Here comes another foreign metal act that plays a little bit less exotic but still very solid music. Nocturne Moonrise comes from Taipei in Taiwan, the Republic of China. The four young men and one young woman play symphonic power metal that reminds me of famous Italian acts like Rhapsody Of Fire or Holy Knights. Founded back in 2005, the band released its first EP with two tracks in 2008. Both of those tracks are also included, in new versions, on the band’s full length debut album entitled Into The Romaunt, which was released in March of 2012. Since then, the band has been opening for international tours through Taiwan, playing shows to their growing fanbase, and recording a new album, from which they have an upcoming single called “When The Holy War Has Begun”.
Apart from a short introduction of two minutes, the seven main tracks of Into The Romaunt push the running time to over one hour of music. As you might guess, the tracks are lengthy and all clock somewhere between six and ten minutes. To my surprise, despite the length, the tracks never get boring. This is quite a special experience, as the band offers no shorter songs, and the songs are all quite similar in terms of construction and flow.
The production here is rather good, which sets up the rest of the album to showcase its quality. Most of the tracks start with one or two minutes of symphonic introduction performed by keyboards and synthesizers, and they remain a dominating element and give the songs a symphonic and classically-influenced touch. The overall atmosphere becomes epic and joyful, even cinematic at times. It would easily fit on a soundtrack for a medieval role-playing game and musically, create great imagery. Of course, its a bit of a drawback to have artificial orchestration, but the approach is still successful, and will draw you into a fantastic world of the artist’s craft.
At some point, melodic guitars and other instruments kick in, and the vocalist delivers a first powerful verse that leads to a chorus or to another verse after a short instrumental break. The main vocalist is a man with a potent, melodic voice who is able to nail the high notes from time to time. Many genre singers sound too forced and easily become annoying after a few tracks, and that’s even more the case for female vocalists in my opinion. But Mister Alexx Liu does a very solid job here.
Sometimes he’s not alone. A few more cinematic and “medieval” sections are supported by choirs or layered male vocal passages. At some points, Mei Ying on the keyboards and synthesizers adds her own voice to the songs. They are not dominating, but work quite well when they appear. In my opnion, the band should employ them a more in the future to contrast the male vocals from time to time and keep the attention high through all these tracks. Even though the vocals are quite good without sounding unique, I’ll add that the choruses are not very gripping in here.
What really convinces the listener on Into The Romaunt are the keyboards and synthesizers, which add a medieval and sometimes sacral atmosphere to the music. The middle passages include enough instrumental innovation in the form of more cinematic and symphonic breaks that are often followed by extensive neoclassical or shred guitar solos that could have come directly from Timo Tolkki. These parts can be cited as the highlights of each song. The bass guitar however, is less outstanding, and the drumming is ceaselessly quite fast apart from a few short breaks. These elements are appropriate to the genre without adding anything new to the usual formula.
I’ve more or less summed up the album’s main formula and the band employs it almost permanently here. Normally, I would argue that the songwriting is unoriginal, and that the band sounds a little bit too much like its idols. While that’s true, I like this honest and passionate approach. The concept works so well because of the talented instrumental work, the solid vocals, and a good sense for instrumental breaks before it all gets too redundant. The tracks have lengths of eight to nine minutes, but they pass by as if they were only four or five minutes long. The record feels diverting and dynamic: as soon as the ride is finished, I just feel like listening to it again. You really have to share my passion for this style of European power metal to adore this record. Those who already don’t appreciate the genre might find this album bland, but I liked it more than I would have initially thought. In times like these, traditional European power metal records are getting quite rare because most bands experiment with hard rock anthems, modern and harsher elements, or try to become too progressive. Nocturne Moonrise simply stick to the roots and do what they can at a very high level and without any pressure.
It’s ironic that an Asian band comes around with such a simple but fresh record to show what true European power metal is all about. Any genre fan should definitely jump on the passion train and adore an hour of well executed epic symphonic power metal.
I had the chance (?) to listen to Avenged Sevenfold’s brand new record “Hail to the King” a couple of times by now. Being a fan of their previous effort “Nightmare” and their last singles, I was looking forward to listen to their new album. Now you see me rather disappointed. What happened? Read it here first, enjoy my review and don’t hesitate to leave a comment!
