When Agalloch surprisingly disbanded in 2016, there was a collective sign of disappointment from those in the know in the metal community at losing one of its most creative, authentic, and genuinely unique bands.  Agalloch rose to prominence through a progressive metal alchemy that combined black metal, neo-folk, and atmospheric elements which set them apart from their peers in the late 1990s and early 2000s, specifically with their debut album Pale Folklore (1999) and its landmark follow-up, The Mantle (2002).   Subsequent album and EP releases, and gradually more frequent live performances, continued to elevate their status in the metal world up through 2014’s The Serpent & the Sphere, all while retaining the artistic integrity that created one of the most loyal fan bases in the world of heavy music. 

John Haughm, who founded Agalloch in 1996, had been arguably the biggest  creative force in the group, whether through his work on guitar, clean and harsh vocals, songwriting and lyrical compositions, or designing the artwork of every release.  Once Agalloch disbanded, Haughm dedicated himself to a solo project he had started after a particularly inspiring trip to the desert.  He would become more prolific with his solo venture, releasing what he’s dubbed the Nomad Trilogy, which culminated with the release of The Devil’s Coil last year.  Somewhere along the line, his friendships with founding Agalloch members Don Anderson and Jason William Walton were mended as well, leading to a reformation of Agalloch for select live shows in 2023, much to their devoted fanbase’s delight.

Over the last two years since reuniting, Agalloch have performed in Brazil, Australia, made appearances at festivals across the United States and Europe, and played select shows along the West Coast with Haughm performing his solo material as an opening act.  Many of these destinations had been points of contention during the band’s 2016 demise, but are now being fulfilled with the clarity of a decade for their founding members.  I had a chance to catch up with John to discuss Agalloch’s resurgence, as well as a number of other topics, including:

• his most recent solo release recorded at a local college, his experience doing similar recording projects when he was a college student in Seattle, and a surprise Alice in Chains anecdote.
• the concept behind the Nomad Trilogy, how he uses visual images as a source of musical inspiration, the cyclical nature of the storyline, and the meaning behind the map coordinates in the title of The Devil’s Coil.
• the reception of his solo work live, how it feels to perform the material, his experience opening shows for Agalloch and other groups, and the genesis of his collaboration with Obsidian Tongue.
• how the Agalloch reunion became a viable option for the original members, memories from their initial reunion shows in 2023, opening for Emperor, and the new mix of Marrow of the Spirit and how it became a reality from a chance conversation in Europe.
• the initial reception to The Mantle, the inspiration he drew from the Portland area for both the music and imagery of the album, plans for future Agalloch music and shows, and reflections about the artistic integrity of Agalloch and his solo work. 

As an unabashed Agalloch fan, it was surreal to get to speak with John about a band that has produced some of my favorite metal records of all time.   As you’ll be able to see with our discussion of The Mantle, I hold their work in very high regard and am excited to see what the future holds for the group now that they’ve returned. Enjoy!

Amorphis' fifteenth studio album, Borderland, was released on Friday, September 26th. To celebrate this milestone release in the band's 35th year of existence, founding member and guitarist Esa Holopainen and keyboardist Santeri Kallio made an appearance across the pond at Lucky 13 Saloon in Brooklyn, a metal institution since 2003, on Friday evening. Labeled as a record release party, the two key songwriters from Amorphis mingled with fans from New York City and its surrounding areas, talked about their fantastic new record that was played in full at the event, posed for pictures, and shared drinks with Finnish metal enthusiasts who were in attendance like myself.

Prior to the record release party, I had a chance to speak with Esa about Borderland and a number of other topics, including:

• the band's recent festival date in Turkey, the crowd's reaction to their new material, and traveling across the globe within a week's time.
• New York airport traffic, Esa and Santeri's adventure into New York City to Times Square and the Empire State Building, and the best time and places to visit in Helsinki.
• the band's history of playing in Brooklyn including a show at the famous L'Amour, the cancelled dates from the Tales from the Thousand Lakes 30th anniversary tour, and a Borderland North American tour in 2026.
• his personal approach to songwriting for the new record, a question about the beer vending machine they had to install in the group's old rehearsal studio in Nosturi, and the lost art of sneaking into rock shows.

