In October 2023, Within Temptation returned in full force to the music scene with "Bleed Out," which explores global injustices and the tumultuous state of the world. In this exclusive interview, vocalist Sharon den Adel shares insights into the creative process behind this intense and politically engaged album. With a more aggressive and dark musical approach, the new work marks an innovative phase in the Dutch band's trajectory. During the conversation, Sharon reflects on the unexpected ease in writing "Bleed Out" due to the proximity of the themes to her own emotions and experiences. The band addressed issues such as the war in Ukraine and the fight for women's rights in Iran, transforming their concerns into powerful and impactful songs. The interview also details the band's involvement with Music Saves UA, an organization that supports Ukrainian musicians and offers humanitarian aid to refugees in the country.

Marcelo Vieira

"Bleed Out" explores global injustices and the tumultuous state of the world. How did this approach impact the band's songwriting process and musical choices?

I think the sound is more aggressive, and the emotions are a bit more intense. I believe this is the most intense album we've ever made. We'll never be as heavy as Sepultura, but in our own way, it's the heaviest album we've produced.

What were the main challenges in creating an album with such intense and politically engaged themes?

Surprisingly, this album was remarkably easy for us to write because it was very close to our emotions. We just let our frustration and emotions flow. The album was written in a very short period, about two and a half months, although it was spread over an entire year since we were touring and doing other things alongside. But every time we got together, new songs always came out, and there was a lot to write about, of course. So, there weren't many challenges, to be honest. Of course, we wanted a specific sound and had to experiment a lot in the studio with drums and guitars, making them more interesting, heavier this time. That was a musical challenge for us, as there are more [sonic] possibilities nowadays. 

How did you balance the need to talk about these topics with producing music that is also accessible and catchy?

Well, I think that in terms of sound, combined with my type of voice, there's always a certain softness. But the music, of course, was louder and more aggressive. And this combination of softness and aggressiveness has always been present in our type of music, more or less. So, the pieces always fit together, in my opinion.

Among the complex themes addressed in the lyrics are the war in Ukraine and the fight for women's rights in Iran. How is it for you and the band to take a stand on these issues through music?

We've always been politically involved, but we used to use metaphors, like in "The Heart Of Everything," which talks about William Wallace; some historical events that can also be seen happening in everyday life. The song 'The Howling' was written when far-right groups were gaining strength in our country in 2004, just as [the album] "The Silent Force" was also inspired by it. However, the influence of the far-right was already present before that, with [the album] "Mother Earth," with some turbulence in that area. So, many songs have been politically motivated and engaged over time, but we never talked about it so clearly unless someone asked us, which rarely happened. So, people always thought our songs were about fantasy stories, which, of course, was the image we conveyed visually on stage. But in reality, we often had a political engagement [behind the scenes].

Now, we feel we are older, and the threat of Russia is approaching Europe. It's only a two-hour flight from where I live to Kyiv and realizing that this war is happening in our backyard makes us feel that we need to be clearer about our position. I applaud anyone who does that because it's necessary for us, as Europe, to unite and confront Russia's aggression and help Ukraine because, at the moment, the situation is not favorable for Ukraine.

With "Bleed Out" being so diverse in terms of musical styles and themes, is there any aspect related to the album or the creative process that you would like to highlight?

Well, as I said, the way we wrote this album was a bit different from usual, with different types of guitars, which gave me the possibility to do more vocally and resulted in a song like the title track, which is more experimental than we've done before. That was something I really wanted to have, more experiences, a more experimental approach. For us, it's already something experimental to try to take a new step forward.

In the past, I was very limited with my vocals because I have a range, but I will never sound like a man, of course, and with the same aggressiveness. However, with the guitars now having more strings, we can go lower than before, and that allows me to sing in different registers. It's a challenge for me and also for the guitarists, who had to play guitar lines on the keyboards and then transfer them to the string instruments.

We would tell the band's musicians: 'Okay, now you play this on the guitars.' And they would ask: 'How? That's not possible.' But we can do it, even if we can't do that, you know? Sometimes it's easy for us because some of us don't write so well on the guitars, and it's easier on the keyboard [emulated] with guitar sounds. But then it's impossible to play because you need to stretch your fingers to a certain point, and there's a limit to that. So, we had to work together with the guitarists to find a middle ground in the guitar sound, and it worked perfectly for me.

