Sometimes life is a bitch and it doesn't work as it should. This interview was already done in spring but unfortunately I just found the time to write it down by now. My apologies for that but I hope that my questions about Hellripper's new album (read full album review here) are still actual and interesting. So, maybe you might still enjoy reading my questions I asked James McBain.

Michael

Hi James, I hope you're doing fine?!

I'm doing very well, thank you very much!

You new album "Coronach" is going to be released next month. First of all, what is this title about?

The title is an improvised song for the dead. It's a vocal lament that will be performed at funerals in Scotland and the Scottish Highlands to honor the dead. I think the word sounds cool and it fits the theme of the album.

Is it Gaelic?

Yes it is. But I think it's also used in English but I'm not too sure about it (laughs).

It took me some spins to fully get into it, maybe it is because of the kind of bulky opener, did you try to get out of your comfort zone a little bit this time with this song?

Yeah, there's lot of new things I wanted to try, different things and trying to get out of my comfort zone. I was trying different vocal styles, different mixing techniques, different instruments and stuff like that. The first track starts off with a change in time signature between the first couple of bars. Each bar kind of changes the time signature a little – not too complicated but it's not something I've done previously. So that was something new and I like the chaotic feel of it and thought it was fun to open the album just with chaos and no room to breathe or time to get ready as the listener. It just blasts you in the face with dissonance and craziness (laughs).

The last album was on #12 in the British album charts, if I am correct – so what do you think about when they buy the new album and listen to that track and think "what the fuck"?

Haha, yeah! I think it's fun and it's always fun to think of an album. I always think of an album as a whole thing and I think of an opening and a closing track of side a and b and I'm always trying to make sure that it's some sort of journey and difference between atmospheres and styles of songs. For example the first track is very chaotic and a bit complex structure-wise and there's blast beats and punk parts, spoken word parts and five guitar solos happening and in the next song is a little bit more straight forward rock n' roll vibe. It's kind of contrast between these songs, trying make the full album experience as effective as I can.

You said you try to play a lot of different instruments on the album – did you have any guest musicians or did you just do it all on your own?

Both. I did a lot of piano and synthesizer on the album and I had some session musicians for bad pipes and violins. I had my friend Joseph (Quianlan; M.) who is the live guitar player in Hellripper. He performed two or three guitar solos on the album and he's done that for the past few albums as well. I had our drummer Max (Southall; M.) contribute some cow bells because this is very necessary I think.

Cowbell?

Yes! So it was lots of fun, both playing new instruments myself and figuring out how to incorporate them, how to make them sound good and how to make them work in Hellripper and even for the instruments performed by the other people just to write things on these instruments and trying to make it work in Hellripper. Also to add some things, I don't like things just to be there for no reason, I need to have a reason for them to be there. They've got to improve the song in my view, it's all very well bragging about having something different but if it's not improving the song it doesn't matter how different or unique it is.

How can we imagine the bagpipes when you will perform live? Will it be like Saor did with guest musicians?

Unfortunately not. Usually the bagpipes and things, to be fair, all of the non-traditional Hellripper things are usually there for texture ad atmosphere. They can be adapted to the live show, the vibe of Hellripper live shows is quite chaotic, fast and aggressive. Usually if there's something like a bagpipe part that needs to be in the song we translate it guitar so it still works. We like the studio side of recording – I love having all the textures, different instruments, vibes and atmospheres and some experimentation but the live side of things I really like it stripped back and raw, fast and rock n'roll so it's kind of two different sides to me which I enjoy.

Also the title "Hunderprest", as many others on the album, are not easy to understand if you don't have a very specific knowledge in Scottish history. Maybe you can fill me in a little bit more into the background of these songs with Gaelic titles?

This album every song is based on Scotland in some way. There are things like "Hunderprest" which is based on the legend of Hunderprest, the vampire of Melrose Abbey. There are also historical events like in "The Art Of Resurrection" which is about the body snatchers and grave robbers in Edinburgh in the 19th century. It's also about creatures from folklore like the Banshee, there's horror stories in there – "Blakk Satanikk Fvkkstorm" is based on a story by Robert Louis Stevenson called "Thrawn Janet" which is a cool horror story about possession and witchcraft. There are things inspired by some poetry like in the title track and some more of my personal experiences. So it's all based on Scotland in a way and it's cool to be able to do that. It kind of fits the vibe of Hellripper: about good and evil, horror stories, dark lyrics but kind of seen through the Scottish lens which allows me to use different settings, atmospheres and words. It keeps me creative and inspired much like using different instruments and different types of songs. It want to keep myself creative and learning and exploring new things which allows me to do that.

How can I imagine you are writing the lyrics about Scottish history? Do you dive deep into the material with reading a lot of stuff about it or is it more superficial?

Usually I do try and write the best lyrics I can. Obviously I am more a musician than a lyricist so the music is the most important thing. But I put a lot of effort into the lyrics. When I'm coming up with song ideas or titles, I just kind of anything I hear or read about I make a note of. I just have random documents, random quotes and folklore stories, legends, whatever. When I'm writing songs, some of the music suggests to me the vibe I want to go with the lyrics. Then I dive deeper into it, do more research and write the song that way. A lot of stuff are stories I've heard of while growing up and some I'm very familiar with. But some stuff is new to me as well. I enjoy the learning process of hearing new stories or historical things and writing a song about it. Again, it just keeps me creative and it's fun to learn new this as well, that's an additive little bonus.

Is the Scottish history and the heritage connected to it very important for you? I mean, people like Sean Connery always held the banner high and of course there is this difference between England and Scotland….

It's not really important to me. I mean, I do like Scotland and I enjoy being in Scotland but it's not a massive part of my identity. It's just a part of my life but I'm not engaging in all the traditions and celebrating every occasion, making a big deal of things. It's just kind of something that is a part of me. For the band the Scottish themes where we always explore horror stories and stuff like that, it's never based on historical wars or so, it's just to fit the Hellripper aesthetic and imagery.  

Can we expect a Nessie song in the future, haha?

Haha, if I can come up with an evil story involving Nessie, I'm more than happy to, haha!

Could you imagine to write a complete song in Gaelic lyrics?

No, I don't speak Gaelic. There are some words I understand or that may be more part of our everyday use but I don't speak it at all. It's not a very common language spoken in Scotland actually but where I live right now a lot of people speak it. It's cool to have these words and titles and it adds to the theme.

