Découvrez des podcasts liées à Where Did Mary Go?. Explorez des podcasts avec des thèmes, sujets, et formats similaires. Ces similarités sont calculées grâce à des données tangibles, pas d'extrapolations !
Before meeting him, a future bandmate of Chuck Billy’s recalled seeing him work his way to front row of a KISS concert in this way:
“One figure stood out among the carnage, someone so large, he could push his way through anyone else in that crowd. With a height of 6’4”, wild black hair, and a chest like a gladiator, he stood out. Slithering to the front row, he ruthlessly pushed aside anyone who stood in his way. Beers were knocked over, their contents spilling out… this was not someone to be messed with."
That’s the perspective of a young Alex Skolnick, who would receive a phone call from Chuck seven years after that show, when Steve “Zetro” Souza left to join Exodus, about the band that would become Testament’s frontman vacancy. Though there have been many departures and returns of group members and twists and turns to their musical style, Chuck and guitarist Eric Peterson have been the mainstays guiding Testament for over four decades. Their fourteenth studio album, Para Bellum, was released in October 2025 to much acclaim, showcasing a set of songs that collectively may represent the band’s most diverse offering in their storied catalog.
Ahead of the group’s upcoming Thrash of the Titans 2026 tour with Overkill and Destruction, I had a chance to catch up with Chuck and speak about a number of topics, including:
the songwriting process for Para Bellum, the diverse nature of the songs on the record and how each stands alone, the inspiration behind “Infanticide A.I.,” and why it was time to include another ballad on a Testament record.
his process for developing lyrics to songs, how working with the riffs from Eric Peterson helps him create vocal melodies, and the trial and error of deciding what vocal style to use.
how the addition of drummer Chris Dovas has influenced and reinvigorated the group, the irony of now being influenced by bands Testament once inspired, and how the band is curating the setlist for Thrash of the Titans.
the Practice What You Preach 35th anniversary tour, the beauty of a show ending at 10:00pm, the possibility of future anniversary tours for Souls of Black and The Ritual, and Chuck’s recent appearance with Metal Allegiance at NAMM.
Testament’s cover of “Seek and Destroy” for a compilation dedicated to Kill ‘Em All, the importance of Metallica in the Bay Area thrash scene, memories of Cliff Burton, a pop quiz about the quote mentioned above, and reflections on how long Testament can keep going.
Chuck was a pleasure to speak with and I thank him for taking the time to answer all of my questions thoroughly and carefully. Be sure to check out Testament on tour in the United States this spring!
Enjoy!
Episode 25: Attila Csihar (Mayhem)
mercredi 7 janvier 2026 • Durée 39:11
The concept of death and Mayhem have been intertwined since most of the world first learned about them. It’s been an integral part of the black metal pioneers’ story that has become so synonymous with the group that for a long time, it overshadowed their actual music, as many of the infamous events the world came to know them for occurred prior to the band actually releasing a full-length album. One of those tragedies was the suicide of frontman Pelle Yngve “Dead” Ohlin, which is what ultimately led Attila Csihar to travel from his native Hungary to Norway to join Mayhem to record vocals for what would become one of the most influential black metal releases of all time – De Mysteriis Dom Sathanas.
But before that record would see the light of day, tensions within the burgeoning black metal scene, which Mayhem was integral in creating, would reach a point of no return that led to international infamy. Varg Vikernes of Burzum, who also played bass on De Mysteriis, would travel to Oslo and murder Mayhem guitarist Euronymous on August 10, 1993 by stabbing him over twenty times in supposed self-defense. As news spread of the event, Euronymous’ death brought worldwide scrutiny and examination of the Norwegian black metal scene, casting light upon other crimes committed by members of its so-called Inner Circle, which included murder and serial church burnings.
Ironically, founding bassist Necrobutcher, who left Mayhem after Dead’s suicide based on how Euronymous publicized it, would end up rejoining and restarting the group following a discussion with drummer Hellhammer at the guitarist’s funeral. The two began discussing how to proceed with releasing the album in the coming year, reuniting due to death. Finally, after ten years together, De Mysteriis Dom Sathanas finally saw the light of day in May 1994 as the group’s first full length LP.
While all of this was happening, Attila heard nothing from the band. He eventually was told second-hand about what had occurred, and unbeknownst to him, Mayhem had reformed. Upon establishing contact with his former bandmates during a tour in 1998, it was agreed upon that Attila would return to the band if the opportunity arose, which it did by 2004.
