Yep. They did a really great interview with Mikael in their October issue, as did Metal Hammer. Sorry if someone has posted this already, but I thought this might be of interest...
BW & BK: "Mikael Åkerfeldt is Jesus"
- Thread starter NeverIsForever
- Start date
Alcapoth
S t a r E
Well, post something up from there. I missed out on that issue. Is this the issue with them on the cover?
List what ALL the guys rated Ghost Reveries and what the average was. This is one of the cool things I like about this mag.
I know Popoff gave it a 10.
List what ALL the guys rated Ghost Reveries and what the average was. This is one of the cool things I like about this mag.
I know Popoff gave it a 10.
I don't know...they did talk about message boards a lot so I assume the author has been here. I'll edit this and post the interview once I get a break between classes (two hours from now or so)...
Mr Samsara
Misanthropic Moderator
I picked up that mag 2 days ago, but haven't read the article yet. Why? How could I have the mag in my possesion for 2 whole days and not even read the article that motivated me to drop $7? How about because I'm retarded?!?! I lost my reading glasses (3rd pair this year) last week and now realize how badly I need them to read magazine print. I can't fucking see the words anymore. 
Glasses aren't cheap, and the minute I buy another pair you know I'll find the ones I lost... I need to buy a magnifying glass for now.
....muttering to self ------> "...stupid fucking age..."
Ok, then.
Glasses aren't cheap, and the minute I buy another pair you know I'll find the ones I lost... I need to buy a magnifying glass for now.....muttering to self ------> "...stupid fucking age..."
Ok, then.
Okay, here's the interview. It's from the October issue of BW & BK; Opeth shared the cover with Nevermore. I skipped psych class to type this...enjoy guys!!!
"Opeth: Mikael Åkerfeldt is Jesus...
By Chris Bruni
Opeth were always one of those bands that has generated much talk and debate amongst groups of metal fans. You've got the diehard fanboys, those who got into Opeth when Blackwater Park (the band's threshhold album, their new lease on life) came out, for which if you talk the slightest slander about the revered Swedes, it's pretty much heresy. Of course, there are those who think Åkerfeldt and co. are the most overrated band in the world, those who constantly complain (mostly on message boards) about the overwhelming success that has justifiably befallen Opeth. Then there are those who discovered Opeth post-Blackwater Park, those just getting into the band (as there are always new people discovering established artists), and the listeners out there (not necessarily metal fans) who can still be impressed that such a band can pull this shit off. And then finally, there are the Opeth fans who have followed the band ever since its debut album Orchid came out, making its presence felt in 1995. These fans are usually split into two categories: those who basically cut Opeth off after My Arms, Your Hearse, and those who have pledged allegiance since Orchid (or anything pre-Blackwater Park, I guess), still respecting what the band are doing today, even if some may claim that their favourite Opeth album is still a toss-up between any of the first three.
Just making a simple generalization of course, surface stuff...but this is the kind of chaos that Opeth cause. And now with their glorious Roadrunner Records debut, Ghost Reveries, Opeth have the opportunity to expand their ever-growing fanbase that much more. Of course there will be more people complaining, but I guess it comes with the territory when a band reaches a certain point in their careers.
Mind you that was probably the point with that Sounds of the Underground tour, a tour that seemed geared more towards the younger generation, you know the "metalcore kids." And especially now, with Opeth signing to Roadrunner, surely part of the agenda is to tap into such a crowd.
So it somewhat seems like a double-edged light-sabre; will this new audience (i.e. the Slipknot/Killswitch Engage kids), who I'm sure are not too keen on '70's-influended extreme prog/death metal to begin with, get into Opeth? Or is it important to expose these kids to a real, unique, and classy metal band that's pretty much fine wine and cuisine as opposed to fast food? it could go either way...
"I'm the first one to admit that the whole American metal scene is not my thing," admits Åkerfeldt. "But obviously I'm quite interested to see what effect the Sounds tour had on our fanbase."
"I was quite reluctant to do this tour because there are so many bands and the type of bands that were playing," Åkerfeldt nonchalantly quips. "But we played in front of lots of people that never heard of us before, and all the gigs I think went down pretty well. We probably gained a few new fans, and made many new friends on the tour with some of these bands that I have never met before. Like High on Fire--it was really nice to meet them and me and Matt (Pike) became really good friends. He's such a nice guy and a massive Opeth fan; I didn't know that at all! And seeing Clutch live every night is like a party for me!"
