hooky at times.

Sitting shotgun in the band’s overstuffed touring van while trying to ignore pedestrians taking ridiculous chances crossing through rainy-night traffic, I actually manage to have a pretty sincere chat with Jesse about the new record, the actual results of winning an award, and what it’s like to be classified as being on “the hipster side”.

http://ajournalofmusicalthings.com/an-interview-with-winnipegs-kenmode/ 

Jesse Matthewson of Winnipeg's KEN mode

During a recent tour stop in Toronto I had a chance to sit down with the always quotable Dave Brockie, sometimes known as frontman Oderus Urungus of the costumed-metal band Gwar. The members of Gwar play a group of intergalactic alien warlords and produce a live stage spectacle where they vanquish their enemies and a gaggle of celebrities in front of an adoring crowd, who is rewarded by being sprayed with an excessive amount of stage blood and other faux-bodily fluids. People walking out of a Gwar show look like they’ve been reborn, and I mean that in the biological way.

The show itself is a tribute to live theatre and practical special effects. There are no pyro-cannons or lasers, just exquisite handmade costumes, props, and puppets that can change shape, move, and ultimately be destroyed onstage. Over the course of their career I’ve heard some criticize Gwar as being empty spectacle, but each tour has its own story which targets the status quo and destroys the idols of the day. From their early memorable appearance on Jerry Springer, to Oderus’ short tenure as an intergalactic correspondent for Fox News, Gwar has consistently managed to worm (or I suppose, maggot) their way into our consciousness for almost three decades. As long as the characters never age, and the world keeps pumping out politicians and celebrities for them to skewer, Gwar can always be current.

Most Gwar interviews are with Dave in character as Oderus, but I wanted to fill a few of the gaps I had in my mind about the band, as their story and their continued success makes Gwar one of the most unique performance entities in the world. Other than a few sound tweaks this is totally unedited. It’s one part music history lesson as Dave takes me through his early years in the DC punk scene, to his move to Richmond, Virginia and the formation of the band, and finally the various incarnations of Gwar that led to the unique catalogue of albums that form their 30-year career. 

It’s also personal as well as Dave waxes on about his 50th year of existence and his newest flame, as well as some of his not-so-great encounters in the early years with Henry Rollins and Ian Mackaye. Plus the story of how Gwar lost a gig with Rob Zombie over a post on Twitter.

http://ajournalofmusicalthings.com/interview-gwars-oderus-urungus/ 

Dave Brockie aka Oderus Urungus of Gwar

My second interview from the 2014 Heavy Montreal festival is with the Japanese sensation Babymetal following their Canadian debut set on the Heavy Stage. There’s been much written about this act over the past year, so let’s stick to the essentials.

Babymetal combine Japanese pop idol music with heavy metal. Three adorable teenage girls front an intense bunch of metal musicians and sing songs about ending bullying, loving chocolate, and of course headbanging. They’ve taken the world by storm through a combination of their viral music videos and general cross-genre appeal. Call it kawaii-metal. Half of the metal community seems reviled by what they perceive as a pre-fabricated corporate injection into their subculture, while the other seems ridiculously delighted to hear and see a gutsy pop-laden take on their favourite subject. 

The band members hold tightly to their group mythology (they follow a fox-god who basically tells them to spread freedom with the power of metal), but they’ve also been quite open about how before the band they were completely unfamiliar with metal music. It’s hard to call something contrived or pre-fabricated when they’re showing you what’s behind the curtain, and when any requested suspension-of-disbelief is done so with a wink and a smile. They want you to know that they know that you know.
 
