With great pleasure, we heard the news that Lake of Tears return with a new album, ten years after the release of “Illwill”. That was a warm feeling for us, the fans: a feeling that occurs when a good old friend, whom we haven’t met for ages, appears again. We’re happy that Daniel Brennare, the band’s composer and only remaining founding member, is active again. Daniel released an introspective and personal album, narrating his own journey, the difficult path he had to follow through darkness. Myth of Rock interviewed Daniel, who sincerely shared with us what “Ominous” means for him. However, our conversation expanded to other territories, even Schopenhauer and ancient Greek philosophers, since Daniel was openhearted indeed! Myth of Rock wishes the best of luck to this polite and strong man.

by Alex Nikolaidis

Lake of Tears release a new album after ten years. How would you describe the music of “Ominous”? 

I would like to describe it from what I have heard from other people. It’s very varied and dark, but still metal / rock in the base. I already heard that some people cannot listen to it because it’s too dark for them. There’s a sad story in there, so it’s definitely a kind of sad and dark record. What’s most important for me is that those who listen to it, should listen from the beginning to the end, because it’s a whole adventure. You cannot listen to just separate songs; every song depends on the others.

So, is “Ominous” somehow a concept album, a story that unfolds from the first to the last track?

Yes, it’s a kind of concept. I’d rather call it a story, but you can call it a concept as well.

Lake of Tears were always a band that made experimentations with their music. All the albums differ: some of them are heavier and explicitly doom, while others have a more progressive/psychedelic orientation. Is “Ominous” an experimental album as well?

Yes. I think you can say that in every song I have written (maybe not the first ones in the beginning of the 90s) I experiment with new things. I never wanted to write the same song again and again. I always try to find something new at least.

There’s an evident dark and gothic atmosphere in the album. At the same time, some melodies remind me of “Forever Autumn”, while the doom orientation of “Headstones” is also lurking somewhere. How difficult is it to find balance between these different elements?

Usually, I don’t think so much about balance. I just write what I feel like writing. It’s about what comes in life. Every day is a different day. Finding balance is one aspect only and in this record, I must say it was quite difficult. I’ve been working on this for many years and actually I spent quite a lot of time on many small details, much more time than any record before.

What does “Ominous” mean for you? Is it in a way special or unique compared to previous albums of Lake of Tears?

This record is very special for me. Every record I have composed is unique, but this one was “extra special”. It comes from my own story, some really heavy moments in my life. Everything started when I was diagnosed with chronical leukemia. After some years, with all the treatment and pharmaceutical stuff I received, I got really depressed. I was feeling quite down for a very long time. I wanted to find something, some light in the darkness. So, this record was exactly that path for me: to write music, tell a story, try to fit all the pieces together. It was a very therapeutical work. In this way, it’s my most special record so far.

Therefore, did the making of “Ominous” comfort you? Was it a way of overcoming your problems?

In some way, yes. There was something to think about. I’m really grateful for having something like that to hold onto, because I think other people who are in the same situation don’t have that choice probably. They go nuts or kill themselves. It was very good for me to have a goal.

Is “Ominous” a message to people who struggle that they should leave their problems behind through creativity?

This is a nice way to think about it. It was good for me. Of course, if it can be useful to other people as well, I would be very happy. It would mean even more for me.

Actually, this I my personal perception of the album. It’s a story of a man who wants to feel better and survive. That is how I see your music.

That’s nice. Not everybody sees it that way. It’s quite difficult for some people to understand this.

Let’s return to the music now. Are there any evident influences in “Ominous”?

I think there are. Most of my musical influences are in here. But I haven’t really thought so much about them. I’m more used to exploring what’s in the back of my head. I don’t really listen to something and then make my music sound like that. Of course, I use all the available tools because I play for thirty years now. I have composed many songs and riffs. Some bands can be heard in the album and AFM Records refers to them in the press release, like Sisters of Mercy, Pink Floyd and even David Bowie (I’m not really a Bowie fan). I have used musical influences, but not in a very concrete way; they have been mainly in the back of my head. Also, influences that appealed to me for this record are ancient Greeks, like Pythagoras, Plato and Socrates. I found their thoughts very interesting to use them in the record. Even Nikola Tesla, a person of modern times who is quite popular nowadays, has some great ideas about sounds and frequencies that I’ve used. I also must say that Schopenhauer is my greatest inspiration. He’s not a musician, but he has written a lot about musical stuff and I really like his ideas.