"At first, I thought if I was going to do an exhausting tour like this, I want it to be big time. But I didn't know Lamb of God was such a big band that drew a lot of people to the gigs. So it was awesome. So I think it did a lot of good this tour...well I'm hoping anyway."
And now Opeth find themselves Roadrunnin'...
"Well the offer wasn't the 'best' we got," Åkerfeldt reveals about Roadrunner's involvement in the label wars. "Financially, we got much better offers.But the first offer roadrunner threw in was really bad, and we were like, 'Are you joking?' But we got it up in the end to a respectable deal. But it still wasn't anywhere close to what labels like SPV or Century Media offered. Financially, i am not interested in what a label can do for us money-wise. We were looking for a longevity type of relationship with our record label, and the main point why we signed to Roadrunner was because we wanted the album to be available everywhere because I am sick and tired of hearing people say that they can't find albums. And Roadrunner have the best track record when it comes to selling records and getting them out everywhere."
"For me, Roadrunner has the history of King Diamond, Mercyful Fate, Obituary, you know all those classic records that I listened to when I was younger. I personally am not familiar with the bands on Roadrunner today, and again, it's not what I listen to. It's not like 'Wow they got Slipknot, let's sign to them.' I mean Slipknot musically don't do anything for me on the same level that King Diamond does. So I had this kind of childish judgement when it comes tor ecord labels. if they put out a classic release, I'm bound to be interested."
So there you have it, Åkerfeldt quelling practically everyone's speculation that Opeth signed to Roadrunner for the money, or God forbid, people actually speculating that Opeth were going to have the ever stereotypical "Roadrunner sound" with Ghost Reveries and throw in Killswitch Engage parts in their music (goddamn, is that even possible?!)...
"We are getting flamed I think by younger fans because I think they grew up with Roadrunner putting out music for the masses, and commercial type of metal. But Opeth is not a commercial band. Even though we have a big independent label behind our backs now, the music is still not commercial; it still has the long songs, and we're still a death metal band in many ways. So it will never be commercial and I will never let Roadrunner or anyone interfere with what we are doing musically. It's not up to them. Their job is to promote and sell the records, and that's as far as it goes. As soon as they try and interfere with the artistic side of the band, I get very, very upset. They tried, but I told them, 'No fucking way!'"
Growing up with the Roadrunner classics of yesteryear, which ones are you the fondest of?
"It's different, especially in Europe because the European Roadrunner put out so many different things in the past. I mean, let me look at my record collection...Mercyful Fate, King Diamond, all the guitar hero records that came out like Tony MacAlpine, Vinnie Moore, all those bands that were released on Roadrunner here in Europe. Obituary, Deicide obviously, Death, just so many...aah, Pestilence was a big massive influence on me. It's hard to say just one record, but the King Diamond releases of the '80s were all big for me; even The Eye was a fantastic record. And lately I got into Gorguts, which I think are one of the unheralded death metal kings. My favourite one is From Wisdom To Hate, and when I first heard them, I thought they were even more twisted than Morbid Angel! Gorguts is one of the things I have been looking for in death metal. That is what I want to hear!"
Shifting things over to the new album, Ghost Reveries is another fine transition that Opeth have executed. With the '70s influence slowly making its presence felt even more, with the fine balance between the growls and the clean vocals and the fine balance between the beautiful and evil sounding moments, Ghost Reveries is indeed a finely painted portrait that proves Opeth will always remain untouchable.
'I had lots of material and I basically picked out the best parts," explains Åkerfeldt about the album's creation. "And there was a lot of stuff that didn't end up on the record. Obviously that's better than having too little, which I always had in the past. When I did Deliverance and Damnation, I don't think a single track was ready by the time we entered the studio. I had to write everything, compile it all, and write new material in the studio. And that was stressful for me. But this time around I made sure the songs were finished before we entered the studio, and we've been rehearsing for three weeks straight prior to recording. So that helped a lot as the other guys in the band felt more involved in a way. Before I would write everything and in the studio i would tell them, 'Okay, this is the riff, this is how you do it...' But this time we played the songs in rehearsal and it was good for them to take part in the making of the songs as well as it was very good fro me, and all of us, to hear if it was good enough. I mean 'The Grand Conjuration' was a completely different song that I was quite excited about. It didn't sound right in the rehearsal room; it sounded so bad. So I scrapped the whole song, went back home to re-write it and it sounded much better."