Special thanks to Esa for being so patient while I dealt with technical issues and gracious with his time both on and off camera, and eternal gratitude to C-Squared Music and Reigning Phoenix Music for allowing me to attend such a special event. Borderland is a beautiful record and a fantastic addition to Amorphis' already sparkling discography that further cements to group's legendary status as titans of Finnish extreme metal. It's proof of the band's commitment to evolving with each and every record, as they have for the past thirty-five years, and shows they have no intentions of slowing down anytime soon.

Mark Menghi certainly didn’t take the traditional route to prominence in the rock and metal world.  In fact, if you look back at his story, it might sound pretty familiar.  For starters, he worked at a record store he frequented often, the legendary Looney Tunes in West Babylon on Long Island.  Inspired by the likes of Black Sabbath, Iron Maiden, and Cliff Burton-era Metallica, he began playing in local bands during his youth that scrapped their way through every tiny venue with the same do-it-yourself ethos that every other band starting up tends to inherently have. 

Though his journey as a musician stalled for a bit, Mark found himself with an opportunity to work on the business side of the music industry. He began to build a rolodex of contacts that read like a “Who’s Who” of the rock and metal world.  In time, Menghi would call upon these friends to form Metal Allegiance, which first performed in 2015.  He would also tour with Joe Satriani, one of his first contacts from the business side of the music world, in 2023 and get to perform in front of a crowd at his hometown theater at Jones Beach. 

But despite all the star-studded recordings and performances in the rock and metal world, the one artist who remained a constant in Mark’s world as a music fan was Chris Cornell.  As any rock music fan of the 1990s and 2000s, Cornell’s music was as inescapable as it was beyond reproach, as Soundgarden, Temple of the Dog, Audioslave, and his solo material dominated the airwaves and eardrums of every self-respecting music fan during that time.  Menghi’s introduction to Cornell came a bit before the casual grunge fan during his days working at Looney Tunes.  His friend and co-worker handed him a cassette of Louder than Love, Soundgarden’s 1989 major label debut for A&M.  From that day forward, Cornell would become Menghi’s musical constant. 

That love for his music has now inspired Menghi’s latest musical endeavor.  Named King Ultramega, the project features famous guest musicians from the rock and metal community who share his admiration for Chris Cornell covering songs from his many projects.  I had a chance to speak to Mark about this new project and many other topics, including: 

• his musical journey, local Long Island record stores and concert venues, and the importance of the Jones Beach Theater.
• how his love for Soundgarden developed, his impetus to start the King Ultramega project, and how he decided to turn it into a full album’s worth of songs.
• having the blessings of Vicky Cornell and Kim Thayil for King Ultramega, the gravity of having Kim re-record one of his own songs for it, and the great care needed to curate a project with such a legendary name attached to it. 
• recording “Rusty Cage” with William DuVall, Bill Kelliher, and Charlie Benante, the adventurous decision to have Joe Satriani cover Chris’ vocal line in “Be Yourself,” and speculation on my part as to what song Alissa White-Gluz from Arch Enemy will be featured on.
• the timeline for King Ultramega’s releases including the hyped October single, talk of the new Metal Allegiance record that will be released in 2026, playing Cliff Burton’s bass, and commiserating over missing Ozzy’s final show.
• mourning the loss of Brent Hinds, compassion for his friends in Mastodon, revealing that Brent was supposed to be featured on a track from King Ultramega, and reflections on Mark’s journey to where he is today in the music world.

Speaking with Mark, it’s clear that he understands what this project mean

Throughout his spectacular career, Gene Hoglan has been involved with some of the biggest names to ever play heavy metal.   From his earnest beginnings as a lighting tech with Slayer, that led him to be featured doing backing vocals on “Evil Knows No Boundaries” from Show No Mercy, to being bestowed the nickname “The Atomic Clock” during his time in Strapping Young Lad alongside Devin Townsend, and then being tabbed to play in Testament alongside Alex Skolnick and long-time partner in crime Steve DiGiorgio, Hoglan’s discography reads like a who’s who of the heavy metal community.

But this fall, Gene will be focused on two projects that are near and dear to his heart, as they both pay tribute to members of groups he’s been involved with that have passed on. Dark Angel are set to release their first album of new material since 1991 next week when Extinction Level Event premieres on September 5th through Reversed Records.  An album that was over a decade in the works at least, it features material Hoglan worked on with now departed lead guitarist Jim Durkin, who passed away in 2023.  The new album, and subsequent first North American tour for the group in three decades, are dedicated to Durkin and the group hopes to honor his memory with both. 