Now, after 40 years in existence and after several studio albums that have followed their elusive first, Mayhem are back with , which examines a topic that has been so prevalent and attached to the band throughout its existence. Ahead of its release, I had a chance to talk to Attila about a number of topics, including:
Episode 24: Zachary Ezrin (Imperial Triumphant)
samedi 13 décembre 2025 • Durée 12:43
Imperial Triumphant has been pushing the limits of metal since they formed in New York City in 2005. By incorporating avant garde, jazz, and experimental sounds into their black metal delivery, the trio has risen to prominence with their last string of releases, culminating with this year’s Goldstar which has been praised by critics and fans alike as one of the top metal releases of 2025. Though frontman and guitarist Zachary Ezrin was inspired to pursue black metal by the bands that dominated the Norwegian scene of the early 1990s, Imperial Triumphant delivers a brand of the genre that focuses on the group’s hometown: New York City. Or, as they like to put it, they “only play the sounds of New York City as [they] hear them.”
After touring all over the world this year, including an opening spot for Mayhem on their North American tour, Imperial Triumphant played a hometown show at Le Poisson Rouge in the heart of Greenwich Village on December 12th. Billed as the Jazz from Hell Festival, the concert featured Kilter and Jerseyband in opening slots, alongside the Goldstar Metropole Orchestra, a brass section conglomerated of the players from the two aforementioned bands accompanying Imperial Triumphant on stage for their headlining set. Ahead of the festival, I had a chance to speak with Zachary about the hometown show and a number of other topics, including:
being able to play a show in the friendly confines of New York City after touring the world, the band’s writing process for Goldstar, recording at the legendary Menegroth studio hidden in Woodhaven and being the last ever album made there.
shooting a video on top of the Chrysler Building, the band’s knowledge of architecture, the black metal elements of New York City, and collaborating with Dave Lombardo from Slayer.
the new graphic novel called Merkurius Gilded that Zach wrote the story for, the juxtaposition of decadence and decay present in the city, and how Kenny G. ended up on one of their songs.
a discussion of Imperial Triumphant’s masks and their significance, and a very important mathematical question.
Imperial Triumphant continues to push the boundaries of what metal can be, and with Goldstar being their tightest and most streamlined album yet, fans of the band should be very excited for whatever comes next. Enjoy!
Episode 23: Max Cavalera (Sepultura, Soulfly)
mardi 9 décembre 2025 • Durée 30:25
Chama, the title of Soulfly’s thirteenth studio album released on October 24th through Nuclear Blast Records, is a Brazilian word with a dual meaning: it means both ‘flame’ and ‘a calling.’ The album is accompanied by a short story describing the journey of young man searching for meaning and direction in life traveling from the Brazilian slums to the jungle seeking inspiration, led by a flame. When you consider Soulfly frontman Max Cavalera’s musical career, the name and story are perfectly apropos, even mirroring his own odyssey to where he is today in the metal world.
Max found himself in a situation similar to the protagonist of Chama tale after the loss of his father at an early age in his native Brazil. His family had to move to a less affluent town in his teenage years, and he was left with anger and sadness as a teenager searching for direction and purpose. That calling turned out to be heavy metal, as he and his brother Iggor channeled their emotions into creating the music that would make Sepultura the most famous metal act to emerge from their home country. Infusing traditional Brazilian sounds and instrumentation with killer riffs and anti-establishment lyrics led Sepultura to international renown before Max left the band in late 1996.
Again faced with a difficult, emotional obstacle to overcome, the fire still burned within Max to continue to create the music he believed in. Soulfly was born from that passion in 1997, with the goal of creating a band without permanent members that relied on collaboration and innovation with numerous artists who shared his vision. Thirteen records later, Chama continues the tradition set forth from the first Soulfly record, merging industrial and jungle sounds with a host of guest collaborators. I had a chance to speak with Max about the new album, and a number of other topics, including:
the reception of the Chama and the new songs Soulfly have been performing live, the companion story written by Max’s son Igor that complements the music on the record, the potential for an animated piece to accompany the music of Chama, and a discussion of old school stage sets versus new age screen presentations for live bands.
the guest solo from Michael Amott of Arch Enemy on “Ghenna,” the different collaborators used on the new record, his struggle trying to get idol Tom Araya to sing some classic Slayer lines on “Terrorist,” and his bucket list of dream guest appearances for future Soulfly albums.