"I wouldn't let anything out of my hands unless I was really happy with it," continues Åkerfeldt. "So I'm not gonna tell you, 'Well we could have made this better.' You know, this record is perfect for what we are doing right now. I love it to death, I've been listening to it a lot, I'm not tired of it, it's some of our best stuff we have recorded; of course I'm gonna say that because I've written this shit. Seriously though; if I would hear this album from another band, I would still be blown away. And it's perfect timing for us to do an album like this."
And speaking of new twist, the keyboards are quite a tasteful addition.
"The keyboards came when we did Damnation because it was soaked with mellotron and as of late, I've been very fascinated with '70s keyboards. I'm not too big into the '80s keyboard sounds or the big orchestral samples. I like the eerie and spooky kind of sounds...or the heavy hammond! So that was a way for me to develop my songwriting and it was quite interesting to do the demos and re-think some parts; you know, maybe I could do this as a piano piece as opposed to an acoustic guitar. I have a keyboard at home, I can't really play it, but I got the musical mind in a way where I can pick things out. Technique, I don't know shit, I just play what sounds good. So this helped to develop our sound. But we tried to be very careful with the keyboards; I think we used them in a very subtle way as opposed to overblown and big. We wanted to have this old, classic kind of keyboard sound on here; we didn't use the keyboards to make the record sound big."
Seeing that fatherhood is your latest venture, I figure that you would take even more time off from the band to be with your wife and daughter...
"When we came back from all the tours last year, my wife was pregnant. So I spent almost a year back home off tours. So it was like a year's vacation. so during that time my wife was resting a lot which gave me a lot of time to write music. And as my daughter was born, obviously I put the music on hold for a while to spend as much time as I could with my family. But I still wrote at night, recorded my demos and everything...So it was quite a mellow situation in my house, just a very warm type of feeling. I didn't feel any pressure or stress and for the first time in a long time, I felt genuinely happy about my situation with the band and my personal life."
And the kids get big quick...
"Oh yeah! Melinda will be 11 months in a couple fo days, and when I was on this last tour, she began to learn to push things in front of her, she started crawling, talking, and pointing. All those small things, once you have kids and they start responding to what you are saying, it's like a miracle! Jonas' (Renkse--Katatonia singer and Åkerfeldt's best friend) kid is a proper kid now and much more rowdy and loud. If he's at my house, Jonas' kid immediately goes for my precious pieces, trying to wreck or eat my record collection. But he's a nice little fellow and it's good because me and Jonas are in the same position; he is busy with Katatonia, he has a kid, and it's good that we can talk about things like that. You need that kind of support, especially when you are touring, My guitar tech also has a young daughter, so we can talk about home or whatever, while all the other guys just want to drink."
"When I went on this last tour, it was the first tour away from my daughter, and it was horrible. But I thought so much about it because during the recording, I would be away from my daughter for like ten days, and when I came back home, she didn't want me to hold her and stuff like that. So sometimes it was like 'Okay, that's it, I'm leaving the band!' But I can't do that. This is what I do. So literally, I have to find a way to make both my private life and my professional life work. There is no other choice. if I quit playing music, then I'll be miserable, and even though I'm away from my daughter a lot, she is still my daughter and I love her. And I'm hoping she'll have the same relationship with me as I have with her, and the time that we do spend together, we make that time count. One good thing being a touring musician is that once you are done touring, you spend a lot of time back home. And there's not a lot of dads that can say they spend 100 percent of the time with their kids."
One of the traits that has defined Åkerfeldt's character as of late is that he is slowly becoming quite the charismatic front-man on stage, even to the point where he is almost like a comedian, in that dry Bill Murray humorous kinda way, given his understated in-between-song banter...
"Yeah, well if you think I'm funny...if I feel like it I'll crack a few jokes, I will. But it's not like I'm telling tales or whatever (laughs). I've also seen that people in America think I'm funny because I'm Swedish and that I have to speak English. So if I'm on-stage and I say something like 'Suck my cock, and I want to fuck everybody,' everyone will be like, 'Ha ha ha, that's the funniest thing I've ever heard!' Obviously I'd like to think that I have some kind of sense of humour, that dry type of humour. But it's just that Opeth is usually portrayed as this serious band that doesn't have any distance to ourselves or to our music or anything, which in a way is true, but I like it when I go to a show and there is this personal relationship with the people on stage. And the only way to get that is for the front-man to talk."
