Autumnblaze recently shot through the Metalbite office (at least for me anyway) with extreme competence in their composition at mood and melody within the fields of EMO-rock. "Mute Boy Sad Girl" is the newest Autumnblaze record on the market and according to me an enthralling experience in the dark and aggrieving arts of a romantic work. Alvar Eldron (Markus Baltes) from Autumnblaze recently took a momentary lapse in his wailing pessimistic moods to scribe a few answers to some muddied questions...

Jack ‘Odel’


I love the new album, "Mute Boy Sad Girl", it was my favourite album that I listened to in the month of May. Could you start off by talking a little about how the concepts for "Mute Boy Sad Girl" came together?

Well, thank you for the compliments. As for the musical concepts I can say that I've gathered a lot of song ideas over a period of several months. Then, when I had enough song material for the album, I began to work out the lyrics and the vocal lines, too. This time I wrote all lyrics within one month so they are even more intimate and closer than before. But in the end the development of Autumnblaze's music is always a floating process without barriers. The music is drifting on invisible roads, so to speak...

What is the idea behind Autumnblaze's name?

Oh, I have chosen that name five years ago and the idea behind isn't so important. But I've been often inspired by the autumn. Many beautiful and tragic things happened in that season and Autumnblaze simply stands for the diversity and the emotional evolution of the indiviual. That's my present definition of our name. Maybe I'd tell you something different if you asked me a few weeks later. [laughs]

You are a German band, yet you write in English. Has your penetration into the music markets been more successful in German or English speaking countries?

I guess we have more success in Germany at the moment because we have a German label and the distribution is fixed on the German market more than other countries. But Prophecy Productions does a great job and they are always working hard to improve the distribution in other countries. I think it's important to reach as many people as possible and I wish that the Australian music lovers get the possibility to listen to our albums, too.

I've seen Autumnblaze get many positive reviews in a lot of metal press around the globe (obviously including us). Autumnblaze is not a metal band, do you think it is the label connnection via Prophecy Productions that has enabled you to work quite exclusively within the metal scene?

Of course, Prophecy Productions started more or less in the metal scene but now it becomes more and more an independent label with a strong weightiness on individual and trend-setting music. I don't know how Prophecy Productions is seen in other countries but in Germany they have the reputation of a small, exclusive and precious company and it's growing with the success of its artists.

The success of Autumnblaze infiltrating through the metal market is obviously unquestionable. Do you hope to succeed through other music genres as well? Where else do you guys get good exposure?

Well, we also have good response in wave, gothic or alternative magazines. I guess, Autumnblaze can't be seen as a metal, wave or gothic or alternative band but the different press is important to promote the band. Actually, I don't think too much about such things. I just want to concentrate on my music. That's all.

I imagine the reactions towards "Mute Boy Sad Girl" have been quite glowing. Are you happy with how things have turned out so far?

Yes, of course. Press reactions all over the world are great and promising but as I already said these things are not so important. It's flattering and good for the band promotion but not for my life. Just words and perspectives, so to speak.

Did the outcome of "Mute Boy Sad Girl" turn out the way you wanted? Would you have changed anything specifically about it, with a few months worth of hindsight?

One would always change something after some weeks or months as one is never 100% satisfied but you need the mistakes to learn again and to make the next production better. With "Mute Boy Sad Girl" I am quite satisfied but there are many things to improve for the future. But that is secret. [laughs]

Can you give me an idea about what sort of stuff "Mute Boy Sad Girl" deals with in a lyrical sense?

It's about relationships, fears of life, music... about things that are important for me and how to deal with difficult emotional situations in life. For each one who is interested in lyrics - read them. I won't explain too much.

What gives you guys inspiration to continue writing albums for Autumnblaze? Is it what deal you with on a personal basis each day or more from bands that come up with an interesting concept for an album that spurs you on to create songs?