Avenged Sevenfold is definitely one of the most famous contemporary metal bands that is quite popular among younger audiences in North America. The band started with some metalcore fun rides back in the days and shifted more and more towards traditional but still quite elaborated heavy metal as in the last studio effort “Nightmare” with Mike Portnoy on drums. This record definitely had its strong moments and I’m still occasionally listening to it.
On “Hail To The King”, all metalcore elements are gone and the band plays a mixture of groove and heavy metal with catchy pop choruses and more and more artificially sounding choir and string passages. The entire album is hold in a mid tempo pace that lacks dynamics, emotions and surprises. The polished production took away all possible forms of edges and energy.
“Hail To The King” is an average heavy metal track inspired by an odd mixture of AC/DC, Manowar and Metallica. “Crimson Day” is a symphonic ballad with a mature sound, a good guitar work and a solid vocal effort somewhere between soft Metallica and epic Guns ‘N Roses. “Coming Home” is the only fresh sounding piece of music on here because the twin guitars, the vivid bass guitar and the tight drumming finally give us a glimpse at the talent of the involved musicians. These are the three best tracks on the album and let me tell you that they are only of an average to good quality. None of the songs can beat the band’s surprisingly energizing Call Of Duty singles “Not Ready To Die” and “Carry On” or the last record’s masterpiece “Nightmare”.
But it even gets worse. The opener “Shepherd Of Fire” has almost the same structure as Metallica’s “Enter Sandman” and feels quite predictable despite its changes. “This Means War” is a “Sad But True” rip-off of the worst kind. I mean many bands are inspired by Metallica but why picking their most popular songs and copying them without any inspiration? In addition to this, I have never really liked Metallica’s self-titled black album and still think it’s their most boring record apart of the horrible “Lulu” project with Lou Reed. “Sad But True” has always sounded to me like an odd mixture of groove metal and hip-hop and is one of the metal songs I have always hated the most. Let me tell you that Avenged Sevenfold’s take on this song is even worse than the original. “Heretic” hits a similar way and sounds like a commercial rip-off of another highly overrated and popular American metal band that is Megadeth. This song sounds like a handicapped copy of “Symphony Of Destruction”, especially in the main riff and opening moments. If they had to choose American bands and add an overdose of orchestral elements to most of their songs, why couldn’t they at least have been inspired by the amazing Savatage?
Throughout the album, the band tries to sound mature but horribly fails at this attempt. “Requiem” and “Planets” include an overdose of symphonic elements and desperately want to add a sophisticated touch to the music. The problem is the weak song writing that lacks substance. The whole thing sounds incredibly artificial and is nothing but blown-up creative emptiness without any memorable moments. The choirs of “Requiem” don’t fit at all with the rest of the song and made me laugh out hard while “Planets” gets so redundant and repetitive that one can easily skip the last two minutes if not the entire song.
But the worst thing is the closing cheesy ballad “Acid Rain”. I would have expected this kind of song from Ronan Keating but not from a metal or rock band. The difference between Ronan Keating and Avenged Sevenfold vocalist M. Shadows is that the first one actually has some good vocal skills while the latter one sounds as if he was singing with a stuffy nose. This song is in fact the most pathetic kitsch ballad I ever had to sit through. Even the dullest Freedom Call ballad and the most commercial Sonata Arctica single have far more eggs than this stiff piece of boredom. It ends a disappointing record on a truly bad note.
After the solid metal record “Nightmare”, the promising last singles and the rather unusual choice of “Hail To The King” as lead single and title track, everything seemed to be set for a great record. The album though feels artificial, blown-up and lacks charisma, energy and originality. It seems as if the king was going through a severe identity crisis and desperately tried to sound like the new Metallica by forgetting where he really came from and what made him so popular. I hope that critics and fans prepare for a putsch and are looking elsewhere for a new and more authentic king or queen. Just avoid this release and don’t hop on a crashing trend train.