And Åkerfeldt continues to become that icon.
"I don't know where that comes from," he admits. "I think people are shocked because, you know, I don't go out on stage and go out and scream 'You fucking rule!' like a lot of other metal bands. I don't do that stuff; I just talk. I guess I'm the same on stage, when I meet fans, or if I'm with my wife. I'm not like this, 'Oh fuck everybody' kind of guy. And all these Mike worshipers who call me Jesus...well I guess I was the same when I was younger when you get obsessed with your idols. I still have that type of obsession with David Coverdale. But I would never say David Coverdale is Jesus."
"Opeth: Mikael Åkerfeldt is Jesus...
By Chris Bruni
Opeth were always one of those bands that has generated much talk and debate amongst groups of metal fans. You've got the diehard fanboys, those who got into Opeth when Blackwater Park (the band's threshhold album, their new lease on life) came out, for which if you talk the slightest slander about the revered Swedes, it's pretty much heresy. Of course, there are those who think Åkerfeldt and co. are the most overrated band in the world, those who constantly complain (mostly on message boards) about the overwhelming success that has justifiably befallen Opeth. Then there are those who discovered Opeth post-Blackwater Park, those just getting into the band (as there are always new people discovering established artists), and the listeners out there (not necessarily metal fans) who can still be impressed that such a band can pull this shit off. And then finally, there are the Opeth fans who have followed the band ever since its debut album Orchid came out, making its presence felt in 1995. These fans are usually split into two categories: those who basically cut Opeth off after My Arms, Your Hearse, and those who have pledged allegiance since Orchid (or anything pre-Blackwater Park, I guess), still respecting what the band are doing today, even if some may claim that their favourite Opeth album is still a toss-up between any of the first three.
Just making a simple generalization of course, surface stuff...but this is the kind of chaos that Opeth cause. And now with their glorious Roadrunner Records debut, Ghost Reveries, Opeth have the opportunity to expand their ever-growing fanbase that much more. Of course there will be more people complaining, but I guess it comes with the territory when a band reaches a certain point in their careers.
Mind you that was probably the point with that Sounds of the Underground tour, a tour that seemed geared more towards the younger generation, you know the "metalcore kids." And especially now, with Opeth signing to Roadrunner, surely part of the agenda is to tap into such a crowd.
So it somewhat seems like a double-edged light-sabre; will this new audience (i.e. the Slipknot/Killswitch Engage kids), who I'm sure are not too keen on '70's-influended extreme prog/death metal to begin with, get into Opeth? Or is it important to expose these kids to a real, unique, and classy metal band that's pretty much fine wine and cuisine as opposed to fast food? it could go either way...
"I'm the first one to admit that the whole American metal scene is not my thing," admits Åkerfeldt. "But obviously I'm quite interested to see what effect the Sounds tour had on our fanbase."
"I was quite reluctant to do this tour because there are so many bands and the type of bands that were playing," Åkerfeldt nonchalantly quips. "But we played in front of lots of people that never heard of us before, and all the gigs I think went down pretty well. We probably gained a few new fans, and made many new friends on the tour with some of these bands that I have never met before. Like High on Fire--it was really nice to meet them and me and Matt (Pike) became really good friends. He's such a nice guy and a massive Opeth fan; I didn't know that at all! And seeing Clutch live every night is like a party for me!"
"At first, I thought if I was going to do an exhausting tour like this, I want it to be big time. But I didn't know Lamb of God was such a big band that drew a lot of people to the gigs. So it was awesome. So I think it did a lot of good this tour...well I'm hoping anyway."
And now Opeth find themselves Roadrunnin'...
"Well the offer wasn't the 'best' we got," Åkerfeldt reveals about Roadrunner's involvement in the label wars. "Financially, we got much better offers.But the first offer roadrunner threw in was really bad, and we were like, 'Are you joking?' But we got it up in the end to a respectable deal. But it still wasn't anywhere close to what labels like SPV or Century Media offered. Financially, i am not interested in what a label can do for us money-wise. We were looking for a longevity type of relationship with our record label, and the main point why we signed to Roadrunner was because we wanted the album to be available everywhere because I am sick and tired of hearing people say that they can't find albums. And Roadrunner have the best track record when it comes to selling records and getting them out everywhere."