Parental Units are present during the interview and my general topics have been pre-discussed. But that’s not just because there’s an image to protect. It’s because when it comes down to it I’m interviewing teenagers, and that requires an extra level of respect. Although her bandmates listen attentively, lead vocalist Su-Metal does all the talking and gingerly navigates her way between the serious and the silly. On the one hand she reminisces about first hearing the Babymetal demos, while on the other hand she gives a delightfully evasive response when it comes to my final question about the future of the group. I also got to talk about the time I met and talked metal with their former tourmate Lady Gaga, and have them explain one of their most famous dance moves (http://youtu.be/QSCRT7sDyWA?t=1m3s).

ajournalofmusicalthings.com/interview-babymetal/ 

Japan's Babymetal (Heavy Montreal 2014)

The last time I caught up with vocalist Corey Glover of Living Colour (http://www.zombitrol.com/index.php/interview/alancross/67-vocalist-corey-glover-of-living-colour) the band were in the midst of a tour celebrating the 25th anniversary of their debut album "Vivid". This time it’s on the eve of a new tour debuting songs from their upcoming album "Shade". However, it seems that much attention still remains on their debut. So much so that a headline for a story on the upcoming album in USA Today proclaimed that they were 'Still Vivid'. 

The "Vivid" celebration put the band back on that precarious edge that straddles the commercial and artistic worlds. As well, video game soundtracks and an appearance at Wrestlemania have given Living Colour roads back into the mainstream musical consciousness. Before their 2000 reunion it would have been easy to perceive Living Colour’s longevity as tied to their commercial success, which seems completely at odds with the diversity of their sound and the eclectic projects each member pursues outside of the band. Each subsequent album has been angrier and darker, which is probably why none of them were able to match the debut’s sales. 

Living Colour is an artistic contradiction in the current world of rock n’ roll, and it was with that contradiction at the forefront of my mind that I spoke with Corey about constructing the shape and the sound of "Shade", the lingering effect of the "Vivid" anniversary, and what it takes to make a genuine album that’s also successful.

Corey Glover of Living Colour (2014)

The first time I saw Simone Denny on stage she was opening for Gwar. But this needs context. Denny is perhaps best known as a house music icon from her time with Canadian techno sensation Love Inc. She also grabbed a ton of attention for her vocals on the theme song to the show Queer Eye for the Straight Guy, and for its subsequent repetitive use in an episode of South Park in 2003. 

This brings me back to that Gwar show. On that evening in mid-2002 Denny was appearing with the band Damn 13, fronted by former Monster Voodoo Machine vocalist Adam Sewell. It was Denny’s connection with Sewell that has now culminated in the just-released "Stereo Dynamite Sessions Vol. 1." Produced and co-written by Sewell (and named after his label and studio), the album combines modern R&B and soul with trip-hop and a tinge of alternative rock.

I sat down with Denny on a beautiful afternoon to find out more about the album. It’s the most eclectic music that Denny has ever performed, and I was eager to know how she approached its creation and if she was worried about upsetting her house music devotees. I also made sure that the South Park folks had settled up properly. 

http://ajournalofmusicalthings.com/simone-denny-the-interview/ 

Simone Denny

There are many in the metal community that would count former Sepultura frontman Max Cavalera as an essential figure in the rise of nu-metal in the nineties. The first few albums from his post-Sep band Soulfly seemed to owe much to the genre. It wasn’t that surprising considering Cavalera makes a habit of embracing younger bands. After a few albums the band adopted a hybrid sound that was more in line with early thrash music. The new Soulfly album Archangel is Cavalera’s most diverse in years and seems to take influence from all parts of his career. With the a nineties pop culture revival now in full swing, I was curious to find out what he thinks about the purists who decried his early Soulfly albums.

But when I sat down with the legend himself before a recent show at Toronto’s Opera House, I found that he’s quick to distance himself from any nu-metal involvement he may have had. He’s still searching for heavier bands. His new album also continues his spiritual take on metal, and I also wanted to know how he’s able to enjoy so many Satanic and blasphemous bands. 