Am I wrong when I state that Motörhead and Cathedral were some of the influences you had this time while writing the music? There is one specific riff in "Baboahn Sith" that sounds so much like Cathedral …

Okay! That wasn't something I was listening to but I'll take it. They're a great band. It's cool that it can be heard, it's a different aspect to the sound. I like hearing what people can hear in the music because sometimes it's exactly what I was meaning, exactly what I was listening to or I was influenced by. Sometimes it's something I wasn't consciously influenced by and it's really cool that this can be evident, that Cathedral might have been a subconscious influence.

"Kinchyle (Goatcraft and Granite)" is another very untypical track, quite slow and doomy in some parts and full of energy and party vibes in others. Could this become a new band anthem?

Maybe. That's why it was released as the first single from the album because to me it is the most appealing, most accessible song of the album with the chorus and it has more in common with songs of mine already like "All Hail The Goat" where you can shout the chorus along. It is one of my favorite songs on the album and I hope people like it. We've been playing it live a few times over the past few months and it seems it's gone damn well.

The last words belong to you!!

Check out the new album. There's a bunch of different vinyl, cassettes, CD versions of the album. Come to our shows throughout the whole year and all hail the goat, of course!

For some time now, Azeroth has been more than just one of Argentina's leading power metal bands—they've also built a strong connection with Brazilian audiences. After opening for Angra in Brazil, paying tribute to Viper, and strengthening ties with the country's metal scene, the band now presents Trails of Destiny, the English-language counterpart to Senderos del Destino (2022), furthering its international ambitions. In this interview, vocalist Ignacio Rodriguez discusses rewriting the album's lyrics for a new language, working with Fabio Lione, the challenges faced by South American metal bands, the influence of Brazilian metal, and the excitement of sharing the stage with Helloween at Buenos Aires' Movistar Arena.

Marcelo Vieira (@marcelovieiramusic)

"Trails of Destiny" is the band's first album entirely in English, but it stems from a reimagining of "Senderos del Destino". What motivated this language switch?

Actually, it wasn't the first. We had already done that with Beyond Chaos, the English version of Más Allá del Caos. While working on that album, the idea came up to do the same with other records. Shortly after, we received an invitation from Angra to play in Buenos Aires, followed by an opportunity to tour Brazil. We realized that if we wanted to reach more people and play in other countries, it made sense to release English versions of our songs.

Did the lyrics need to be completely rewritten to work in the new language?

Yes. There is no such thing as a literal translation. We kept the same message, but all the lyrics were rewritten from scratch. You have to respect the rhythm, melody, accentuation, and the way words sound when sung. Translating word-for-word simply wouldn't work.

Did you feel that any emotion or nuance from the original versions was lost during the process?

I wouldn't say it was lost, but it certainly changed a bit. Singing in English is different from singing in Spanish, which is my native language. Even so, I've been singing in English for about fifteen years, so I'm quite used to it. In fact, for some songs, I actually prefer the sound of the melodies in English. Each language has a different sound, and that influences the interpretation.

Does that preference also have to do with the fact that power metal is a genre traditionally associated with English?

Definitely. The biggest bands and key influences in power metal sing in English. When you start listening to the genre, it's almost always through bands that use that language. In Argentina, we have important groups—like Rata Blanca—that lean toward power metal but don't exactly embody the style. So, we grew up listening to our idols singing in English, and it ends up becoming something very natural.

Since "Senderos del Destino" is still a relatively recent album, was there any temptation to use this new version to correct or change anything you would do differently today?

Senderos del Destino brought us many achievements. It was with this album that we had the opportunity to play in Brazil for the first time, and now we're taking this work to Chile as well. So, it didn't make sense to change much about it. Of course, there's always something you'd do differently, but we prefer to save that evolution for the next album. The band has grown a lot since those first international tours, and all that experience is naturally being incorporated into the new songs we're writing.

I often say that Brazilian audiences only start to value a domestic band after it gains recognition in Europe or the United States—as if foreign approval acts as a seal of quality. Does the same thing happen in Argentina?

Yes, exactly the same thing happens. There's this common idea of ​​saying, "This band sounds like a foreign band." But why should that be a compliment? We're an Argentine band and we want to sound like an Argentine band, while still doing professional work. I think this is a common problem across South America. If local bands had the same financial resources as European ones, they could reach the exact same level. That prejudice needs to end.

In your opinion, what is needed to change this mindset?

We need to strengthen the scene as a whole. In Europe, there's much greater unity among bands, record labels, and the market. Just look at Finland: Nightwish, Children of Bodom, Sentenced, Amorphis, Sonata Arctica, and Stratovarius all grew up around the same time because there was a structure supporting multiple bands simultaneously. When there's room for many artists, the entire scene gets stronger. We also need audiences to give a chance to the local bands that open for international acts. There are a lot of people doing excellent work.

Interestingly, you mentioned only bands that sing in English. Ultimately, does this issue come down more to language than geography?

That could be it. In Argentina, there's a strong barrier regarding English due to historical reasons—mainly the Falklands War. When we started, a lot of people asked why we sang in English instead of Spanish. There's a strong cultural component to it. I don't know if it's the same in Brazil, but here, that debate has always been present.

Power metal is often associated with virtuosity. How do you prevent technical skill from overshadowing the emotion of the songs?

That's a great question. Many people think power metal is just about playing really fast or showing off technique, but we believe the music needs to go beyond that. Acero was born out of passion ...by heavy and speed metal. We are heavily influenced by the early era of Sepultura and by bands like Blind Guardian, who manage to combine aggression with memorable melodies. In our music, melody always comes first. All arrangements are built around it, which prevents technical skill from becoming an end in itself.

Speaking again about that "foreign validation," the album features Fabio Lione. What did his presence add to the work artistically?

First of all, it was a great opportunity. We met Fabio when he was in Argentina with Rhapsody and Angra. We had a brief chat; he listened to the band, liked what he heard, and said we could talk more later. Since we were already planning to record an album in English and invite an internationally recognized musician, his name came up naturally. Beyond the artistic contribution, observing his work process was a very enriching experience. It also showed us that the band is capable of operating at an international level.

Did you feel extra pressure having a world-renowned musician working directly with you?