You mentioned living in Yemen when you were a child. How have your personal experiences in the Middle East influenced the lyrics of "Bleed Out" and the way you approach social and political issues in your life as a whole?

Although I enjoyed my time in Yemen, even being so young, only six years old, I studied at an Arab school for a while. The people were super friendly to me, but I always noticed, you know, the things people don't say, the way they looked at me as a girl in general, not just at me, but at girls in general. It was a world very different from where I came from, the West. And at six years old, I already felt that difference. The way people dressed was different, and you can also feel something even without people saying it.

I always felt that women were oppressed because it's a different culture, a very male culture, where men can hold hands, but women can't do anything. It's so strange. For me, it was like seeing the women in Iran, but also an entire generation, especially the younger ones, trying to break the regime. They want more freedom, while the older generation and the regime, especially those in power, want to keep everything the same, even though the people's voice is saying something else.

If you want to continue with your way of life and are happy with it, that's fine with me. But if many people want a different way of life, more democracy, or more freedom to perceive religion, I support the voice of those people. I think everyone should have their own voice and be able to choose what they want to wear or how they want to present themselves, but that comes from the West, of course, and I acknowledge that. However, when I lived there, I really felt that there is a big difference between men and women.

It is necessary to recognize the power of women in taking a stand, knowing that they could be imprisoned or even die for it. Many men also composed songs in honor of their sisters, mothers, and ended up being hanged just for making music, for talking about what is not acceptable there. When I saw the news about Mahsa Amini's death, it touched me deeply; I was very sad. It immediately inspired me to compose 'Bleed Out,' which talks about this girl knowing she is doing something good for the last time, conscious that she won't survive but doing it because she knows it's for a good cause and for other girls after her. That is very inspiring.

How has the response from fans been to this new album?

Most people really liked it. And, of course, it's a slightly different sound again, so sometimes people need to adjust and really get familiar with it. But, for the most part, it's been very positive. In my opinion, people also know that we change a bit with each album, and it becomes a little different. Sometimes it's difficult for people because often, of course, also for me, when I hear an album that I really love, I identify with the music I listen to. And if the next album is very different, I also need to get used to the new sound of the band I like so much. So, sometimes it works, sometimes it doesn't work as much.

What do you hope they take away from "Bleed Out" in terms of message and musical experience?

What I hope is that what I wanted, what we wanted to do with this album. We are storytellers and bring news, inspired by things happening around us, inspired by our own lives. Many things. But especially when we talk about Iran or Ukraine, it's important for us that people realize that a news story is forgotten the next day and life goes on, which is natural. I do the same thing.

But if we really want to change things and support certain people in certain countries, we need to keep talking about it and bringing these issues to light. By writing songs about it, I hope that people start to think a little more about these issues and maybe do something, like donating or even talking with friends about the same topics, to keep these themes alive, because people in those countries won't feel so alone. We need to support each other in that direction, I believe. And not just a little. We need to really support each other, and together, we can make that change. Sometimes, they also need external help.

The music video for 'A Fool's Parade' was shot on the streets of Kyiv. How was the experience of filming in important landmarks of the city during such a delicate moment for Ukraine?

I couldn't fly in because there were no commercial flights. So, we flew to Poland and then took an overnight train to Kyiv. It was a long journey to get there. And when we arrived, they immediately gave us guidance to download the air raid alert app on our phones and set it up for the region we were in. So, every time there was an alert, we could get to a shelter safely.

These things are a bit strange when you come from the West, where you live a normal life. You immediately realize you're in a different country, which is at war. We had to seek shelter a few times while we were there.

I felt many emotions being there: sadness, but also admiration for the people who are so resilient and united in fighting against the Russians. Every person I spoke to had lost someone in the war, but also everyone had their own story about something that happened to them. Additionally, everyone is doing their part, volunteering, and donating money to the army. They are very united and understand the need to donate money because they know it's the only way to win the war.

