Nevermore

No, se lo compri originale ti costa 18 euro.
Ma se vai sul sito ufficiale www.nevermore.tv Infondo alla pagina c'è il link dove puoi ordinare la versione rimasterizzata a soli 5 €. Ti arriverà il cd senza cd box, ma semplicemente in una busta di plastica.

Però ti posso dire che il remix è fantastico. Andy Sneap ha fatto un lavoro splendido (come al solito ) e ora il suono è tutto tranne che confuso e caotico. Certo non è limpido come Dead Heart In A Dead World ma considerando la versione originale c'è da gridare al miracolo. Con la nuova registrazione ho rivalutato ulteriormente il disco, che così è molto più godibile.

Non ce la faccio ad aspettare il prossimo capolavorooooooooo
Già la copertina è fantastica...

 

Ah ora ho capito..solo ordinandolo dal loro sito si paga poco..grazie Alex
Comunque è vero anch'io attendo con ansia il loro nuovo cd la copertina è bellissima nonostante stavolta non sia stata disegnata da Travis Smith..e poi in questo periodo mi sto proprio drogando di nevermore con dreaming...e the politics..non ce la faccio ad aspettare fino a fine luglio

 

ragazzi non fate così che coinvolgete anche me!!!

Enemies non l'ho mai assimilato del tutto... certo non mi aspettavo un DHIADW 2, ma una svolta così drastica sia a livello di suoni che musicale mi ha davvero spiazzato!
intendiamoci: non mi pento minimamente di averlo comprato, è comunque un buon disco.. ma adesso voglio un'altro capolavoooooroooooooo!!!!!!!!!! e ridaje!

 

Le spese di spedizione sono abbordabili? Comunque gran disco EOR, una vera mazzata sui denti, a mio parere non ai livelli di Dreaming Neon Black (il mio preferito), ma comunque in linea con il loro altissimo standard qualitativo. E in fondo sono felice che non abbiano fatto un DHIADW 2. Adesso non ci resta che aspettare TGE... e già dalla copertina le cose si fanno interessanti .

 

ragazzi,allora da quanto ho capito i capolavori della band sono dreaming neon black e dead heart in a dead world,giusto?
perchè ho comprato enemies guidato dalla rece a dir podco favorevole(se non sbaglio oltre 90) e non mi sembra tutto sto capolavoro...
con la nuova edizione va meglio?
oltre a dhiadw e dnb cosa mi consigliate dei nevermore e sanctuary?

 

Enemies remixato vermanete è stupendo, cavolo Snea ha un tocco magico, anchio l'ho rivalutato ma non troppo, il mio giudizio non cambia, produzione a parte.
Cmq Enemies (prima versione) e li altori album (tranne Dead heart che ha ancora prezzo pieno) li ho visti tutti a 9.99 euro

Per la copertina beh....speravo che si affidassero a Travis Smith o l'agenzia PorgArt ch eha fatto ottime cover in stile Travis), è bella questa però cavolo è quasi identica a quella di Virus dei Maiden,l'autore poteva non autoclonarsi così, vabbè cmq bella lo stesso

 

Tutti lavori dove compare il nome Warrel Dane sono di altissimo livello. Procurati tutto! Al massimo lascia stare il primo disco omonimo dei Nevermore che a parte qualche pezzo (The Sanuty Assassin, What Tomorrow Knows e Garden Of Eden) non è nulla di eccezionale.

Dei Sanctuary io preferisco Into Mirror Black ma anche Refuge Denied è un capolavoro.
Dei Nevermore hai detto bene, Dreaming Neon Black e Dead Heart In A Dead World sono i loro lavori migliori ma oltre a questi due ci aggiungerei anche The Politics Of Ecstasy. Sono tre album incredibili, molto superiori al pur buono Enemies Of Reality. Fidati, ascoltali e non dar retta alle rece nel database dove i voti non corrispondono assolutamente al loro reale valore.

 

Verissimo..la rece di Dreaming non è male a parte il voto finale che io avrei dato più alto :P Mentre quella di Dead heart in a dead world la considero la peggiore di truemetal..con tutto il rispetto per il recensore che ha fatto anche oltre ottime rece..