Genre: Death Metal / Thrash Metal / Speed Metal Label: Self-production Playing time: 10:03 Band homepage: -
Tracklist:
Predecessors of Darkness
Reborn of the Blackened Phenomenon
Psychomaniac
Insanity Syndrome
Prithwiraj Porajoy
Bangladesh is not a country known for its small Metal scene. I might though suggest you a few decent bands from that country like the first Heavy Metal band ROCKSTRATA that was formed back in 1985 and released the country’s first Metal record in 1990. I must also cite the great Progressive Metal act ARTCELL that recently split up and three quarters of the original band reformed as ARTCELL X even though the name of the project may possibly change in the future. Progressive Metal band CRYPTIC FATE is also a big name to check out.
Now, I have stumbled over a new Death and Thrash Metal band from the capital Dhaka that is called GREEN ARMY. They have just released their first EP entitled “Reborn Of The Blackened Phenomenon”. The band’s slogan is called “We’re true right down to the fucking core”. I must admit that I don't understand everything of the lyrics and that these guys' English is not so decent but it's all about the passion for metal music on here anyway and we shouldn't judge these youngsters too hard.
The four young men play quite dystopian and mostly pitiless Speed Metal that mixes Death and Thrash Metal elements. The songs also have a few groovier passages as well. The drum sound and the sometimes almost inaudible guitar sound are horrible on the demo but the dominating bass guitar pleases me a lot as well as the raw but not completely unmelodic vocals that give the band an intriguing touch. Musically, these guys are clearly inspired by bands like SEPULTURA and SLAYER and fans of these bands could like this first strike despite its bad production. The songs are atmospheric, energizing and even include a few memorable moments. The band mixes raw energy with a few more developed passages where one can guess a lot of potential and talent behind the raw sound. Some breaks almost happen to sound progressive which intrigues me a lot. These parts are a little bit too short but add a lot of freshness to the compositions and the band should maybe focus more on these breaks. With a better production and some more experience, the band could become Bangladesh’s most promising Extreme Metal band.
A few days after the detailed interview with ex-Iron Maiden singer Blaze Bayley, here comes another intriguing interview with a rather exotic band. I’ve contacted Dumisani “Rock Dawg” Matiha, the guitarist and singer of the pioneer heavy metal band of Botswana called Metal Orizon. He told me how hard it has been to be a rocker in his country, how the band reorganized after the tragic death of their first guitarist and singer and how they want to spread some hope to their African brothers and sisters who are living in countries shattered by conflicts and ignorance. Read the entire interview below and discover a new exotic face of the fascinating globalization of the heavy metal community.
Sebastian Kluth: “Hello from Canada and thanks for accepting this great interview occasion. First of all, would you mind to introduce your band Metal Orizon as well as your current and past band members?”
Dumisani Matiha: “To start with let me apologise for the late response. I hope you didn’t lose hope on us. Metal Orizon is a rock band that usually converts African and particularly Botswana rhythms into heavy metal riffs to get a sound that is metal while at the same time maintaining that African feeling. The original members are the late Jarona Spencer Sekwababe on lead vocals and guitars, Bophelo Santos Thabakgolo on bass guitar and Selaelo Slaizah Selaelo on drums. I, Dumisani Matiha, was asked to join Metal Orizon as a guitarist after the lead singer/guitarist passed away in 2003 but later I took over the lead vocalist role as well since there was no one else willing to stick to that position. Metal Orizon’s second guitarist Gabriel Rampefe joined us in early 2009 to assist me with guitar work.”
The current line-up of Metal Orizon from Gaborone, Botswana
Sebastian Kluth: “Your band hails from Gaborone, Botswana and you have been a pioneer band of your country. How did you discover rock and metal music in the beginning and what’s the essence of these genres to you?”
Dumisani Matiha: “For me, I really don’t have a very specific answer to that question. I can only tell you that I remember when I was young there used to be this law officer and metal fan who would bring AC/DC’s “The Razor’s Edge” album to my parents’ bar and would leave it there so he could listen to it every time he would come back. I just liked the sound of that album and as I grew up I ended up learning how to play guitar myself.”
