![]() ![]() Chuck and his family got me to the airport to fly home immediately. Then 2 weeks into it all, my youngest brother passed away. Waking up in the morning and having coffee and bagels and calling in requests for southern rock tunes to the local rock station, singing along to warm up before hitting his home studio. As it turned out, well ,we know the end of that story.Īre there any particular moments from the time you spent with Chuck Schuldiner that you want to tell us? ![]() I recommended a chiropractor since I have neck and back injuries that were being treated by one. He was also experiencing partial paralysis in his left hand which scared the dickens out of him. Then, Chuck told me he was having severe headaches and couldn’t sleep because of it. We all had a great time working with Jim Morris and each other. What are your memories of the making of The Fragile Art of Existence? He invited me to his place in Florida to record 3 songs as an audition. Chuck asked to “borrow” me for Control Denied and Jim knew it would boost my career, so he was all for it. It was actually Jim Dofka who hooked me and Chuck up. Can you tell us about that experience? How did you get in touch with Chuck Schuldiner? Many people got to know you with Control Denied. Jim has been working on it for the past couple of years, so hopefully sometime soon it will see the light of day. Shortly after that we got back together and recorded the full-length album, and again parted ways. Then I got the gig with Control Denied and did The Fragile Art Of Existence. which got us some attention, but again this band disintegrated, leaving only myself and the Guitarist, Jim Dofka, to keep writing and try to put together a new line-up. Can you tell us about that experience? Do you think these tracks will ever get an official release? We worked hard and played hard together 4 to 5 times a week and it showed.Īlso Psycho Scream (1994-1998) never released a full-length, although the demo songs were undoubtedly interesting, being an elaborate and powerful power metal. There was always writing and rehearsal going on like I’ve never seen since. What I remember most about 313 is the immense creativity, craziness and comradery between us. 30 years later Divebomb remembered us and asked to release our records. We were featured on a nationally syndicated show called Metal Shop, and we got an offer from CBS/Parc records, but the band fell apart. What do you remember from that period in the Eighties? Over the 43 years I’ve been singing, I’ve sung other genres but metal is my true love.ģ13 has never published anything officially when you were in activity (1985-1987) (in 2019 various material was collected in a compilation for Divebomb Records). I joined my first working band when I was 15, and we played hard rock and heavy metal. My favorite music when I was that young was any high falsetto male vocals and then along came heavy metal and I fell in love with it right away. I sang in the chorus and played trumpet in the band until I was around 14. I was in the school music program at an early age. With this interview we’d like to focus on different periods of your career.Ĭan you tell us how you approached music in your adolescence, both as a fan and as a musician? Angband is still a long way from being anything I will tell you to go out of your way to hear, but they are also a long way from the where they started.Hi Tim, welcome to. I applaud these guys for continuing to hone their craft when they come from a society that does not appreciate their art. I think some more restrained and nuanced performances would have served some of these songs far better. The songwriting is bland and Aymar can sing but he's leaning way too hard into his performance like he's determined to blast through the songs with everything he's got. I like how they have incorporated the Ney (a type of flute common in the region the band is from) and some Persian melodies into songs like "Mirage." Despite the upgrade behind the microphone and unique influences, however, IV is still flawed album. It was then that I looked up the band on Metal-Archives and found that Pharaoh's Tim Aymar is now handling the vocals and his presence raises Angband a couple of notches. Sure, the solos don't quite nail the beat a few times. Sure, they are playing the same kind of generic chugging riffs of earlier efforts. I wasn't nearly as disappointed as I expected to be when the first track, "Fighters", pounded from my speakers. Looking over the reviews of Angband's previous albums here at The Metal Crypt made me wonder why I bothered downloading their fourth album, IV, in the first place. ![]()
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