So, does your music depict, in a sense, some of Schopenhauer’s logic and ideas?

Maybe not directly. I remember when I read Schopenhauer for the first time. He has written quite a lot about how music, a noble art, can get the human brain to a certain place directly, while science cannot do this. You can learn a lot of things from science, but with music you can cross over into another dimension. These feelings have been very important for me, helping me to find something more inside the music. They were a big comfort, when I was feeling sad: trying to find music, vibrations or frequencies that somehow glowed into my brain with certain waves. Someone may think they’re absurd and not real, but they’ve been very real for me and I really liked that. All this is an interesting territory; it’s on the edge of something normal and something magical or mythical.

Let’s talk about “Ominous” again. Are there other musicians who helped you with the recording process?

Yes. Vesa, a good friend of mine for many years, played the bass. Christian Silver, who works in the studio, played the drums. He’s a very good drummer indeed. Lars played upright bass in the bonus track. The four of us did the recording. There were also Manne and Christian’s son in the studio who were helping, mainly with the recording and other stuff.

The music of Lake of Tears has evolved over the years. The band always gave me a sense of freedom, a sense of defying genres and labels. Was it difficult for you to break the boundaries of a specific genre and make something that probably wouldn’t be appealing to a wider mass audience?

No, it was always very easy for me. I realized this after one or two years I started playing. Of course, everybody wants to be famous, but it was breaking my heart to try writing music that didn’t come from the soul. There are bigger bands who earn enough money, and they can live from it, but I think they had to sell themselves somehow. At least that’s what I hear. Sometimes, I tried to write “hit” songs, but when I go in that direction, I feel there’s something inside myself that breaks a little. For me, it was always easier to write what I really wanted to write. Of course, the most difficult part is always talking with journalists and fans about the record. The music is easy to do, but it’s much harder to explain it to people.

Do you think that some record companies put pressure on artists to sell off and make something more commercial?

For sure! I don’t know if the pressure comes directly from the record company. I would say it’s from the market. Of course, the record company is part of the market. Today, things go so fast. Your name has to be known all the time. When you sign a contract, maybe it says that you have to make a record every second year. As an artist, you have to comply, make touring and other stuff. Maybe it’s good for people who have a lot of ideas to write music. But if people like me would be under such conditions all the time, they wouldn’t know what to write about. They would find stuff just to write something: stuff that isn’t really important for them. In the beginning of the 90s, when we started, things went quite fast. I had so much input, so many ideas! But after a while, I noticed that it was hard to have new ideas for a new record. It was hard to just tell the universe or the world outside “Please, today you have to give me ideas for a new record”! I had to take some time to find exactly what I wanted.

I assume you had absolute freedom from the record company to compose “Ominous”?

Yes, absolute freedom. Of course, there was a budget and I couldn’t record whenever I wanted. But they didn’t say anything about the music. They didn’t intervene in my ideas.

You have said in other interviews, that the bonus track, “In Gloom”, is somehow a separate part. What makes it different compared to the other tracklist?

The main difference is that it’s not part of the story. It didn’t have a place within the story, which ends in the eighth song. I also wanted to sound a bit more different with the stand-up bass and the soundscape of it. When I wrote that song, I felt it was too good to be left out. The guys in the studio agreed that I had to release it. So, I decided to include it as a bonus track.

I think you took the right decision. It’s like a gift for the fans who want to hear something different.

I hope so. But I must tell you that I’ve already heard people sending me messages asking me why it’s not in the LP. It’s very difficult to explain some things because some people always think in another direction. But I think it’s better to have it in the record. I’d feel terrible if I hadn’t released it.

