EXCLUSIVE: INTERVIEW WITH JAHAN TABRIZI OF TIBERIUS !!
“I think as a band, we very much try to be as authentic as we possibly can be, in a world of bands trying to be scary, masculine and tough, we’re just not like that as people, we like to think we’re cutting through the noise by being different and being honest about who we are.”
DISC REVIEW “SINGING FOR COMPANY”
「バンドとして、僕たちは可能な限り本物で、信頼できる存在であろうと努めているんだ。怖くて男らしく、タフであろうとするバンドの世界の中で、僕たちはどう考えてもそういう人間じゃない。僕たちはメタルのステレオタイプとは違っていて、自分たちがどんな人間かについて正直であることで、雑音を跳ね除けられると思いたいんだ」
ヘヴィ・メタルは男のもの。タフで強いもの。悪魔と死体の音楽。そんなステレオタイプは、21世紀に入って変わろうとしています。今では、女性のアーティストは少なくありませんし、死体や悪魔、剣と鎧のファンタジーだけではなく、内省的でパーソナルなテーマを扱うバンドも増えてきました。
そんなメタル世界で、スコットランドの新鋭 TIBERIUS はありのままの自分を見せることこそ、今のヘヴィ・メタルのあるべき姿だと信じています。なぜなら、ヘヴィ・メタルは正直な音楽だから。弱さを抱きしめる音楽だから。許しの音楽だから。そして、強い人間など、実はこの世界には存在しない、それこそ非現実的なファンタジーだから。
「僕たちは明るい色が大好きでね! 2018年に “Dissipate” のビデオ撮影でこの色にバイブスして、それ以来、ライブの演出やアートワーク、あるいは僕のピンクとブルーのギターを通して、この色をバンドの一貫したテーマにしてきたんだ!」
そんな TIBERIUS の、いやヘヴィ・メタルの現在地が如実にあらわれたミュージック・ビデオこそ、”Mosaic” だといえるでしょう。これほど、メンバー全員が幸せそうに、自然な笑顔でメタルを奏でるMVがこれまであったでしょうか?これほど、ピンクやブルーのビビッドカラーが映えるバンドがこれまで存在したでしょうか?これほど、ポジティブで、優しく、高揚感あふれる楽曲がこれまで聴けたでしょうか?
そう、TIBERIUS はメタルのステレオタイプを、そして閉塞感あふれる現代の暗がりを、”ありのままの自分” を見せることで打ち破り、正直で寛容な “より良い世界” を目指そうとしているのです。だからこそ、彼らは “Singing for Company”、仲間のために声を上げて歌います。
「複雑なリズムや曲の構成、テクニックを、リスナーにとって親しみやすいものにしているというだけで、”プログレとしては物足りない” と考える批評家もいる。一方で、”パワー・メタルとしては重すぎる” “激しすぎる” と考える人もいる。僕はそれを誇りに思っているんだ。もし君が心を開いてくれさえすれば、僕たちは誰にとっても何かを与えることができるし、もし君が心を開かないのなら、それは君の損失となる!」
ゆえに、彼らの音楽自体もメタルのステレオタイプで推し量ることは不可能。欧州版 AVENGED SEVENFOLD、あるいは IRON MAIDEN と LEPROUS の婚姻などと評される彼らの音楽は、パワー・メタルというには複雑すぎる、激しすぎる。プログ・メタルと呼ぶには高揚感がありすぎる…そんな批評家の声を浴びることもありました。しかし、それは逆に言えば前代未聞、唯一無二なる彼らの個性。メタルに加わる新たな魅力。そうした “異端” をも、心を開けば好奇心の新たな翼となる…TIBERIUS は自身の特異な音楽を通して、音楽の力で、世界に寛容さと許しの本質、そして何より笑顔を届けるのです。
今回弊誌では、ギタリスト Jahan Tabrizi にインタビューを行うことができました。「日本文化は間違いなく僕に影響を与えている。僕は子供の頃から X Japan の大ファンで、最近では The Gazette、The Back Horn、MIYAVI、LOUDNESS といった J-ROCK もよく聴いているので、おそらくそれらのいくつかが長年にわたって僕のソングライティングに浸透しているのだろうね」笑顔のメタル。 どうぞ!!
TIBERIUS “SINGING FOR COMPANY” : 10/10
INTERVIEW WITH JAHAN TABRIZI
Q1: First of all, what kind of music did you grow up listening to?
【JAHAN】: I was interested in music from a very young age, I remember getting a Sony Walkman when I was around 10 years old and the first tape I got was ‘ABC’ by Jackson 5, and then a friend’s Brother copied The Offspring’s ‘Americana’ which I played on repeat until CD’s became available and I bought Conspiracy of One, also by the Offspring. This was my gateway into heavy music and throughout my life I have went through different obsessions with various sub-genres such as Power Metal, Death Metal, Progressive Metal, Hard Rock and Nu-Metal. I was becoming a teenager when Limewire and Napster were at the height of their popularity and it gave me access to infinite music!
Q2: I feel some classical influences in your music. Did you name your band after the great Finnish composer Jean Sibelius?
【JAHAN】: That’s an interesting interpretation! I’d say there’s definitely some elements of classical for sure! However, our band is named after Grant’s cat ‘Tiberius’ who was tragically struck by a car.
Q2: あなたの音楽にはクラシックの影響も感じますね。バンド名 TIBERIUS はフィンランドの偉大な作曲家、ジャン・シベリウスにちなんでつけたのですか?
Q3: When it comes to Scottish metal, Alestorm and Saor are well known, and they sing about their ancestors, the Vikings, and the beautiful landscape and history of Scotland. Do those themes influence you as well?
【JAHAN】: While I don’t think we’ve written any songs specifically about Scotland, there are a lot of Scottish sensibilities in our tongue-in-cheek lyric writing. It’s a very Scottish trait to use humour as a way to cope with terrible situations, like the state of the world right now. And of course, we’ve put bagpipes on a song!
Q4: Some people describe your music as a European version of Avenged Sevenfold or the marriage of Iron Maiden and Leprous. Indeed, it’s an interesting combination, too catchy for prog metal and too complex for power metal, would you agree?
【JAHAN】: Those are certainly some flattering comparisons because I love all those bands! But you’re right, I often think Tiberius has a little bit of an identity crisis, some critics think we’re “not prog enough” just because we’ve managed to take complicated rhythms, song structures and techniques and make them approachable to the listener while others think we’re either too heavy or too intense for Power Metal. I’m proud of it, we have something for everyone if you open your mind to it, and if you don’t that’s your loss because we’re not changing!.
Q4: あなたたちの音楽を、ヨーロッパ版 AVENGED SEVENFOLD、あるいは IRON MAIDEN と LEPROUS の婚姻と表現する人もいます。 確かに、プログ・メタルとしてはキャッチーすぎるし、パワー・メタルとしては複雑すぎる、面白い組み合わせですよね?
Q5: I really love the music video for “Mosaic” !In fact, I feel it is one of the greatest videos in metal history! Everyone is smiling, uplifting, and really kind. Metal is usually associated with grotesque corpses, heroic warriors, and terrifying demons, but you have completely destroyed those stereotypes, haven’t you?
【JAHAN】: Thank you! I’m really proud of how that came out. I was inspired by some horrible looking clothing from a menswear brand and I pitched the idea to Chris as it works so well with the lyrical content for Mosaic, being someone completely different when no one is watching. I think as a band, we very much try to be as authentic as we possibly can be, in a world of bands trying to be scary, masculine and tough, we’re just not like that as people, we like to think we’re cutting through the noise by being different and being honest about who we are.
【JAHAN】: ありがとう!あのミュージック・ビデオで実現したことを本当に誇りに思っているよ。あるメンズ・ウェアーのブランドのひどい見た目の服にインスピレーションを得て、人は誰も見ていないときはまったく別人になるという、”Mosaic” の歌詞の内容ととてもよく合うから、あのビデオのアイデアを Chris に提案したんだ。
バンドとして、僕たちは可能な限り本物で、信頼できる存在であろうと努めているんだ。怖くて男らしく、タフであろうとするバンドの世界の中で、僕たちはどう考えてもそういう人間じゃない。僕たちはメタルのステレオタイプとは違っていて、自分たちがどんな人間かについて正直であることで、雑音を跳ね除けられると思いたいんだ。
Q6: The artwork also breaks the metal mold with its bright pinks and blues! “Singing for Company” in a way symbolizes that metal is now a music of tolerance and unity?
【JAHAN】: We love bright colours! We vibes with these colours on the video shoot for Dissipate back in 2018 and have made them a consistent theme in our band ever since through our live show production, artwork, or even my pink and blue guitars!
Q6: アートワークも鮮やかなピンクとブルーでメタルのステレオタイプとは明らかに異なりますね。 “Singing for Company” はある意味、メタルが今や寛容と団結の音楽であることを象徴しているような気がします。
Q7: At the same time, I feel that there now exists an important role for power metal’s uplifting energy and positive fantasy as an escape from the dark world. I believe that Japanese anime and video games also play such a role, but is there any influence from Japanese culture?
【JAHAN】: You’re right, people need to escape the harsh realities of life sometimes, but you can’t ignore them forever! There’s definitely some influences for me, growing up I was a huge X Japan fan and I listen to a lot of J-Rock these days too such as The Gazette, The Back Horn, Miyavi and Loudness so perhaps some of those have snuck into my songwriting over the years!
【JAHAN】: 君の言うとおり、人は時には人生の厳しい現実から逃れる必要があるけど、それを永遠に無視することはできないね。日本文化は間違いなく僕に影響を与えている。
僕は子供の頃から X Japan の大ファンで、最近では The Gazette、The Back Horn、MIYAVI、LOUDNESS といった J-ROCK もよく聴いているので、おそらくそれらのいくつかが長年にわたって僕のソングライティングに浸透しているのだろうね。
Q8: With Covid, war, and division, the world has been getting darker and darker since the beginning of the 20s. In such a world, what can heavy metal do?