After leaving Dark Angel in 1992, Hoglan received an interesting offer from an old friend.  Through a mutual acquaintance, he was told Death frontman Chuck Schuldiner was looking for a new drummer.  Having toured with Death with Dark Angel, and knowing Chuck from his days in the early ‘80s trading tapes with him, Hoglan was intrigued by the opportunity and ultimately joined as things fell apart with Dark Angel.  He would end up being a part of two of the most iconic extreme metal albums ever released, as Death would produce 1993’s Individual Thought Patterns and 1995’s godly Symbolic during his tenure with the group.  Schuldiner would famously pass away in 2001 from complications from a brain tumor, leaving a legacy as the Godfather of Death Metal for his pioneering writing and playing, evidenced by Death’s flawless back catalog.   

Upon the re-release of Individual Thought Patterns in 2012, former members of Death took part in a benefit show to raise money for cancer research to coincide with the reissue.  Named Death to All, the group played here and there over the years until recently deciding to embark on tours to honor Chuck's legacy. After a run last year to celebrate Scream Bloody Gore and The Sound of Perseverance, Death to All will be hitting spots across North America in November to celebrate anniversaries of Spiritual Healing and Symbolic.

Ahead of both of these tours and Dark Angel’s release of Extinction Level Event, I got to speak with Gene about these projects, as well as:

• finally being able to release a new Dark Angel record after a decade of work, how he and Jim Durkin worked on the new record together, and how the new album and tour honor his legacy as a founding member of the band.
• trading tapes with Chuck, how he ended up playing drums for Death on Individual Thought Patterns and Symbolic, and the creative processes for creating two death metal masterpieces
• his working relationship in the studio with Schuldiner, how Death to All came to be to celebrate Chuck’s memory, Chuck’s legacy, and a list of musicians who have played alongside the group during it’s performances throughout the years.
• how he ended up in Opeth’s video for The Grand Conjuration

When Dan Briggs joined Between the Buried and Me in early 2005, the band was at a bit of a crossroads.  After releasing The Silent Circus in 2003, an album that showed flashes of their future progressive sound, the group went through a number of personnel changes that eventually brought Briggs into the fold, alongside drummer Blake Richardson and guitarist Dustie Waring.  Alongside founding members Tommy Rogers (lead vocals) and Paul Waggoner (lead guitar), this lineup would write and record 2005’s Alaska, which firmly pushed the band’s sound further into the territory explored on its predecessor.  The newly configured group toured relentlessly for the next year and a half, spending countless in vans across different countries learning and bonding with one another through musical tastes and influences. 

When they finally returned home from the road, Between the Buried and Me would produce maybe their most complete work with 2007’s Colors, which is considered by many to be one of the greatest progressive metal records ever made.  The sum of that bonding and the statement of a band trying to define their place in the musical world, Colors also firmly entrenched the band as a premier force in the world of progressive metal.  That title has yet to be relinquished, evidenced by the rich, dense discography they have produced since, which includes a number of concept records that expertly mix a plethora of contrasting musical styles that all work under the umbrella of Between the Buried and Me.

Now on the precipice of releasing their eleventh studio album, The Blue Nowhere, I had a chance to speak with Dan about the new record, set to be released on September 12th through InsideOut Music, and all things BTBAM, including:

• the recording process for The Blue Nowhere, writing a concept record with no characters, how he developed the idea for the lead single “Things We Tell Ourselves in the Dark,” and the band’s general songwriting process.
• how the group incorporates so many different styles of music and makes them fit, the stunning two-track conclusion to the new album, and what the setlist may look like on their upcoming North American tour.
• the lineup changes when he joined the band prior to Alaska and how those changes shaped the future sound of the band, bonding over shared music interests and long van rides, and the surreal nature of touring with Dream Theater and Opeth after the release of Colors.
• a discussion of the nature of music fandom and reflections on his 20th anniversary of being in Between the Buried and Me. 

It was great speaking to Dan about his career with the group to this point, and Between the Buried and Me fans worldwide should be very excited about The Blue Nowhere, as it only adds to the sparkling legacy of one of the most impressive acts in the world of progressive metal today.  Enjoy!