Metal Orizon’s “I cry” from the “Metal Örizon” album (2009)
Sebastian Kluth: “Let’s take a closer look on all of your three records. “Ancestral Blessings” was released back in 1999. How were the recording sessions in your country and how would you judge your first album today?”
Dumisani Matiha: “To be clear on this one, I don’t have any contribution whatsoever with all the three albums but back then it was tough to record or even have a gig so Metal Orizon did its first recording in South Africa, in the city of Mmabatho that is now a part of Mahikeng. The recordings didn’t materialise though until a change of studio occurred inside South Africa. In Africa nothing is easy except war so it was difficult and it’s still difficult to date. The album is still driving us crazy and this is especially due to the fans that like it more than the other two records.”
Sebastian Kluth: ““Ancestral Blessings” includes a lot of lyrics concerning social and economic issues. You talk about the South African Development Community for example. Tell us more about this organization please.”
Dumisani Matiha: “There was a competition to write a song about SADC in our country and that’s how and why we’ve created this song. The lyrics were inspired by the objectives and promises of the organization and the fact that our first president Sir Seretse Khama was the founder of SADC.”
Sebastian Kluth: “The song “The Eagle” talks about corruption and lies. Do you think that the situation in your country has become better over the last years? According to you, how could one deal with these issues and make this world a little bit better?”
Dumisani Matiha: “A lot needs to be done. We seem to be very happy through the eyes of our leaders but we need new faces and fresh ideas. People get too comfortable after being elected into powerful positions.”
Sebastian Kluth: “You also have a song entitled “Jehpfah” on your first record. What is the sense behind the lyrics of this track?”
Dumisani Matiha: “The lyrics were written by Metal Orizon’s former manager who even ended up singing on this song. It’s some kind of a prayer for metal and it asks for some blessing to go through tough times.”
Sebastian Kluth: “Your second album “Myopic… Enslavement” came out only two years after your first record. How comes that you were able to release a successor to your first strike so quickly?”
Dumisani Matiha: “If you love what you do there usually is nothing to stop you. Look, even up to now we play in front of maybe ten people at our gigs but we still enjoy it and we believe one day we will make sense to someone out there.”
Sebastian Kluth: “In “My Beautiful Land”, you talk about tribal wars that shattered your country. Please give us some more information about that historical topic. How would you judge the situation today in 2013? Is there any hope for improvement in Botswana?”
Dumisani Matiha: “Honestly, Botswana is one of the best countries you can ever think of. We live peacefully together in this country even though people are from different tribes. In our country are African brothers from other countries as well as white people or Arabians. You don’t see a Muslim brother and think of anything negative here but our brothers from other African countries can’t think of anything other than killing and raping their own people and that’s what the song is all about. We hope there will be peace in Somalia, Zaire (now Democratic Republic of the Kongo), Zimbabwe, Madagascar, Mali and so on one day.”
Sebastian Kluth: “What does your song “The Unknown” is about? Who are the unknown and uninvited ones?”
Dumisani Matiha: “They are those that come to take the little that we have away. It’s about those that feed us with guns so we can kill each other.”
Sebastian Kluth: “You’ve released a radio version of your song “Bitter Life”. Does your music get some airplay in Botswana? How do people react to your music in general? Are you able to earn some money from your works and what are you doing for a living in your real lives?”
Dumisani Matiha: “It’s very sad but our music is only occasionally played on Saturday at midday on national radiowww.rb1.gov.bw(rocktimes) on a show that comes in for only one hour. Other radio stations rarely play our music. Thanks to Radio Botswana and the program’s host Brooks Monnaanoka we get at least some minor attention and appreciate the little they do for us.”
Metal Orizon play “I have found” (from “Metal Örizon” (2009)) and “We are rolling” (from “Myopic... Enslavement” (2001))
Sebastian Kluth: “Your third record “Metal Örizon” came out in 2009. How comes that it took eight years to release a new album?”
Dumisani Matiha: “Immediately after everything was finished with high hopes, the lead singer and lead guitarist Jarona Spencer Skwababe died so everything crushed. We were mourning and then we had to look for a replacement and so on. You know in Botswana it’s not easy to find a well trained musician so it took quite some time.”
Sebastian Kluth: “Why did you choose to give your record almost the same name as your band name?”