Not really. Everything happened very naturally. The band is currently going through a phase where many important things are happening, including collaborations with big names in power metal. Fabio is a world-renowned artist who does incredible work, but at the end of the day, he's a musician just like us. We worked together as equals. Plus, he's an extremely humble and pleasant person, which made the whole experience very smooth.

Another striking aspect of the album is the Viper cover "Prelude to Oblivion", which brings the band even closer to Brazil. What does Viper—and Brazilian metal more broadly—represent in your development as a musician?

Acero was founded by our bassist, Fernando Ricciardulli, and it all started because he heard Soldiers of Sunrise here in Argentina. I think it was in the early 90s, when the album first arrived here. That left a deep mark on his life. In 2018, we decided to pay tribute to Viper, and after André Matos passed away, that idea took on even greater significance. We released an EP before our first tour of Brazil and included that cover specifically to celebrate that legacy.

What makes Brazilian audiences different in terms of energy and receptiveness?

What impressed us most was the reception we got at the band's very first show outside Argentina—in Curitiba. We didn't know what to expect, but as soon as we started playing, the crowd sang along, got involved, and responded in an incredible way. Back in Argentina, that usually only happens when a foreign band is playing. In Brazil, it was different. We finished the first song, and the reaction was so intense that it took us a while to even start the second one. It was an indescribable feeling—a mix of achievement, gratitude, and fulfillment. It's been a few years now, but I remember that moment as if it happened yesterday.

Sharing the stage with Helloween at the Movistar Arena—one of the bands that helped define power metal—carries enormous symbolic weight. What was it like to receive that invitation?

Without a doubt. We had already worked with the same promoter on shows for bands like Stratovarius and Powerwolf, so they mentioned the possibility of us playing with Helloween the following year. At the time, it was just a possibility. When I got the confirmation, I was at my parents' house. Shortly after, I saw the official poster on Instagram with our band's name on it. It was an incredible thrill. A whole movie of memories flashes through your mind because you remember all the struggles you've faced since the beginning. Sharing the stage with one of the bands that created the genre we play, in a venue like the Movistar Arena, is priceless. There is, of course, a greater sense of responsibility, but above all, it's a moment of celebration.

Are experiences like that what help keep the band's creativity and motivation alive, even after lineup changes and so many challenges?

Absolutely. Ever since we started playing outside Argentina—especially in Brazil—everything has entered a very positive phase. We're also heading to Chile now and are in talks with producers and musicians from various places. All these experiences help the band grow and directly influence our new music and even our visual identity. We have a lot of new things planned for 2026, and I believe the highlight of this period will be the show with Helloween at the Movistar Arena. We are living through a very special time.

It was supposed to be a farewell, but it became a manifesto. Epitome's new album was conceived as a symbolic finale, yet it ultimately marked the beginning of a new chapter—brutal, unapologetic, and bursting with fresh energy. "Goodbye My ROT" is the sound of a band fully aware of its legacy and strengths, but still hungry to make noise and push boundaries. In this conversation with Kiszka (Bass, Backing Vocals) and Młody (Guitars), we look back to the moment when the end seemed inevitable and go behind the scenes of a lineup that, instead of falling apart, found a new, (un)fresh breath of life. We talk about grindcore's uncompromising spirit, experimentation that still makes sense, and how, after more than three decades, Epitome continues to play as if everything were only just a beginning. Rather than closing a chapter, the band has added the filthiest footnote to its discography.

Levi

It was supposed to be ROTend, yet here we are with a brand-new album. What emotions accompany the release of "Goodbye My ROT"? Does it feel like you've come back from the grave, or more like a defining turning point for the band?

Młody: We're incredibly excited about the final result, which, to be honest, we weren't completely sure about until the very end. Everything happened very quickly. Besides, not everyone may agree with me, but whenever you're making music, even if you have a clear vision in your head, you never really know how it's going to sound once it's actually pressed onto a record.

I joined the band in the autumn of 2023, and from the very beginning, I was told that the plan was to record Epitome's final album and play a handful of farewell shows. As a guitarist, I had always played completely different styles. Technical thrash and death metal were much closer to me. Grind wasn't really my thing, although I always admired how powerful and effective bands playing that style could be.

And here we are—after twenty years of wandering through different bands, I finally found my home. Once I settled in and found my place within this style—and this may sound a little immodest—I think my enthusiasm rubbed off on the rest of the band. At that point, the idea of ending Epitome's career simply stopped making sense. We want MORE!

Kiszka: (laughs) That's right. ROTend was very close to becoming reality, but we managed to put together a fantastic lineup, and the results speak for themselves. I don't know if I'd call it a breakthrough, though. The atmosphere in the band is just fantastic, and that naturally translates into the music. You can hear it on the album, but even more so at our live shows. Every new member has brought something valuable to the band. There's huge enthusiasm and a ton of new ideas, so we're pushing forward.

The album sounds remarkably confident and cohesive. Is that mainly the result of this lineup having played together for a while, or did you approach the songwriting differently this time around—even though we're talking about such an experienced band and seasoned musicians?

Młody: Every one of us brings a lot of experience to the table, so we simply know what we're doing. We officially started writing the album on January 1, 2025, when Kiszka came to visit me in Przemyśl. In just two days, we came up with and recorded a huge pile of riffs. From that collection, Rafał Chruścicki and I spent the following months—up until around August—turning everything into actual songs. At that stage, everyone contributed something, whether it was complete songs or individual ideas and arrangements. Rafał wrote several tracks himself, including the opening 'Goodbye...' and my personal favorite, 'Crepitating Flesh'.

Kiszka: I also think it comes from the fact that each of us comes from a completely different musical background. That had a huge impact on the writing process. At the same time, there was enough room for everyone's ideas to find their place. Of course, everything had to be put together tastefully and in the right proportions, and that was mainly Młody's and Rafał's job. The final result is something we're all genuinely happy with.

Apart from the greater confidence and tighter chemistry, what has changed the most in the band's internal dynamics since the previous release? Even though the current members of Epitome come from seemingly very different musical backgrounds, it's obvious there's a real spark between you, and you're all operating on the same "Epitome wavelength."

Młody: Definitely the sound, but also a much more thoughtful and meticulous approach to everything. I'm a perfectionist, and even though this album is far from perfect, it simply sounds good. Whether it's better or worse than our previous releases isn't for me to judge, but it's certainly different. Most importantly, our entire approach has changed.
I have a different musical sensitivity and a different skill set, and I tried to fit my own ideas into Epitome's style as naturally as I could. On top of that, the atmosphere within the band is excellent. There aren't two assholes like Kiszka and me anywhere else; you won't find a better drummer than Rafał or a better vocalist than Dyvan. What more could you ask for? It's a dream lineup.