X Iced Maiden: Alex ti ha dato ottimi consigli...il trio The politics of Ecstasy, Dreaming neon Black , Dead heart in a dead world è strepitoso e devi averlo..non ti deluderà.Per quanto riguarda i sanctuary invece non posso consigliarti nulla perchè non li ho mai ascoltati..

 

quoto e aggiungo lo spettacolare EP In Memory :wink:

 

Vero. Avevo dimenticato In Memory che è eccezionale!

 

grazie a tutti,al gods vedo di procurarmeli(prezzi permettendo...alive in athens l'ho pagato 25 quando si trova a 13)sennò ora che li ordino e arrivano

 

male,male... rimediare immediatamente!

 

Eh lo so..prima o poi devo assolutamente procurarmi qualcosa..è che ci son tanti dischi che mi vorrei procurare ed è difficile riuscire ad averli tutti..ma prima o dopo ce la farò a sentirli sti sanctuary di cui tutti parlano bene

 

Ecco una bella intervista a Jeff Loomis che tocca diversi punti interessanti: dal lavoro con i vecchi produttori, alla possibilità di un DVD live e soprattutto il nuovo disco che uscirà esattamente tra un mese (EVITATE ASSOLUTAMENTE OGNI COMMENTO SUL NUOVO ALBUM FINO ALLA SUA USCITA, altrimenti ci chiudono il topic come è sucesso in quello per i Dream Theater).

Few bands have been able to not only maintain their sound and improve on it, but also keep a static lineup for ten years. Nevermore, the Seattle based sextet has been able to not only do that, but much more. The groups latest effort, This Godless Endeavor, due out on July 26th through Century Media is a testament not only to the bands skill, but to the new born writing process which the band discovered with the addition of former Testament guitarist Steve Smyth. With nearly a month before the official release of the new record, only one question remains, are you ready to blown away by the awesome skill, lyrical complexity and overall musical melting pot that is Nevermore?

Alexi Front: Jeff, first off, you are finished with the recording process for this Godless Endeavor, how does it feel to be done?

Jeff Loomis: It feels really good because for one we got to work with our buddy Andy Sneap again. We have not worked with him since 2000 on Dead Heart In A Dead World, so it made the whole process great for us because we always think of Andy as a sixth member of Nevermore. He has done such great work for us and he is a guitar player, just like I am. We just have a great working atmosphere together. It feels really to be done with this record and we look forward now to going out on the road, because we will be out for quite awhile for this record. I look forward to going out and doing what we do best, and that is playing live in front of crowds [Laughter].

You recorded the album with Andy Sneap, what was it like working with him again, in his studio, far away from home.

Right, in the past we worked out of a studio in Texas and we had the producers come work with us there. This time around Andy wanted us to come up to his studio in Derbyshire, England. It is an amazing place actually. There is not much to do out there so you tend to focus a lot more on the record and what you are doing. There is a small pub and a gas station and that is it. The town is in the countryside. It was a situation where we were stuck in the studio for two months and we were able to concentrate on making a solid record.

Why did you record the other albums in Texas if it is so far away from home in Seattle?

The thing is that we had a good working relationship with a guy who owned a studio down there. When we were working with Neil Kernon on Politics of Ecstasy, In Memory, and also Dreaming Neon Black, he sort of hooked this studio up for us. So it became a place where we enjoyed recording. The flipside was that it was becoming expensive to go down there, so we needed to find a different place to go to move on. But Texas was great. We also recorded Enemies of Reality in Seattle. Most people ask why we don’t record in Seattle, but to tell you truth there aren’t many great studios in Seattle. So we have to find the best ones we can, and get into it.

I have talked with Mille from Kreator and he told me that Sneap pushed him very hard as a guitar player, especially with the harmonies. Has Andy done the same for you, especially since you have done more than one album with him?

Definitely. Andy is one of those guys that is a perfectionist. He gets the best performance out of all his musicians. It is sometimes a struggle and a pain in the ass, but in the long run you are getting something that is really solid and the best work out of yourself. I think Andy works you till you start pulling your hair out, but in the long run you are getting a product that is amazing sounding. In terms of the tightness factor goes, he demands the best of everyone in the band, and it’s a great thing.