【JAHAN】: Yeah, the world is super messed up right now, more so than it has been for a long time. Metal bands have the opportunity to speak up about injustice in the world through their music but also use their platforms and influence to spread the word. Local music scenes have the opportunity to build communities and safe spaces for those marginalised by hate groups. The world only gets better if we make it better and music is powerful in SO many ways!
Hello Japan! We would really love to come play in your beautiful country one day, so please tell all your friends about us and make sure to pick up your copy of Singing For Company from Disk Union!
日本のみんな、こんにちは! いつか君たちの美しい国で演奏したいと思っているよ。だから、ぜひ友人に僕たちのことを話して、ディスク・ユニオンで “Singing For Company” を手に入れてほしいな!
EXCLUSIVE: INTERVIEW WITH LACHLAN NEATE OF VALHALORE !!
“Our goal has always been to deliver what we refer to as “The Three E’s” – Escapism, Empowerment and Entertainment. We want our music, and our live shows, to give listeners the opportunity to escape their troubles for an hour or two. We want to leave the world a more positive place than when we found it.”
Q1: First of all, what kind of music did you grow up listening to?
【LACHLAN】: Like most kids, I grew up listening to the music my parents listened to on our long road trips around Australia. I grew up on ABBA, The Beatles, Bee Gees, Beach Boys, Eagles. This is where my love for vocal writing and arranging came from.
Then as I got older, I moved towards Led Zeppelin, Deep Purple, KISS and Black Sabbath. Since then, I dove deeper and deeper into heavier music, staring at punk, now all the way to extreme metal.
Q1: 本誌初登場です!まずは、あなたの音楽的なバックグラウンドからお話ししていただけますか?
【LACHLAN】: 他のキッズと同じように、僕は両親がこの広いオーストラリアを車で旅行するときに聴いていた音楽を聴いて育ったんだ。ABBA, THE BEATLES, THE BEACH BOYS, THE EAGLES…ヴォーカルのライティングやアレンジへの思いは、ここから生まれたんだ。
それから歳をとるにつれて、僕の興味は LED ZEPPELIN, DEEP PURPLE, KISS, BLACK SABBATH へと移っていった。それ以降、パンクから始まり、今ではエクストリーム・メタルまで、よりヘヴィーな音楽へとどんどん深みにはまっていったんだ。
Q2: Australia is now famous for prog metal like Karnivool and Caligula’s Horse, but what made you decide to do European-style symphonic folk metal?
【LACHLAN】: Simply, there wasn’t a lot of the “European” sounding bands in Australia, so we wanted to write and perform the music that we wanted to listen to and see over here! That said, we love the Aussie prog scene, particularly our friends Caligula’s Horse and Voyager.
Q3: However, your music transcends various genres, and that’s what’s really great about it! Power metal, folk metal, melodeath… In a way, you represent a diverse range of modern metal, would you agree?
【LACHLAN】: We never have tried to put ourself into one musical “box”. The six of us all listen to a wide variety of different music from Jazz to classical to metal, so I think our individual influences all shine through in our music. We’ve never tried to be “the next” anyone, just “the first” Valhalore.
Q4: Valhalore has great, well-crafted lyrics, but “Beyond the Stars” stays away from the folk-metal-esque historical fantasy, right? Why is that?
【LACHLAN】: For Beyond The Stars, I wanted to create a lyrical universe that was more about the human experience, rather than a “story” narrative. I wanted the lyrics to be more raw and emotional, something that people would latch onto and be able to relate to in their own lives.
Q4: VALHALORE は練り込まれた歌詞も素晴らしいのですが、”Beyond the Stars” はフォーク・メタル的な歴史ファンタジーから遠ざかっていますよね?
【LACHLAN】: “Beyond the Stars” では、”ストーリー” 的な物語というよりも、人間的な経験についての歌詞の世界を作りたかった。 歌詞は一般的なフォーク・メタルのファンタジーよりももっと生々しく、感情的で、人々が自分の人生において共感できるようなものにしたかったんだ。
Q5: The ethnic instruments played by Sophie are a great addition to the album and one of the faces of the band. Can you tell us about the advantages and difficulties of incorporating such ethnic instruments into metal?
【LACHLAN】: When Anthony wrote the first album (Voyage Into Eternity) he was just writing music for his own enjoyment and that he wanted to write, never planning for it to become a band. As we’ve progressed, Sophie’s whistle and woodwind instruments have become an iconic aspect of our sound. The challenge mainly comes for our live sound engineer, having to mix a gentle acoustic instrument against the ferocity of a metal band!
Q5: Sophie が演奏する民族楽器は、アルバムに素晴らしいアクセントを加え、バンドの顔の一つとなっていますね。民族楽器をメタルに取り入れることの利点と難しさについて教えていただけますか?
【LACHLAN】: Anthony が最初のアルバム( “Voyage Into Eternity” )を書いたときは、ただ自分が楽しみたい、自分が書きたい音楽を書いていただけで、それがバンドになるとは考えていなかった。だけど僕たちが進歩するにつれて、Sophie のホイッスルと木管楽器は僕たちのサウンドの象徴的な側面になったんだ。
ただ、大変なのは主にライブのサウンド・エンジニアかな。メタル・バンドの獰猛さに対して、穏やかなアコースティック楽器をミックスしなければならないからね!
Q6: Anna Murphy is one of the pioneers in bringing ethnic instruments into the metal world, why did you have her as a guest?
【LACHLAN】: We have all been longtime fans of Eluveitie, and subsequently Anna’s other projects. We love her work as a vocalist and as a musician, so having her as a guest on this album was really a dream come true. Her haunting vocal quality was perfect for the feel of Heart of the Sea, so she was a natural choice of guest vocalist.
Q6: Anna Murphy はメタルの世界に民族楽器を持ち込んだ先駆者の一人ですが、なぜ彼女をこのアルバムのゲストに迎えたのですか?
【LACHLAN】: 僕たちは皆、ELUVEITIE の長年のファンであり、その後の Anna の他のプロジェクトにも大好きなんだ。 ヴォーカリストとして、またミュージシャンとしての彼女の仕事が大好きだから、このアルバムにゲスト参加してもらうのは本当に夢のようなことだった。
彼女の心に響くヴォーカルは、”Heart of the Sea” の雰囲気にぴったりだったね。だから、ゲスト・ヴォーカリストに選んだのは自然なことだったよ。
Q7: I feel that there now exists an important role for heavy metal’s uplifting energy and positive fantasy as an escape from the dark world. I believe that Japanese anime and video games also play such a role, but is there any influence from Japanese culture?
【LACHLAN】: We have always aimed to bring an uplifting and empowering energy to our music, and therefore, our fans. We are all greatly inspired by movie and video game soundtracks, so there’s definitely a lot of influences from Japanese culture. We love bands like Wintersun who really utilise Japanese instruments, and we do as well. I even played the Koto for our song Aether!
Q8: With Covid, war, and division, the world has been getting darker and darker since the beginning of the 20s. In such a world, what can heavy metal do?
【LACHLAN】: Our goal has always been to deliver what we refer to as “The Three E’s” – Escapism, Empowerment and Entertainment. We want our music, and our live shows, to give listeners the opportunity to escape their troubles for an hour or two. We want to leave the world a more positive place than when we found it.
EXCLUSIVE: INTERVIEW WITH PARKER & LEO OF WINGS OF STEEL !!
“Power needs emotion, and technicality needs soul, and that balance is something we’ve always aimed to carry forward into Wings of Steel rather than focusing on technique for its own sake.”