Kiszka: I think Młody summed it up perfectly, so there's really nothing for me to add.

Your music has always balanced between grindcore and death metal, but this album also introduces plenty of experimentation—samples, saxophone, and other unexpected elements. How did you decide what still felt like "Epitome" and what pushed beyond your comfort zone? Was the experimentation spontaneous, or was it part of the band's vision from the very beginning? I know this isn't the first time you've experimented, but sometimes certain ideas work in one context and fall flat in another. In your case, though, it's obvious—or rather, audible—that "the wolf always wants to return to the forest." Looking back on more than thirty years as a band, how do you view your evolution? Early Epitome was raw, wild, and almost recklessly fearless. Today you sound like a perfectly tuned machine.

Kiszka: A lot of the samples were planned from the start, while others came together much more spontaneously. Right from the beginning, we knew we wanted to include additional instruments and samples. I've always been drawn in that direction because I come from that era when we were creating all those twisted, sick sounds. The guys really did an incredible job because we managed to make all those elements work together.

Comparing the early days to where we are now? Back then, it was all about learning and making a lot of mistakes. But it was also a time of unlimited ideas, total freedom, and pure fun. I think we still draw heavily from that spirit today, only now we're much more aware of what we're doing and far more experienced, which is probably something you can hear in the music.

It's impossible not to bring up the classics. How do you look back today on releases like "Auto e'ROT'icism"? Do you feel you've carried some of that fearless attitude into the new album, or is this a completely different story?

Kiszka: If you hear any similarities, that's great, but we all know they'll only be minimal because that record simply can't be recreated. That's just the way it is. Today's Epitome is a completely different band, although it still carries that unmistakable identity—something that immediately tells you it's us. Whether you're listening to our albums or watching us live, you know it's Epitome. I'd describe it as a new, pathological formula for our sound. (laughs)

As I mentioned earlier, "Goodbye My ROT" sounds like a perfectly tuned machine. What was your approach to the production? Were you aiming for rawness, or for carefully controlled chaos?

Młody: Both. We wanted it to sound coarse, dirty, and brown—yes, sounds have colors—but never without control. We divided the work between us. I was responsible for the production and overseeing the rhythm section, while Kiszka and Dyvan handled the vocals. The lyrics and vocal lines were all Dyvan's work. The final stage—mixing and mastering—was Kiszka's responsibility. Everything was constantly discussed with the rest of the band, but in the end, it was Captain Kiszka who squeezed the final result out of the engineer.

Kiszka: Everyone had their own vision, and Haldor—Haldor Grunberg from Satanic Audio, who handled the album's mix and master—had to somehow make it all come together. As Młody mentioned, I stayed in constant phone contact with both him and the rest of the band. Through countless discussions and a few necessary compromises, we eventually achieved the sound you hear today. I wouldn't call it my achievement, as Młody jokingly suggested. It was a team effort from beginning to end. Sure, I oversaw the final result, but there's no way I'd take sole credit for that "success."

I'd also like to ask about the album cover. It's very personal, yet incredibly stylish and bloody at the same time. Where did the idea come from to use a photograph of you and your wife, and what's the story behind it?

Kiszka: There's no dramatic story behind it, really. I simply had a clear vision for both the album title and the cover, and I wanted to make it happen. At first I considered hiring someone to create my concept, but that proved difficult—and probably way beyond my budget. So I asked my wife if she'd be willing to do it. You can probably guess her answer. In the end, we did everything ourselves and only hired a photographer. The photo session lasted about three hours, and we achieved exactly the effect we were after. After that, I sent several versions to the rest of the band, and together we chose the final one. Nothing particularly extraordinary. (laughs)

Today, you're the longest-running active band on the Polish death/grind scene. What still drives you—ambition, the hunger to play, or perhaps the desire to prove that you still belong in the top league?

Kiszka: Probably a bit of everything, although we don't feel we have to prove anything to anyone anymore. We still enjoy doing this; we're still hungry for it, and hopefully it'll stay that way for a long time.

After delivering such a strong album, what's next? Do you see yourselves pushing the experimentation even further, or refining the style you've already established?

Młody: We're moving forward. New songs are already taking shape, and some of the ideas sound even more extreme than anything we've done so far. We have an enormous hunger to play live, write new music, and explore new sounds. We don't set any limits in advance. Whenever I come up with something new but I'm not entirely sure whether it fits Epitome's style, I send it to the guys and ask what they think. Kiszka's answer is usually: "Everything fits in Epitome." (laughs) As for our release plans, I'll let Kiszka answer that.

Kiszka: We have plenty of ideas, and we're definitely planning to bring them to life. I don't want to reveal too much just yet—we'd rather not jinx anything. We know that not every plan works out, so for now I'd prefer to keep a few things under wraps. We'll keep everyone updated as work progresses.

We already have several split releases planned. The first will be with Neuropatia, followed by another split with Austria's Disharmonic Orchestra. Those are our immediate goals, and that's what we're currently focused on. Looking a little further ahead, we're also planning a brand-new full-length album, although it's still too early to talk about it in detail. I can reveal one thing, though—we already have the title, and the concept for the cover artwork is finished.

The World Rock Day celebration in São Paulo will mark the return of Riot—or Riot V, to be precise—to Brazil less than a year after their last visit. However, the band is not the same lineup that toured here in September 2025. Vocalist Todd Michael Hall, prevented by his wife from touring, left his bandmates in the lurch, forcing them to turn to Italian musician Valentino Francavilla, who underwent a trial by fire on European stages. Yet, the person discussing the upcoming show with me—sharing several setlist spoilers along the way—is veteran bassist Don Van Stavern. He is responsible for preserving the legacy of the late guitarist and founder Mark Reale and keeping the group among the top classic metal acts still active today. Enjoy the read!

Marcelo Vieira

Riot V is returning to Brazil less than two years after its last appearance in São Paulo. What stayed with you from that experience that made you want to come back so quickly?