You mentioned the LP version of the album. Are you a fan of vinyls? Do you like the fact that vinyls tend to return to sales of past years?

I grew up with vinyl. There’s something special looking at big things. In that sense, I’m a fan. But I’m a fan of new technology as well. I like music spreading on the internet. This is the future. Sadly, in these modern times, people forget about records. It’s more about songs, new songs and hit songs. Today, for the most music I hear, I don’t even know the songs’ titles and the musicians who play in the band. In the past, I was looking at the LPs and I knew everything. In that way, I really like LPs. But I’m not a collector.

I agree. Somehow, we have lost this originality as fans. We tend to download and forget about the artists.

I understand it totally. I download things too. I think it’s good because music is supposed to be spread. But if we go back to people like Pythagoras, who made the musical system into what it is today, he wouldn’t be happy about the kind of music that’s being spread. He was doing calculations of frequencies and today there’s not much left of this in the music. Today, music is mainly a quick experience, money and image. Of course, there are many bands out there who write different music and may even encompass magical, religious, or deeper thoughts in it. But in many other bands, that way of thinking is very restricted.

Are there future plans for the band (assuming of course that societies will return to normal conditions)?

Right now, I don’t think so much about it. I think it will take quite some time. I just heard a calculation that if vaccination goes on in this tempo, it will take 6 or 7 years until everybody is vaccinated. It would take up to 7 years until things become normal again. So, I’d rather not think about it, because it becomes problematic in my head. I prefer to take time writing music instead.

Why did you name the band “Lake of Tears”? Is there a story/inspiration behind the band’s name?

Not much actually. If I chose a name today, that wouldn’t be “Lake of Tears”! If I found a band of that name, I don’t think I would listen to their records! I still remember the day. We had started getting into that gothic music genre and we wanted to have a name in that direction. We had some ideas and just decided on “Lake of tears”. So, there’s not really a story!

So, it was a matter of choice and nothing more.

It was something with the right vibe. There’s some connection between the name and the band. But as I said, if I did it again today, I would choose something else.

Daniel, thank you about our conversation. It was good to talk about “Ominous”, music in general and your personal perception towards music. It was very insightful. I wish you all the best. Remain strong and I hope that sometime more music will come from you.

I am sure it will! Thank you very much!


Their music is mesmerizing. Their live shows are mystifying. Their occult heavy metal, singular and consummate, will take your breath away. It is Serpent Lord (GR), a Greek occult heavy metal band, which, having released the single “The Gospel of Judas” and working on its upcoming studio album, is ready to conquer the world of metal. After listening to the band’s music, Myth of Rock was thrilled and soon came in contact with the members of Serpent Lord (GR) for an interview. Below you can read all the interesting stuff that we talked about!

by Dimitris Zacharopoulos

To start this interview, we would like you to tell us, when, by whom and other which circumstances Serpent Lord (GR) was formed.

Konstantinos:  Firstly, we would like to thank you for this interview. Serpent Lord (GR) was formed by Giorgos Savvidis and Konstantinos Sotirelis in 2016. It was an idea of Giorgos (our ex – singer) and it was immediately decided that also Giorgos Terzitanos should enter the band – he of course remains in the band as an integral and composing member. After some line-up changes, the band took its current shape with Marios Arikas taking over the vocals and Lazarus Bouroutzoglou sharing the rhythm/lead guitar duties with Giorgos. I think that the circumstances under which the band was formed were, more or less, the usual. We wanted to create our own music, inspired by bands like Ghost, Iced Earth, Mercyful Fate and Candlemass. Later on, of course, some other influences were added, for example from more extreme bands (Behemoth, Death, Immortal, Rotting Christ), however, we didn’t change our first concept. From the beginning we agreed that we wouldn’t like to be a covers band, that’s why from day one we had our own songs and we presented them to an audience.


Which are the official releases of Serpent Lord (GR) until now? Can you give us some information about each one of them?

