Actual playlist

1. EXCITER: Heavy Metal Maniac
2. MERCYFUL FATE: Don't Break The Oath
3. ARTILLERY: By Inheritance
4. LIVING DEATH: Metal Revolution
5. COUNT RAVEN: Destruction Of The Void
6. SACRIFICE: Torment In Fire
7. FORBIDDEN: Forbidden Evil
8. ATLAIN: Guardians Of Eternity
9. MORBID SAINT: Spectrum Of Death
10. PROTECTOR: Urm The Mad

Stormwitch - Andy Mück

A little chat about the 25th anniversary of the third album Stronger Than Heaven, of the legendary German heavy/speed act Stormwitch. The answers were given by singer Andy Aldrian.

So Andy, let we start with the past, while the NWOBHM was ruling the world, in Germany things were a bit different, many bands with a special „teutonic” sound were coming out, most of them soon to disappear in the early eighties. Bands like Gravestone, Noisehunter, Veto, High Tension, Tyrant, Running Wild, Steeler, Grave Digger...and of course Stormwitch (earlier Lemon Sylvan), do you still remember how the band got together exactly? What about your musical backgrounds, experiences? Was Lemony Sylvan the very first band for all of you?
We were friends at school and liked the same kind of music. Our school was very depressing and the small town from where we came from was very boring nothing for young males who wanted to see the world and make experiences.We were keen to have adventures to make our own band was our ticket for a new life. When we started there where no Heavy - Metal scene. There were Hard Rock. Hard Rock was bands like: Black Sabbath, Led Zeppelin, Deep Purple. Hard Rock was more intellectual more poetic so we nomed our first band Lemon Sylvan. But we wanted a concept that was harder, crueler and darker and as we heard the first Iron Maiden album with songs like Phantom Of The Opera or Transylvania it was an manifestation.
Who came up with the name Stormwitch? Did it sound more metallic, than Lemon Sylvan?
In 1983 we named our band Stormwitch. Storm for the music and witch for dark and mystic lyrics.
In 1984 they released your debut „Walpurgis Night” album through Gama Records, do you think, that your career was on the way?
Gama Records was no big deal but it was a good opportunity to stay independent. We could create our own cover, choose our own photographer we could wear the clothes that we wanted and could play our music in the way that we liked it.
A year later came out „Tales Of Terror” and if I remember correctly, you had some troubles during the recording sessions, the studio and the tapes were burnt, right?
Yeah, we had a lot of bad luck during the recording of Tales Of Terror. But also a lot of fun. Nearby the studio was a well known place called the Rock Fabrik where they played Hard Rock and Heavy Metal. It was a good place for drinking beer. We made our first experiences with girls there I saw important bands of the Metal scene there in their younger years, Manowar, Slayer for example.
Were you aware of Hallow’s Eve also released an album (their debut) with the title „Tales Of Terror” in 1985?
No, we had the idea for the album title from The Alan Parsons Project album, Tales Of Mystery And Imagination.
At which point did you start writing the material for your third album, that became „Stronger Than Heaven”? How did the song composing go as a whole? Is it true, that Stefan Kauffman (Steve Merchant) and Harald Spengler (Lee Tarot) composed the whole material in 14 days? Why did you have to hurry at all?
Two weeks before we went to the studio Lee Tarot and Stefan Kaufmann closed themselves up in a room and came back after 14 days with the whole material, stinking hungry and tired. We had to fulfill the contract with Gama: Every year an album.
What about the recordings sessions? Did you have a decent budget to record the material?
No. Independent always means: you start with nothing and later on you have debts.
How do you view, that with this album Stormwitch became more original with the image you started wearing old costumes from the baroque era of the 17th and 18th centuries?
At that time the ideas came from Lee and Steve also to wear baroque costumes contrary to all expectations it was very satisfying for me personally. The outfit fit me very well and my adventures with women of all kind increased.
Instead of spikes and leather you changed your outfit to baroque costumes, was your goal to take distance and different yourselves from all those speed-/thrash-/black metal bands, that were appearing or existing at this point?
Lee Tarot always hated Speed, Thrash, Black, Death Metal - he always loved melodic songs Eye Of The Storm is mainly his album. I myself was at that time just the singer in the band. I never was so distant to such bands. I loved Venom, the best live show I ever saw was King Diamond from Mercyful Fate. Like everybody I love Reign In Blood from Slayer and Metallica’s Kill'em All for me is their best album. Kill'em All what a statement !
You named yourselves as the Masters of the black romantic, that became an inherent part of the band, how do you explain this?
Black Romantic was a period in the English literature, it is also called Gothic novels: H. Walpole The Castle Of Otranto, Ann Radcliffe The Mysteries Of Udolpho, The Monk from M. G. Lewis for example. The scenes of this novels were always old castles or monasteries. We always loved the atmosphere of such places and in our phantasy we lived inside these thrilling stories. Many people have longings for such places and stories.
Do you agree with, that the incredible quality of this album obviously helped the band a lot to move another step forward?
Yes, hear it. I love you for those sentences you bastard. Correct. Yes, yeah we all liked it. The sound is terrible.
Is Stronger than Heaven certainly an album, that any trad metal fan will enjoy from the first spin?
What do you think about, that the result is a top notch record of speedy metal influenced by Running Wild/Helloween, but also with a perfectly clear personal character, thanks to the ever present new wave touches, the melodic guitar leads, your characteristic vocal and of course the occult lyrics and atmosphere (trademark of the band)?
In 1987 Stormwitch was a bunch of high motivated, very creative musical amateurs. No, but the ideas on this album are absolutely great, like on every Stormwitch album. I say that very humble.
In 1986 Stormwitch did their first and only German tour supported by Stranger and Killer, how did the whole tour go? Can you tell us more about it?
The singer from Stranger lost his voice after the first half of the tour because he was constantly drunked and didn't slept an hour. Killer had these L.A.Rocker poser image and when we played in Casrtop - Rauxel they had a gang bang with one of the groupies. That is not my cop of coffee. I myself had same special affairs very erotic, very special.
Strangely, the band was way more popular in Eastern Europe and spent more time touring and promoting there for example in Hungary (Budapest), what do you recall of those Hungarian shows? You had a lot of followers and die hard fans in Hungary…
In Hungary I had the best days of my life and I am happy that we play at the Metal - Fest in Budapest in June. I always loved the warm and sincere way that the Hungarian fans loved us.
Is it correct, that even a fan club was created, under the name of Witch Attack, that stayed with the band until the very end, but somehow the magazines and general media kept on ignoring the band, giving much more support to Helloween, Running Wild or Rage?
Yes, it is correct, but I have no problem with that.
Why did you never really achieve that kind of popularity?
You have to be at the right place at the right time. We were never at the right place at the right time without Hungary - that was always a great time.
Thanks to Hammerfall (who covered your classic „Ravenlord”), Stormwitch fortunately became known by the younger generations, right?
Yes, very special thanks to Hammerfall.
Did they help taking the band’s name, the legend alive?
Yes. You are right since that Stormwitch is a legend.
Andy, thanks a lot for the interview, anything to add, that I forgot to ask?
I’m glad to see you all in Budapest !