When founding members Tomi Koivusaari, Esa Holopainen, and Jan Rechberger named Amorphis in 1990, they must have had a view to the future of the band.  A play on the word amorphous, which means having no definite form and unclassifiable, no word can better explain the last thirty-five years of the band’s history in regards to their music and lineup.   The legendary Finnish band has become synonymous with their namesake, as they’ve delved in and out of doom, death, folk, progressive, and other styles that seamlessly blend into their now-trademark sound. 

The same can be said for the group’s lineup, as they’ve endured a number of original members leaving the band and returning, with new players joining up along the way and staying in for the long haul.   Only guitarists Holopainen and Koivusaari have remained steadfast throughout the entire three and a half decades.   Others have weaved in and out, with drummer Jan Rechberger rejoining permanently in 2002, and bassist Olli-Pekka Laine returning from a 17-year hiatus in 2017 to complete the return of all original members that played on their 1992 debut The Karelian Isthmus. 

The same ever-changing nature of the group can also be applied when discussing  their lead vocalists.  On the first two records, Karelian and the iconic Tales from the Thousand Lakes, Koivusaari served as the unwilling vocalist, providing death growls though he preferred to focus on his duties as a guitarist.  After making his feelings known to his bandmates, they recruited Pasi Koskinen, who admirably filled the role while Amorphis pushed into progressive and folk directions that weren’t possible without clean singing.  He lasted with the group for ten years prior to his departure, but ultimately his bandmates were concerned he was too focused on his other projects, while fans questioned the direction the group was heading in as album sales floundered and the growls disappeared.

After sifting through hundred demo tapes for a new singer, Amorphis ended up auditioning Tomi Joutsen through a recommendation from someone close to the band. He was chosen almost immediately.  Being a fan of the band, Joutsen encouraged his new bandmates to return to their mix of clean and harsh vocals they had been known in their early years. The group began work on their 2006 return to form Eclipse, and have not looked back since.  

Now, as Joutsen enters his 20th year with the group, he has delivered perhaps his finest vocal performance on Amorphis’ upcoming fifteenth studio album, titled Borderland.  I had an opportunity to speak with Tomi about a number of topics, including:

• the band’s experience creating Borderland, the decision to switch from producer Jens Bogren to Jacob Hansen, the disparity between the two lead singles from the record, and the disco elements contained within the album.
• the core lyrical themes of the album, the unique approach to lyric writing employed by Amorphis, and how Tomi translates and arranges the lyrics to match up with the music his bandmates have created.
• the work he has done to improve his clean vocal singing style, his favorite personal contributions to the album, and why Borderland was the most demanding Amorphis record he’s worked on to date.
• the band’s touring plans, a discussion of “Weeper on the Shore,” and speaking about the Tales from Lake Bodom split with Children of Bodom from 2015.
• the experience of being a fan and joining the band, a discussion of the death of Ozzy Osbourne and his favorite Sabbath albums, and reflections on playing in a group that had such an influence on creative the vibrant Finnish

When Children of Bodom played their final show on December 15, 2019, it quite possibly could have been the last time their brilliant keyboardist Janne Wirman ever played a single note of music he wrote.  The last show came as a culmination of a tumultuous year that saw the band split ways with lead guitarist and vocalist Alexi Laiho after a series of disagreements, exacerbated by his increasingly erratic behavior due to alcohol abuse, which made it impossible for the legendary Finnish band to continue on as they were.  Wirman and the remaining original members of the band each decided to start pursuing careers outside of the music industry afterwards, with Janne opting to enroll in architecture school.  Laiho would carry on with a new group, Bodom After Midnight, but only briefly as Alexi would tragically pass away in December 2020, succumbing to the long term effects of alcoholism. 

Between the hell the band went through in 2019 just trying to keep everything together, to the loss of his dear friend and bandmate, Janne became so disillusioned with music and the music industry that he considered never playing again.  In fact, he went on for nearly four years without doing so, until he finally relented to the urging of his brother, Antti Wirman, a long time member of Janne’s Warmen side project and a ferocious guitarist in his own right, and bassist Jyri “Snake” Helko.  The way Jyri and Antti tell the story, they basically refused to let Janne quit music, saying in interviews afterwards that he was simply too talented to be “just an architect,” which is quite a statement in and of itself.  Once Janne gave in, the three of them went to a cabin outside of the Helsinki area and were able to come up with demos for new Warmen material on the very first weekend, which became the genesis of what would become 2023’s Here for None. 