That is especially evident on songs like “The River Dragon Has Come” from Dead Heart In A Dead World, where the harmonies in the solo sound almost like a video game…

[Laughs] Yeah! He just basically sits back and if he hears even a glitch he will make you do it over again till you get it right. That is what a good producer does: demand the best from you. And that is what Andy does and he knows what he is doing. Andy knows how to make everything sound good. He is one of these guys who is being sought after as one of the best metal producers right now because he gets a great sounding record at the end of the process.

Musically, This Godless Endeavor gives an older vibe than dead heart or enemies does, I think. Musically, how is this Godless Endeavor different or similar to past recordings?

Well, basically, there are a lot of differences on this album and a couple of reasons behind it. One of them being that in the past Nevermore had a simple formula for writing. Basically how that worked was that I would take care of most of the music and Warrel [Dane, vocalist] would write all the lyrics. Basically with this new album it was more of a band effort. Steve Smyth, our new guitarist, contributed three songs to this new album, and also Jim Sheppard [bass] contributed one song. This makes for a diverse sounding record because it wasn’t just two people writing the whole thing but it was a collective effort. That could be the one factor in it. The differences are probably because of the different personalities in the group and when more personalities involved the music turns out a bit differently.

Playing wise, how have you matured or changed from Enemies of Reality?

I think that rather than working on technique for twelve hours a day, because that gets boring, I have been working on my song writing a lot more. What I have been doing in the past and through now is just working on my song writing, trying to write better songs. I think you can tell from 1995 till now you can tell that we have progressed a lot between each record. I think that this all comes with becoming a better musician and getting better at your craft. I think that the song writing has gotten more solid, catchy choruses and the diversity of the songs is also prevalent. We can go from a death metal part in a song to a ballad esq. part in a short period of time. There are a lot of things going on with this record and I think that people have always enjoyed that in the past. Our fans have always liked the diversity we have had in the band, going from something really heavy to something totally mellow and serene sounding. I think that a lot of this also derives from my death metal background. If you listen to the first song on This Godless Endeavor, it really sheers your head off. It has the death metal vibe and then it goes into a catchy chorus with a laid back vibe. We like to put all these different styles into our music.

Although Steve Smyth has been in the band for some time, this was the first time he appeared on a recording. Do you think that Steve was a trigger to a new process for Nevermore?

That is one point for sure. You know as well as I do how many guitarists we have had in the band [laughs]. It has always been a question from the people, “How come you have had four guitarists in the band?” Basically what it comes down to was we asked Steve to join us on stage a few years ago for a couple of festivals because at the time we were a four piece. Steve was having some difficulties with Testament because they were not doing a new album and they were not touring. So he told us that he would be interested in playing with Nevermore. At first we didn’t think about it, but after we played with the guy at a few festivals we realized that he could really play and has a great song writing style that blends with what we are doing. So asked him if he wanted to be a permanent member and he said yes. Finally after all these years we have a solid lineup. And we are all super happy with what is going on. In a way it is like we are a new Nevermore because we are all very solid in terms of the band and we are excited to go out and do our thing.

What did Steve bring to the table that you maybe had not thought about before?

I think he brought a sort of classic metal sounding thing. You can even hear a Testament sort of thing within his song writing. The songs Steve wrote are, “Bittersweet Feast,” “Sell My Heart For Stones,” and he also wrote “Uncertain Future.” But he has that old school thrash mentality and that really brought a lot of things onto the table in terms of our song writing style. He brings in tons of excellent solos. That is one killer thing about him that we really liked. With our playing style, Steve and I blend together really well and we work off each other and it sounds killer. It was hard to find someone like that to take the position in our band, and Steve is certainly the person we were looking for.

Do you think this collective creative process will continue on future records?

Well, if the songs are good enough. It is always a process of elimination. If something sucks and we don’t like it then it will get thrown away. The songs have to solid enough to be what we would call Nevermore quality. I think that if something is going strong in terms of the song writing style, I see no reason to change it. We should keep doing what we do best. I think it will be a whole band effort in the future as well again too. If something is bad we will throw it away and keep the strongest stuff for a solid album. We already have six songs written for a new album already [laughs]. The stuff just keeps coming. Once you write a record you get inspired and you keep writing. The whole process never stops. I would say we wrote about fifteen or sixteen songs for this new record, so we had to throw a lot of them away.