DISC REVIEW “WINDS OF TIME”
「ヘヴィ・メタルは、常に単なる音楽以上の存在だった。人々が集い、仲間に理解され、自分よりも大きな一体感の中に強さを見出せる場所なんだよ。困難な時期には、解放、内省、そして繋がりのための空間となる。恐怖、怒り、希望、そして回復力といった感情を受け止め、人々を孤立させるのではなく、強い力へと変える方法を与えてくれる。ヘヴィ・メタルはコミュニティを創り出し、自分が孤独ではないことを思い出させてくれるんだ。国境、言語、そしてバックグラウンドを超えた一体感を与えてくれる」
SNS という人間のほんの一面だけを切り取って強調し、分断を加速させる悪魔のツールに汚染された現代社会において、ヘヴィ・メタルほど一体感や前向きな力を得られる場所は他に多くはないでしょう。ヘヴィ・メタルを聴いている間は、体感している間は、ライブを浴びている間は孤独から解放される。異なる意見、異なる国籍、異なる文化、異なる人種であっても、ヘヴィ・メタルにおいてはひとつになれる。ヘヴィ・メタルの回復力で困難を克服できる。
そんな素晴らしきヘヴィ・メタルの世界は、その寛容さ故に伝統や壁を破壊し、様々なジャンルや文化を養分として、細分化という枝葉を瑞々しく伸ばしています。だからこそ一方で、”バンディエラ”、旗頭の欠如という問題に直面しているのかもしれませんね。自由極まりないメタル世界だからこそ、メタルらしいメタルをやりづらい、焼き直しになりかねない。WINGS OF STEEL はそんなメタル世界で “時の風” を駆け抜け、”現代的な” 伝統的ヘヴィ・メタルを復活させ、メタルのバンディエラへ堂々たる名乗りをあげたのです。
「80年代について僕たちが最も共感するのは、特定のバンドやグループではなく、あの時代の全体的な精神…つまり強烈なソング・ライティング、真のミュージシャン・シップ、力強いメロディー、そして誠実で妥協のない個性なんだ」
メタルのメタルらしいバンディエラとなるためには、ソング・ライティング、ミュージシャン・シップ、メロディ、そして揺るぎない個性…そのすべてが必要とされますが、WINGS OF STEEL はまさにその “すべて” を兼ね備えています。彼らには、あの “Painkiller” で JUDAS PRIEST が提示した強烈なテクニックを超越した現代技巧の最高峰が備わっていますし、IRON MAIDEN が “Somewhere In Time” で刻み込んだ作曲術の極みも宿っています。そして憂を帯びた雄々しきメロディと11分の長尺曲で勝負する強い個性。つまりWINGS OF STEEL には、80年代にメタルを牽引した二大巨頭に備わる奇跡的な才能と似た可能性を確実に秘めているのです。
「80年代に生まれた素晴らしいヘヴィ・メタルには、本当に大きな敬意を抱いているんだ。 VICIOUS RUMORS や初期の QUEENSRYCHE, METAL CHURCH, CRIMSON GLORY, RIOT といったバンドは、このジャンルの歴史において重要な位置を占めている。あの時代はヘヴィ・メタル全体の形成に大きな役割を果たし、当然のことながら、当時のレコードの多くは、僕たちの音楽的ルーツの一部となっていったんだ」
加えて重要なのは、彼らがまだ20代という若さにして、私たちの愛する古き良きアメリカン・ヘヴィ・メタルの真髄を極めていることでしょう。当時パワー・メタルと呼ばれていたアメリカのメタル・ソルジャーたちは、メタルという狭い枠の中でいかに個性を、フックを、起伏を出せるかに心血を注いでいました。そうした伝統や格式の中に光るアイデンティティ、不自由の中の自由を、WINGS OF STEEL は誰よりも今、謳歌しているのです。
そう、21世紀最初のメタル四半世紀が過ぎ、メタルは原点への回帰を志向します。何よりも、耳馴染みがよく歌えて聴きやすい。流行りの NWOTHM、ETERNAL CHAMPION や HAUNT のいなたさも悪くはないですが、WINGS OF STEEL のトラディショナル・ヘヴィ・メタルはもっと明快でわかりやすく、より多くのリスナーにアピールし、鋼鉄の翼を広げてアリーナへと上り詰めるはずです。
今回弊誌では、ギタリストの Parker Halub と ボーカリスト Leo Unnermark にインタビューを行うことができました。「パワーには感情が必要であり、テクニックには魂が必要だ。僕たちは、このバランスを WINGS OF STEEL で継承することを目指してきたんだ」 ギターソロに見事なストーリーがあり、ボーカルの声質も相まって STRATOVARIUS を想起させる場面も。とにかく、DIO の “Lock Up the Wolves” が人生を変えたアルバムなのですから、間違いありませんね。どうぞ!!
WINGS OF STEEL “WINDS OF TIME” : 10/10
INTERVIEW WITH PARKER & LEO
Q1: First of all, what kind of music did you grow up listening to?
【PARKER & LEO】: Growing up, we listened to a wide range of music. Beyond heavy metal, Leo was raised on and gravitated toward a lot of 70s hard rock and contemporary blues, while Parker, alongside metal, discovered bands like Journey and many of the early NWOBHM groups at a young age.
That said, much of what left the deepest impression on both of us came from the 70s and 80s hard rock/heavy metal era. This era shaped our sense of melody, atmosphere, and emotional storytelling in a very fundamental way and is where our musical backgrounds came together to create something unique.
At the same time, we were always curious and open to different sounds and genres, and we believe that having a strong foundation while remaining open-minded, naturally shaped how we approach music today.
Q2: I am truly amazed at your ultra-high technique ! What musicians were your heroes?
【PARKER & LEO】: We’ve always been drawn to music that combines strong technical ability and musicality with emotional expression. Players and singers who didn’t just impress technically, but who also knew how to tell a story through their playing and writing, naturally became our heroes.
This includes, but is not limited to, artists such as John Sykes, Neal Schon, Dave Meniketti, Joe Bonamassa, Rob Halford, Ronnie James Dio, Bruce Dickinson, David Coverdale, Gary Moore, and Paul Rodgers.
Many of the classic artists from the 70s and 80s left a lasting mark on us ― not only for their skill, but for the standards they set in songwriting, arrangement, and musical identity, and for how their collaborations helped define entire eras of heavy music. Power needs emotion, and technicality needs soul, and that balance is something we’ve always aimed to carry forward into Wings of Steel rather than focusing on technique for its own sake.
Q2: WINGS OF STEEL の超絶テクニックには本当に驚かされます! どんなアーティストがヒーローだったんですか?
【PARKER & LEO】: 僕たちは常に、高い技術力と音楽性、そして感情表現が融合した音楽に惹かれてきたんだ。技術的に優れているだけでなく、演奏と作曲を通して物語を伝える術を知っているプレイヤーやシンガーは、自然と僕たちのヒーローになっていったね。
John Sykes, Neal Schon, Dave Meniketti, Joe Bonamassa, Rob Halford, Ronnie James Dio, Bruce Dickinson, David Coverdale, Gary Moore, Paul Rodgers…といったアーティストがそうだし、もちろん彼らに限らず、多くのアーティストに当てはまることだけどね。
70年代と80年代の名だたるアーティストの多くは、僕たちに忘れがたい影響を与えてくれた。それは、彼らの技術だけでなく、作詞作曲、アレンジ、そして音楽的アイデンティティにおいて、彼らが打ち立てた高い基準を浴びることができたということなんだ。そして彼らのコラボレーションがヘヴィ・ミュージックの時代を形作る上でいかに貢献したか。パワーには感情が必要であり、テクニックには魂が必要だ。僕たちは、このバランスを WINGS OF STEEL で継承することを目指してきたんだ。技術そのものに重点を置くのではなく、そのバランスこそが僕たちの目指すものなんだよ。
Q3: What’s great about you is that you’re not power metal, prog metal, or melodeath, but rather you’re going for traditional, bare-bones heavy metal, but updating it for the modern age! In fact, why do you pursue such straightforward heavy metal?
【PARKER & LEO】: We definitely see ourselves as rooted in heavy metal. That said, our music is intentionally diverse, in much the same way that early heavy metal albums often were ― where you’d find unexpected outliers, mood shifts, and songs that stood apart from one another, rather than records that simply follow one tempo and one formula all the way through.
We’re simply doing what feels honest to us musically. Our goal is to create powerful music that feels expressive, varied, and emotionally driven, and to let that spirit evolve naturally in a modern context. Heavy metal is our strongest foundation, but we use it as a broad language rather than a narrow lane ― which keeps the music alive and unpredictable.
Q3: WINGS OF STEEL が素晴らしいのは、パワー・メタルでもプログ・メタルでもメロデスでもなく、伝統的で骨太なヘヴィ・メタルを追求しながら、それを現代向けにアップデートしているところですよ! 実際、なぜあなたは、今ではほぼ消えてしまったストレートなヘヴィ・メタルを追求しているのですか?
Q4: NWOTHM like Haunt and Eternal Champion have become popular in recent years, but you guys are clearly playing a different kind of traditional heavy metal. It’s more solid, tight, technical, modern, and very tense, and I like your traditional heavy metal a lot better, but how do you feel about NWOTHM bands and the way they do things?
【PARKER & LEO】: We think it’s a very positive thing that heavy metal as a whole is seeing new energy, new bands, and a growing audience. Any movement that helps keep heavy metal alive, visible, and evolving is ultimately a good thing for the style. That said, we’ve never really approached our music through movements, waves, or in relation to other bands. Our focus has always been on developing our own musical identity and paving our own path.
So while we respect and encourage what others are doing ― and genuinely want the best for the style as a whole ― we stay very focused on our own journey, shaping a sound that reflects who we are and what we want Wings of Steel to become in the long run.
【PARKER & LEO】: ヘヴィ・メタル全体に新たなエネルギー、新しいバンド、そして観客の増加が見られることは、非常に前向きなことだと考えているよ。ヘヴィ・メタルを存続させ、目に見える形で、そして進化させ続けるムーブメントは、究極的にはこのスタイルにとって良いことだからね。とはいえ、僕たちはムーブメントやウェーブ、あるいは他のバンドとの関係性を通して音楽にアプローチしてきたことはない。常に自分たちの音楽的アイデンティティを築き、独自の道を切り開くことに重点を置いてきたんだよ。
だから、他のアーティストの活動を尊重し、奨励し、そしてこのスタイル全体の最善を心から願う一方で、僕たちは自分たちの歩みにしっかりと焦点を当て、自分たちのアイデンティティ、そして WINGS OF STEEL を長期的にどうしていきたいかを反映したサウンドを形作っているだけさ。
Q5: Still, it’s great that you are still so young and respect the great American heavy metal of the 80’s like Vicious Rumors, Metal Church, early Queensryche, Crimson Glory and Riot! How did you get to know them and what did you like about them?
【PARKER & LEO】: We definitely have a lot of respect for the great heavy metal that came out of the 80s, and those bands are an important part of the genre’s history. That era played a huge role in shaping heavy metal as a whole, and naturally many of those records became part of our musical discovery along the way.
We came across a lot of that classic material the same way most metal fans do ― by digging deeper into the roots of the music, exploring record collections, recommendations, and following the trail of where the sound we love originally came from. What resonates most with us about that era isn’t tied to a single group of bands, but to the overall spirit: strong songwriting, real musicianship, powerful melodies, and a sense of identity that felt honest and uncompromising.In terms of bands that have had a particularly strong influence on Wings of Steel, groups like – but not limited to; Rainbow, Black Sabbath, Dio, Blue Murder, MSG, Scorpions, Judas Priest, Triumph, Saxon, Thin Lizzy, Whitesnake, Iron Maiden, and The Firm – have all played an important role in shaping our musical foundation.