Finally we spoke about how he feels when he plays Sepultura songs and why he thinks Cavalera Conspiracy, the band he formed with his brother and fellow ex-Sep member Igor, retains more of the original Sepultura spirit than Sepultura itself. 

http://zombitrol.com/index.php/interview/zombitrol/210-soulfy-journey-an-interview-with-max-cavalera 

Max Cavalera (Soulfly, Ex-Sepultura)

The British heavy metal titans Judas Priest are back on the road promoting their latest album "Redeemer of Souls." Their previous tour entitled "Epitaph," was supposed to be their last major jaunt around the world, but in the time since it’s seems as if Priest has not slowed down one bit. I was lucky enough to get guitarist Glenn Tipton on the phone to talk about the current tour and if in fact they actually have lightened their load.

We also talked about the new album and how I feel that it’s the most prog-inspired album of their career. Finally I asked Tipton about working with new Priest guitarist Richie Faulkner, who has taken on a bigger role in the band with this album.

http://ajournalofmusicalthings.com/metal-gods-the-judas-priest-interview/ 

Glenn Tipton of Judas Priest

I recently had the chance to speak with guitarist Kaoru of Japan’s art rock legends Dir En Grey. The band, who began their life nearly two decades ago in the glammed out visual kei scene, are arguably the most well known Japanese speaking act in the world. They’ve always had two levels of musical style, releasing avant-garde rock compositions alongside pop ballads. In recent years the former has had a distinct metallic touch. Along with a more toned-down look on stage this new sound swelled their fan-base in Europe and North America.

Their latest album "Arche" goes against this formula by combining their two sides into a unique experience that doesn’t reveal all its secrets in the first listen. It’s garnered the band some of the best reviews of their career. Much like the music on the new album, interviewing the band can also require peeling back a few layers. I sat down with Kaoru before an energetic set at Toronto’s Opera House to chat (through a translator) about the new album, his need to be loud, and re-embracing the visual side of the band. Also with the effects of the Fukushima Daiichi nuclear disaster of 2011 once again in the news, we touched on the band’s "Scream for the Truth" campaign which called for government transparency in the wake of the tragedy.

http://zombitrol.com/index.php/interview/zombitrol/231-dir-en-grey-a-new-interview-with-guitarist-kaoru 

Dir En Grey: Guitarist Kaoru (2015)

Before debuting her one-woman metal project Myrkur in 2014, Danish musician Amalie Bruun was primarily known as one half of the indie pop act Ex Cops. Myrkur’s dreamy blend of Nordic folk music and nineties vintage black metal riffs seem completely at odds with Ex Cops’ catchy electro ditties. So when Bruun and her live band passed through Toronto on their support tour with Polish metal superstars Behemoth, I was eager to speak with her about this transition and her progression as a musician.

I also wanted to talk about a recent incident where Bruun stopped accepting private messages through the Myrkur Facebook page, as she was fed up with receiving death threats and misogynistic hate mail from men. Bruun revealed that she takes it in stride, and even uses it as artistic motivation. The conversation then took a surprising turn, as Bruun would go on to say that she’s far more concerned with the proliferation of Islam in Europe. I suggested that like other cultures, Islam has a secular side, and although she acknowledged that this is probably true, she said it’s a side that she’s never seen.

To analyze it as impartially as I can, I would guess that Bruun and I have had different experiences. In Toronto, Muslims mix with everyone else at concerts, clubs, sporting events, and other supposedly decadent secular activities that extremists generally frown upon. That has led to me to the personal belief that all religions have bred extremists of some sort, but generally speaking the majority of people, regardless of their background, pretty much just want to have a good time in those brief moments when life doesn’t give you any particular responsibilities. That’s my experience. Listen to the interview and let me know your thoughts.

Myrkur (Amalie Bruun)

For nearly a decade Skye Sweetnam was a bonafide Canadian pop star. She released two solo albums and had fans all over the world. But in 2011 she surprised more than a few of them when she debuted her new band Sumo Cyco, a blend of modern metal, punk, and ska. After years of having major label support, Sweetnam’s career is now purely DIY. The band has built their fan base from the ground up, independently recording their debut album "Lost in Cyco City" (2014) and filming a series of ridiculous music videos. I caught up with Sweetnam  before a recent performance in Toronto to talk about how fronting the band stacks up to her former mainstream success, why playing perfectly isn’t always the key to a great show, and how a certain Canadian pop icon should perhaps also follow their heart into heavier music.