Do you think you will release a live recording or a cd with b-sides?

I am pretty sure we will. We have wanted to for a while, but it was just a matter of gathering all that material up and putting it onto a disc. We are working on a documentary right now which is for the making of the video we shot in Los Angeles this weekend. This guy Michael Rivera, who is coming out with us on the Gigantour, which starts on July 21st, he will be documenting us on tour and how the whole thing works. It will be cool cause the fans will get to see how the process of putting an album out works comes into play and us doing a video then playing the material live. I would imagine their will be a couple of live shows included. Hopefully the fans will look forward to stuff we are doing now.

What song is the video for and what are some of the concepts and themes that are interwoven within the video?

It was shot in Los Angeles last week. The song is called “Final Product,” which is the second track on the album. We recorded it with Kevin Leonard who also recorded the video for “I, Voyager” from Enemies of Reality. Very weird scenery stuff going on in the video. Kind of hard to explain actually, I would say it is more a visual thing. You really have to see it to believe it. A lot of the visuals match up with and resonate with what Warrel is singing about. It is about fifty percent of the band performing and the other fifty percent are the visuals, so it is balanced in that aspect. It is all really cool! That is all I can say, it is a bit of a secret.

Although Warrel Dane writes the lyrics, can you give me an insight to what the lyrics speak to and tell me a bit about the themes within the lyrics.

Well, it is definitely not a concept album, which some people believe it to be. It is more based on topic to topic. Basically This Godless Endeavor is about the different religions around the world and how it rigs people up and can cause catastrophes and sometimes it can bring people up and cause good things. For instance a song on the album called “My Acid Words,” is believe it or not, about his brother who he had a hard time growing up with. The lyrics are his own personal poetry, and he really wants the listener to figure it out on their own. He has always been really personal with his lyrics. To tell you the truth, many times I don’t get to read them until the record comes out because he is so private with them. This will be one of those things that when the record comes out people will have to read into and try to figure them out themselves. His lyrics are amazing once you read into them. He is one of the last great metal vocalists and he does what he does really well.

I agree, originality is on his side. And one unfortunate thing I have found is that people don’t look beyond the vocalist and they don’t see what is behind the vocals and that there are so many amazing things that go on with the band.

One thing that comes into play with this whole thing is that for me, personally, a lot of the music that is out there sounds the same. If you were to put ten bands that were out there today, not to put them down, but all the ten bands would probably sound the same and be hard to identify. The originality is not really present. There are a lot of bands copying each other. It is not like in the eighties when you could have done the same thing and it would be obvious who is who. I believe that Nevermore has it’s own identity, like the bands of the eighties and that has been a goal for us.

Tell me a bit about the artwork, who you worked with, and how does it connect to the lyrics and message on the album?

Basically what happened was in the past we worked with a guy by the name of Travis Smith. He has done a lot of work with Century Media in the past. We love Travis, but we wanted to move away from that and try something different. One day Warrel was surfing on the internet and came across this guys website: his name is Hugh Syme. He has done numerous works for Megadeth, Aerosmith, Rush and bands like that. Warrel saw this piece of artwork that he thought fit well with the music we had, especially with the darkness and mysteriousness of the music. He picked it and Hugh Syme sold it to us. It doesn’t have much to do with the lyrics, but more to do with the music. It visually looks great and fits the record very well.

This is interesting because the artwork is far more realistic than Enemies of Reality which is something you wouldn’t see in the real world. The artwork for This Godless Endeavor seems slightly more realistic and photographic.

Exactly [Laughs]! We have done our thing with the monster and now it is time to go to the real thing. It is definitely visually appealing. It’s also something you need to buy so that you can look really closely at it and take in all the details. The actual piece of artwork is amazing once you take a look at it.

You have had the chance to work with two excellent producers in Neil Kernon and Andy Sneap, how would you compare them, and who do you think is the ideal Nevermore producer?