The women! (laughs) No, I'm kidding. It's the people. Everyone always asks if touring is about the money, but for me it's about meeting people, experiencing different cultures, trying the local food, and seeing the country. Brazil is always amazing. The fans are among the best in the world—they sing every song, know every lyric, and have supported Riot for decades. When our Brazilian promoter, Silvio, told us people wanted us back so soon, I immediately said, "Let's go!" We can't wait to return. We'll be playing all the classics, but we've also added a few songs we haven't performed in a while, so it's going to be a special show.

The setlists often focus on Riot's classic years, but many fans believe the later albums deserve the same status. Which post-1988 Riot songs do you consider genuine classics today?

Putting together a Riot setlist is always difficult because we have 18 studio albums. If we played just one or two songs from each record, we'd be onstage for three hours! I'm sure the fans would enjoy that, but we're not getting any younger. (laughs)

Naturally, we have to include songs from the albums that defined the band's legacy, especially Fire Down Under and Thundersteel, which remain our biggest records. We also go back to the early albums with songs like "Warrior" and "Road Racin'." From Fire Down Under, tracks like "Swords and Tequila" and "Outlaw" are essential.

One song we're bringing back is "Altar of the King," which fans have been requesting for a long time. The Rhett Forrester era was also important. His voice had a much more rock 'n' roll approach, so that material has a different feel. Over the years we've alternated between songs like "Hard Lovin' Man," "Heavy Metal Machine," and "Restless Breed." Right now we're leaning toward bringing back "Heavy Metal Machine."

Of course, Thundersteel is always heavily represented with songs like "Thundersteel," "Johnny's Back," "Flight of the Warrior," and "Bloodstreets." From The Privilege of Power, we've been playing "On Your Knees" and "Storming the Gates of Hell."

Then there's the Mike DiMeo era. Those albums had a different style, with Mike bringing more of a David Coverdale-type vocal approach. We've been discussing bringing back "Angel Eyes," and this tour we'll also be playing "Nightbreaker" and "Destiny." I won't reveal the entire setlist, but we're definitely revisiting that period.

As for the Riot V albums, fans have asked us to bring back "Metal Warrior," so that's returning to the set. We'll also play songs like "Victory," "Thundersteel," "Devil's Reign," and we're bringing back "Wings Are for Angels" from Immortal Soul, the last album Mark Reale completed before he passed away. We'll include a couple of songs from the newest records as well.

In total, it'll be a set of around 20 to 22 songs, running about an hour and a half. Building the setlist is never easy, but we've added four songs that we haven't played live in quite some time, and I think the fans will really enjoy them.

More than three decades later, Thundersteel continues to appear on lists of the greatest heavy metal albums of all time. What do you think that record got so right?

It really is one of those albums. Riot has such a long history. The original lineup emerged in the late '70s and released a couple of excellent records, then Fire Down Under became the band's breakthrough in 1981. But, as you said, Thundersteel ultimately became Riot's most iconic album. Whenever we tour Europe, people certainly appreciate Fire Down Under, but what they really want to hear is Thundersteel. That's why our setlists always lean heavily on that record. We always play songs like "Thundersteel", and we've traditionally included "Swords and Tequila" to represent Fire Down Under. This time, we've added another track from that era as well. In my opinion, Thundersteel is definitely Riot's defining album.

Do you agree with fans who consider it the definitive Riot album, or is there another record that better represents the band's essence?

That's a difficult question because Riot has gone through so many lineup changes over the years. Almost every album featured a different combination of musicians. The band evolved from a hard rock sound into power metal when Thundersteel came along.

Before joining Riot, I played in Mark Reale's solo band while still performing with San Antonio Slayer, alongside Dave McClain, who later joined Machine Head. Mark would rehearse and write with us, and around that time bands like Iron Maiden and Judas Priest were defining the New Wave of British Heavy Metal. We realized Riot needed to raise the bar and embrace a heavier, more powerful direction. That's how the Thundersteel sound was born.

If I had to name the two albums that best represent Riot, I'd say Thundersteel and Fire Down Under. Some fans also have a special affection for records like Nightbreaker, but those two remain the cornerstones of the catalog.

Personally, I was already a Riot fan before I joined the band. I owned Rock City, Narita and Fire Down Under. In fact, Mark Reale and I were friends long before I became a member. I even helped him go through demo tapes when he was looking for a replacement for Rhett Forrester. Later, when Kip Leming left, Mark called me and I joined the band.

Out of the early albums, Narita has always been my favorite. Songs like "Road Racin'", "49er" and "Kick Down the Walls" were among the tracks that first made me fall in love with Riot.

That said, most fans today gravitate toward the power metal era. The Mike DiMeo period produced some excellent albums, but when Mark reunited the Thundersteel lineup for Immortal Soul, people immediately felt that classic spirit had returned. They kept telling us, "This sounds like Thundersteel again."

That reaction played a big role in my decision to continue the band after Mark's passing. I wanted Riot V to carry on the musical direction that began when I joined: the Thundersteel era. That's why albums like Unleash the Fire, Armor of Light and Mean Streets are written with that same philosophy in mind. I write the way I wrote during Thundersteel, and fans have really embraced those records.

In the end, I'd say the two essential Riot albums are still Thundersteel and Fire Down Under. Interestingly, American audiences tend to prefer Fire Down Under because of its more hard rock-oriented style, while European and South American fans generally gravitate toward the power metal sound established on Thundersteel.

Do you feel the band's more recent albums are receiving the recognition they deserve, or is there still a natural tendency for fans to focus primarily on the past?

Riot has such a long history that people will always have a deep connection with the classic albums. The band was a cornerstone of the heavy metal scene back in the day, so that's only natural. But ever since Mark Reale passed away, I've tried to keep us focused on the Thundersteel spirit. While he was living with me during his final days, I told him I wanted to continue the band, and he encouraged me to carry on in the style we had developed together.

That's why, even on our latest albums, I still write with that Thundersteel approach in mind. On Mean Streets, for example, I wanted to bring together different eras of Riot. Songs like "Hell to the Warriors" are pure power metal, while "Feel the Fire" is more straightforward heavy rock—people have even compared it to "Grinder" by Judas Priest. We also included songs with that classic Narita vibe, while Mike Flynt contributed material that reflects the Tony Moore and Mike DiMeo eras. The title track, "Mean Streets", is my tribute to Riot's roots on the streets of New York City.

Honestly, we've received more recognition than we expected. When Mark passed away, we were unsure whether fans would accept Riot V. We even took a couple of years off before deciding to continue, but Mark's father gave us his blessing. He told us, "Keep my son's memory alive. Don't let his music die with him." That meant everything to us.