Pannónia Fesztivál - Cseri Parkerdő - 2011. 06. 09.

Amikor tudomásomra jutott, hogy a Twisted Sister fellép az immár ötödszörre megrendezésre kerülő, négy napos Pannónia fesztiválon, arra gondoltam, hogy valaki nagyon poénos kedvében van. Április tréfaként fogtam fel, ugyanis az esztendő negyedik hónapjában tudtam meg ezt az információt. Miután utánanéztem, hogy a hír nem kacsa, hanem valós, egyértelmű volt számomra, hogy a Cseri Parkerdőben lesz a helyem június 9.-én.
A viszonylag gyors beengedés után a Port.hu színpadot (amúgy négy színpad volt) céloztam meg, ugyanis ott léptek fel a new yorki istenek. A fesztivál első fellépője számomra a BEATRICE volt. A ’88-ban megjelent duplalemezen (78/88) kívül nem túlzottan hallgatom a zenekar kiadványait, mindenféle sértő szándék nélkül, nekem az a korszak a Beatrice. Értelemszerűen a Nagyvárosi Farkas, a XX. Század, a Katicabogárka vagy a Boldog Szép Napok többet mondanak, jelentenek nekem, mint az Őrületes Rock ’N’ Roll. Sajnos nem volt Jerikó és Motorizált Nemzedék, de a csapat rendelkezésére álló egy órás műsor így is tömény, intenzív és szórakoztató volt.
Ajándék volt részt venni a Twisted Sister sajtótájékoztatóján, begyűjteni autogramjaikat, közös fotókat készíteni velük, azonban Dee Snider unszimpatikus hozzáállása kiverte a biztosítékot. Történt, hogy minden idők legnagyobb frontembere, egyik legnagyobb énekese, nemes egyszerűséggel felhúzott a turnébuszra és a koncert kezdetéig ki sem dugta onnan az orrát, ergo közös fotó, dedikáció felejtős. A sajtótájékoztató után az EDDA vette birtokba a deszkákat, amely legnagyobb meglepetésemre egy méregerős best of programmal rukkolt ki. Ha nem tévedek a „legfrissebb” dalok a Szellemvilág és az Elérlek Egyszer voltak. Jó formában, energikusan vezette elő a zenekar az olyan klasszikusokat, mint a Minden Sarkon, a Torony (!!!), a Kölyköd Voltam, a Győzni Fogunk vagy a Gyere Őrült. Pataki Attila énekes politikát sem nélkülöző, itt-ott obszcénba hajló átkötő szövegeit megspórolhatta volna, ettől függetlenül kiváló hangulatot teremtettek, kiváló koncertet láttunk/halottunk tőlük.
20.50-kor, a kiírt fél kilences kezdés helyett aztán elérkezett a várva várt pillanat: színpadra lépett minden idők egyik legalapvetőbb, legmeghatározóbb zenekara a TWISTED FUCKIN’ SISTER. 2004-es Summer Rocks-os koncertjük után másodszor tették tiszteletüket nálunk. Különbség annyi volt a hét évvel ezelőtti előadáshoz képest, hogy ezúttal elhagyták a sminkeket, a klasszikus fellépő ruhákat, kizárólag Dee The Fuckin’ Snider énekes használt egy kevés szemkihúzót. A régi időknek megfelelően az intro után a What You Don’t Know (Sure Can Hurt You) – a Eddie „Fingers” Ojeda és Jay Jay French gitárosok valamint Mark „The Animal” Mendoza basszusgitáros a közönségnek háttal állva pengettek, Snider pedig atombombaként robbant a színpadra, „Good evening welcome to our show…” – The Kids Are Back – Stay Hungry hármason rongyoltak át és kezdetét vette az extázis, az eszméletvesztés. Minthogy a többi fellépőnél már kiválóan belőtték a hangzást, a Sisternél sem volt semmi kivetnivaló a megszólalással, akkorát ütött a banda, hogy még. Ellentétben a Summer Rocks-szal Eddie-nél nem merültek fel technikai problémák, gördülékenyen, olajozottan ment a show. A SHOW! Dee Snider 55 évesen úgy tombolt, rohangált a színpadon, mint egy ereje teljében lévő, 20-21 esztendős fiatal titán, irányította a műsort, énekeltette a közönséget, a hátán vitte a produkciót. A