Well in the past, we worked with Neil Kernon. He is the guy who started us out. Working with him was absolutely incredible. You have to see his roster sheet of bands he has worked with [to date Kernon has produced over 70 records!], it is amazing! His list goes on forever and ever and he has tons of studio experience. When you work with different producers, it is like working with different artists, people paint the pictures differently every time. People have their different ways of doing things. I loved working with Neil because he has done a lot of fabulous stuff for us in the past and made us sound almost ethereal in a sense as far as bringing out some serious tones in our past records. Then of course we worked with Kelly Gray who did the Enemies of Reality album with us and that really didn’t work out at all. That was a bad mistake right there, and that is why we had to get Enemies of Reality remixed. I would have ultimately say that Andy Sneap is the man for Nevermore. He just knows how to get the certain tones, and, he is the man! He knows what we are thinking in our minds and can replicate so that we hear back what we are hearing in our heads. If you can find someone like that, it is gold. I am hoping in the future we can work with him again, and we probably will!

I doubt he’d turn the chance down!

I don’t think he’d turn it down either. He is really a fan of the band and he likes the music a lot and I am sure he wouldn’t do it for any other reason. He number one has to like what he is doing and I know he does when working with us.

Now you brought up Enemies of Reality, what exactly happened on the original Enemies of Reality?

It was a nightmare dude [Laughs]! It took three months to record, we recorded it at three different studios, and basically, to make a long story short, this is what happened. We were at the end of our recording contract with Century Media and they didn’t know if we were going to resign with them because we had a lot of other offers coming in at that time from other record labels offering us lots of money to sign with them. But basically at the eleventh hour Century Media came back and said, “Here, we are going to offer you this three album deal.” Basically it was the best deal we had gotten. People always ask us why we signed with them again and all that crap, but basically what it comes down to was that it was best deal out there for us. This all connects with how Enemies of Reality sounds like because they only gave us twenty thousand dollars to record Enemies of Reality. That is a nothing deal for a record now a days. We had to find a producer in the Seattle area that could do it for that kind of money. That guy was Kelly Gray. Unfortunately we didn’t know that he wasn’t that skilled in terms of working with a metal band like Nevermore because there were a lot of intricate things going that he really couldn’t get the separation from and things like that. Basically, we had to eat it [Laughs]! It sucked because we worked so hard on the record and we got a lot of backlash from the fans, saying it sounded like crap. So we fought for Century Media to remix it and we had Andy Sneap remix it. He basically took the blanket off the whole thing and basically made it sound a whole ton better. It sounds like night and day compared to the original. It all really comes down to money and that’s why the original Enemies of Reality sounded like crap. After Andy Sneap remixed it, it sounded much better and I can actually sleep good right now.

Are you satisfied with the Re-issue of Enemies of Reality?

Very much! You can hear so many things that you couldn’t hear before in the original. You can hear separation in the drums, you can hear the guitars so much better, the vocals are much cleaner. Andy just redid the whole thing, every single part, to make it sound audible to the listener’s ear. You can play both of the discs at home out of a cd player and the remix just bounces out and sounds killer! I am quite happy with the remixed version, as is the band.

If there were one thing you could have done differently on Enemies, what would you have done?

Well several things. One thing, I would have liked to have had Andy do the album for us. I would have liked to have completed the album in month, because it really takes us only one month to make a record. What happened was that Kelly Gray worked so slow on it, going to different studios to record it, over a period of time we lost the whole vibe of the album. Once something gets spread out like that for a long time you start thinking that it is taking too long and it becomes arduous. People started not getting excited about the record anymore and it really sucked and was a downer. Fortunately we got through the whole thing and I think a lot of people were able to read through the bad mix and hear that music was really quality. The music is really good on that record, and some people were able to read through the production and here that.

Looking throughout Nevermore’s career, would you say that the new record embodies the true essence of Nevermore?

Well, I think any time a band comes out with a new record they are going to say, “This is our best work yet.” But I really think that this is our best work yet because we all had a say on it and everybody agreed to what was killer and what actually went on the record. I think this is the most potent Nevermore record there is to date and it really brings out everyone’s best quality as a performer and as a musician on the record. This all ties together and makes it our best record yet.

Now, the band is booked for a half hour set on the Gigantour this summer with Megadeth. Tell me a bit about how Nevermore became involved with this tour.