Once I started writing for Unleash the Fire, Mike really liked the direction, and we found Todd Michael Hall, whose voice reminded us of Tony Moore's. We also brought in Frankie Gilchrist, and when we released that first album and played our comeback shows, the reaction was incredible. Fans embraced the new lineup immediately. Armor of Light received the same enthusiasm, we played major festivals, and then recorded Mean Streets with exactly the same lineup—something Riot had never done before. Throughout the band's history, the lineup changed constantly, so making three consecutive studio albums with the same musicians was actually unprecedented.

We've also been fortunate to have strong support from our record labels, first Nuclear Blast and later Atomic Fire and Reigning Phoenix Music. They backed us with professional videos directed by Tom Flynn, who has worked with bands like Buckcherry and Lamb of God, so we really felt we were moving in the right direction.

Of course, we recently had an unexpected setback when Todd decided to leave the band. It was a real shock. He had already committed to all of our 2026 touring plans—Latin America, Greece, Paris, the UK, everything. Then one day he called and told us he couldn't continue because of personal family issues. We respected his decision, but it put us in a very difficult position because contracts had already been signed and fans had bought tickets.

Canceling was never something we wanted to do. Riot has always believed that the music comes first, regardless of lineup changes. Mark always had that philosophy: if someone no longer wanted to continue, you wished them well and found someone who was committed to moving forward.

So we started looking for a new singer. We considered Harry "The Tyrant" Conklin, who had been associated with Riot years ago, but we felt we needed someone with a vocal style closer to Tony Moore and Todd. We also contacted Mark Boals, but he was busy touring, and Marc Lopes, who ultimately felt the material sat a little too high for his voice.

Then Mike reminded me of Valentino Francavilla, an Italian singer who had been signed to our Japanese label and had even joined us onstage once. I asked him to record himself singing our entire setlist, and after watching the videos we knew he was the right choice. We made a few adjustments, rehearsed together, and took him on the recent European tour.

Naturally, everyone was a little skeptical at first, but the tour was a huge success. Every headline show sold out, we played three festivals, and the response was fantastic. Valentino is a lifelong Riot fan—his favorite album is Thundersteel—so he already knew every song. That passion really came across onstage.

We've been through lineup changes before, and we've always found a way to keep going. That's part of Riot's history. We sincerely wish Todd and his family all the best, but as long as there are fans who want to hear these songs, we'll keep honoring Mark's legacy and moving forward.

When writing new material, do you consciously think about what Mark Reale would have approved of, or do you believe the best way to honor his legacy is simply to move forward without that kind of filter?

Mark still helps me write these songs. His spirit is always with me.

When we wrote together, we'd sit in a room with our guitars, and one of the greatest lessons he ever taught me was how to write a truly memorable song. Before Riot, when I was in Slayer, everything was heavy, but melody wasn't the priority. Mark showed me that every song needs "a melody within a melody." The vocal line has to stand on its own, and the guitar solos should be memorable enough to sing along with. That's why so many of the dual guitar harmonies and solos on Thundersteel have stayed with people for decades.

For example, when I wrote the music for "Flight of the Warrior," Mark loved it, but he immediately said, "We need something people can sing." That was always his philosophy. The riffs could be powerful, but the melodies had to be unforgettable. That's still how I write today.

I think about that every time I compose. Songs like "Victory" follow the same approach: strong riffs combined with vocal hooks that people can remember. Mark's guitar solos were songs within songs—you could hum them just like the vocal melodies.

I honestly feel his spirit guiding me. His grave is only about five minutes from my house, and I still go there from time to time. I'll sit beside him and say, "We've got another Riot album coming out, brother. I wish you were here. Send us some good vibes." I even took one of our albums there and photographed it beside his headstone.

I loved the guy. He's no longer with us physically, but he was one of my heroes, and I still do this for him. People sometimes say we're only continuing Riot for the money, but that's simply not true. We're certainly not getting rich. We do this because we love the music and because we want to preserve the legacy of Riot and Mark Reale.

Is there a song in Riot's catalog that you rarely listen to today because it brings back especially strong memories or emotions?

There are a few.

Thundersteel will always be special because it was my first Riot album. Even before that, though, Mark and I were already writing together in his solo project, Narita. Songs like "Fight or Fall," "Heavy Metal Machine," "Gunfighter," and "Running from the Law" were originally written during that period before they eventually became Riot songs. Those tracks mean a lot to me because they represent the beginning of our songwriting partnership.

"Sign of the Crimson Storm" is another one. We actually wrote it back in 1982, when I first joined the band, which is why there are old demo versions with Rhett Forrester on vocals. Those songs bring back incredible memories because I was helping Mark keep the band alive during a difficult period.

Joining Riot was an enormous honor. I had grown up as a fan, buying Rock City, Narita and Fire Down Under. Suddenly I found myself playing alongside Mark, Rhett Forrester, Rick Ventura and Sandy Slavin—musicians I admired long before I joined the band.

Later, of course, a lot happened. We lost Rhett, the lineup kept changing, and there were difficult moments. But Thundersteel always reminds me of Mark in the best possible way.

The songs that affect me the most emotionally actually come from the earliest Riot records. I still remember walking into a record store after hearing "Warrior" and "Tokyo Rose" on the radio and thinking, "Who is this band?" That was my introduction to Riot—and to Mark. Now that he's gone, hearing "Warrior," or especially "This Is What I Get for Loving You," can really hit me. We never play that one live because it's still hard for me to listen to. Sometimes, if you watch me on stage, you'll notice I have to look away for a moment because I get emotional.

Every night before the show starts, I walk onstage with a shot of tequila. I toast the audience, look up toward the sky, salute Mark, and pour a little onto the stage because, to me, it's still his stage. That's something I'll always do. It means everything to me.

Swedish Dead Kosmonaut are back with their third full-length album "Retrospectre" (read review here). Presenting some traditional heavy metal, this actually isn't what you might expect when you read about the line-up of the band having some more extreme metal musicians on board. I had the pleasure talking to the man behind Dead Kosmonaut, Mattias Reinholdsson (bass, backing vocals), about the quite interesting history of the band and of course about "Retrospectre" itself. Enjoy reading and check the album out via Edge Circle Productions now.

Michael

Hi Mattias, how are things going on in Sweden? Is it as warm as in Germany?