In many moments in Ukraine, they lack ammunition to fight back because there isn't enough ammunition. These situations make us realize that they are on the verge of losing the war if they don't receive support, not just from me, but from everyone. They need support, they need money, they need more advanced air defense systems than they already have to stay safe. They also need ammunition.

It's simple things like that. They can't defend themselves on certain days and just let it happen because they know they can only use it once and only when it's really dangerous, and not when it's far away. That brings the war closer to us, affects us deeply. Although I stayed there for only a few days, it changed something in me and made the experience more intense, in my opinion.

The band announced that all royalties from 'A Fool's Parade' will be donated to Music Saves UA. How and when was this decision made?

We have made donations in other ways to Ukraine, but since we were going to make a song about this war along with a Ukrainian singer [Alex Yarmak], we got in touch with the organization. We felt it's a good organization because they try to help musicians in Ukraine, but also because music is very important in these difficult times for them. And sometimes, music is all you have when you feel sad.

What they do is use the money to help refugees in their own country, providing clothes, food, and other special needs they have. The money is also used to build shelters for the refugees. They also try to help musicians continue playing, holding shows in underground venues for people in need. Moreover, they organize classes for children with PTSD [post-traumatic stress disorder]. They do many good things with this money. So, we think it's a good organization to donate our money to.

To wrap up, the previous single from 'Bleed Out,' 'Ritual,' is described as inspired by the movie "From Dusk Till Dawn." Is it your favorite Tarantino movie?

It was the first film I saw of his. And it was the biggest shock I had. Like, "Oh my God, what's happening?" At first, it seems to be an adventure movie, and suddenly, everything turns into chaos, and everyone turns into vampires, which I didn't expect because I didn't read about it before watching. I loved it. It made me fall in love with his films, and I watched all of them. And yes, I'm looking forward to the next one.

Which one is your favorite, then?

Oh, God! It's "Django." But I must say, they are all cool. And "Kill Bill" was, of course, amazing. But honestly, which one isn't good? That's a better question. "Which of his movies don't you like?" [Laughs.]

Guitarist and founder of the legendary thrash metal band Artillery, Michael Stützer offers a fascinating behind-the-scenes look at music and the band's evolution over a 41-year career. He shares insights into recent lineup changes, highlighting the departure of members and the arrival of new talent, while emphasizing the importance of maintaining the group's signature musical identity. He also discusses the long-awaited release of the live album "Raw Live" (Mighty Music), a posthumous tribute to the late drummer Josua Madsen, capturing the unique energy of a concert at Copenhell, a festival held in the band's home territory. band in Denmark. Furthermore, the interview highlights the re-release of the iconic albums "Fear Of Tomorrow" (1985) and "Terror Squad" (1987) in Brazil through the Voice Music/Rock Brigade Records partnership, providing a unique insight into Artillery's contribution to the Danish music scene and the development of thrash metal.

Marcelo Vieira

To start with, I'd like you to talk a bit about the recent lineup changes in Artillery and what caused them.

Michael [Bastholm Dahl], our former vocalist, had some family issues he needed to address. He couldn't travel and tour due to a recent divorce and issues related to his son. Also, maybe he was a bit tired of the routine. It was his decision, and we remain friends. Kræn [Meier, guitarist] wanted to pursue his own projects, play something heavier, and we couldn't agree on the musical direction. So, he left the band, but on good terms. Now, we have two new members, guitarist René Loua and vocalist Martin Steene, who bring new elements to the band.

Lineup changes are common in bands. Do you believe that, as long as you're in the band, Artillery will sound like Artillery?

I hope so because I've been in the band since the beginning. I believe my presence is crucial to maintain Artillery's characteristic sound. However, the other members, especially Peter [Thorslund, bassist], who has been in the band since 1988, are amazing musicians. Currently, we're in great harmony and excited to play live.

Being the one responsible for maintaining the band's characteristic sound is a big responsibility?

Yes, it's always challenging, but the new members also contribute a lot. We want to stay true to Artillery's sound, although sometimes we incorporate different elements. The responsibility is big, but I do my best, hoping people recognize it.

Do you consider fans' expectations when composing or recording an album?