Basically what happened was that Shawn Drover and Glenn Drover, the new guitarist and drummers in Megadeth are big fans of Nevermore. I think what happened was that they played some cd or tape of our material to Dave Mustaine, Dave really liked it and we were one of the first picks to get on Gigantour. I had the chance to meet Dave again in New York and we had the chance to discuss the tour and stuff like that. I think this is going to amazing for Nevermore because in the past we have only done very small club tours in the US to about eight or nine hundred people a night. This is going to be much larger, even though we get a half hour per night, we get to play to a shitload more people every night. It will allow us to play to a lot more people here and become more well-known. That is really important to us, we are all just totally stoked about it. Even though it is just half an hour, we still get to jam in front of a lot of people.

There is also a huge diversity in the groups that are playing, which will come out in the fans, and it will give you a chance to go out and play to people who like say Dillinger Escape Plan, who wouldn’t have come out to see you play with Dimmu Borgir two years ago…

[Laughs] I know man! I love death metal, but it always seems like we get bumped into these strange tours, where people are like, “what?” But definitely, I think this tour is very fitting for us. We have bands on this tour that have singers that actually sing and stuff. I think this is the ideal tour for Nevermore, I really do. Like you said, the whole diversity factor with all those bands is such a great thing. There is such a wide variety of music going on and it is half the price of an Ozzfest ticket. So you get a whole bunch of music for half the price of an Ozzfest ticket.

What do you look forward to the most on the tour?

Probably meeting up with all the great guitar players that are on the tour. This is going to be an awesome thing. There is Jon Petrucci, Dave Mustaine, Christian from Fear Factory, everybody has such a cool and different style of guitar playing. It will be cool to hang out with all of them and maybe pick up on it and learn a few things.

Now, you actually tried out for Megadeth in the midst of the Jeff Young saga. Although it was awhile ago, tell me what it was like auditioning for him and Megadeth.

It was a while ago, like sixteen years ago. My friend in Los Angeles got me the audition and I flew out there when I was sixteen and played four songs with Megadeth, “In My Darkest Hour,” “The Conjuring,” “Wake Up Dead,” and “Peace Sells.” Mustaine basically came up to me and said, “Hey bro, you are a really good guitar player but you are just too young. One day if you work hard enough you will make it.” How ironic [laughs]? Years later I am doing an extensive US tour with him, so I guess it is a small world.

Now Nevermore grew up in Seattle as a contrast to the grunge scene. Tell me a bit about what it was like playing something that was against the grain, so to speak against the grunge trend.

It was difficult because the grunge scene was so huge and it expanded so quickly that metal almost became obscure. There was nothing metal for so long, the guitar solo left the heaviness factor left, everything. Believe it or not, through thick and thin we survived through it and didn’t change our musical style at all. That is one of the reasons why Sanctuary broke up. I actually wasn’t a founding member of Sanctuary, I lived in Wisconsin and sent out an audition tape to the band and replace the Sean Blosl. The demise of the band occurred because of grunge in a sense. Lenny Rutledge began to write some really grungy songs and Warrel, Jim and I thought, “That’s not really cool [Laughs]!” So from that, a fight ensued, and it was actually pretty ugly. It wasn’t a pretty sight, there was some blood and hair [laughs]. But Warrel, Jim, and I said screw this and we formed Nevermore and really stuck with our roots. Basically we just continued on from there and found a drummer and recorded our first record. But going back to your original question, yes it was difficult to contend with the grunge scene. The underground fans still came and it was great that people still believed in us and what we were doing. Now that Seattle doesn’t really have that grunge scene anymore and it all moved. I am not putting that whole scene down though, I did like Alice in Chains and Soundgarden, but it wasn’t my true cup of tea honestly.

What is the scene like in Seattle now?

Well outside of Nevermore we have Metal Church and another band called Himsa. There are a couple of other unsigned heavy metal acts and bunch of death metal bands here, but this scene is still going pretty good. It is not crazy but there are still a lot of good bands here. There are thousands of bands here.

What do you do outside of Nevermore?