Konstantinos: Our debut release was the “Serpent Lord” demo (2017), with the first line-up and Vasilis Katsikas on drums, as a session member. It included our first two songs, “Sacrilegium” and “Blood Offering”, and was recorded with our permanent since then producer, Giorgos Stournaras (Mass Infection). It was our initial effort to create something of our own, that period had a lot of ups and downs and some mistakes, which made us stronger and more experienced for the future. “Towards the Damned”, our first full-length album, followed in September 2019. Although we had gained a very small fan base thanks to our demo and our live shows, essentially, that album gave us the ideal boost in order to make a European and a Greek tour. One year later, in November 2020, came “Horned God”, together with a cover of Death’s “Sacred Serenity”, which introduces a new chapter for Serpent Lord (GR). We get even darker musically and lyrically, we have a stronger black metal vibe and add some more extreme metal influences. Our latest release, which comes just before the new album, is “The Gospel of Judas”, a song which summarizes our releases until now and indicates what will follow in our upcoming full-length album.


You get in the spotlight again with the release of your new single, “The Gospel of Judas”. How did it come and you decided to release such a single?

Giorgos: We know that due to the current situation, the period we all live in in very difficult for everybody. We wanted to create a song, which would narrate the life and times of a person misunderstood by history. Such interpretation of things is really food for thought, is something we wanted to render though music in the best way, making the listener wonder about the concept of good and evil and their role in the course of life until its end. “The Gospel of Judas” is the last omen for our upcoming album. It betokens the dark side of Serpent Lord (GR), it is a sample of what is to follow.


How would you describe the music and lyrics of the “The Gospel of Judas” single? Is this single indicative of the direction of your next studio album? Can you give us some information about this next album of yours?

 Kontantinos: We think that it is pretty much indicative, that’s why we chose it. Essentially, it is a connection of “Towards the Damned” with “Horned God” and it presents something new. First of all, it is much more mature musical wise and more impeccable technical wise. What is more, we handle our influences more efficiently and gradually we give our own character to our music. Lyrically, “The Gospel of Judas” is the album’s forerunner – it’s much more mature than “Towards the Damned” and it’s lyrical style is very close to that of “Horned God”, although now it is clearer.

The single talks about Jesus Christ’s betrayal by Judas, through which God fulfilled his Divine Plan, which was the resurrection of Jesus Christ. According to the Apocryphal Gospel, Judas, Christ’s favorite student, was ordered by Christ himself to betray him, for the salvation of humanity. However, God didn’t keep his promise, which was Judas’ ascension to Paradise, but left him wandering in remorse, having lost Paradise, due to his suicide. So, the song talks about the fact that God betrayed man, about the vanity of prayers, and in general, it refers to everyone’s betrayal by his/her beloved persons, in some moments of life.   

Although we won’t reveal the album title, we can say that it is based on the Apocryphal Gospels, giving a different concept. Lyrically, we refer to topics like betrayal, death, love and faith, This time our direction is more personal, more philosophical too. Musically, this album will be a step forward compared to “The Gospel of Judas”, being more extreme and melodic at the same time, with many heavy/thrash and black metal influences, all through the occult character. You will find some progressive elements too.


Who are the main composers and lyricists in the band? How is a common Serpent Lord (GR) song composed?

 Konstantinos: The main composers of our music until now are Giorgos Terzitanos and Konstantinos Sotirelis. Sometimes we write together, sometimes we present one another some riffs and we make songs based on them, sometimes we present one another a complete song and we work on some details. Nevertheless, all the members of the band have a say in the composition process, we don’t restrict anyone. Marios has composed a song and Lazarus has contributed on the new album, with his exceptional ideas in some points, adding his own touch.

As far as the lyrics are concerned, Konstantinos has the main role, having written the majority of the lyrics, but also Giorgos has contributed on several tracks. Here things work a little different. Usually we write the lyrics, we present them to the other members of the band and then we make some minor changes, in case there are objections. In general terms we pay a lot of attention to the song lyrics, that’s why we work equally focused on this sector.


You call yourself an occult heavy metal band. Can you explain this definition please?