"For me, Roadrunner has the history of King Diamond, Mercyful Fate, Obituary, you know all those classic records that I listened to when I was younger. I personally am not familiar with the bands on Roadrunner today, and again, it's not what I listen to. It's not like 'Wow they got Slipknot, let's sign to them.' I mean Slipknot musically don't do anything for me on the same level that King Diamond does. So I had this kind of childish judgement when it comes tor ecord labels. if they put out a classic release, I'm bound to be interested."
So there you have it, Åkerfeldt quelling practically everyone's speculation that Opeth signed to Roadrunner for the money, or God forbid, people actually speculating that Opeth were going to have the ever stereotypical "Roadrunner sound" with Ghost Reveries and throw in Killswitch Engage parts in their music (goddamn, is that even possible?!)...
"We are getting flamed I think by younger fans because I think they grew up with Roadrunner putting out music for the masses, and commercial type of metal. But Opeth is not a commercial band. Even though we have a big independent label behind our backs now, the music is still not commercial; it still has the long songs, and we're still a death metal band in many ways. So it will never be commercial and I will never let Roadrunner or anyone interfere with what we are doing musically. It's not up to them. Their job is to promote and sell the records, and that's as far as it goes. As soon as they try and interfere with the artistic side of the band, I get very, very upset. They tried, but I told them, 'No fucking way!'"
Growing up with the Roadrunner classics of yesteryear, which ones are you the fondest of?
"It's different, especially in Europe because the European Roadrunner put out so many different things in the past. I mean, let me look at my record collection...Mercyful Fate, King Diamond, all the guitar hero records that came out like Tony MacAlpine, Vinnie Moore, all those bands that were released on Roadrunner here in Europe. Obituary, Deicide obviously, Death, just so many...aah, Pestilence was a big massive influence on me. It's hard to say just one record, but the King Diamond releases of the '80s were all big for me; even The Eye was a fantastic record. And lately I got into Gorguts, which I think are one of the unheralded death metal kings. My favourite one is From Wisdom To Hate, and when I first heard them, I thought they were even more twisted than Morbid Angel! Gorguts is one of the things I have been looking for in death metal. That is what I want to hear!"
Shifting things over to the new album, Ghost Reveries is another fine transition that Opeth have executed. With the '70s influence slowly making its presence felt even more, with the fine balance between the growls and the clean vocals and the fine balance between the beautiful and evil sounding moments, Ghost Reveries is indeed a finely painted portrait that proves Opeth will always remain untouchable.
'I had lots of material and I basically picked out the best parts," explains Åkerfeldt about the album's creation. "And there was a lot of stuff that didn't end up on the record. Obviously that's better than having too little, which I always had in the past. When I did Deliverance and Damnation, I don't think a single track was ready by the time we entered the studio. I had to write everything, compile it all, and write new material in the studio. And that was stressful for me. But this time around I made sure the songs were finished before we entered the studio, and we've been rehearsing for three weeks straight prior to recording. So that helped a lot as the other guys in the band felt more involved in a way. Before I would write everything and in the studio i would tell them, 'Okay, this is the riff, this is how you do it...' But this time we played the songs in rehearsal and it was good for them to take part in the making of the songs as well as it was very good fro me, and all of us, to hear if it was good enough. I mean 'The Grand Conjuration' was a completely different song that I was quite excited about. It didn't sound right in the rehearsal room; it sounded so bad. So I scrapped the whole song, went back home to re-write it and it sounded much better."
"I wouldn't let anything out of my hands unless I was really happy with it," continues Åkerfeldt. "So I'm not gonna tell you, 'Well we could have made this better.' You know, this record is perfect for what we are doing right now. I love it to death, I've been listening to it a lot, I'm not tired of it, it's some of our best stuff we have recorded; of course I'm gonna say that because I've written this shit. Seriously though; if I would hear this album from another band, I would still be blown away. And it's perfect timing for us to do an album like this."
And speaking of new twist, the keyboards are quite a tasteful addition.