Episode 22: John Haughm (Agalloch)
mardi 11 novembre 2025 • Durée 48:00
When Agalloch surprisingly disbanded in 2016, there was a collective sign of disappointment from those in the know in the metal community at losing one of its most creative, authentic, and genuinely unique bands. Agalloch rose to prominence through a progressive metal alchemy that combined black metal, neo-folk, and atmospheric elements which set them apart from their peers in the late 1990s and early 2000s, specifically with their debut album Pale Folklore (1999) and its landmark follow-up, The Mantle (2002). Subsequent album and EP releases, and gradually more frequent live performances, continued to elevate their status in the metal world up through 2014’s The Serpent & the Sphere, all while retaining the artistic integrity that created one of the most loyal fan bases in the world of heavy music.
John Haughm, who founded Agalloch in 1996, had been arguably the biggest creative force in the group, whether through his work on guitar, clean and harsh vocals, songwriting and lyrical compositions, or designing the artwork of every release. Once Agalloch disbanded, Haughm dedicated himself to a solo project he had started after a particularly inspiring trip to the desert. He would become more prolific with his solo venture, releasing what he’s dubbed the Nomad Trilogy, which culminated with the release of The Devil’s Coil last year. Somewhere along the line, his friendships with founding Agalloch members Don Anderson and Jason William Walton were mended as well, leading to a reformation of Agalloch for select live shows in 2023, much to their devoted fanbase’s delight.
Over the last two years since reuniting, Agalloch have performed in Brazil, Australia, made appearances at festivals across the United States and Europe, and played select shows along the West Coast with Haughm performing his solo material as an opening act. Many of these destinations had been points of contention during the band’s 2016 demise, but are now being fulfilled with the clarity of a decade for their founding members. I had a chance to catch up with John to discuss Agalloch’s resurgence, as well as a number of other topics, including:
his most recent solo release recorded at a local college, his experience doing similar recording projects when he was a college student in Seattle, and a surprise Alice in Chains anecdote.
the concept behind the Nomad Trilogy, how he uses visual images as a source of musical inspiration, the cyclical nature of the storyline, and the meaning behind the map coordinates in the title of
Episode 21: Esa Holopainen (Amorphis)
samedi 27 septembre 2025 • Durée 14:36
Amorphis' fifteenth studio album, Borderland, was released on Friday, September 26th. To celebrate this milestone release in the band's 35th year of existence, founding member and guitarist Esa Holopainenand keyboardist Santeri Kallio made an appearance across the pond at Lucky 13 Saloon in Brooklyn, a metal institution since 2003, on Friday evening. Labeled as a record release party, the two key songwriters from Amorphis mingled with fans from New York City and its surrounding areas, talked about their fantastic new record that was played in full at the event, posed for pictures, and shared drinks with Finnish metal enthusiasts who were in attendance like myself.
Prior to the record release party, I had a chance to speak with Esa about Borderland and a number of other topics, including:
the band's recent festival date in Turkey, the crowd's reaction to their new material, and traveling across the globe within a week's time.
New York airport traffic, Esa and Santeri's adventure into New York City to Times Square and the Empire State Building, and the best time and places to visit in Helsinki.
the band's history of playing in Brooklyn including a show at the famous L'Amour, the cancelled dates from the Tales from the Thousand Lakes 30th anniversary tour, and a Borderland North American tour in 2026.
his personal approach to songwriting for the new record, a question about the beer vending machine they had to install in the group's old rehearsal studio in Nosturi, and the lost art of sneaking into rock shows.
Special thanks to Esa for being so patient while I dealt with technical issues and gracious with his time both on and off camera, and eternal gratitude to C-Squared Music and Reigning Phoenix Music for allowing me to attend such a special event. Borderland is a beautiful record and a fantastic addition to Amorphis' already sparkling discography that further cements to group's legendary status as titans of Finnish extreme metal. It's proof of the band's commitment to evolving with each and every record, as they have for the past thirty-five years, and shows they have no intentions of slowing down anytime soon.
Episode 20: Mark Menghi (King Ultramega, Metal Allegiance)
mercredi 24 septembre 2025 • Durée 57:55
Mark Menghi certainly didn’t take the traditional route to prominence in the rock and metal world. In fact, if you look back at his story, it might sound pretty familiar. For starters, he worked at a record store he frequented often, the legendary Looney Tunes in West Babylon on Long Island. Inspired by the likes of Black Sabbath, Iron Maiden, and Cliff Burton-era Metallica, he began playing in local bands during his youth that scrapped their way through every tiny venue with the same do-it-yourself ethos that every other band starting up tends to inherently have.