Sumo Cyco: Skye Sweetnam

Arguably, Greece’s Rotting Christ have the most controversial band name in heavy metal. Oh sure, there are and have been way more perverse band names involving extreme violence and/or various bodily fluids. But none of those acts have achieved the international acclaim that Rotting Christ has. 

The most notorious incident occurred in 2005 when the band was forced to withdraw from two Greek summer festival dates, after Megadeth frontman and newly born-again Christian Dave Mustaine threatened to cancel his band’s headlining sets if Rotting Christ was on the bill. Basically the name is as offensive to the mainstream as you can get before you move into ultra-shock territory.

But the name isn’t the real story. What’s actually worth noting is that, in spite of the name, the band is one of Greece’s most well-known cultural exports with a career spanning nearly three decades. This speaks to the high quality and diversity of the band’s music. Every three or four albums they’ve changed musical directions, and unlike when Mr. Mustaine does it, these changes are generally embraced by their fans.
 
They debuted with a raw, yet melodic black metal sound, but by the mid-nineties they had infused it with a groovy gothic/romantic atmosphere. This period was also when they would perfect their signature brand of catchy and nearly unforgettable riffs. In the 2000s their sound became accentuated by ethnic musical influences from Greece and around the world. This style attracted a much larger international audience, particularly the 2004 album "Sanctus Diavolos" and 2007’s "Theogonia." 

On their more recent albums (the most recent being "Rituals" which came out earlier this year), the band have traded in their signature riff style for sprawling orchestral compositions with layered choral vocals. I caught up with Rotting Christ co-founder and frontman Sakis Tolis on a recent tour stop in Toronto to talk about the band’s musical journey and what has influenced the latest change in style. We also spoke about their lasting legacy, and whether they still get in trouble for their name.

Rotting Christ frontman Sakis Tolis

The eclectic Ontario metal band ONI have recently had their debut album "Ironshore" released on Metal Blade Records. Against a solid foundation of Canadian metalcore, the band lays down progressive time signatures and eclectic breakdowns alongside both extreme and clean vocals. Much of their coverage in the press has focused on band member Johnny D who plays the “xylo-synth,” which may be best described as an electronic xylophone with a bit of an earthy keyboard sound.
  
After a set in Toronto on their recent support tour opening for Children of Bodom, Abbath, and Exmortus, I spoke to the band’s eponymous vocalist Jake Oni about why he thinks progressive metal isn’t an actual genre, his dual citizenship with the Cayman Islands, and why he’s ok with ONI being know as “the band with the xylophone.”

ONI (Vocalist Jake Oni)

Juno-winning bluesman Steve Strongman has just released a new album  called "No Time Like Now" that injects hard rock and gospel into traditional blues. I spoke to Strongman before a set at Toronto’s Rivoli about the warm tone and diverse influences on the album, whether awards help underground musicians, and how he feels about modernization in blues.

Steve Strongman

It’s now been over a decade since Montreal’s Despised Icon helped define the deathcore genre, and the sound has gone through several transformations since their breakup in 2010. Much of the change has arguably been for commercial reasons, so it’s refreshing that in their position as co-creators of the genre, Despised Icon’s first album since their reunion is a back-to-basics affair. The Juno-nominated "Beast" is a solid slab of Montreal deathcore that hearkens back to their second album, 2005’s "The Healing Process." 

I met up with Erian before a set at Toronto’s Lee’s Palace to talk about the circumstances that led to the band’s reunion, and why despite their other commitments (including Erian’s job fronting the band Obey The Brave), they are able to make things work this time around. We also chatted about the new album, and why hip-hop may play far less of a role in the band’s music than I had previously thought.