【PARKER & LEO】: 80年代に生まれた素晴らしいヘヴィ・メタルには、本当に大きな敬意を抱いているんだ。君が挙げたバンドは、このジャンルの歴史において重要な位置を占めている。あの時代はヘヴィ・メタル全体の形成に大きな役割を果たし、当然のことながら、当時のレコードの多くは、僕たちの音楽的ルーツの一部となっていったんだ。
僕たちは、多くのメタル・ファンと同じように、音楽のルーツを深く掘り下げ、レコード・コレクションを増やし、おすすめを探り、愛するサウンドがどこから来たのかを辿ることで、あの名曲の数々に出会っていった。80年代について僕たちが最も共感するのは、特定のバンドやグループではなく、あの時代の全体的な精神…つまり強烈なソング・ライティング、真のミュージシャン・シップ、力強いメロディー、そして誠実で妥協のない個性なんだ。
WINGS OF STEEL に特に大きな影響を与えたバンドとしては、例えば以下のようなバンドが挙げられるけど、ここに限定されるわけではないよ。 Rainbow, Black Sabbath, Dio, Blue Murder, MSG, Scorpions, Judas Priest, Triumph, Saxon, Thin Lizzy, Whitesnake, Iron Maiden, The Firm など…こうしたバンドは、僕たちの音楽的基盤を形成する上で重要な役割を果たしてきたんだよ、
Q6: The album opener, “Winds of Time” is a great song, full of ups and downs, melody and technique, but it’s a whopping 11 minutes long! The unexpectedness of starting with such a big song is also your appeal, would you agree?
【PARKER & LEO】: Yeah, we agree. It was the first song we finished while writing the album, and from that moment we knew we wanted it to become not only the title track, but also the debut single ― with a music video to match. Opening the record with it was our way of setting the tone right away and inviting the listener fully into the world of the album.
We’re not afraid of letting songs breathe and evolve if that’s what the music calls for. That said, we didn’t set out to write a long piece simply “for the sake of it”― it was about giving the song the space it needed to unfold naturally. In many ways, it reflects how we approach music as a whole: we’d rather follow the emotional arc of a song than shape it around expectations or formats.
Q6: アルバムのオープニングを飾る “Winds of Time” は、起伏に富み、メロディとテクニックにあふれた素晴らしい曲ですが、なんと11分もありますね! 大曲から始まる意外性も、このバンドの魅力ですね?
【PARKER & LEO】: その通りだよ。”Winds of Time” はアルバム制作中に最初に完成した曲で、その瞬間からタイトル曲としてだけでなく、デビュー・シングルとして、そしてそれに合わせたミュージック・ビデオとしてリリースしたいと思っていたんだ。アルバムのオープニングをこの曲で飾ることで、作品の雰囲気を一気に盛り上げ、リスナーをアルバムの世界に完全に誘うことができだと思う。
僕らは音楽がそれを求めているのであれば、曲に息吹を与え、進化させることを恐れていないんだ。とはいえ、”ただ単に” 長い曲を書こうとしたわけではないよ。曲が自然に展開していくために、必要な空間を与えることが長さの要因だった。これは僕たちの音楽へのアプローチ方法を反映しているよ。僕たちは、曲を期待やフォーマットに合わせて形作るよりも、曲の感情の流れに沿っていくことを望んでいるからね。
Q7: I feel that there now exists an important role for heavy metal’s uplifting energy and positive fantasy as an escape from the dark world. I believe that Japanese anime and video games also play such a role, but is there any influence from Japanese culture?
【PARKER & LEO】: Our music is inspired directly by our own experiences and observations, and since we haven’t yet had the chance to visit Japan ― either as a band or as individuals ― we can’t honestly say that there has been a strong, direct influence in a specific stylistic sense. That said, we’re deeply fascinated by Japanese culture, and by the way anime, games, and storytelling in general embrace imagination, emotion, and immersive worlds.
We also strongly connect with the idea of creating shared experiences that promote unity rather than division ― something that feels very present in Japanese culture. We work with and know many people who travel to Japan regularly, and for many of them it’s their favorite place to return to whenever they get the chance. We’re very much looking forward to experiencing it ourselves, and we’re sure our first visit will be nothing short of extraordinary.
Q8: With Covid, war, and division, the world has been getting darker and darker since the beginning of the 20s. In such a world, what can heavy metal do?
【PARKER & LEO】: Heavy metal has always been more than just music. It’s a place where people can come together, feel understood, and find strength in something larger than themselves. In difficult times, it becomes a space for release, reflection, and connection.
It gives people a way to process fear, anger, hope, and resilience, and to transform those emotions into something empowering rather than isolating. Heavy metal creates community and reminds people that they’re not alone, and offers a sense of unity that goes beyond borders, language, or background, something that we see daily within our own fan base and that gives us a great sense of purpose and motivation. In a world that often feels divided and uncertain, music can still be a voice of honesty, strength, and shared human experience ― and that makes its role in today’s world more important than ever.
We’ve noticed a steady and fast-growing audience in Japan, especially following the release of our two latest albums, and it truly means a lot to us. Seeing that level of support from the other side of the world is incredibly inspiring, and with the growing demand, it really feels like it’s only a matter of time before we finally make our Japanese live performance debut and get the chance to meet you all in person.
Thank you so much for supporting the band, spreading the word, and being part of the Wings of Steel journey.
Our latest album Winds of Time, as well as our first full-length record Gates of Twilight, are available on CD in Japan via Rubicon Music ― and we can’t wait for the day we get to bring this music to you live!
特に最新2枚のアルバム・リリース以降、日本のファンが着実に、そして急速に増えていることを実感していて、それは僕たちにとって本当に大きな意味を持っているんだ。地球の反対側からこれほど多くの応援をもらって、本当に感激しているよ。そして、ますます高まるこの需要に応えて、ついに日本でのライブ・デビューを果たし、みんなに直接会えるのも時間の問題だと感じているんだ。
バンドを応援し、情報を拡散し、WINGS OF STEEL の旅路に加わってくれて、本当にありがとう!
最新アルバム “Winds of Time” と、初のフルアルバム “Gates of Twilight” は、日本でRubicon MusicよりCDで発売中。この音楽をライブでみんなに届けられる日が待ち遠しいね!
“Heavy metal cannot stop wars, but it can inspire the people who will build peace. It cannot erase division, but it can create moments where division disappears. It cannot solve every problem, but it can open hearts and minds.”
Q1: First of all, how did you come across metal and start playing in Mongolia, a place where metal was not that popular?
【UUHAI】: For many of us in Uuhai, our introduction to metal came during a time when Mongolia was just beginning to open its doors to the outside world. Before the nineteen nineties, foreign music was very limited in our country. Only a few cassettes or CDs reached Mongolia through travelers, students returning from abroad, or friends who carefully shared whatever rare recordings they could find. When we first heard heavy music, it felt like discovering a completely new form of emotional expression.
In those early years, metal was not popular and not widely accepted in society. Very few musicians were brave enough to play louder and heavier styles. Wearing long hair, torn jeans, or metal accessories often brought challenges, and performing aggressive music in public required courage. But those pioneers opened the way for everyone who came after.
As young musicians who grew up surrounded by the sounds of the steppe, the rhythm of horses, and the deep expression of throat singing, we felt a natural connection to the energy of metal. The intensity of the music matched the intensity of our land, our history, and the spirit of our ancestors. Each member of Uuhai found metal in a different way. Some of us studied music formally and discovered rock and metal during our training. Others, like Ombo, followed their passion completely on their own, without any formal education, driven only by dreams and determination. He created music from pure instinct and emotion, building his style from the heart rather than from textbooks.
Step by step, the scene slowly began to grow. Young musicians formed bands, shared equipment, and helped one another. We listened to whatever recordings we could find, trading tapes and CDs like precious treasures. It was a small community, but it was full of passion and curiosity.
Metal in Mongolia did not begin because it was popular. It began because a few people loved it enough to fight for it. For Uuhai, that spirit is still alive today. We carry the same hunger for creativity and the same belief that music can transform both the artist and the listener.
Today, Uuhai stands on international stages, but our roots go back to those early days when metal first entered our country. That journey shaped our identity and helped us understand why we must protect our culture while sharing it with the world. Metal gave us a voice, and our traditions gave that voice a soul..
Q2: “Uuhai” seems to be a Mongolian word. Why did you choose this word as the name of the band?
【UUHAI】: Uuhai is a powerful Mongolian word that carries deep historical and spiritual meaning. It is an ancient call used by our ancestors during battle, during rituals, and during moments when unity and courage were needed. It is more than a shout. It is the voice of a shared spirit.
We chose this name because it represents everything we want to express as a band. In 2020, when we officially gave the band its name, we understood that Uuhai was not only a word. It was the living force that connected us to our ancestors, our land, and our identity. When our elders shouted Uuhai, it was a prayer for strength, good fortune, and protection. When warriors shouted Uuhai, their hearts beat as one. This is the same feeling we want to share with the world.
Uuhai is also the core message of our music. We do not use it simply as a title. We use it as a call for unity, awareness, and harmony between people and nature. Our songs carry the same energy that once echoed across the steppe. When audiences shout Uuhai with us, even if they do not know the language, they still feel the emotion and the unity behind the word.
The name reflects our musical purpose as well. Uuhai stands at the meeting point of ancient tradition and modern expression. Our music is built on throat singing, morin khuur, and the wisdom of our heritage, blended with the strength of contemporary rock. The word embodies that combination. It is ancient, but still alive today. Most importantly, Uuhai reminds us to stay true to our roots. Every time we step on stage, every time we record a song, we carry the spirit of that call with us. It keeps us grounded and gives us strength.
That is why we chose Uuhai. It is not just our name. It is our voice, our identity, and our connection to the soul of Mongolia.
Q3: I believe that you attract worldwide attention because you mix metal/rock with traditional Mongolian music in a unique way. Could you tell us the origin of this “Hunnu Rock”?
【UUHAI】: We usually describe our music as Mongol Rock rather than Hunnu Rock. While the term Hunnu Rock is sometimes used to describe music that draws inspiration from very ancient steppe civilizations, we feel that Mongol Rock better represents who we are and what we express today.