sajtótájékoztatón mutatott negatív magatartása ellenére is azt mondom, hogy ő minden idők legnagyobb frontembere, showmanje, hangja mit sem kopott az évek során, elemi erővel törtek fel üvöltései illetve az olyan klasszikusok, mint a The Price vagy a The Fire Still Burns dallamait is mindenféle erőfeszítés nélkül énekelte ki. Képtelenség volt fotózni a sajtóárokból (csak az első három dalra kaptunk engedélyt), egy óriási szőke, göndör hajtenger volt csak látható belőle, megállás nélkül mozgott, bejárta a színpad minden egyes négyzetcentiméterét. Ezzel szemben Eddie, Jay Jay és Mark egy helyben állva, statikusan pengettek. Felesleges hosszasan méltatni a programot, ugyanis ezekkel a dalokkal nem lehet hibázni, a metal/rock történelem legnagyobb klasszikusairól van szó, különösebb kommentárt nem kell hozzájuk fűzni (pl. Shoot ’em Down, Under The Blade, You Can’t Stop Rock ’n’ Roll). Annak ellenére, hogy mindenki tudta mekkora buli lesz, a negyedikként elhangzó, súlyos, lassú Captain Howdy-t nyugodtan nevezhetjük meglepetésnek, lévén sosem volt a korai Twisted Sister koncertek repertoárjának szerves része. Egy hibátlan dalokat felvonultató koncertbe elméletileg nem lehet (szabad) belekötni, én most még is megteszem, mert A. J. Pero dobszólója teljesen felesleges volt, akkor inkább már játszották volna el a We’re Gonna Make It-et, az I Am (I’m Me-t) vagy a Ride To Live Live To Ride-ot. Amúgy Pero dobszolóját az AC/DC klasszikusa, a Whole Lotta Rosie követte, mintegy tisztelegve az ausztrál csapat előtt, egyben kinyilvánítva, demonstrálva, hogy honnan indult el anno a zenekar, milyen hatásokból táplálkozik muzsikájuk. Ahogy az várható volt, a We’re Not Gonna Take It-nél és az I Wanna Rock-nál Snider mester megéltette a közönséget, félelmetes volt, ahogy a Burn In Hell-nél piros lámpa világította meg, tehát mindent megkaptunk, amit vártunk. Rettentő szimpatikus volt Jay Jay French beszéde, melyben a gitáros kifejtette, hogy a metal nemzetközi muzsika, kapocs az emberek között, összeköti az embereket, míg a pop, a rap stb. csak trend, jönnek és mennek, az olyan nagy bandák, mint a Motörhead, a Black Sabbath, az AC/DC, a Judas Priest vagy éppen ők ennyi év után és sok szarságot leküzdve még mindig talpon vannak és hogy eddig eljutottak, azt a rajongóknak köszönhetik. A mintegy másfélórás műsor végén (a ráadásban) a Come Out And Play és az S. M. F. adták meg a kegyelemdöfést. A korosztály összetételét illetően, a skála a 8 évestől a 60 évesig terjedt, magyarán a csapat muzsikája korosztálytól független és abszolút időtálló. A Twisted Sister jött, látott és (újra) győzött, azonban a koncert után már nem volt módunk találkozni velük, mivel felmentek a buszba és úgy elhúztak, hogy magukkal sem találkoztak.
Sch-dt barátommal azt taglaltuk a műsor után, hogy képességeiket tekintve a zenészek nem tartoznak a műfaj elitjéhez, krémjéhez (ez különösen Mark Mendoza-ra igaz, aki végig csak csapkodta a bőgő húrjait), mégis egy nagyon jól összerakott és felépített csapatról, klasszikus lemezekről, dalokról beszélünk. (Tulajdonképpen úgyis fogalmazhatnék, hogy a Twisted Sister Dee Sniderről szól). Egyértelmű, hogy bőven kiérdemelték a halhatatlan státuszt, történelmet írták, megkérdőjelezhetetlen, hogy a Rock ’n’ Roll Hall Of Fame-jében van a helyük. Egy újabb páratlan és meghatározó élménnyel gazdagodva indultam haza a program után, remélem mihamarabb újra kis hazánkba jönnek. Képtelenség őket megunni.
Dr. Feelgood