Despised Icon: Vocalist Alex Erian (2017)

Scotland’s Alestorm have just dropped their fifth album of catchy pirate-themed heavy metal, entitled "No Grave But The Sea." Recently the band did a quick run of dates in Montreal, Quebec City, and Toronto to make up for some shows they had to cancel on their last tour. I sat down with frontman Christopher Bowes to talk about the new album, their status as one of metal’s premier gateway bands, and how despite their on-and-off-stage shenanigans, they actually take this music thing pretty seriously.

Alestorm: Christopher Bowes (2017)

Periphery's latest album "Periphery III: Select Difficulty," is somewhat of a return to form after the simultaneously-released concept albums "Juggernaut: Alpha" and "Juggernaut: Omega" in 2015. 

Although the band has a reputation for mixing progressive metal with Meshuggah-esque riffs, they come off more like a crunchier Dream Theatre, with well-crafted melodies taking the lead over chunky bursts of sound. It’s a combo that has resonated deeply with younger fans, as well as the band’s kitchy sense of humour. The whole package is bright and in-your-face, a tone that doesn’t always sit well with more cynical heavy music fans.

On their last tour stop in Toronto, I spoke with guitarist and band founder Misha Mansoor about being tagged as a progressive band, going back to their trademark style after a double concept album, and what he thinks of the excessive trolling the band often receives online.

Periphery: Misha Mansoor

Interview with Alex Webster of the American death metal legends Cannibal Corpse from the Wacken Open Air festival in northern Germany. Originally released 02/07/11 http://exploremusic.com/interview/cannibal-corpse-interview/

Cannibal Corpse bassist Alex Webster backstage at Wacken (ExploreMusic interview)

Interview with Big Boi of the ATL's legendary Outkast after his headlining performance at the PEACEdotLOVE Festival in Toronto - 11/10/10

Big Boi of Outkast

Israeli metallers Orphaned Land are back with a new album, "Unsung Prophets & Dead Messiahs." The band has a unique reputation as perhaps the only act from Israel that has a passionate following in many Arab countries. Places that, with the exception of Turkey, do not allow the band to play within their borders and their albums are banned from stores (a situation the band has navigated around in the past by giving their fans in those countries free album downloads). All this has come about due to their staunch pacifistic stance on the conflicts in the region, and their use of multicultural music and ethnic instruments, which are blended seamlessly into their 70s-inspired progressive sound.

I spoke with guitarist Chen Balbus before a tour stop in Toronto about the musical diversity of the new album, sharing a band philosophy, how he’s actually not that into the heavy stuff.

Orphaned Land: Guitarist Chen Balbus

From 1989 to 1992 Jeff "Mantas" Dunn, Anthony "Abaddon" Bray, and Tony "Demolition Man" Dolan held the moniker of UK black metal founders Venom. Starting with the sinister riffs of "Prime Evil," they diligently carried the Venom name out of the 80’s. Flash forward 25 years and the three were back together under the name Venom Inc, performing classics for hungry old-school fans and kids who only dreamed of hearing these tracks live. What began as an almost casual reunion turned into a full-fledged band, seemingly eclipsing the current Cronos-led version, with the new solid-as-hell Venom Inc album "Avé" being released last year on Nuclear Blast.

I had a chance to speak to Dunn and Dolan (who seem to prefer being called by their actual names, while Bray is only referred to by everyone as Abaddon) about how everything seemed to work out for the best, despite there being two versions of the same band, and how their reunion led to the creation of the new album.

Venom Inc: Interview w Mantas & Demolition Man

In my first interview with Jon Schaffer, guitarist/founder of the long-running and beloved American heavy metal act Iced Earth, we talked about why the band seems impervious to lineup changes, how their sound evolves from album to album, and why he’s not keen on his band being associated with power metal (which he characterizes as “cheesy”).