It's everything. I need music to breathe and when I've written a song or a lyric, I am a happier person. The inspiration is given - it's everything that surrounds us, every word, every smile, every look, every dream...

Do you tour much for Autumnblaze? If so how many touring musicians do you need to help fill in the gaps, if any?

We've started playing live this year and including me on the vocal front we have four musicians (Jochen - guitar ; Carsten - Bass ; Michael - Drums) and the samples are about on mini disc. It's a very dynamic line-up with a lot of potential and we'll do some festivals in the summer and in autumn we are on tour with label-mates The Third and The Mortal. I Hope we'll have a great time together.

What would be your top 5 records of all time?

This Empty Flow - "Magenta Skycode"; Katatonia - "Discouraged Ones"; The Cure - "Bloodflowers"; Red House Painters - "Retrospective"; Sunny Day Real Estate - "The Rising Tide".

But I could also name five other records.

Is Autumnblaze a full time job for you? Do you work besides Autumnblaze? It seems most bands need to work nowadays to put food on the table in addition to their musical careers.

Autumnblaze isn't a full time job at the moment but music is a full time job for me. I also work on other musical projects and I am constantly thinking about music, songs or things like that. Unfortunately I can't really live from the music alone but I work hard to do that sometime in the future, but it's a question of patience and belief.

Why does Autumnblaze consist of only two members? Has it always been that way? Surely the workload must get pretty heavy when it comes to cutting an album...

I do all the songwriting and also I write all the lyrics for Autumnblaze. Schwadorf is my helping hand in the studio and it's always a pleasure to work with him and his skills. One could say that Autumnblaze is on the one side Schwadorf and me, and on the other side the live band. Both sides I control so the Autumnblaze vibe will never fade. [laughs]

I don't imagine you would have too many ideas brewing for a new album sometime in the next 2 years or so... or I am wrong?

Oh, don't think so. [laughs] In July we are recording a few new songs for a mini album to be released at the beginning of the following year and I suppose the next full-length album will be recorded in spring or summer 2003.

Now judging from some of the somber vocals and overall depressive aspects of "Mute Boy Sad Girl", would it be a wrong assumption to make that Autumnblaze as a collective unit are pretty down on life and somewhat pessimistic in judging things? Would that be a fair statement to make, or I am completely off the mark?

"Mute boy Sad Girl" shows just one side of me. It would be wrong to transfer it to my whole personality. I guess I am a very optimistic person with lots of dreams and visions and I have a very sick sense of humor. You will see that because I am currently writing on a very humorous and grotesque story and maybe it'll be translated into English sometime.

That said, will Autumnblaze ever record an upbeat, happy and ultimately enriching album that consumers will put in their CD players and will be instantly joyous in the happy lyrics that Autumnblaze write? The reason I say that is because it seems so easy to write more morose and disheartening music as a pose to the happy kind. Doesn't anybody get happy anymore??? What is wrong with humanity!?

I am just someone who loves melancholy and the feeling of yearning in music. Autumnblaze isn't a depressing band. We handle with deep emotions and there is always a little hope in our songs. But to answer your questions - I think you can say that if the music is happy mankind will be happier. I can only say that I feel better when I listen to This Empty Flow than I do when listening to a kind of happy pop music. There's something completely wrong with humanity but you can't solve the problem with happy music.

Are you ever going to tour Australia and maybe do a bit of a promotional tour down here? The main problem I imagine would be that exposure you would get down here would be next nothing... as in most music cases in Australia. Which is a shame because your music I believe would appeal to a wide consumer base in Australia.

I would love to play in Australia cause I have always dreamed to see Australia some day in my life. I guess the people are very nice there and it would be really a big dream for me and the band.

That is about all I have for you. Thank you very much for taking the time to answer my questions. I look forward to the next empowering and uplifting Autumnblaze album! Any final thoughts?

I want to thank you for the interesting interview and if there is a possibility to play live in Australia we'll do it.