Our music is rooted in the living culture of Mongolia as it exists now. We sing in modern Mongolian, we reflect on contemporary society, and we speak about present day responsibility toward nature, humanity, and the future. The word Mongol connects our sound directly to our people, our language, and our current identity, not only to a distant historical era.
That does not mean we reject ancient heritage. On the contrary, our music carries ancestral spirit, traditional instruments, throat singing, and historical awareness. But we are not trying to recreate the past or place ourselves inside a single ancient concept. We are expressing how Mongolian culture lives, breathes, and evolves in the modern world.
Mongol Rock feels honest to us because it allows space for both tradition and change. It reflects the Mongolia we come from today, a country that respects its roots while standing on the global stage. Our sound carries the voice of the steppe, but it also speaks to modern humanity and global listeners.
Q4: In fact, what kind of a global success THE HU is for you?
【UUHAI】: The global success of The Hu is meaningful for us because it showed the world that Mongolian music has a powerful place on the international stage. Their achievements opened many eyes and helped listeners discover the beauty of our culture, our instruments, and our way of expressing emotion through sound. For that, we have respect. When a Mongolian artist succeeds, it reflects something positive for our entire country.
At the same time, Uuhai follows its own artistic path. We are inspired by the strength of Mongolian culture itself, not by comparison with any particular band. Our sound is heavier, more spiritual, and deeply connected to the ancestral voice of throat singing and the emotion of the morin khuur. We stand on the same land, but we walk our own road.
For us, the true success is that Mongolian artists of different styles are now reaching global audiences. This shows that our culture is rich, diverse, and capable of touching people far beyond our borders. It gives us motivation to continue developing our own identity and to share the spirit of Mongolia in a way that is unique to Uuhai.
In the end, when one Mongolian band is recognized internationally, it creates more curiosity and appreciation for all Mongolian music. And if Uuhai can contribute to that growing interest and bring more of our heritage to the world, then that is a success we are proud to be part of..
Q4: 実際、先に世界で大きな成功を収めた THE HU は、あなたにとってどのような存在なのでしょう?
【UUHAI】: THE HU の世界的な成功は、モンゴル音楽が国際舞台で力強い地位を占めていることを世界に示したという点で、僕たちにとって大きな意義を持っている。彼らの功績は多くの人々の目を開かせ、リスナーがモンゴル文化、楽器、そして音を通して感情を表現することの美しさを発見する助けとなったね。僕たちはその偉業に敬意を抱いているよ。モンゴルのアーティストが成功することは、国全体にとって良いことなんだ。
同時に、UUHAI は独自の芸術的な道を歩んでいる。僕たちは特定のバンドと比較するのではなく、モンゴル文化そのものの力強さにインスピレーションを受けているからね。僕たちのサウンドはより重厚で、よりスピリチュアルで、喉歌の祖先の声や馬頭琴の感情と深く結びついている。つまり、僕たちは THE HU と同じ地に立っているけど、独自の道を歩んでいるんだ。
僕たちにとって真の成功とは、様々なスタイルのモンゴルのアーティストが今や世界中のリスナーに届いていること。これは、僕たちの文化が豊かで多様性に富み、国境をはるかに越えた人々の心に響く力を持っていることを示している。その事実は、僕たち自身のアイデンティティを発展させ続け、UUHAI ならではの方法でモンゴルの精神を共有し続けるためのモチベーションとなるんだ。
最終的に、モンゴルのバンドの一つが国際的に認知されることで、モンゴル音楽全体への好奇心と理解がさらに深まっていく。そして、UUHAI がその高まりに貢献し、僕たちの伝統を世界に広めることができれば、それは僕たちにとって大きな成功であり、その一翼を担えたことを誇りに思うんだ。
Q5: OK, let’s talk about your amazing debut-full “Human Herds”. When I had an interview with Nature G. of Tengger Cavalry (R.I.P), he said his songs are “It’s all about (Mongolian) Shaman, history, nature, horse and warrior spirit.” How about you? Is there any concept or lyrical themes on this record?
【UUHAI】: Human Herds carries its own concept, shaped by the history, spirit, and worldview of the Mongolian people, but expressed through the voice of Uuhai. While every Mongolian artist draws inspiration from similar sources such as nature, ancestors, and the warrior spirit, our album approaches these themes in a way that reflects who we are as a band.
The central theme of Human Herds is the dual nature of humanity. We look at how people move together, how we influence the earth, and how our choices shape the future. The album speaks about the balance between creation and destruction, which is a concept deeply rooted in Mongolian thought. Our ancestors always taught that human beings must live in harmony with the land that sustains them. When Mother Earth cries, it is a warning for all of us.
Nature is a major pillar of the album. Not only as scenery, but as a living presence. The wind, the sky, the mountains, and the steppe are treated with respect in our culture, and they became emotional guides for many of the songs. When the morin khuur sings or when throat singing rises, it is not just music. It is the voice of the land.
The ancestral spirit is another major theme. Songs like Uuhai and Secret History of the Mongols carry the strength, unity, and wisdom that shaped our history. We do not sing these themes to glorify the past. We sing them to show that the values of courage, respect, and responsibility still matter today. These songs remind us that the warrior spirit is not only about battle. It is about character, leadership, and protecting the world around us.
Human Herds also speaks about modern society. It shows the tension between tradition and the fast changing world. It asks how we can remain connected to our roots while facing the challenges of the present. This is especially important for us as Mongolians who travel globally and perform on international stages. We carry the old and the new together.
So yes, there is a concept behind the record.
It is about humanity, nature, ancestors, responsibility, unity, and awakening.
It is about remembering who we are under one sun and one moon.
【UUHAI】: “Human Herds” は、モンゴル人の歴史、精神、そして世界観に形作られた独自のコンセプトを掲げているけど、それを UUHAI の声を通して表現しているんだ。モンゴルのアーティストは皆、自然、祖先、戦士の精神といった共通の源からインスピレーションを得ているけど、僕たちのアルバムは、バンドとしての自分たちらしさを反映しながらそうしたテーマにアプローチしているよ。
“Human Herds” のテーマは、人間の二面性。人々がどのように共存し、地球にどのような影響を与え、そして僕たちの選択がどのように未来を形作っていくのかを探求しているんだ。このアルバムは、モンゴルの思想に深く根ざした概念である、創造と破壊のバランスについて語っているんだよ。僕たちの祖先は常に、人間は自分たちを支える大地と調和して生きなければならないと教えてきた。母なる大地が泣く時、それは僕たち全員への警告なんだよ。
自然はアルバムの大きな柱だ。風景としてだけでなく、生き生きとした存在として。風、空、山、そして草原は、僕たちの文化において敬意を持って扱われ、多くの曲の感情的な導き手となっている。馬頭琴が歌い、喉歌が高らかに響く時、それは単なる音楽ではない。それは大地の声なんだ。
祖先の魂もまた、もう一つの重要なテーマだ。”Uuhai” や “Secret History of the Mongols” といった歌は、僕たちの歴史を形作った力強さ、結束、そして知恵を体現しているよ。僕たちは、こうしたテーマを過去を称えるために歌うのではない。勇気、敬意、そして責任という価値観が、今日でもなお重要であることを示すために歌うんだ。こうした歌は、戦士の精神とは戦いだけではないことを僕たちに思い出させてくれる。戦士の精神とは人格、リーダーシップ、そして僕たちを取り巻く世界を守ることなんだ。
“Human Herds” は現代社会についても語っているよ。伝統と急速に変化する世界との間の緊張関係を描いていてね。現代の課題に直面しながらも、どのように自分たちのルーツとの繋がりを保つことができるのかを問いかけているよ。これは、世界を旅し、国際的な舞台で演奏する僕たちモンゴル人にとって特に重要だ。僕たちは古いものと新しいものを共に担っているからね。
そう、このレコードにはコンセプトがある。それは、人間性、自然、祖先、責任、結束、そして覚醒について。それは、一つの太陽と一つの月の下で、自分たちが誰であるかを思い出すことなんだ。
Q6: It is amazing that when rock and throat singing intersect, they create such an emotional sound! It is indeed a great challenge to sing in Mongolian and use throat singing in rock music that originated in the West, would you agree?
【UUHAI】: Yes, we agree that blending Mongolian throat singing with Western rock is a great challenge, but it is also one of the most beautiful parts of our music. These two sound worlds grew from very different histories. Rock carries the energy and rebellion of the West, while throat singing comes from the silence of the steppe, the breath of nature, and the spiritual practices of our ancestors.
Singing in Mongolian adds another layer of complexity. The language is rich, rhythmic, and deeply connected to the land. It follows a completely different flow than English. When we place Mongolian lyrics inside rock structures, we must reshape the rhythm while still protecting the natural character of the language. It requires careful thought, respect, and creativity.
Throat singing itself is a demanding technique. It depends on strong breath control, physical discipline, and many years of training. When we combine it with distorted guitars and powerful drums, we must make sure that the traditional sound is not drowned out. Instead, it must shine through the music as the guiding spirit. That balance takes time to master.
But the emotional impact makes the challenge worth it.
When throat singing rises over heavy rock, something unique happens. The ancient and the modern meet in one voice. Listeners who have never heard our language or our traditions still feel the vibration in their bodies. They feel the emotion even before they understand the meaning.
This is why we believe the combination works so naturally.
Both rock and Mongolian music carry deep emotion. Both connect directly to the heart. Both are honest forms of expression.
Q7: As the breakthroughs of BLOODYWOOD and THE HU show, bands that incorporate the traditional music and culture of the land where they grew up into their metal have become increasingly popular in recent years. In fact, you have incorporated many traditional Mongolian instruments, throat singing, and the Mongolian language into your metal. In this way, has metal really been liberated to the rest of the world in a way that blends different cultures?