Though his journey as a musician stalled for a bit, Mark found himself with an opportunity to work on the business side of the music industry. He began to build a rolodex of contacts that read like a “Who’s Who” of the rock and metal world. In time, Menghi would call upon these friends to form Metal Allegiance, which first performed in 2015. He would also tour with Joe Satriani, one of his first contacts from the business side of the music world, in 2023 and get to perform in front of a crowd at his hometown theater at Jones Beach.
But despite all the star-studded recordings and performances in the rock and metal world, the one artist who remained a constant in Mark’s world as a music fan was Chris Cornell. As any rock music fan of the 1990s and 2000s, Cornell’s music was as inescapable as it was beyond reproach, as Soundgarden, Temple of the Dog, Audioslave, and his solo material dominated the airwaves and eardrums of every self-respecting music fan during that time. Menghi’s introduction to Cornell came a bit before the casual grunge fan during his days working at Looney Tunes. His friend and co-worker handed him a cassette of Louder than Love, Soundgarden’s 1989 major label debut for A&M. From that day forward, Cornell would become Menghi’s musical constant.
That love for his music has now inspired Menghi’s latest musical endeavor. Named King Ultramega, the project features famous guest musicians from the rock and metal community who share his admiration for Chris Cornell covering songs from his many projects. I had a chance to speak to Mark about this new project and many other topics, including:
his musical journey, local Long Island record stores and concert venues, and the importance of the Jones Beach Theater.
how his love for Soundgarden developed, his impetus to start the King Ultramega project, and how he decided to turn it into a full album’s worth of songs.
Episode 19: Gene Hoglan (Death, Dark Angel, Testament)
vendredi 29 août 2025 • Durée 34:50
Throughout his spectacular career, Gene Hoglan has been involved with some of the biggest names to ever play heavy metal. From his earnest beginnings as a lighting tech with Slayer, that led him to be featured doing backing vocals on “Evil Knows No Boundaries” from Show No Mercy, to being bestowed the nickname “The Atomic Clock” during his time in Strapping Young Lad alongside Devin Townsend, and then being tabbed to play in Testament alongside Alex Skolnick and long-time partner in crime Steve DiGiorgio, Hoglan’s discography reads like a who’s who of the heavy metal community.
But this fall, Gene will be focused on two projects that are near and dear to his heart, as they both pay tribute to members of groups he’s been involved with that have passed on. Dark Angel are set to release their first album of new material since 1991 next week when Extinction Level Event premieres on September 5th through Reversed Records. An album that was over a decade in the works at least, it features material Hoglan worked on with now departed lead guitarist Jim Durkin, who passed away in 2023. The new album, and subsequent first North American tour for the group in three decades, are dedicated to Durkin and the group hopes to honor his memory with both.
After leaving Dark Angel in 1992, Hoglan received an interesting offer from an old friend. Through a mutual acquaintance, he was told Death frontman Chuck Schuldiner was looking for a new drummer. Having toured with Death with Dark Angel, and knowing Chuck from his days in the early ‘80s trading tapes with him, Hoglan was intrigued by the opportunity and ultimately joined as things fell apart with Dark Angel. He would end up being a part of two of the most iconic extreme metal albums ever released, as Death would produce 1993’s Individual Thought Patterns and 1995’s godly Symbolic during his tenure with the group. Schuldiner would famously pass away in 2001 from complications from a brain tumor, leaving a legacy as the Godfather of Death Metal for his pioneering writing and playing, evidenced by Death’s flawless back catalog.
Upon the re-release of Individual Thought Patterns in 2012, former members of Death took part in a benefit show to raise money for cancer research to coincide with the reissue. Named Death to All, the group played here and there over the years until recently deciding to embark on tours to honor Chuck's legacy. After a run last year to celebrate and Death to All will be hitting spots across North America in November to celebrate anniversaries of and .
Episode 18: Dan Briggs (Between the Buried and Me)
mercredi 27 août 2025 • Durée 32:52
When Dan Briggs joined Between the Buried and Me in early 2005, the band was at a bit of a crossroads. After releasing The Silent Circus in 2003, an album that showed flashes of their future progressive sound, the group went through a number of personnel changes that eventually brought Briggs into the fold, alongside drummer Blake Richardson and guitarist Dustie Waring. Alongside founding members Tommy Rogers (lead vocals) and Paul Waggoner (lead guitar), this lineup would write and record 2005’s Alaska, which firmly pushed the band’s sound further into the territory explored on its predecessor. The newly configured group toured relentlessly for the next year and a half, spending countless in vans across different countries learning and bonding with one another through musical tastes and influences.