Michael Schenker has just released a new album called "Universal" (review here) and was on European tour, too (live review here). Back home I had to great chance to do a phone interview with him to talk a little bit more in detail about the writing process of the album and about his 50-year career in rock history. Enjoy reading and don't be confused about all the Michaels in the interview!

Michael

Hi Michael, did you have a good tour?

Yes, the tour went well, lots of happy fans and that's fun.

I saw you guys in Bochum and I have to say it was great. Just the fact of finally being able to see a band live again was great. How was it for you to be on stage again after Corona?

(Laughs) For the body a bit unusual, because at this age, when you haven't been on stage for two years, and the first time was back in England at the end of October, that was quite a shock for my body, even with my position to play guitar. That's already noticeable especially a little bit later. Footballers, for example, have to train themselves, stamina and all. And if you don't do that, it can be quite a strain on the body, which is suddenly shocked. The tour was now longer and the body has adjusted to it, there was everything okay.

Your new album "Universal" will be out soon. First of all, I think the cover is pretty cool. Who had the idea for it?

It was basically my own idea. Captain Kirk (William Shatner; M.) had spoken on the first Temple Of Rock record back then and that's when the idea came to me, I made a sketch and my website designer then expanded a bit. But that was not yet the right time for such a thing, the acoustics then had another idea and that became this pyramid. At some point, when we were making the new record, I remembered it, showed the sketch to Markus Staiger (head of Nuclear Blast; M.) and then changed it a bit and that's how it came about.

I didn't know that Wiliam Shatner had a guest appearance with you!

Yes, on the first Temple Of Rock record, where Doogie (White; M.) also sang for the first time. I played on his record and he did the intro with me.

What do you want to say with the title? That music is equally important everywhere?

Universal basically has several meanings. First of all, music is very universal, you can understand that everywhere, no matter in which country or on which planet, that's mainly meant that way. But you can also understand it ironically. I'm in this spaceship and I'm probably looking for venues on other planets and behind me are the UFOs and they probably met me sometime in the past and I joined them, so everybody can build their own story.

How important are the lyrics for you as a guitarist?

Basically not at all. I used to just listen to music as a kid and the music I liked was English or American. I didn't know English, so I focused on the music and for that reason alone it wasn't important to me. But the lyrics are important so that you form words that then become a sound. For that reason, the lyrics are important because through those words the singer makes some sounds that are then incorporated in different ways and through that also becomes an instrument. But what's behind it, that's not important for me and as someone said before, that it takes something away from the music if you concentrate on two things, but there are people who are maybe more keen on the lyrics than on the music or vice versa.

On the 13 tracks you once again show your skills as a guitarist. How do you manage to write such sophisticated melodies? When do you get the ideas?

Michael Voss and I have a good cooperation, we have been producing together for 12 years. He doesn't know how the songs sound until we book the studio to record, and then he gets ready right from the start to put the lyrics and melodies together and when I go to the hotel he continues in the evening and plays it for me the next morning and that's how it comes together. I then give him feedback and we never know what's going to come out of it because it's all brick by brick. I start with the music and the rest, all the ideas, who's singing and who we should maybe bring in as musicians, that comes together.

With the intro 'Calling Baal' and the corresponding track 'A King Has Gone' you pay tribute to Ronnie James Dio. Why only now or how did you get the idea for this?

Again, brick by brick - you don't know what's going to happen next. On 'A King Has Gone' Michael Voss said to me "Here, I did this last night" and he also said that the lyrics are about Ronnie James Dio and I just said "Ah, my favorite rock singer, play it!". Then he played it for me and I thought it was fantastic and then Michael Voss suggested that we have the Rainbow guys who played with Ronnie James Dio back then with us. He managed that and we had Bobby Rondinelli, Bob Daisley, Tony Carey with us. Markus Staiger also thought the song was great and had the suggestion to get Michael Kiske as a singer. We tried that and it sounded great and so Michael Kiske became the singer for the piece.