【UUHAI】: Yes, we believe metal has entered a new period of freedom where different cultures can express themselves honestly within the genre. Metal began in one part of the world, but its emotional language is universal. It speaks about strength, struggle, identity, and the search for meaning. These are experiences shared by every culture on earth. That is why metal is now expanding far beyond its origins.
When bands incorporate their own traditional music, they are not simply adding exotic elements. They are bringing their roots, their history, and their worldview into the music. This gives metal new stories, new emotions, and new colors that were not present before. It is not a trend. It is a natural evolution of a global art form.
For us in Uuhai, this blending is not only musical. It is cultural and spiritual.
The morin khuur, throat singing, harkhiraa, long song, and our Mongolian language carry the soul of our ancestors. When these elements meet the raw energy of rock, a new voice emerges that feels both ancient and modern. It allows us to stay true to our identity while connecting with listeners from every background.
This process shows that metal can be a bridge between cultures.
Listeners in Europe, Asia, and the Americas can experience the spirit of Mongolia without needing translation. They can feel the vibration of throat singing, the power of the morin khuur, and the emotional depth of our land. In that moment, the distance between cultures disappears.
Q7: BLOODYWOOD や THE HU の躍進が示すように、近年では、出身地の伝統音楽や文化をメタルに取り入れるバンドが人気を集めています。実際、あなたたちはモンゴルの伝統楽器、喉歌、そしてモンゴル語をメタルに多く取り入れています。こうしてついに、メタルは様々な文化を融合させ、世界に解き放たれたと言えるのでしょうか?
Q8: Unlike Genghis Khan who conquered the world, you sing of world peace and unity, but the world is moving into darker times. War, division, discrimination, oppression, violence… What can heavy metal do in such times?
【UUHAI】: Our ancestors lived through difficult times, and Mongolian history is filled with both strength and wisdom. Genghis Khan united a vast land under one rule, but he also taught principles about justice, leadership, and responsibility. Today, the world faces different kinds of battles. War, division, discrimination, and fear are rising in many places. These challenges cannot be solved with force. They must be approached with understanding and unity.
In such a world, heavy metal has a special role. Metal does not hide emotion. It is honest, direct, and unafraid to speak about the truth. When societies become heavy with silence, metal becomes a voice for those who feel unheard. It can express anger, sorrow, and frustration, but it can also transform those emotions into strength and connection.
For Uuhai, metal is more than a musical style. It is a force that can remind people of their shared humanity. It can carry messages that reach across borders and cultures. It can unite people who may never meet, yet feel the same heartbeat in the music.
When we shout Uuhai on stage, it is not a call to battle. It is a call to awareness and unity. It is an ancient word repurposed for a modern world that urgently needs courage, empathy, and responsibility. When thousands of people shout it back to us in Europe or Asia, it feels like a sign that humanity still has the power to stand together.
Heavy metal cannot stop wars, but it can inspire the people who will build peace. It cannot erase division, but it can create moments where division disappears. It cannot solve every problem, but it can open hearts and minds.
Music is not a weapon. It is a light. And even a small light is powerful in dark times. If Uuhai can give people strength, comfort, or a sense of connection, then that is our contribution. Heavy metal gives us a platform to speak honestly and to remind people that we all live under one sun and one moon, sharing the same fragile home. The world needs that message now more than ever.
Choosing only five albums is difficult because every artist we listen to becomes part of our musical journey. But there are a few recordings that left a deep impression on us, both in traditional Mongolian music and in the global rock and metal scene.
These are five albums that helped shape our understanding of sound, emotion, and artistic purpose:
Traditional Mongolian Long Song recordings
These recordings taught us the beauty of open space and emotional depth. The long song is the soul of our people, and its melodies influenced the way we compose and express feeling.
Classic morin khuur ensemble recordings from the Mongolian State Philharmonic
These recordings showed us how powerful and cinematic the morin khuur can be when performed with intention and skill. They helped us understand how tradition can live inside modern compositions.
This album was one of the first global recordings many of us heard as young musicians. Its simplicity, weight, and emotional directness opened our eyes to what rock music could become.
This album taught us that modern rock can carry cultural identity, political thought, and raw emotion all at once. It showed us that powerful music does not have to fit into one shape.
Mongolian throat singing masters – archive recordings from the Academy of Culture and Art
These recordings are not commercial albums, but they changed our lives. Listening to the old masters of throat singing and harkhiraa helped us understand the spiritual and physical discipline behind the technique, and it shaped our identity as musicians.
These albums and recordings influenced us in very different ways, but they all taught us one important lesson.
Music is most powerful when it is honest, fearless, and connected to its roots.
They inspired us to create a sound that carries the strength of the steppe and speaks to the modern world at the same time.
The connection between Mongolia and Japan has always been strong and respectful. Our two countries share many cultural links, from sumo wrestling to traditional music, and there is a deep sense of mutual admiration. Mongolia has benefited greatly from the kindness of Japanese people and organizations who have supported education, health, infrastructure, and many important projects in our society. Their contributions have touched many lives, and we hold that friendship with sincere gratitude.
As musicians, we have great respect for Japanese culture. Japanese traditional music carries a purity and emotional discipline that feels very close to our own artistic spirit. Instruments such as the shamisen and taiko drums have a spiritual quality that resonates with the sounds of the Mongolian steppe. We also admire Japan’s ability to honor ancient traditions while leading the world in modern creativity, from cinema to design to technology.
Japanese audiences are known for listening with focus and emotion. They approach music with sincerity, and for a band like Uuhai that expresses deep cultural roots and strong emotional themes, that kind of audience connection is very meaningful. Japan is a place where art is treated with respect, and that inspires us.
Message for Japan:
To all our friends in Japan, thank you for your continuous support and kindness toward Mongolia and its people. Your friendship has helped our country grow, and we respect you deeply for your generosity and your cultural richness. We hope to visit Japan soon and bring the voice of the Mongolian steppe to your stage. Until then, please continue protecting your beautiful land, honoring your traditions, and creating art that inspires the world. We look forward to meeting you under one sun and one moon.
Uuhai sends you strength, unity, and respect.
EXCLUSIVE: INTERVIEW WITH CRISTIANO FILIPPINI OF FLAMES OF HEAVEN !!
“Power Metal and AOR must be about love, positivity, inner strength, battles that take place inside and outside of us, and a sense of justice. So I think Knights of the Zodiac represent not only my favorites, but also perfect examples of how to convey this message.”
CRISTIANO FILIPPINI’S FLAMES OF HEAVEN “SYMPHONY OF THE UNIVERSE” : 10/10
INTERVIEW WITH CRISTIANO FILIPPINI
Q1: First of all, what kind of music did you grow up listeningto?
【CRISTIANO】: First of all, I would like to say hello to all our Japanese fans and readers, I am very grateful to your Country. I generally listen to everything good from the late 70s to the 2000s, rock, pop, metal, soundtracks, electronic music. Then I think after that date the quality of the music dropped a lot. Few bands have caught my attention in recent years.
Q2: I was very impressed when I heard your guitar! The tone is so beautiful and the crystalline shimmer shines through in your fast and unique playing! In fact, what guitarist was your hero?
【CRISTIANO】: I have the opportunity here to clarify something. In Flames Of Heaven I take care of practically everything, I compose all the music, the lyrics, the vocal lines, I take care of the arrangements and orchestrations. I also compose the bass and drum guidelines. As for the guitar, I compose the rhythms and some slower, more melodic solo lines. For everything else, that is, the virtuoso solos and the beauty and perfection of the lead guitar, it is all thanks to Michele Vioni. He’s one of the best guitarists in the world, and he records the guitars for now, while I record the keyboards in the studio. Live instead I will be the rhythm guitar who will also take care of some solo. But the guitar hero is him.
Q3: Still, “Symphony of the Universe” is a masterpiece ofpower metal, combining great melody, technique, andfantasy! Italy has an excellent power metal tradition,including Rhapsody and DGM. Do you have such blood inyour veins?
【CRISTIANO】: As for Rhapsody, in the classic lineup, I think they were unrivaled in their genre. DGM I think they are the best Italian prog band and beyond. By the way, they are my friend Simone Mularoni’s band, who, working with me for six months, mixed and mastered “Symphony Of The Universe.” And they’re also the last band I saw live, they played in my city a month ago. I think these two examples, added to us and 3/4 other bands, represent the best that Italian power and related metal can offer. The first Rhapsody influenced me a little, while I discovered DGM a few years ago and they also make a different genre than ours, progressive metal. They both do a different genre than us anyway.
Q3: それにしても、”Symphony of the Universe” は、素晴らしいメロディ、テクニック、ファンタジーを兼ね備えたパワー・メタルの傑作ですね! イタリアには、RHAPSODY や DGM など優れたパワー・メタルの伝統がありますが、あなたにもそうした血が流れているのでしょうか?
【CRISTIANO】: RHAPSODY に関しては、クラシックのラインナップでは、このジャンルで他の追随を許さなかったと思う。 DGM は最高のイタリアン・プログ・バンドであり、そのジャンル以上の存在だと思う。
ところで、DGM は僕の友人 Simone Mularoni のバンドで、6ヶ月間僕と一緒に働き、”Symphony Of The Universe” のミックスとマスタリングを担当してくれた。 そして、彼らは僕が最近ライブを見たバンドでもある。一月前に僕の街で演奏したからね。
この2つのバンド、それに僕らと他のバンドも加えて、イタリアのパワー・メタルとそれに関連するメタルが提供できる最高のものを表していると思う。RHAPSODY は僕に少し影響を与えたし、DGMは数年前に知ったんだけど、彼らもまた僕らとは違うジャンルのプログレッシヴ・メタルを作っている。 とはいえ、彼らは僕らとは違うジャンルをやっているけどね。
Q4: I am very glad to know that this album is inspired bySaint Seiya! The artwork also features Pegasus andconstellations, what part of that anime inspired you andwhat story did you draw from it?