"The keyboards came when we did Damnation because it was soaked with mellotron and as of late, I've been very fascinated with '70s keyboards. I'm not too big into the '80s keyboard sounds or the big orchestral samples. I like the eerie and spooky kind of sounds...or the heavy hammond! So that was a way for me to develop my songwriting and it was quite interesting to do the demos and re-think some parts; you know, maybe I could do this as a piano piece as opposed to an acoustic guitar. I have a keyboard at home, I can't really play it, but I got the musical mind in a way where I can pick things out. Technique, I don't know shit, I just play what sounds good. So this helped to develop our sound. But we tried to be very careful with the keyboards; I think we used them in a very subtle way as opposed to overblown and big. We wanted to have this old, classic kind of keyboard sound on here; we didn't use the keyboards to make the record sound big."
Seeing that fatherhood is your latest venture, I figure that you would take even more time off from the band to be with your wife and daughter...
"When we came back from all the tours last year, my wife was pregnant. So I spent almost a year back home off tours. So it was like a year's vacation. so during that time my wife was resting a lot which gave me a lot of time to write music. And as my daughter was born, obviously I put the music on hold for a while to spend as much time as I could with my family. But I still wrote at night, recorded my demos and everything...So it was quite a mellow situation in my house, just a very warm type of feeling. I didn't feel any pressure or stress and for the first time in a long time, I felt genuinely happy about my situation with the band and my personal life."
And the kids get big quick...
"Oh yeah! Melinda will be 11 months in a couple fo days, and when I was on this last tour, she began to learn to push things in front of her, she started crawling, talking, and pointing. All those small things, once you have kids and they start responding to what you are saying, it's like a miracle! Jonas' (Renkse--Katatonia singer and Åkerfeldt's best friend) kid is a proper kid now and much more rowdy and loud. If he's at my house, Jonas' kid immediately goes for my precious pieces, trying to wreck or eat my record collection. But he's a nice little fellow and it's good because me and Jonas are in the same position; he is busy with Katatonia, he has a kid, and it's good that we can talk about things like that. You need that kind of support, especially when you are touring, My guitar tech also has a young daughter, so we can talk about home or whatever, while all the other guys just want to drink."
"When I went on this last tour, it was the first tour away from my daughter, and it was horrible. But I thought so much about it because during the recording, I would be away from my daughter for like ten days, and when I came back home, she didn't want me to hold her and stuff like that. So sometimes it was like 'Okay, that's it, I'm leaving the band!' But I can't do that. This is what I do. So literally, I have to find a way to make both my private life and my professional life work. There is no other choice. if I quit playing music, then I'll be miserable, and even though I'm away from my daughter a lot, she is still my daughter and I love her. And I'm hoping she'll have the same relationship with me as I have with her, and the time that we do spend together, we make that time count. One good thing being a touring musician is that once you are done touring, you spend a lot of time back home. And there's not a lot of dads that can say they spend 100 percent of the time with their kids."
One of the traits that has defined Åkerfeldt's character as of late is that he is slowly becoming quite the charismatic front-man on stage, even to the point where he is almost like a comedian, in that dry Bill Murray humorous kinda way, given his understated in-between-song banter...
"Yeah, well if you think I'm funny...if I feel like it I'll crack a few jokes, I will. But it's not like I'm telling tales or whatever (laughs). I've also seen that people in America think I'm funny because I'm Swedish and that I have to speak English. So if I'm on-stage and I say something like 'Suck my cock, and I want to fuck everybody,' everyone will be like, 'Ha ha ha, that's the funniest thing I've ever heard!' Obviously I'd like to think that I have some kind of sense of humour, that dry type of humour. But it's just that Opeth is usually portrayed as this serious band that doesn't have any distance to ourselves or to our music or anything, which in a way is true, but I like it when I go to a show and there is this personal relationship with the people on stage. And the only way to get that is for the front-man to talk."
And Åkerfeldt continues to become that icon.
"I don't know where that comes from," he admits. "I think people are shocked because, you know, I don't go out on stage and go out and scream 'You fucking rule!' like a lot of other metal bands. I don't do that stuff; I just talk. I guess I'm the same on stage, when I meet fans, or if I'm with my wife. I'm not like this, 'Oh fuck everybody' kind of guy. And all these Mike worshipers who call me Jesus...well I guess I was the same when I was younger when you get obsessed with your idols. I still have that type of obsession with David Coverdale. But I would never say David Coverdale is Jesus."