It's a balance. We start with a riff and build from there. Sometimes we think about the fans, other times we experiment with new things. I'm impressed when Artillery fans praise songs that deviate from the standard. I think it's cool because it shows that, no matter how different they are, they still carry the essence of Artillery.

Over the years, Artillery has gone through various musical phases. How would you describe the band's evolution from its founding until today?

In 41 years, it's natural to have some changes, but we keep the roots. When we started, we wanted to be faster and rougher. Bands like Black Sabbath and later Metallica had a big impact. We try to maintain that essence, introducing subtle changes to avoid monotony.

And how would you label Artillery's music today?

I've always called it melodic thrash metal with elements from the 1970s and 1980s. This identity runs through our albums, from "Fear Of Tomorrow" to the most recent ones. We want to preserve that sound.

Artillery just released the live album "Raw Live". How was the experience of recording this?

It was amazing. Playing at home, at a big festival in Denmark, in the presence of friends and fans, created a unique atmosphere. People were excited, and the sound quality is incredible.

How did you choose the setlist for this show, and how did the atmosphere of the event influence the performance and the final result?

We tried to include main songs that we always play, like 'Khomaniac' and 'Terror Squad'. We wanted to represent each album, but we couldn't due to time. Unfortunately, the song 'The Almighty' ended up being left out.

Recording a live album presents unique challenges and rewards. What were some of those?

Certain songs, like 'Khomaniac' itself, come to life on stage with the interaction of the audience. Festivals are a great place to gain new fans. As for challenges, maintaining authenticity, without studio alterations, is essential. Furthermore, this album is a tribute to our late drummer, Josua [Madsen, who died in 2023].

Recently, the albums "Fear Of Tomorrow" and "Terror Squad" were reissued in Brazil. What was it like to create "Fear Of Tomorrow"? Did you feel like you were doing something completely different at the time?

Yes, in the beginning, people didn't understand our sound, but we wanted to be faster and heavier. Inspired by bands like Accept, we sought something distinct. The changes were well received, and today I'm proud to be considered one of the pioneers.

What was the contribution of "Fear Of Tomorrow" to the Danish music scene at the time and to the development of thrash metal globally?

We were one of the first Danish bands with such a heavy and dark sound. Before us, there was only Mercyful Fate. We were fortunate to have dedicated fans, despite the initial resistance from venues to give us space. This early contribution was crucial for us.

There was a significant progression in Artillery's sound from "Fear Of Tomorrow" to "Terror Squad." In what ways did the band evolve?

We became better musicians and explored different styles while maintaining an original approach. We wanted to challenge ourselves, like in 'The Challenge,' which was like a much heavier thrash metal. Compared to "Fear Of Tomorrow," we had become much better musicians by that time.

The lyrics of 'Terror Squad' draw a lot of attention, with criticism and revolt. Can you share something about that and if there was any specific source or inspiration at the time?

Some lyrics were written by Morten [Stützer, bassist, who died in 2019]. 'Terror Squad' was inspired by personal experiences, like clashes with the police. 'The Challenge' addresses global challenges. The lyrics reflect lived situations and relevant issues of the time.

Artillery was inactive for five years between 1993 and 1998. Looking back, was that break really necessary after what is considered the classic album, "By Inheritance" (1990)?

Yes, at the time of "By Inheritance," there were internal disagreements about playing live. Some members weren't as interested in hitting the road, which caused problems. Today, we play a lot and have a very good relationship, but at that time, priorities were different.

What did you learn during that time and were able to put into practice when reuniting the band for the album "B.A.C.K."(1999)?

We learned a lot about what not to do. Consistency is crucial, with many interviews, public relations, and tours. If you release an album and don't do many shows, you can lose relevance. Playing live is essential, especially today, when it's hard to sell CDs and vinyl.

Thinking about the band's discography, which do you consider your best or most important work and why?

It's always hard to say. Many consider "By Inheritance" the best. Albums like "When Death Comes" (2009) were important, rebooting everything. The next album we make will also be crucial. Personally, I change my mind, considering one album the best one day and another the next.

What legacy do you hope to leave when Artillery retires from stages and recordings?

I hope people remember us for our dedication to playing live and for seeking originality in our music. I want to be remembered as a good person, someone truly dedicated to the metal we play.