【CRISTIANO】: I became very fond of “Saint Seiya”, on the cover I wanted to combine some elements, “Saint Seiya”, “Masters Of The Universe” and other religious elements dear to me, such as the cross that is in the Flames Of Heaven logo and the angels from the first album (small on the left). He could ideally represent the first knight of Pegasus, not Seiya but the warrior who first donned the armor and ideally rode the Pegasus. I would say that all the songs on the album that are inspired by this manga describe some situations from the first series “Sanctuary”.
【CRISTIANO】: 僕は “聖闘士星矢” がとても好きだから、ジャケットには “聖闘士星矢”、”Masters Of The Universe” 、そして FLAMES OF HEAVEN のロゴにある十字架やファースト・アルバムの天使たち(左の小さい方)など、僕にとって大切な宗教的要素を組み合わせたいと思った。
主人公は理想的にはペガサスの最初の騎士といえる。星矢ではなく、最初に鎧を身にまとい、ペガサスに乗った戦士だ。”聖闘士星矢” にインスパイアされたアルバムの全曲は、最初のシリーズ “サンクチュアリ編” のいくつかのシチュエーションを描写していると言えるだろうね。
Q5: Speaking of Saint Seiya, the theme song Pegasus Fantasy(R.I.P. Nob) is like a chant for those of us who grew up onthat anime. Are you influenced by such anime theme songs and game music?
【CRISTIANO】: Of course I know “Pegasus Fantasy” and it’s a wonderful song, a real anthem. There are many beautiful songs on the official “Saint Seiya” soundtrack. Plus the orchestral instrumentals are incredibly inspired. Masterpieces. Besides that, my favorite song is “Dead Or Dead” from the “Hades” series. Stunning. Changing anime naturally here is very famous and appreciated “Tough Boy” by Tomcat from the second series of “Hokuto No Ken”. On average, Japanese symphonic and video game composers are very good. Of course, I’m also very attached to Konami’s Castlevania series.
Q6: Phoenix and Gemini appear in the titles of yoursongs, but what characters and stories do you like inSaint Seiya?
【CRISTIANO】: I wrote those two songs, how much drafts, now over twenty years ago and it wasn’t a rational choice. It was natural to talk about them. They are definitely two of the most fascinating, important and complex characters in the manga. But my favorite characters are Seiya, Shiryu, Shaka and Dohko. Examples of strength, positivity and apart from Seiya aha, also balance and wisdom.
Q7: You have a great love for other Japanese anime andmanga such as Hokuto No Ken, Dragon Ball, and Berserk,and I think the positive power, courage, and fantasy ofthose anime to be very much in line with power metal.How about you?
【CRISTIANO】: Exactly like that. Power Metal and AOR must be about love, positivity, inner strength, battles that take place inside and outside of us, and a sense of justice. So I think the anime you mentioned represent not only my favorites, but also perfect examples of how to convey this message. I really hope this album reaches fans of the manga and anime you mentioned.
Q8: With Covid, war, and division, the world has beengetting darker and darker since the beginning of the 20s. For the marginalized and oppressed people, power metal fantasy seems to be a great escape. Would you agree?
【CRISTIANO】: Absolutely, I think that music, and especially this genre, can help a lot to improve the lives of others. I get numerous messages about how much my music has helped people get through difficult times and take away the grayness of this world, which today seems totally crazy. We must fight because we are the warriors of good and we must not give up. Life is sometimes hard but there are weapons to fight with, and one of them is art.
I would like to thank you first of all Sin, for this opportunity, all the readers and all of Japan for making me the man I am now with stories like the anime that raised me. Give “Symphony Of The Universe” a chance, you won’t regret it!
このような機会を与えてくれた SIN、読者の皆さん、そして僕を育ててくれたアニメの物語…今の僕があるのは日本のおかげだから、日本中の皆さんに、まずお礼を言いたいよ。 “Symphony Of The Universe” をぜひ聴いてみて!後悔はさせないよ!
EXCLUSIVE: INTERVIEW WITH MARTIN HAMICHE OF AEPHANEMER !!
“I have always admired Joe Hisaishi, who composed the music for many Studio Ghibli films. One of my favorite pieces is Innocent from Castle in the Sky – it is pure, sincere, and beautiful. I truly admire his work.”
DISC REVIEW “UTOPIE”
「僕らにとって、フランス語で歌うことはとても自然な選択なんだ。メタルの世界では母国語で歌うバンドがますます多くなり、一般的に広く受け入れられるようになったと感じているよ。 それは今日、誠実さや信憑性の証とみなされ、高く評価されることさえあるからね」
音楽、特にメタルの優れているのは、たとえ言葉の壁やボーカル・スタイルによって歌詞が不明瞭で理解不能な場合でも、ムード、メロディ、テーマ、バイブスなどその音楽自体に伝える力が込められているところでしょう。裏を返せば、モダン・メタルの寛容さは、あらゆる異端を排除せず、壁を壊して包容し、自らの血肉としていくことができるのです。フランスの AEPHANEMER は、そうして文化の壁も、さらにはメロデスというジャンルの限界まで打ち壊し、突破していきます。
「客観的に見て、僕たちは DARK TRANQUILLITY, AMON AMARTH, ARCH ENEMY のようなサウンドではまったくない。 CHILDREN OF BODOM と比較されることがあるけれど、それでも僕らとはまったく違う雰囲気を持っているよ。 というのも、今の僕は中世、クラシック、民族音楽にインスパイアされることが多いからね。それはもはや前世代のバンドには当てはまらない特徴だよね。結局、単に音楽はそうやって進化していくということだよ」
メタルの進化に終わりはありません。そう、AEPHANEMER はメロデスの遺産をしっかりと抱きしめながら、そのサウンドを別の次元へと高めるために音楽を奏でています。”メディーヴァル・フォーク的シンフォニック・メロデス” という大げさな表現が、もしかしたら今の彼らには最もしっくりくるのかもしれませんね。それだけ、この最先端のメロデスは、映画的で、オーケストラで、壮大な音の祭典です。
2023年にベーシストの Lucie Hune が脱退し3人編成となったにもかかわらず、これだけの緻密な壮観を完成させた AEPHANEMER の才能は比類なきもの。バンド創設者でインタビューイ、 Martin Hamiche が全ての弦楽器とオーケストレーションを担当して、あの鬼才 Dan Swanö 再度の協力により、力強いメロディにフック、心を震わす激情、幻想的なムード、フランスらしい気品と格調の高さ、そして豪華絢爛な “La Rivière Souterraine” が象徴する複雑で多面的な色彩を帯びた、ダーク・フォークとネオクラシカルの煌びやかな祭典 “Utopie” が降臨することとなりました。
「僕たちのアプローチは、あきらめずに日々の小さな行動を通じて現実世界を改善する努力を続ければ、現実世界で何が起こり得るかについて、自分自身、そしておそらく他の人たちを鼓舞するためにアートを創作するというものなんだ。僕たちは、人々が僕たちの音楽からエナジーやインスピレーションを感じ、そのエネルギーを活かして生活や家庭、地域社会に前向きな変化を起こしてくれることをとても嬉しく思っているんだ。僕たちにとって、すべての生きとし生けるもののためにより良い未来を創造することは必要不可欠なこと。だからこそ僕たちの考えるユートピアとは、人類が自然や他の生命体と調和して生きる世界なんだよ」
お馴染みとなった Niklas Sundin (DARK TRANQUILLITY) の手による鮮やかなアートワーク。そこには、彼らにとっての “Utopie” “理想郷”、自然と人間が手を携え、調和して生きていく世界が描かれています。もちろん、前作 “A Dream of Wildness” のイノシシに、私たちは “もののけ姫“ の影をみましたし、久石譲の風も受け取りました。
そう、AEPHANEMER の理想郷にとって、進化し多様に共生するべきは音楽だけにとどまりません。彼らは、人も小さな行動の積み重ねでより良い世界を目指すことができる、異文化と共生し調和することができると信じてアートを生み出していますし、もちろんアシタカとサンのように文明と自然も調和して生きていく未来を見据えているのです。
今回弊誌では、ギタリスト Martin Hamiche にインタビューを行うことができました。「Marion は、僕たちが大好きな宮崎駿監督の “もののけ姫” に登場するイノシシをすぐに思い浮かべたね。 彼女は若い頃からアニメのファンで、アニメは常に彼女に創造的なインスピレーションの源となってきた。 個人的には、多くのスタジオジブリ作品の音楽を作曲した久石譲さんをずっと尊敬してきたんだ。彼の作品で好きな曲のひとつは “天空の城ラピュタ” の “Innocent”。まさに純粋で誠実で美しい音だよね。彼の作品を心から尊敬しているんだ」ギターの煌めきとドラムの技巧、そして声の獰猛は群を抜いていますね。どうぞ!!
AEPHANEMER “UTOPIE” : 10/10
INTERVIEW WITH MARTIN HAMICHE
Q1: First of all, what kind of music did you grow up listening to?
【MARTIN】: I discovered metal when I was around 12 or 13, thanks to my older sister, and for a long time, it was the only music I listened to. It started with System of a Down, which I played almost nonstop for a couple of years. Then, a friend gave me a compilation CD that introduced me to a dozen metal bands from different genres. On that CD I found bands that would become favorites for a long time: Amon Amarth, Insomnium, Dimmu Borgir, Therion. Shortly after, I also discovered Windir and Children of Bodom. These bands became the foundation of my metal influences, and I listened to them almost exclusively until I was 20 or 21. I wish I could say that I grew up with classical or folk music, but that was not the case, my family was modest and music culture simply was not present in our home.
Q1: 本誌初登場です!まずは、あなたの音楽的なバックグラウンドからお話ししていただけますか?