Oh, and here are all the ratings:
Tim Henderson - 9
Martin Popoff - 10
Mark Cromen - 8
Carl Becaui - 8
Chris Bruni - 8.5
David Perri - 7.5
Dom Lawson - 10
Jacki Short - 7.5
Allan Crusie - 9
Average: 8.6
(making it #1 on their ratings chart)
Tim Henderson - 9
Martin Popoff - 10
Mark Cromen - 8
Carl Becaui - 8
Chris Bruni - 8.5
David Perri - 7.5
Dom Lawson - 10
Jacki Short - 7.5
Allan Crusie - 9
Average: 8.6
(making it #1 on their ratings chart)
Sanzen
Noonish Is My Robe
Awesome, I bet that took some work. thanks a lot.
I skipped psych the other day to learn Harlequin Forest on guitar....weird.
NeverIsForever said:
I skipped psych the other day to learn Harlequin Forest on guitar....weird.
akaJUNG72
Snooggins
Thank You so much for taking the time to transcribe that. Its nice to see that kind of reverence and appreciation on the message board. But, don't skip too many classes. We can wait for the fruits of your labor til after school. Being at work, I have limited time to read good stuff and contribute my 2 cents. You made my lunch hour more enjoyable. Mike is such a humble and DTE guy. When I met him in 2002, I was impressed that he cops no attitude or persona on or off stage. He is a consumate professional and a nice guy as are the rest of the band. In an industry where being an asshole is parforthecourse, it's a rare and wonderful thing to see and meet musicians that are just as much fans as insanly creative professionals AND regular guys. I have so much respect for M.A. especially now that he is a Father of a little girl (me too) and dealing w/ the very real choices that come w/ being a Dad and a provider and chasing one's dreams all at once. Anyway, Thank you for sharing the article.
Being at work, I have limited time to read good stuff and contribute my 2 cents. You made my lunch hour more enjoyable. Mike is such a humble and DTE guy. When I met him in 2002, I was impressed that he cops no attitude or persona on or off stage. He is a consumate professional and a nice guy as are the rest of the band. In an industry where being an asshole is parforthecourse, it's a rare and wonderful thing to see and meet musicians that are just as much fans as insanly creative professionals AND regular guys. I have so much respect for M.A. especially now that he is a Father of a little girl (me too) and dealing w/ the very real choices that come w/ being a Dad and a provider and chasing one's dreams all at once. Anyway, Thank you for sharing the article. 
NFU
I like pie.
Black Session
Heretic Misanthrope
thanks for this interview .. it's great
and yeah, like how every one storms at the front and push eachother away just to touch the hand of a member of opeth ... how degrading ...
it would be so much easier to meet them before or after a show, when people wouldn't be so obsessive ...
oh well ...
and yeah, like how every one storms at the front and push eachother away just to touch the hand of a member of opeth ... how degrading ...
it would be so much easier to meet them before or after a show, when people wouldn't be so obsessive ...
oh well ...
Arnold Layne
Member
Opeths Untitled Album Sessions 2007: 12:13pm
RR: Great album guys kickass music as usual. I was thinking though, what if on the first song we changed this part and put it here.
Mike: (silence)
*Tumbleweed blows through studio.
1:47: RR leaves.
RR: Great album guys kickass music as usual. I was thinking though, what if on the first song we changed this part and put it here.
Mike: (silence)
*Tumbleweed blows through studio.
1:47: RR leaves.
Heckelgruber
Fudgenator
Thanks for the article. Humble kings of metal are few and far between. And Mikael is dry and funny on the Lamentations DVD.
Sanzen
Noonish Is My Robe
Jon Snow said:
Yeah he did, and I remember his response being really fucking funny.
edit: fucking A the search function works. here's the thread
it also had this badass picture courtesy of Decadent:
great thread all around.
King Dedede
Member
- Sep 6, 2005
- 71
- 0
- 6
opeth_353
Member
Cheers as well, nice read.. for some reason i love reading Opeth interviews.. No real reason other than i fancy them.
Forest-of-October
Here comes the apple, zed
It's a metal magazine. I believe it stands for Brave Words and Bloody Knuckles. A friend of mine reads them, but I've never been able to find one.
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