Dumisani Matiha: “This is a tribute to the late Jarona Spencer Skwababe.”
Sebastian Kluth: “You re-recorded a couple of songs from the past for this third album. Please tell us the differences between the old versions and the new arrangements.”
Dumisani Matiha: “With the help of the producer Ron Goudie we thought it was the right time to honour some of the best songs from the past. We’ve re-recorded them since we had an opportunity to record with a professional producer.”
Sebastian Kluth: “Please talk also about the new songs from this third album and the evolution between your first two records and your newest release.”
Dumisani Matiha: “The new songs are kind of motivating and giving courage to whoever might be in need of it when listening to our music.”
Metal Orizon on the road through Botswana
Sebastian Kluth: “People don’t know much about the metal scenes in African countries. Please tell us more about the metal scene in Botswana. Are there any famous concert venues or festivals? Are there other promising metal bands? Do you think that metal music is becoming more popular in your country and why did it take so long until that genre arrived in Botswana?”
Dumisani Matiha: “The genre has been there dating back to the 70’s just that by then guys didn’t have access to studios since it was nearly impossible to go to South Africa because of the Apartheid system. People thought that anyone who plays rock music in Botswana was sick-minded. It’s because you’ve simply played rock music that a lot of things would not work. Even your girlfriend might have dumped you because of this. Public fans are really rare and people often think they are wrong but they are in fact good inside. It’s though funny enough that some people secretly love metal but they won’t come out or come to the shows and declare themselves rock music fans.”
Sebastian Kluth: “What are your favourite metal bands from Africa and all around the world?”
Dumisani Matiha: “Ha! Ha! I think our favourite bands are bands from South Africa who spend their money and just come and have fun with us. These are bands like the power and thrash metal band Agro, the futuristic death metal act Bleeding Spawn, the death metal and hardcore band Boargasm, the metalcore act Facing The Gallows and the heavy and southern metal band Jauggenut. We must also underline the importance of the white community in South African for always promoting the small Botswana metal scene.”
Sebastian Kluth: “What are your plans for the rest of the year 2013 and the year 2014? Are you working on a fourth album and what could it sound like?”
Dumisani Matiha: “We already have some new material. The problem is to gather enough money to get into a real studio since we don’t want to take any shortcuts.”
Sebastian Kluth: “What are your dreams and hopes for your band? Is there a special place where you would like to give a concert? Is there a band with whom you would like to share the stage?”
Dumisani Matiha: “We would most definitely love to do things in a professional way and tour European countries. We would love to share stage with someone who just loves metal like the bands Gwar or Screamer. Those guys are easy to talk to. I mean, imagine talking to Jamison Land of Gwar for example, they are very welcoming guys just like us I guess. Other than that we would love to share the stage with any band, popular or not \m/.”
Metal Orizon, accompanied by two female dancers, always give their very best on stage, even in front of very small crowds
Sebastian Kluth: “Thanks again for your precious time and this great interview occasion. I hope you carry on with your great and inspiring music. The last words to our readers from all around the world are yours!”
Dumisani Matiha: “We want the whole metal world to listen to and hear about us so if there is anyone willing to work with us on a professional level please don’t hesitate to contact us. Thank you very much for taking your time to talk to us as Metal Orizon!”
Sebastian Kluth: “Hello from Canada and thanks for accepting this great interview occasion. First of all, would you mind to introduce your band Metal Orizon as well as your current and past band members?”
Dumisani Matiha: “To start with let me apologise for the late response. I hope you didn’t lose hope on us. Metal Orizon is a rock band that usually converts African and particularly Botswana rhythms into heavy metal riffs to get a sound that is metal while at the same time maintaining that African feeling. The original members are the late Jarona Spencer Sekwababe on lead vocals and guitars, Bophelo Santos Thabakgolo on bass guitar and Selaelo Slaizah Selaelo on drums. I, Dumisani Matiha, was asked to join Metal Orizon as a guitarist after the lead singer/guitarist passed away in 2003 but later I took over the lead vocalist role as well since there was no one else willing to stick to that position. Metal Orizon’s second guitarist Gabriel Rampefe joined us in early 2009 to assist me with guitar work.”