Actual Playlist

1. MORBID: Year Of The Goat
2. TOXIC TRACE: Torment
3. ORIGIN: Entity
4. E-X-E: Stricken By Might
5. JUDAS PRIEST: Screaming For Vengeance
6. PESTILENCE: Consuming Impulse
7. DOWN: Nola
8. ASPHYX/HOODED MENACE: Split 7"
9. SYMPHONY X: Iconoclast
10. BLACK OATH: The Third Aeon

Current playlist - Actual faves

1. MORBID ANGEL: Illud Divinum Insanus
2. HATE ETERNAL: Phoenix Amongst The Ashes
3. ANVIL: Juggernaut Of Justice
4. BLACK OATH: The Third Aeon
5. NADER SADEK: In The Flesh
6. NASTY SAVAGE: Indulgence
7. ATHEIST: Piece Of Time
8. TOXIC TRACE: Torment
9. METALLICA: Kill 'em All
10. KREATOR: Terrible Certainty

Twisted Sister Mania

1. TWISTED SISTER: Come Out And Play
2. TWISTED SISTER: You Can't Stop Rock 'N' Roll
3. TWISTED SISTER: Live At The Hammersmith
4. TWISTED SISTER: Stay Hungry
5. TWISTED SISTER: Under The Blade
6. TWISTED SISTER: Singles and Ep-s
7. TWISTED SISTER: Live from Rochester New York - Rochester War Memorial, 1984. 07. 18. - bootleg
8. TWISTED SISTER: Twist Of The Wrist - Live in Rochester, 1984. 10. 14. - bootleg
9. TWISTED SISTER: You Can't Stop Rock At Donnington - Live at the Monsters Of Rock Festival, 1983. 08. 20. - bootleg
10. TWISTED SISTER: Deetroit Disciples, Live at the Fox Theatre - Detroit, 1986. 01. 30. - bootleg

Onslaught interview with Nige Rockett

1986 was the best year for metal, a lot of classic, influential masterpieces were released this year, such as Eternal Devastation (Destruction), Pleasure To Kill (Kreator), Reign In Blood (Slayer), Darkness Descends (Dark Angel), Doomsday For The Deceiver (Flotsam & Jetsam) to name a few. Although the British bands didn't belong to the top of thrash metal, Onslaught were a very good act, their masterpiece The Force came out in 1986 too. The record celebrates its 25th jubilee, so I got in touch with guitarist Nige Rockett to speak about this classic record.