You have a lot of guests on "Universal" who contribute different things to the tracks. Was it difficult to get all those people to do it and record all the different stuff or did it go through file sharing?

We did the music first and then I explained to Michael what I needed as drums for the tracks so he understood what direction it was going in rhythmically and then we do like a guide bass and guide keyboard to that so you have a good base to work with. Of course we also have the vocals, Michael has written all the lyrics and melodies this time and that we send to the musicians and singers and they then practice it and what is important then are the personalities of the participants. The building is done, so to speak, and Michael Voss is the engineer and when everything is right between us, I first take a break and he goes to engineering. When that's done, I'm back in and you think about which version - sometimes you have three or four different versions of some instruments or vocals - and we agree at some point and that's how a record comes about.

You have been active in many bands over the years. Which one would you describe as the most important for you or your career?

Life is a development for me, there is nothing important or less important. All steps are important that have led me to today. It's all a puzzle work for me that belongs together and until the end of my life it's all as it should be.

Do you have an absolute favorite song that you are particularly proud to have composed?

I am not proud at all, maybe happy. But in general also with music, for me it's about the record and having the balance, like a well-written book, that everything is well balanced, that it doesn't get boring, that nothing repeats itself over and over again and has a certain freshness in it. That's the most important thing for me. There is no moment that can be the same, every moment is different and it depends on the moment and what is happening around. All that together, all the steps and all the little moments are important. But I don't have a favorite song. Not even on this record. Every song has different things that come out. It can be a very well done solo, some melody...I see it all very detailed and very different than a consumer who just hears the thing for the first time. By the time people hear it, I've heard it a thousand times (laughs) and that's a very different kind of being there because I'm also a creator. I do everything much different than the commercial world and I'm an artist and I evaluate everything much different than normal people do.

Now I have a question Sebastian Ramstedt from Necrophobic asked me to ask you. Some bands like to steal from you, like Iron Maiden on "Back In The Village" or Europe on the first two albums. Did you notice that and what do you think about such things happen?

Keep paying attention, but don't know anything about it. I also basically don't care, because you can't do anything about it. In the 80's a lot of people copied my style and I'm used to that, but as I said, I don't listen to music, haven't for over fifty years and I don't even know what's out there. There are certainly awesome guitarists and singers, but I always say "spreading and expressing the joy of music from the place of pure self-expression". That's why I don't listen to music, because the brain is like a sponge and absorbs everything and you automatically copy things if you are too busy as a consumer, so I made the decision from the beginning of my life to only be an artist and creator instead of a consumer. This also kept me fresh and gave me less opportunity to copy something.

How do the further plans look like? You canceled your Russian tour for perfectly understandable reasons.

We are playing festivals, Graspop, Hellfest and some more in July and August. In September, October, November we will be in America - all that with Ronny Romero as singer and after that in Japan and we hope to come to South America and Australia and then we will see.

Will your first MSG albums ever be remastered? You can hardly buy them anywhere and if you do, then only at horrendous prices.....

Some things are coming together title by title. I just got an offer for the Chrysalis re-releases, all the Michael Schenker Group stuff as a setbox. But I've had different record companies and different bands like McAuley Schenker Group or Michael Schenker Group and so on. That all comes up at some point when you're asked if you'd like to do that and then you decide to do it. Probably other things will come along as well.

What advice would you give to young guitarists who have just started playing?

They have to decide what they want. Whether they want to be commercial musicians who want to get famous really fast and make a lot of money with short cuts and all kinds of tricks - so more artificial lifestyle as a musician, or they really want to be in it with heart and soul and that joy that comes from playing guitar instead of calculating - people have to be clear about what they want. Then it's also clear: if you want to be successful quickly in the short term, most people stick to the trend so that they get a piece of the pie, in other words they have to do what the trend is doing and thus copy and make something that fits in and the other direction is that you have joy in playing and not insist on becoming famous or making a lot of money.