Everything I do involves music in some form or another. If I am not on the road or if I am not recording I will try to spend my spare time writing or if I need some spare cash here and there I will teach some lessons. That is always fun, I used to do that hardcore when I was younger, that was my main job, being a guitar teacher. Everything I do revolves around the music scene. I sometimes do some side projects. I recently got asked to do a side project with Pamela Moore who sang on Operation Mind Crime. I might do something with her, but it is not set in stone yet. I just always try to better myself as a player and sit down and play some guitar. That is what I do, I play guitar, and I love playing guitar!

Have you thought of doing something away from Nevermore?

Well, everyone has wanted me to do a guitar shredder sort of album. I still want to do something like that, I really do. I have a lot of music I have written that doesn’t fit the Nevermore thing, so it is a matter of finding the time to put a side project group together and booking some studio time to lay it down. I am hoping that I will have something like that out by 2006 because I have most of the music written for it. We will see, it is one of those side projects that I would love to do if I had the time.

Would this be a solo album without vocals and just music?

That would be what I would love to do. It would be sort of like a Marty Friedman or Jason Becker sort of thing. Like Perpetual Burn or Dragon’s Kiss. Completely in your face and chaotic shred guitar, crazy stuff. I have always wanted to do a record like that. That’s the material I have to do it.

I will tell you right now that there is a huge demand for that from you!

I am gonna do it man I swear [Laughs]! I just have to sit my ass down and do it. I was never good at doing two things at the same time, like concentrating on one thing, Nevermore, and then another thing. I always pour my heart and soul into one thing. But I think if I work on it hard enough I can complete the whole project. I have a couple of friends that have studios that are interested in working with me on it. Also, James Murphy and I have talked about it before and he really wants to work with me on it. I also have another friend Jason Suecof who has a really nice studio down in Florida who was interested in working with me on it. It is gonna happen!

Now Warrel is sober and out of rehab. Tell me a bit about what it was like not having him around and how rehab has changed him as a person.

It has changed him drastically it has changed him as far as how he looks: he lost a lot of weight. He is very healthy; his whole vocal thing has gotten much better. Sometimes people run into problems like that and some don’t take care of the problem and die and he did take care of the problem and is healthier and better than ever! We are all really proud of him and we have supported him through everything. It was just one of those things that he wanted to do to better himself as a person and we backed him one hundred and ten percent. We are all proud of him.

What are the groups plans after Gigantour?

Basically what are starting this month, after the video is completed we are going to Europe to do a few festivals, one in Belgium and one in Germany, Bang Your Head festival. After that the Gigantour will run from July through mid September and after that we have five days off and then we go to Europe for a headlining tour. We are going to be busy boys. Sometime after that we would like to do a headlining tour in the United States.

That would be the first headlining tour in the US right?

Yeah, it would! That is something we need to do more here. This whole Gigantour thing will hopefully have people coming to check us out.

How is the bands popularity in Europe different from the popularity in the US?

That is a really good question and a common one as well. For some reason we have always been so much bigger in Europe than in America and I don’t know why. I have been thinking about it a lot lately. A lot of the time I think it has a lot to do with the television. A lot of what kids see here in the US is what they go out and buy. We are trying to make a difference in that with the video coming out and the exposure we are getting here in the states. I also think that European kids tend to stick to the classical thing and the classical elements of heavy metal a lot more. You see kids running around there with Jean jackets and Iron Maiden patches on. It is amazing. That is a hard question, but I am hoping we can be as big in America as we are in Europe and it is a goal of ours.

Interview by – Alexi Front


Per chi non se ne fosse accorto, è possibile ascoltare la seconda traccia di "This Godless Endeavor", la canzone "FInal Product" della quale sarà tratto il primo video. Eccol il link
http://www.centurymedia.com/audio/MP3/Nevermore-FinalProduct.mp3

dico subito che la canzone è a dir poco fantastica, potentissima, tecnica, prodotta alla perfezione (Sneap è veramente il miglior produttore in circolazione) e melodica al punto giusto. Ed è solo l'antipasto, credete a me :wink:

 

grande Alex!!!! l'ho scaricata, ma non ho ancora avuto modo di ascoltarla (non vedo l'ora!)... appena possibile posterò le mie impressioni!