There was one slight issue, however: the band had no lead singer.  After briefly considering Bjorn "Speed" Strid from Soilwork, the members of the band decided that Petri Lindroos, formerly of Norther and currently of Ensiferum, would be the perfect addition to round out their lineup.

Now, Warmen are ready to release their follow up to Here for None, aptly titled Band of Brothers, which is due out on August 15th through Reaper Entertainment. 

Ahead of the release of Band of Brothers, I had a chance to speak with Antti and Janne about a number of topics, including:

• how Antti and Jyri convinced Janne to continue making music, how the band settled on Petri Lindroos as their frontman, the writing process for Band of Brothers, why they picked the eponymous title track as the first single, and a question about a certain sign from Antti's home studio.
• a discussion of the rest of the album’s tracks, their cover of “The Kiss of Judas” and the importance of Stratovarius as a band to a young Janne and Alexi, their plans to play live, and Janne’s thoughts on Warmen playing Children of Bodom songs live.
• the experience of being interviewed for the Children of Bodom oral history due out in August, Antti’s stint playing as touring guitarist in the band in 2015, the brothers’ explanation of Antti only being listed as a guest musician on the first Warmen album, and Janne’s history of posting on heavy metal message boards.
• when Janne knew he was part of something special playing in Children of Bodom and reflections about being grateful to be able to play music again as a hobby as brothers as opposed to a career. 

Speaking with Janne and Antti, it’

So the story goes, Tom Angelripper and his original bandmates started playing music as a means to escape a life of working in the coal mines in Germany.  Now nearly 40 years later, after influencing innumerable thrash, death, and black metal bands over their historic career, Sodom is preparing to release their 17th studio album The Arsonist through Steamhammer/SPV on June 27th.  Ahead of its release, I had a chance to speak Tom, the only original member remaining, about a number of topics, including:

·      the writing process for The Arsonist, his process for developing lyrics for the songs on the record, how Tom decides which vocal style suits the music best, and his inspirations for both lyrics and vocals.  

·      a discussion of Tank and Algy Ward and the song on The Arsonist that’s dedicated to him, the tribute to original Sodom drummer Christian “Witchhunter” Dudek on the new album, and memories of Witchhunter commemorated in the lyric video for the song. 

·      Tom’s feelings on being an inspiration for the Norwegian black metal scene, “Obsessed by Cruelty” and its production value, how it influenced Mayhem and Burzum, and plans for a reissue of the album.

·      the differences in the band recording Sodom’s first and second albums, the transition from occult lyrical themes to more political material on Persecution Mania, his reflections on over 40 years in the metal world, and a thank you to Sodom fans worldwide. 

Tom was a pleasure to speak with and expressed gratitude to his fans worldwide at the end of the interview, who will surely be ecstatic to listen to the new material Sodom have created on The Arsonist.  Enjoy!

Though he may not have known it at the time, Alexander Kuoppala’s eight-year tenure in Children of Bodom would prepare him for his future endeavors in music education.  When he joined the group in 1995 when they were still called IneartheD, he was five years older than most of the members of the band.   As the group progressed and advanced their career with each of their first four widely revered records, he became an older brother figure to his bandmates, especially their superstar guitarist and vocalist, Alexi Laiho.  Alexi and Alexander formed a strong bond in those early years of the band, whether through practicing for hours on end, driving the streets of Helsinki and beyond while listening to the Miami Vice soundtrack, or generally discussing life’s ups and downs.  

Though the band’s talent was evident from an early stage, Alexi would get easily frustrated and dejected with a less than perfect performance and want to abandon the entire thing.  It was at times like these that Alexander notes he spoke to the young frontman and tried to impress upon him that there was a third option between perfection and quitting.   The early years of the band were notably difficult for Laiho, as he struggled with depression and self-harm.   During these times, it was often Kuoppala who was called to be by his side to speak with him.