Yeah, the last day haven't been very pleasant, actually. It has been quite a cold July spring time but now it's nice.

Maybe you can introduce Dead Kosmonaut to our readers? Maybe not too many guys are aware of the band, I guess.

Maybe so. How can present my band? I think the idea of that band grew many years ago and I wanted to play some sort of more old-school heavy metal. The style of heavy metal that was popular in the early 80s, so I wanted to have a band that had great guitar players, a great vocalist and strong melodies. That's what we aimed for with Dead Kosmonaut. It's that hard and that simple.

"Retrospectre" is Dead Kosmonauts third full-length album after the 2020 output "Gravitas". Why took it so long to release the follow-up?

It's no secret that we had the pandemic when we released "Gravitas". It came out in January of 2020, so it was at the very beginning of the pandemic. First, we didn't really know how long this is going to go on nor how serious this is. For the first half-a-year we sort of waited to see if we could go out and play some gigs. The first year we took it easy and tried to see where the pandemic is going. But it became apparent that this is not going to go away and there probably won't be any gigs plans so I thought to start on working on new songs, record them and be ready with the new album and release it when the thing is over. But different reasons and it's really not my place to go into details, a few of the members had some private obstacles that held things back and what I had head in my mind was that we would be recording in a year or something, but it turned out to take much longer. When we had the album ready which was last summer, and maybe you know we had a record deal with High Roller Records in Germany, it turned out that High Rollers calendar for releases was booked for more than a year ahead. So we had to decide if we would wait for another year to put out this album although we're already this late. I had a discussion with Stefan, who is running the label, and we thought that it would be better to look for another label not to withhold and delay the album even more. But as you might know since you are a metal journalist, we had a few of those middle-range metal labels almost haven't dragged quite a few bands and always having a band like Dead Kosmonaut. I mean we're unfortunately not top shelf and would sort of put down in the queue and that also delayed. We were talking to labels trying to find a deal that we were satisfied with. Private obstacles, the world in general (laughs), all these things months on months that literally ran through our fingers like the sands of time. So finally here we are a few years later.

And you ended up on Edged Circle Productions so this is pretty good.

Yeah, they seem anxious to work with Dead Kosmonaut and Frederik (Folkare; M.), our guitar player / producer/ mixer had worked with them on a previous project, and he said that they were great guys to work with. So we contacted them and they were one of the labels we had negotiations with.

Frederik worked with them for In Aphelion and this was also a great album. I checked "Gravitas" and I would say that "Retrospectre" has become much more heavy metal-like, lesser 70s Black Sabbath- influenced. Would you agree with me here?

Yes, I think it's a bit by chance because with that kind of heavy metal we're playing I tend to go for what I think is fresh, interesting and exciting to me. For some reason, and I can't really explain this, the idea of Dead Kosmonaut had more an element of doom metal in it. But as it turned out while I was working on some songs for this album, I didn't really had that many good ideas in that doom metal style and also I tried to make the songs a bit more compact, more robust and not dwell too long on things and get to the core of the song a bit more slim. I think it's not purely by design but by inspiration and also the philosophy that I had with me when we started to work on these songs. As you might have noticed I am not the sole songwriter for the songs. Pelle "Hellbutcher" wrote one of the songs and that one is actually the slow one. It's not really doom but in the more 70s, slow, majestic kind of hard rock / metal. Our drummer Henrik (Johansson; M.) wrote the song that is the title track of the album and this one is more prog rock , trying to be more adventurous in its style, a bit epic.

And it evolves a lot from almost a ballad to a cool heavy metal song.

Yes!

So with Pelle in the band and you wearing an Iron Maiden shirt there are a lot of Iron Maiden influences on this album, especially in the first two songs. Is it some kind of worship, too?

Yeah, I think all of us in the band are Maiden fans since we were very young in the 80s. For me personally, and it might sound a bit weird, perhaps not now but I used to have some sort of problem when I came up up with ideas that sound too much like Iron Maiden I won't do them. When you grow up you don't want to be like your parents (laughs). So I constantly tried to stay away  if it's too Maiden-ish.  If it's too obvious Iron Maiden, and believe me I have come up with power chords and chord progressions and stuff like that is way more Maiden than it's here on the album, so I might not do that. If I were to go track-by-track and I don't mean especially the latest album but all the songs on the Dead Kosmonaut albums, I think I could pinpoint direct influences from Judas Priest more than Iron Maiden actually, also even more from early 80s Black Sabbath, "Mob Rules" and "Heaven And Hell". That is a bigger influence when it comes to Dead Kosmonaut but when it comes to vocals and melodies, it is a bit Bruce Dickinson-ish.

There is one track, "The Lies" that appears to be quite unusual, at least for me. It sounds like what was called modern in the 90s, a little bit grunge or nu-metal-like. Did you plan to do some more experimental stuff with that here?

How did that song happen? What I originally had was the drum and the bass part. To me it sounded a lot like Queensyrche. Maybe not the early Queensryche but from around "Empire" or a bit earlier than that. So I had the bass and the drums and the vocal melody and I started to write words and then I got stuck with that song. I couldn't get it any further and asked Frederik if he had some guitar ideas or if he could hear where this song could go. I asked him in the past if he wanted to write any songs or for ideas for Dead Kosmonaut and he told me that I was Dead Kosmonaut. So I didn't count on him to help me out with that song but he came up with the guitar parts and the last bit. We jammed a bit to see where things would go. If you think back, the second to last song on most albums, usually is just a filler. It is some sort of thrown-away track, right? In my head if you have the second to last track, that is like a wild card. It could be anything. It could be like a weird acoustic track, a short instrumental, the song where you really don't know where to fit cause you have to have a great finale. The last track must be something that you remember. In my head it's still the vinyl age – I still listen to it and by vinyl. First , I think of albums like side A – first and last song on side A. It should make an impact with the first track on the second side and when you come to second to last song, you're free to do whatever you want. You can take a risk. You can do something that is a bit unexpected. Most of the other songs are more obvious and easy to write because they were kind of chorus / verse / bridge. They almost wrote themselves. But "The Lies" is probably the song that we spent the most time working on the part and even when we recorded it, it was the song that we worked on the vocals the most. But in the end I think it turned out like a great song. I don't necessarily know if it's a live song yet, let's see how it feels like when we get out and play. Now at the third album we have quite a few songs to choose from when we play gigs. We're not a band that play all the songs from the new album and I think we have to acknowledge that we are not a super established band , we have to present our material a bit and pick and choose from all albums.