Schaffer has also gained a reputation for right-wing beliefs after appearing on divisive conspiracy theorist Alex Jones’ "InfoWars" program, wearing a confederate flag bandana on stage, as well as the intense rhetoric found in the lyrics of his side project Sons of Liberty. I feel that it is without question that due to the timeless nature of the classic heavy metal style that Iced Earth plays, it can be said that Schaffer has fans from all walks of life. Based on that presumption, I wanted to know if he has any concern about alienating parts of his fan base who don’t share his views.

Iced Earth: Jon Schaffer

I sat down with vocalist Tommy Vext and guitarist Doc Coyle (ex-God Forbid) from the modern American metal act Bad Wolves. The band has become known for their cover of The Cranberries’ “Zombie,” which was originally conceived as a duet with late vocalist Dolores O'Riordan. The legendary Irish singer was in London to record with the band on the day she passed away.

I spoke with Vext and Coyle about their approach the song and video, as well their debut album "Disobey," and how they function as a band despite differing political ideologies.

Bad Wolves: Tommy Vext & Doc Coyle

From The Zombitrol Vaults here’s an audition interview with vocalist Cristina Scabbia of Italy’s Lacuna Coil, where we delve into their latest, and surprisingly aggressive album, "Delirium."

Lacuna Coil's Cristina Scabbia Talks "Delirium"

Savannah, Georgia’s Kylesa are a down-tuned psychedelic sludgy metal band who, like their friends in Mastodon, have managed to attract an audience outside of the usual heavy sphere. The band evokes the sensibilities of The Melvins and Sonic Youth, processing their eclectic rock tendencies through the needle-head of extreme metal. Describing their show as loud would be an understatement (they have two drummers by the way).

They’ve just released their sixth album Ultraviolet, and I had a chance to sit down with guitarists / vocalists Philip Cope and Laura Pleasants to talk about the progression of their sound, possible divisions in their audience, and their faithfulness to the heavy music scene.

http://www.alancross.ca/a-journal-of-musical-things/2013/6/19/interview-with-kylesa.html

Phillip Cope and Laura Pleasants of Kylesa

Damian Abraham is a guy you might recognize for different reasons. He makes records and tours the world with his critically-lauded band Fucked Up, while at the same time hosting MuchMusic’s The Wedge. He’s exposed to a diverse range of audiences and has crazy stories about some of the biggest bands on the planet.

I had a chance to sit down with Damian at the Amnesia Rockfest in Montebello, Quebec. A largely punk festival with a DIY flair, Rockfest finds the small village turned into a tent city, as many festival-goers pay locals for the use of their properties. From farmer’s fields to churchyards (and of course behind the liquor store) there are tents as far as you can see. This was the festival’s eighth year and apparently this model has worked before. But the loose atmosphere upon arrival foreshadowed the problems to come.

A wristband pickup snafu that left people waiting for hours was only the first hint of many organizational problems that plagued the proceedings. Over two days trash accumulated, porta-potties overflowed into rivers, and there was not a security guard to be seen (although the walking beer servers were plentiful). However, if you were able to grit your teeth and bear it, you may have caught some amazing music. 

Like Fucked Up, who would later bang out a lively set in front of an appreciative crowd and bewildered security. But for the moment all is placid. As the Sun began to set we found a spot by the Ottawa River while Rancid provided the soundtrack. This is a largely unedited conversation between Damian and I where we chat about loud music, pleasing the fans, and even the Juggalo’s place in underground culture. 

http://www.alancross.ca/a-journal-of-musical-things/2013/6/24/an-interview-with-fucked-ups-damian-abraham.html

Vocalist Damian Abraham of Fucked Up

I am a broadcast professional with experience in radio broadcasting, print media, and the performing arts. I was formerly the host of the Relapse Records Podcast, and host/producer of The Governor's Ball: The "Mighty" Metal and Comedy Show. I was also a contributor for Alan Cross' ExploreMusic and currently contribute to his site A Journal of Musical Things.

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