The current line-up of Metal Orizon from Gaborone, Botswana
Sebastian Kluth: “Your band hails from Gaborone, Botswana and you have been a pioneer band of your country. How did you discover rock and metal music in the beginning and what’s the essence of these genres to you?”
Dumisani Matiha: “For me, I really don’t have a very specific answer to that question. I can only tell you that I remember when I was young there used to be this law officer and metal fan who would bring AC/DC’s “The Razor’s Edge” album to my parents’ bar and would leave it there so he could listen to it every time he would come back. I just liked the sound of that album and as I grew up I ended up learning how to play guitar myself.”
Metal Orizon’s “I cry” from the “Metal Örizon” album (2009)
Sebastian Kluth: “Let’s take a closer look on all of your three records. “Ancestral Blessings” was released back in 1999. How were the recording sessions in your country and how would you judge your first album today?”
Dumisani Matiha: “To be clear on this one, I don’t have any contribution whatsoever with all the three albums but back then it was tough to record or even have a gig so Metal Orizon did its first recording in South Africa, in the city of Mmabatho that is now a part of Mahikeng. The recordings didn’t materialise though until a change of studio occurred inside South Africa. In Africa nothing is easy except war so it was difficult and it’s still difficult to date. The album is still driving us crazy and this is especially due to the fans that like it more than the other two records.”
Sebastian Kluth: ““Ancestral Blessings” includes a lot of lyrics concerning social and economic issues. You talk about the South African Development Community for example. Tell us more about this organization please.”
Dumisani Matiha: “There was a competition to write a song about SADC in our country and that’s how and why we’ve created this song. The lyrics were inspired by the objectives and promises of the organization and the fact that our first president Sir Seretse Khama was the founder of SADC.”
Sebastian Kluth: “The song “The Eagle” talks about corruption and lies. Do you think that the situation in your country has become better over the last years? According to you, how could one deal with these issues and make this world a little bit better?”
Dumisani Matiha: “A lot needs to be done. We seem to be very happy through the eyes of our leaders but we need new faces and fresh ideas. People get too comfortable after being elected into powerful positions.”
Sebastian Kluth: “You also have a song entitled “Jehpfah” on your first record. What is the sense behind the lyrics of this track?”
Dumisani Matiha: “The lyrics were written by Metal Orizon’s former manager who even ended up singing on this song. It’s some kind of a prayer for metal and it asks for some blessing to go through tough times.”
Sebastian Kluth: “Your second album “Myopic… Enslavement” came out only two years after your first record. How comes that you were able to release a successor to your first strike so quickly?”
Dumisani Matiha: “If you love what you do there usually is nothing to stop you. Look, even up to now we play in front of maybe ten people at our gigs but we still enjoy it and we believe one day we will make sense to someone out there.”
Sebastian Kluth: “In “My Beautiful Land”, you talk about tribal wars that shattered your country. Please give us some more information about that historical topic. How would you judge the situation today in 2013? Is there any hope for improvement in Botswana?”
Dumisani Matiha: “Honestly, Botswana is one of the best countries you can ever think of. We live peacefully together in this country even though people are from different tribes. In our country are African brothers from other countries as well as white people or Arabians. You don’t see a Muslim brother and think of anything negative here but our brothers from other African countries can’t think of anything other than killing and raping their own people and that’s what the song is all about. We hope there will be peace in Somalia, Zaire (now Democratic Republic of the Kongo), Zimbabwe, Madagascar, Mali and so on one day.”
Sebastian Kluth: “What does your song “The Unknown” is about? Who are the unknown and uninvited ones?”
Dumisani Matiha: “They are those that come to take the little that we have away. It’s about those that feed us with guns so we can kill each other.”
Sebastian Kluth: “You’ve released a radio version of your song “Bitter Life”. Does your music get some airplay in Botswana? How do people react to your music in general? Are you able to earn some money from your works and what are you doing for a living in your real lives?”