Now, more than two decades removed from his experiences in the band, Kuoppala is an integral member of Rock Camp Finland, which offers year-round music education, clinics, and mentorship for kids and teenagers who are interested in performing rock and metal.  They provide a positive, inclusive environment where these young people can build their self-esteem, work on social skills and personal growth, and interact and play their instruments with esteemed musicians from the Finnish metal scene.  The program also includes clinics with well-known metal players, including Alexander’s former bandmates in Children of Bodom, virtuoso keyboardist Janne Wirman and bassist Henkka Seppälä. The overarching message from Rock Camp is one of inclusion, support, and creating a positive environment for these young players to thrive musically and socially. 

I was able to catch up with Alexander to discuss his involvement with Rock Camp and a number of other topics, including:

• how he became a part of Rock Camp, how the program operates on a day-to-day basis, a growling clinic that’s available, and the students’ reactions to interacting with their favorite musicians. 
• his death metal band Thyrargo, how he came to be inspired to play in bands again, and when fans can expect to hear a full-length album from the group.
• the newly finished Children of Bodom oral history that will be released in August 2025, his memories of the early years of the band, and reconnecting with Janne, Jaska, and Henkka after Alexi’s passing.
• reflecting on the “older brother” role he played with Alexi and the group, a few stories from his time with Alexi, the parallels between his mentorship of Alexi and the work he does with Rock Camp, and his thoughts about the next generation of Finnish musicians embracing Alexi and Children of Bodom. 

It was a pleasure speaking with Alexander about all of these memories he has of the early stages of Children of Bodom, as well as his current pursuits.  His passion for working with the younger generation of musicians is evident in the way he speaks about the joy he gets from seeing them succeed, leaving no doubt he has found the right line of work after departing the band in 2003.  But I guess when you’ve already mentored one of the most famous musicians in Finnish history

When interviewed about Mario Lalli for a documentary about the emerging desert rock scene he grew up in, Josh Homme of Kyuss and Queens of the Stone Age fame described him this way:

“Mario is the one guy who I always thought deserved the most credit for everything.  He was always a few years ahead of his time… He’s always had this way about him – he’s very giving, he’s always done everything for the right reasons, for the art of it, for the love of it, and expecting nothing.”   

Though he’s ambivalent about the "Godfather of Desert Rock" moniker he’s acquired through the years, you would be hard pressed to find a musician from the Palm Desert scene who doesn’t cite Mario as the driving force behind the now legendary genre on music spawned there.  Whether through his playing in bands like Across the River and Yawning Man, buying the generator that powered the now mythic live shows in the desert, opening his own restaurant to double as a live venue for the scene’s groups, or offering the younger generation of musicians a place to rehearse in his own garage, his dedication, influence, and contributions to the now famous stoner rock genre in its infancy are immeasurable. 

After meeting Mario at a Brant Bjork Trio show in Ridgewood, Queens, I asked him for a picture and if I could interview him sometime.  He emailed me right there on the spot, while working the merch booth before taking the stage to play.  We spoke about a wide range of topics, including:

• the recent Stateside Boogie tour with Brant Bjork (Kyuss, Fu Manchu), the release of their new record Once Upon a Time in the Desert and the relaunch of Duna Records, his longtime collaboration history with Brant, and the delicate relationship between art and commerce.
• his incredibly influential band Across the River which paved the way for Kyuss, opening for D.R.I. and St. Vitus, and Across the River never ended up releasing anything official despite being in talks with famed punk label SST.
• the emphasis bands in the desert scene placed on playing live as opposed to recording, the origin of generator parties in the desert, and why they eventually became a thing of the past. 
• the early days of Queens of the Stone Age, touring Europe with them and opening for The Smashing Pumpkins, and writing the lyrics and singing the early version of “You Think I Ain’t Worth a Dollar, But I Feel Like a Millionaire” from Songs for the Deaf.
• a reflection on what it means for a scene he worked so hard in to become so well-known and famous worldwide, and gratitude for being able to do something he loves for a living.

Speaking with Mario, it’s obvious that all the work he’s done to promote his music and the music of others around him was and continues to be done with a level of authenticity that’s impossible to fake.  It may have taken him a little more time to receive that praise and success than others from the same scene that he deserved, but I bet if you asked him, it wouldn’t really make a difference one way or the other.  His passion for his art and being able to create music is reason enough for him to do it, regardless of how many people are listening.