【MARTIN】: 姉の影響で12歳か13歳頃にメタルに出会い、それから長い間、メタルだけを聴き続けていた。SYSTEM OF A DOWN から始まり、2、3年間ほとんどノンストップで聴き続けたね。その後、友人からコンピレーションCDをもらったんだ。 そのCDの中で、僕はそれから長い間お気に入りとなるバンドを見つけたんだよ。AMON AMARTH, INSOMNIUM, DIMMU BORGIR, THERION といったバンドだね。その直後、WINDIR と CHILDREN OF BODOM にも出会った。
彼らは、僕が影響を受けたメタルの基礎となり、20歳か21歳になるまで、ほとんど彼らばかり聴いていたね。クラシックや民俗音楽とともに育った、と言いたいところだけど、僕の家族は質素で、音楽文化は我が家には存在しなかったんだ。
Q2: How did Aephanemer begin? What is the meaning behind your band name?
【MARTIN】: Aephanemer started as a one-man band in 2014 when I released “Know Thyself,” an instrumental EP that I created on my own. A few months later, I brought in other musicians and turned it into a full band. The name of the band is inspired by the autumn season, which has always been my favorite, because it is the season in which I feel most at home and at peace. “Aephanemer” is actually a combination of the words “éphémère,” meaning ephemeral, and “fânée,” meaning faded or wilted, like a flower.
Q3: Marion’s ghoulish vocals are truly amazing, and she is the face of the band! How do you feel about the gradual increase of female vocalists and players in the metal world, which used to be a boys’ club?
【MARTIN】: Well, I think that is a wonderful development for many reasons. Humanity has probably missed out on many female Mozarts, Beethovens, or Tchaikovskys simply because access to music careers was so limited for women for so long. I am truly happy that Marion, in Aephanemer, contributes to changing that, both as a singer and as a musician.
Q3: Marion の鬼気迫るボーカルは本当に素晴らしく、彼女はバンドの顔となっていますね! ボーイズ・クラブだったメタル界に、女性ヴォーカリストや女性プレイヤーが徐々に増えていることについてはどう思っていますか?
【MARTIN】: そうだね、それは多くの理由から素晴らしい発展だと思う。 これまで人類は、おそらく多くの “女性版” モーツァルト、ベートーヴェン、チャイコフスキーを見逃してきたのだろう。というのも、長い間、女性にとって音楽活動へのアクセスは非常に限られたものだったから。AEPHANEMER で Marion が、歌手として、また音楽家として、それを変えることに貢献していることを心から嬉しく思うよ 。
Q4: When I saw the artwork for your last album, “A Dream of Wilderness,” it reminded me of Hayao Miyazaki’s anime. Have you been influenced by such Japanese culture, anime, music, and video games?
【MARTIN】: When we thought about putting a boar on the cover of “A Dream of Wilderness,” we looked for references to boars throughout history to give some inspiration to Niklas Sundin, who created the artwork. Marion immediately thought of the boars in Hayao Miyazaki’s Princess Mononoke, a work we both love. She has been a fan of anime since she was younger, and it has always inspired her creatively. Personally, I have always admired Joe Hisaishi, who composed the music for many Studio Ghibli films. One of my favorite pieces is Innocent from Castle in the Sky – it is pure, sincere, and beautiful. I truly admire his work.
Q4 :前作 “Dream of Wildness” のアートワークを見て、宮崎駿監督のアニメを思い出しましたよ。そうした日本文化、アニメ、音楽、ビデオゲームから影響を受けているんですか?
【MARTIN】: “A Dream of Wildness” のアートワークにイノシシを描こうと考えたとき、アートワークを担当した Niklas Sundin (DARK TRANQUILLITY) にインスピレーションを与えるために、さまざまなイノシシを探したんだ。
Marion は、僕たちが大好きな宮崎駿監督の “もののけ姫” に登場するイノシシをすぐに思い浮かべたね。 彼女は若い頃からアニメのファンで、アニメは常に彼女に創造的なインスピレーションの源となってきた。 個人的には、多くのスタジオジブリ作品の音楽を作曲した久石譲さんをずっと尊敬してきたんだ。彼の作品で好きな曲のひとつは “天空の城ラピュタ” の “Innocent”。まさに純粋で誠実で美しい音だよね。彼の作品を心から尊敬しているんだ。
Q5: Dan Swano is involved in “Utopie” as he was in the last album. What do you learn from the originator of Melo-death?
【MARTIN】: Dan Swanö is an incredible sound engineer and has been essential in shaping the current Aephanemer sound, balancing all the classical instruments with the metal ones. His work allows every layer to be heard and feel alive. We are very grateful for his contribution and look forward to collaborating with him even more in the future.
Q5: Dan Swano は前作に引き続き “Utopie” にも関わっていますね。メロデスのオリジネーターのひとりから何を学んでいますか?
【MARTIN】: Dan Swano は素晴らしいサウンド・エンジニアで、現在の AEPHANEMER サウンドの形成に欠かせない存在であり、すべてのクラシック楽器とメタル楽器のバランスをとってくれているんだ。 彼の仕事によって、すべてのレイヤーが聴こえ、生きているように感じられる。 僕たちは Dan の貢献にとても感謝しているし、今後さらに彼とコラボレーションできることを楽しみにしている。
Q6: In fact, “Utopie” is a truly wonderful album!I can’t think of any other work that blends the wailing, fierce of melo-death with cinematic beauty as well as this one! Is one of your goals to portray a cinematic world with melo-death?
【MARTIN】: Thank you very much! When we create our albums, we don’t really set out to make something cinematic. What we do want is to give the feeling that our music opens a window to another universe, and orchestral instruments help us achieve that. They bring colors and textures that allow us to express emotions in ways that metal instruments alone could not. As for the metal side of our sound, we don’t really think in terms of genres. We simply include all the ideas we have and let them shape the music naturally.
Q7: War, pandemics, division, discrimination, oppression… There are many people seeking escape in this dark world, and this work is a veritable “Utopie” for them. If metal has a role to play now, is it to provide a wonderful escape like this record?
【MARTIN】: Yes and no. We are not escapists in the sense of creating art to run away from reality. Our approach is more that we create art to inspire ourselves, and perhaps others, about what could happen in the real world if we don’t give up and continue working to improve it through our small daily actions. We love when people feel energized and inspired by our music, and then take that energy to make positive changes in their lives, in their homes, or in their communities. For us, creating a better future for all living beings is essential, because our vision of Utopia is a world where humanity lives in harmony with nature and other life forms.
Q8: From this record, French is the main language. In recent years, more and more metal bands are incorporating the language and culture of their native country instead of English, why did you decide to make French the main language?
【MARTIN】: As you said, we feel that more and more bands singing in their own language is becoming common and widely accepted. It can even be seen as a sign of sincerity and authenticity, which people appreciate today. For us, using French was a very natural choice, especially since our previous album, A Dream of Wilderness, included one French song that was very well received. From our experience on tour, audiences everywhere actually prefer the French lyrics. There is a small exception with part of the US audience, who sometimes see it as a personal insult that we don’t write in English anymore, but that doesn’t matter to us. We make the art that feels true to us, and only to us.
Q9: In this day and age, some people say that melodeath is outdated, rustic, or unpopular. What do you think about those words? Why do you keep playing melodeath?
【MARTIN】: Every music genre can feel outdated until it is reforged, renewed with new elements from other styles, and then finds a new audience. I feel that is exactly what some of us are trying to do. Objectively, we don’t really sound like Dark Tranquillity, Amon Amarth, or Arch Enemy at all. Even Children of Bodom, a band we are sometimes compared to, has a very different vibe than us. This makes sense, because today I am mostly inspired by medieval, classical, and folk music, which isn’t the case for any of those bands. That is simply how music evolves. But when we write, we never think about comparisons or trends: we just create the music we wish existed, the music we would want to listen to ourselves.
【MARTIN】: あらゆる音楽ジャンルは、他のスタイルから新しい要素を取り入れて刷新され、新しいリスナーを見つけるまでは、時代遅れだと感じることがある。僕たちがやろうとしていることは、まさにそうした挑戦だと思う。
客観的に見て、僕たちは DARK TRANQUILLITY, AMON AMARTH, ARCH ENEMY のようなサウンドではまったくない。 CHILDREN OF BODOM と比較されることがあるけれど、それでも僕らとはまったく違う雰囲気を持っているよ。 というのも、今の僕は中世、クラシック、民族音楽にインスパイアされることが多いからね。それはもはや前世代のバンドには当てはまらない特徴だよね。
結局、単に音楽はそうやって進化していくということだよ。 でも、僕たちが作曲するときは、比較や流行を考えることはない。僕たちはただ、自分たちが存在してほしいと願う音楽、自分たち自身が聴きたいと思う音楽を作るだけなのだから。
FIVE ALBUMS THAT CHANGED MARTIN’S LIFE!!
System of a Down “Toxicity”
Because it was the first metal I ever listened to.
Amon Amarth “Fate of Norns”
As it was the first melodic death metal album I discovered.
In Flames “Colony”
Because it made me re-discover melodic death metal when I was 21 and probably inspired me to create Aephanemer
Joe Hisaishi “Howl’s Moving Castle soundtrack”
A major album in my musical journey beyond metal.
Basil Poledouris “Conan the Barbarian”
For a similar reason, and it also became a source of inspiration for Utopie.
MESSAGE FOR JAPAN
Thank you so much to all our listeners in Japan for your support and your amazing culture. We are currently working with a local promoter on a Japan tour, and we really hope to meet you all in 2026. Wishing you a wonderful day!
“The tradition of agriculture involves practice, cultivation, technique, ingenuity, innovation, and patience. Across musical traditions these elements are also fundamental.”
EXCLUSIVE: INTERVIEW WITH SONDRE SKOLLEVOLL OF MORON POLICE !!
“Especially the JRPGs, went on to influence millions of kids, who then, because of the music in these games, had a natural inclination towards progressive rock/metal (and classical too, to an extent). It was basically prog rock/metal, just on a Super Nintendo/Playstation!”