Do you already have some live plans outside of Sweden?

Now we have only planned "Hell Over Hammaburg" for next March so we are coming to Germany. We've played "Markthalle" in 2018 at that festival and I think it was an absolute fantastic venue. It's a big place but you can still see everyone in the audience because of the terraces and the layout of the place. I absolutely love "Markthalle".

With Hellbutcher on the vocals and guitarist Frederik Folkare of Unleashed you have some more extreme metal guys on board. Is Dead Kosmonaut the heavy metal playground for you that you cannot have with the other bands in a certain way?

We haven't really talked about that but I don't really think so. For me, Dead Kosmonaut is a classic hard rock or heavy metal band. We're all the same generation but me personally, I never played in a death metal band. Me and Hendrik have played in a band called "Book Of Hours" way back and we played some more progressive hard rock. Our new guitar player Peter (Hallgren; M.) is also in Sorcerer but we all have the same background, growing up in Sweden and being at the same age. So we're influenced by the mid-80s and bands like Judas Priest, Iron Maiden or Black Sabbath. But I think my generation didn't tend to play classic heavy metal but tend to go more to extreme metal. All these bands like Unleashed or Entombed, we're the same generation and grew up on the same music. About Pelle, let me tell you why he is in the band. He's been screaming his lungs out in Nifelheim and now in Hellbutcher and I was told by a mutual friend, Michael Persson from TPL Records, the label that put out our first album "Expect Nothing" – I was trying to be the singer of the band at that time and I was a okay-ish kind of singer and I always was trying to get a proper singer on one song and that is why we have Johan Langquist from Candlemass – and then Michael Persson told me about Pelle. I know Pelle since the mid90s because we're Iron Maiden fans. Micke told me that Pelle was a good singer and there was this Swedish band "Mercy" where Messiah (Marcolin; M.) was singing in. So there was a tribute for "Mercy" where Nifelheim was playing and in his clean voice doing the Messiah songs and when I heard that my jaw just dropped. I thought that he was fantastic and he was the voice! I got on the phone immediately and asked if he was interested in my project. First he was a bit hesitant but then he heard the songs and sort of worked into it. Even though Pelle has this black metal background, we all listen to the same bands anyway. All the references when we write and talk about songs, the sound and the production, everyone has the same like "we want a Martin Birch sound for that and we want to go for that like Judas Priest….". So I think even though he hadn't done this before it was 100% serious and to me it's the same because I have a pretty strong idea about what I want Dead Kosmonaut to be. That was a really long answer for a short question, I'm sorry!

Coming to the lyrics, is there a special topic that you have on "Retrospectre"?

When I started to work writing lyrics, it's a bit of a struggle. It's not easy for me to write lyrics. You might know from the past that I work with an American guy called John Gaffney who has a band called "Sinister Realm". They're not very active anymore but they put out a few albums and I've known him for about twenty years. In the past when I got stuck and couldn't find the right words or it didn't match my expectations, I turned to him and asked if he could help me out. When I started to work on these songs I thought to myself that it would be easier to write the lyrics if I have a theme, some sort of frame work that I can work within. It is the one of memories, hindsight and how the past affects your daily life, things of what could have been or has been and what they mean to you now. In all the lyrics there is no story but there is this theme and if we take the song "The Lies" we have talks about earlier, it is about that you sometimes lie to yourself to make your history more pleasant or more manageable. Maybe you you've been in a destructive relationship and you want to block that out, maybe it wasn't that bad. So you lie to yourself to live. All the other songs are looking on the same thing but from different angles and mindsets. I also think of the visual thing as well, the photographs, the cover and stuff like that. For the vinyl and CD release it will be the front of the cover will tell you a story when you go through the pages of the booklet. The front of the cover is like the first step and then you go further steps into that picture or where the picture comes from. It's a bit of overly ambitious, I think (laughs). We are the same age and when we grew up, you could these albums where the sleeves could also tell a story. It could also be a part of the narration or the story of the album. I think this part is very much missing today when you only listen to streaming and have this little thumbnail-sized image on your mobile. If you do the effort of buying the CD or vinyl you get something more of the story of "Retrospectre". I think the people who will buy the album will enjoy that because it's part of the package.

That's a good contextual transition for my next question - is there a connection between the album cover and the band name? The guy in front of the mirror reminds me a lot of Vladimir Putin, was he shot into space?

No, that's a pure coincidence that he looks like Vladimir Putin (laughs). First of all, the name "Dead Kosmonaut" came from when I was growing up in the 70s. You could hear people on TV talk about cosmonauts and astronauts. To me growing up it was just someone who was going up into space and I really wasn't aware if it were Soviets or from the US. When I picked the name for the band, and actually "Dead Kosmonaut" is the third name of the band, because at first it was called "Astrakaan" but there was another Swedish band that put out an album under that same name and the name was in the trash can, then I came up with "Domkraft" and the same thing happened again with a band from Gothenburg and so I had to come up with a third name. I had this doom metal song from "Gravitas" which is called "Dead Kosmonaut". That song isn't about cosmonauts at all but about someone who is feeling very depressed and very tired of life, disconnected from the real world. He is totally estranged from what is actually going on on Earth and the people around him so he rather wants to be a dead cosmonaut and not to be here anymore. Originally the name was for another project but took that song for the name. When we made this album, the idea for the cover is that the Retrospectre is holding the mirror and that guy what you call Putin is the old man who is a bit stuck in the past. In his mind is that he was that cosmonaut, this famous guy going into space doing adventurous, marvelous stuff. But now he is old. In his mind the Retrospectre tells him that this is the real he but we all can see that this is an old man. He is not the spacefarer anymore but in the autumn years of his life. That is the concept behind the sleeve. And I think the guy, to model for that must be about at least 40 or 50 centimeters taller than Vladimir Putin (laughs). When you look into the booklet you can see him on a photo. It's an old work mate of mine whom I asked to be a photo model for the shoot actually.

Which three bands would you choose to play with – active or retired?

Oh, I mean the obvious ones but still active today.

Let me guess, Iron Maiden, Black Sabbath and Judas Priest?

Iron Maiden is first, second and third place and then I would go for Judas Priest and after that for Metallica just for the exposure, because they're so big (laughs).