So Nige, since The Force album celebrates its 25th anniversary, I want to talk with you about it, all right?
Hi My friend, yeah that’s cool, it would be a pleasure…!
Do you still remember at which point did you start writing the material for the record? How did the song composing go as a whole?
I remember it very well.. We used to rehearse in a local youth club, we wrote all the material for THE FORCE during these sessions over a period of about 6 months.. I would work on music and lyric ideas at home and bring them to rehearsal where the band would develop them into full songs..
Some changes happened compared to the first album; first you left COR (Children Of Revolution) Records and you were signed by Under One Flag/MFN, how did that happen? Was it a good decision, in terms of promotion, label support etc.?
Yeah COR records was a very small label run by a friend on a government scheme, he did a fantastic job with the release even though he had very limited resources, the record was a real big seller worldwide for a debut album and really brought great attention to the name of Onslaught… so much so that we were contacted by MFN records who were interested in releasing the bands second album.. We had no contract with COR and they were very happy to see us move to such a big label as MFN.. It was a real big deal for Onslaught, as MFN had bands such as Metallica and Anthrax on their roster, so yeah it was a very very good decision for us.. The label were awesome and the support and promo really was excellent, which really helped us take the next step up the ladder..
Was only Under One Flag that showed an interest in signing the band by the way?
They wasted no time in asking to sign the band after the immediate success of Power From Hell, and they were the only label that we wanted to work with, so any other label never existed as far as we were concerned…..
Former vocalist Paul Mahoney took over the bass duties, while former bass player Jase Stallard switched to rhythm guitar and a new singer Sy Keeler joined the band, can you tell us more about it?
It was in our rehearsal room where we met Sy Keeler.. He came along to a rehearsal one night with a crew member just to watch and by the end of the session he was part of the band hahaha.. We heard he was a good singer so we asked him to have a blast with one of the new songs, he sounded so cool we offered him the job there and then…
We had been thinking about adding a second guitarist for sometime and when Sy appeared it really finalized our decision. Paul Mahoney was also a bassist and Jase Stallard could play guitar so it was an east transition to make. We just reshuffled the personnel and gave the band a totally different sound…
What can you tell us about Sy’s musical background? Did you perhaps audition other singers too besides him or was he the first choice being the singer of the band?
Sy Keeler had never been in a band previous to Onslaught, as I said earlier it was just spontaneous decision to have him join the band, we weren’t even looking for a new vocalist..
Did Sy have a big hand in the songwriting or was the material ready and written, when he joined?
All the material was already written for The Force album when Sy joined, he just added some of his own vocal melodies and obviously delivered the songs in his very own style..
During January/February 1986 you entered the Martix Studios with Dave „Death” Pine, what about the recording sessions? Were you more prepared than with the previous album? Did you have a decent budget to record the album?
Yeah were pretty well prepared we had rehearsed hard before entering the studio and got everything as precise as possible, we are definitely not a band to write in the studio... We had 2 weeks to make the recording, which was cool and yeah the budget was fairly decent, Matrix was a decent studio, the Sex Pistols recorded ‘Never Mind the Bollocks’ there which we thought was awesome to make our record in the same place as them….
The Force shows a great development compared to Power From Hell, was it a natural progression or did you work extremely hard on it?
It was a natural development, but we also worked very hard at it… the progression was purely down to an improvement in our musical skills, lots and lots of practice enabled us to have the ability to write and perform better songs…
Most of the songs on here are quite long, going into the 6 minute range, but without becoming overlong, what do you think about it?
Yeah, we just let things follow a natural course, I think there are maybe a few parts we could have cut back and made shorter in retrospect, but there are no unnecessary sections to the songs, every part is crucial to the overall picture of The Force album… we liked using lots of tempo and rhythm changes to make it an interesting album, Power From Hell was quite one dimensional by comparison..
Would you say, that newer musical influences happened to you/were hit by you? I mean, your musical range of interests became wider and in my opinion, The Force is very similar to the Bay Area scene…