Dumisani Matiha: “It’s very sad but our music is only occasionally played on Saturday at midday on national radio www.rb1.gov.bw(rocktimes) on a show that comes in for only one hour. Other radio stations rarely play our music. Thanks to Radio Botswana and the program’s host Brooks Monnaanoka we get at least some minor attention and appreciate the little they do for us.”
Metal Orizon play “I have found” (from “Metal Örizon” (2009)) and “We are rolling” (from “Myopic... Enslavement” (2001))
Sebastian Kluth: “Your third record “Metal Örizon” came out in 2009. How comes that it took eight years to release a new album?”
Dumisani Matiha: “Immediately after everything was finished with high hopes, the lead singer and lead guitarist Jarona Spencer Skwababe died so everything crushed. We were mourning and then we had to look for a replacement and so on. You know in Botswana it’s not easy to find a well trained musician so it took quite some time.”
Sebastian Kluth: “Why did you choose to give your record almost the same name as your band name?”
Dumisani Matiha: “This is a tribute to the late Jarona Spencer Skwababe.”
Sebastian Kluth: “You re-recorded a couple of songs from the past for this third album. Please tell us the differences between the old versions and the new arrangements.”
Dumisani Matiha: “With the help of the producer Ron Goudie we thought it was the right time to honour some of the best songs from the past. We’ve re-recorded them since we had an opportunity to record with a professional producer.”
Sebastian Kluth: “Please talk also about the new songs from this third album and the evolution between your first two records and your newest release.”
Dumisani Matiha: “The new songs are kind of motivating and giving courage to whoever might be in need of it when listening to our music.”
Metal Orizon on the road through Botswana
Sebastian Kluth: “People don’t know much about the metal scenes in African countries. Please tell us more about the metal scene in Botswana. Are there any famous concert venues or festivals? Are there other promising metal bands? Do you think that metal music is becoming more popular in your country and why did it take so long until that genre arrived in Botswana?”
Dumisani Matiha: “The genre has been there dating back to the 70’s just that by then guys didn’t have access to studios since it was nearly impossible to go to South Africa because of the Apartheid system. People thought that anyone who plays rock music in Botswana was sick-minded. It’s because you’ve simply played rock music that a lot of things would not work. Even your girlfriend might have dumped you because of this. Public fans are really rare and people often think they are wrong but they are in fact good inside. It’s though funny enough that some people secretly love metal but they won’t come out or come to the shows and declare themselves rock music fans.”
Sebastian Kluth: “What are your favourite metal bands from Africa and all around the world?”
Dumisani Matiha: “Ha! Ha! I think our favourite bands are bands from South Africa who spend their money and just come and have fun with us. These are bands like the power and thrash metal band Agro, the futuristic death metal act Bleeding Spawn, the death metal and hardcore band Boargasm, the metalcore act Facing The Gallows and the heavy and southern metal band Jauggenut. We must also underline the importance of the white community in South African for always promoting the small Botswana metal scene.”
Sebastian Kluth: “What are your plans for the rest of the year 2013 and the year 2014? Are you working on a fourth album and what could it sound like?”
Dumisani Matiha: “We already have some new material. The problem is to gather enough money to get into a real studio since we don’t want to take any shortcuts.”
Sebastian Kluth: “What are your dreams and hopes for your band? Is there a special place where you would like to give a concert? Is there a band with whom you would like to share the stage?”
Dumisani Matiha: “We would most definitely love to do things in a professional way and tour European countries. We would love to share stage with someone who just loves metal like the bands Gwar or Screamer. Those guys are easy to talk to. I mean, imagine talking to Jamison Land of Gwar for example, they are very welcoming guys just like us I guess. Other than that we would love to share the stage with any band, popular or not \m/.”
Metal Orizon, accompanied by two female dancers, always give their very best on stage, even in front of very small crowds
Sebastian Kluth: “Thanks again for your precious time and this great interview occasion. I hope you carry on with your great and inspiring music. The last words to our readers from all around the world are yours!”
Dumisani Matiha: “We want the whole metal world to listen to and hear about us so if there is anyone willing to work with us on a professional level please don’t hesitate to contact us. Thank you very much for taking your time to talk to us as Metal Orizon!”
Nocturne Moonrise - Into The Romaunt (2012)
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