When they finally returned home from the road, Between the Buried and Me would produce maybe their most complete work with 2007’s Colors, which is considered by many to be one of the greatest progressive metal records ever made. The sum of that bonding and the statement of a band trying to define their place in the musical world, Colors also firmly entrenched the band as a premier force in the world of progressive metal. That title has yet to be relinquished, evidenced by the rich, dense discography they have produced since, which includes a number of concept records that expertly mix a plethora of contrasting musical styles that all work under the umbrella of Between the Buried and Me.
Now on the precipice of releasing their eleventh studio album, The Blue Nowhere, I had a chance to speak with Dan about the new record, set to be released on September 12th through InsideOut Music, and all things BTBAM, including:
the recording process for The Blue Nowhere, writing a concept record with no characters, how he developed the idea for the lead single “Things We Tell Ourselves in the Dark,” and the band’s general songwriting process.
how the group incorporates so many different styles of music and makes them fit, the stunning two-track conclusion to the new album, and what the setlist may look like on their upcoming North American tour.
the lineup changes when he joined the band prior to Alaska and how those changes shaped the future sound of the band, bonding over shared music interests and long van rides, and the surreal nature of touring with Dream Theater and Opeth after the release of
Episode 17: Tomi Joutsen (Amorphis)
mercredi 23 juillet 2025 • Durée 28:25
When founding members Tomi Koivusaari, Esa Holopainen, and Jan Rechberger named Amorphis in 1990, they must have had a view to the future of the band. A play on the word amorphous, which means having no definite form and unclassifiable, no word can better explain the last thirty-five years of the band’s history in regards to their music and lineup. The legendary Finnish band has become synonymous with their namesake, as they’ve delved in and out of doom, death, folk, progressive, and other styles that seamlessly blend into their now-trademark sound.
The same can be said for the group’s lineup, as they’ve endured a number of original members leaving the band and returning, with new players joining up along the way and staying in for the long haul. Only guitarists Holopainen and Koivusaari have remained steadfast throughout the entire three and a half decades. Others have weaved in and out, with drummer Jan Rechberger rejoining permanently in 2002, and bassist Olli-Pekka Laine returning from a 17-year hiatus in 2017 to complete the return of all original members that played on their 1992 debut The Karelian Isthmus.
The same ever-changing nature of the group can also be applied when discussing their lead vocalists. On the first two records, Karelian and the iconic Tales from the Thousand Lakes, Koivusaari served as the unwilling vocalist, providing death growls though he preferred to focus on his duties as a guitarist. After making his feelings known to his bandmates, they recruited Pasi Koskinen, who admirably filled the role while Amorphis pushed into progressive and folk directions that weren’t possible without clean singing. He lasted with the group for ten years prior to his departure, but ultimately his bandmates were concerned he was too focused on his other projects, while fans questioned the direction the group was heading in as album sales floundered and the growls disappeared.
After sifting through hundred demo tapes for a new singer, Amorphis ended up auditioning Tomi Joutsen through a recommendation from someone close to the band. He was chosen almost immediately. Being a fan of the band, Joutsen encouraged his new bandmates to return to their mix of clean and harsh vocals they had been known in their early years.The group began work on their 2006 return to form Eclipse, and have not looked back since.
Now, as Joutsen enters his 20th year with the group, he has delivered perhaps his finest vocal performance on Amorphis’ upcoming fifteenth studio album, titled I had an opportunity to speak with Tomi about a number of topics, including:
Liturgy of Death
the lyrical theme for the new album, why it was time to tackle death at this point of his career, the beliefs that informed his philosophy, and some deep metaphysical pondering about the universe.
the intention of references like “dead church burn” and “deathlike silence” to the group's controversial past, the religious language used in the lyrics and their significance, and opinions about embracing death as an inevitability.
Mayhem’s 40th anniversary tour, playing with Dead’s original band Morbid in Stockholm, musings about why Dead joined Mayhem, and an upcoming Tormentor and Morbid show on Friday the 13th of next year.
his initial reasons for going to Norway from Hungary when joining the band, any apprehension he had about entering the Norwegian black metal scene, his thoughts on Euronymous and Varg, and the recording of the legendary De Mysteriis.
the long path he took back to reuniting with Mayhem in 2004, how he feels Liturgy of Death adds to Mayhem’s legacy, reflections on the group’s history, and how l
Lire plus
Réduire
how it feels to be able to play music with his sons Zyon and Igor, a sparsely attended autograph session he had on his first trip to New York at Slipped Disc in Valley Stream, a tale of two albums he bought based on how cool the album covers were, and a healthy discussion of vinyl records.