No I don’t think so… our influences never changed and are still the same today, the changes were purely down to an improvement in our musicianship, nothing more really…
How do you explain, that the songs had been more matured than on the debut, but the songs didn’t lose any brutality, heaviness or speed and on the contrary, songs like the rhythmic opener „Let There Be Death”, the mid tempo hammer „Metal Forces” or the speed massacre „Thrash Till the Death” with its great break are the best or at least, one of the best examples of 80s thrash metal?
Thank you, real kind of you to say…. We were just learning to become better song writers at the time, the heaviness was always gonna be there, but we had now learned to refine the brutality and channel it in a more mature kind of way..
Is it correct, that „Metal Forces” was dedicated to Bernard Doe’s magazine, because he was very supportive of you?
Yes, of course.. Bernard Doe was very instrumental in helping Onslaught climb the ladder so quickly. He ran a great magazine and was so supportive of the band in the early days, I believe he also recommended that ‘Music for Nations Records’ should sign the band, which they did and that’s exactly why we are here talking right now :)
The Force is an excellent album from beginning to end, all killer no filler, right? What are your favourite tracks from the record?
That’s our intention with every record we make, we try our best to have no fillers at all.. My favourite track is probably ‘Let There be Death’ It still sounds so cool to play live, I love all the changes in the song, its just real fast and heavy with lots of hooks…..
Do you agree with, that you tightened up your sound, with a much sharper-sounding riff assault that is pure thrash metal and The Force sounded better than the debut? Was it an even stronger effort?
Definitely a stronger album than ‘Power From Hell’ no question.. PFH was very raw and basic but The Force is much more refined…
What kind of reviews did you get back in the day? How much like the Onslaught fans the record?
All the reviews were amazing, I never actually seen one poor review for ‘The Force’ which was very cool. The press and the fans really loved the record and still do in 2011, which cannot be bad…
The Force came out in 1986, in the year, when influential classics, such as Master Of Puppets (Metallica), Doomsday For The Deceiver (Flotsam And Jetsam), Reign In Blood (Slayer), Darkness Descends (Dark Angel), Pleasure To Kill (Kreator), Eternal Devastation (Destruction) etc. were released, were you familiar with these outfits and albums? In your opinion, did thrash metal reach its peak at this point?
Yeah of course we knew these bands, I think 86 / 87 Thrash really hit a peak, there were so many great bands and great album releases around this time, the scene was intense and very cool….
What were the show sin support of the record? Can you tell us more about your gigs?
We played so many shows around this time in Europe, it was total insanity every time.. We loved all the stage diving and actively encouraged fans to join us on stage, there were some very violent crowd reactions back then… quite a few venues got torn up and literally destroyed.
I have a bootleg in my collection titled Hell in Copenhagen 28.03.87, are you aware of this release? Does it really represent/capture Onslaught’s live brutality?
I am aware of the bootleg but I have never actually listened to it….
Did Onslaught leave its mark with The Force on the thrash scene? Do you name it an influential, classic thrash record? Is The Force the best thrash record, that came from England/Britain?
Yes definitely, it's not a perfect release but it has been hailed as a classic Thrash metal album and that’s a very big honor for Onslaught…. Haha no, ‘Sounds of Violence’ is now the best thrash album to come from the UK… ;)
Although some thrash bands appeared in Britain (England) during the middle of the ’80s, such as Virus, Deathwish, Xentrix, Sabbath, D. A. M. etc., would you say, that thrash metal hadn’t such a strong background, like in Germany for example? I mean, the British thrash metal bands didn’t manage to breakthrough…
In terms of bands the UK has never been that strong for producing real good ones, its strange because there are many many many Thrash fans here.. But we never had a good band scene, there just were not the amount of musicians that there were in the US or Germany…
After the release of the record began a new chapter/history in the career of the band (I’m thinking of the line up changes and the change of your music), how could you sum up that period? I mean, ’til the release of the In Search Of Sanity album?
The ‘In Search of Sanity’ period was not a good one for us to remember, too many negative things happened in this time and it would eventually lead to the band breaking up. There was just too much outside influence for us to deal with.. But now we are back and very very strong once again just like the old days, lots of fire and more brutality than ever before….!!!!
Thank you for the interview my friend, see you soon
Nige