Max’s feelings about the prospect of retirement and reflections on how it feels to be widely known and respected for music that celebrates his heritage and have it be embraced on a global scale by fans.
It was an honor to speak to such a legend in the metal world, and Max seems as down to earth as you would imagine from his lyrics and general outlook on life. After forty years and an innumerable number of classic records, it’s clear from speaking to Max that he found that flame and his calling early on in life way back in those hungry days in Brazil, and from the fire and passion he exudes while talking about Chama, it sounds like he has no intentions looking back or slowing down anytime soon.
Enjoy!
The Devil’s Coil.
the reception of his solo work live, how it feels to perform the material, his experience opening shows for Agalloch and other groups, and the genesis of his collaboration with Obsidian Tongue.
how the Agalloch reunion became a viable option for the original members, memories from their initial reunion shows in 2023, opening for Emperor, and the new mix of Marrow of the Spirit and how it became a reality from a chance conversation in Europe.
the initial reception to The Mantle, the inspiration he drew from the Portland area for both the music and imagery of the album, plans for future Agalloch music and shows, and reflections about the artistic integrity of Agalloch and his solo work.
As an unabashed Agalloch fan, it was surreal to get to speak with John about a band that has produced some of my favorite metal records of all time. As you’ll be able to see with our discussion of The Mantle, I hold their work in very high regard and am excited to see what the future holds for the group now that they’ve returned. Enjoy!
Réduire
having the blessings of Vicky Cornell and Kim Thayil for King Ultramega, the gravity of having Kim re-record one of his own songs for it, and the great care needed to curate a project with such a legendary name attached to it.
recording “Rusty Cage” with William DuVall, Bill Kelliher, and Charlie Benante, the adventurous decision to have Joe Satriani cover Chris’ vocal line in “Be Yourself,” and speculation on my part as to what song Alissa White-Gluz from Arch Enemy will be featured on.
the timeline for King Ultramega’s releases including the hyped October single, talk of the new Metal Allegiance record that will be released in 2026, playing Cliff Burton’s bass, and commiserating over missing Ozzy’s final show.
mourning the loss of Brent Hinds, compassion for his friends in Mastodon, revealing that Brent was supposed to be featured on a track from King Ultramega, and reflections on Mark’s journey to where he is today in the music world.
Speaking with Mark, it’s clear that he understands what this project mean
Scream Bloody Gore
The Sound of Perseverance,
Spiritual Healing
Symbolic
Ahead of both of these tours and Dark Angel’s release of Extinction Level Event, I got to speak with Gene about these projects, as well as:
finally being able to release a new Dark Angel record after a decade of work, how he and Jim Durkin worked on the new record together, and how the new album and tour honor his legacy as a founding member of the band.
trading tapes with Chuck, how he ended up playing drums for Death on Individual Thought Patterns and Symbolic, and the creative processes for creating two death metal masterpieces
his working relationship in the studio with Schuldiner, how Death to All came to be to celebrate Chuck’s memory, Chuck’s legacy, and a list of musicians who have played alongside the group during it’s performances throughout the years.
how he ended up in Opeth’s video for The Grand Conjuration
Colors.
a discussion of the nature of music fandom and reflections on his 20th anniversary of being in Between the Buried and Me.
It was great speaking to Dan about his career with the group to this point, and Between the Buried and Me fans worldwide should be very excited about The Blue Nowhere, as it only adds to the sparkling legacy of one of the most impressive acts in the world of progressive metal today. Enjoy!
Borderland.
the band’s experience creating Borderland, the decision to switch from producer Jens Bogren to Jacob Hansen, the disparity between the two lead singles from the record, and the disco elements contained within the album.
the core lyrical themes of the album, the unique approach to lyric writing employed by Amorphis, and how Tomi translates and arranges the lyrics to match up with the music his bandmates have created.
the work he has done to improve his clean vocal singing style, his favorite personal contributions to the album, and why Borderland was the most demanding Amorphis record he’s worked on to date.
the band’s touring plans, a discussion of “Weeper on the Shore,” and speaking about the Tales from Lake Bodom split with Children of Bodom from 2015.
the experience of being a fan and joining the band, a discussion of the death of Ozzy Osbourne and his favorite Sabbath albums, and reflections on playing in a group that had such an influence on creative the vibrant Finnish