 Konstantinos: Firstly, let’s make a clarification about the term “occult”. There are two concepts. The first one has to do with pseudo-sciences, like astrology, alchemy and spiritualism, whereas the second one has to do with Paganism, Christian Cults and some more personalized concepts of the metaphysical. Although we greatly focus on the second concept of the occult, since we mainly deal with it, there are songs, like “The Lesser Key”, which refer to alchemy topics, making a mix of the two concepts. That’s why we put this “occult” label to the band. Namely it has to do with the lyrical and stylistic side of the band.

As far as the term heavy metal is concerned, although none of the band members thinks we play in a classic heavy metal style, since we have influences and obvious elements from subgenres like black, thrash and doom metal, we like to adopt Chuck Schuldiner’s saying, that everything is heavy metal. So, as we combine different heavy metal genres in our music, we believe that the term heavy metal, together with the term occult, describes Serpent Lord (GR) better.   


Why did you baptize the band Serpent Lord (GR)?

Konstantinos: The name of the band came out after a lot of effort. Although we were still in the beginning, we had two songs already composed and we knew what our direction would be. Therefore we moved a bit towards that direction, so that our band name reflects the lyrical, musical and stylistic character of the band. A lot of name proposals were made, we finally agreed on Serpent Lord, since serpents are a personalization of evil - both evil and the Bible have an important role in our lyrics and image.


Do you still cooperate with Alcyone Records? If not, are you in negotiations with other record labels or are you planning to make a self-release?

Giorgos: In our last two releases we have not collaborated with Alcyone Records, we chose that both of them would be self-released. Regarding our next album release, we are in search of a record label, however, we haven’t decided yet if we will choose to cooperate with a label or if we will publish it ourselves.


What do live shows mean to Serpent Lord (GR)? Can you describe a Serpent Lord (GR) live show? Your sound and image?

Marios: Live shows are a part of own self. This connection with the audience, the atmosphere, all these keep us going. You can’t tell about a band only from its studio sound, but also from its live shows … mainly from the live shows. Every live performance of Serpent Lord (GR) is a unique chapter for us. Theatricality and its combination with music is significant for us. That’s why we use banners and various other occult objects, which have become an integral part of our live shows. The bottom line is that anyone can go up to a stage and play ten songs perfectly without making any mistakes, but what will make the viewer want to see you and see you again is the interaction you have with him for as long as you are on stage. You have to give a good show. Your own show. That is when you will be rewarded.


You have opened as a support band for many well-known bands. With which band did you enjoy it the most? With which band would you like to tour together in the future?

Marios: I think that we can’t select a certain band. Fortunately, all our collaborations for one or more live shows were flawless. We surely gained valuable experience from all these live shows and we met people of the music business outside the stage lights in some more relaxed moments and conversations with some nice and funny highlights (maybe we share some details another time). As far as a future tour is concerned, we would like to cooperate with Rotting Christ, Candlemass, Behemoth and many other bands, who have influenced us a lot. It would be ideal if we could play together with such bands.


How much were you affected as individuals, as musicians and as a band by the COVID-19 pandemic? How do you imagine the time after the lockdowns, the restriction measures, etc.?

Konstantinos: Fortunately, it did not hurt us as much as other bands, since we didn’t have scheduled tours. Of course, it delays us in some of our plans, nevertheless, we didn’t have many financial losses. On the contrary, the pandemic helped us in some matters, for example in focusing on the completing of the composition and the recording of our second album. I think that the biggest impact was on a personal level, regarding the jobs and the psychology of everyone of us. As we don’t want to stand still, we tried to take advantage of this time as best we could and to improve both on a personal level as musicians and on a band level.

As for the post-lockdown season, it is difficult for us to think about what will happen and when or if we will return to normalcy.  If we talk about the band, whether there will be concerts again, when and with what criteria, will determine much about the future of each band and about the evolution of the music industry. However, it will be a major blow to any musician. We already have a year without live shows and apart from the revenue, the mood and motivation for improvement are lost. We try to remain optimistic, to do whatever we can and work as hard as we can to take advantage of even these times.


Your message to the metal fans!

Serpent Lord (GR) Be prepared. Apocrypha is coming. The truth will shine. Get ready to be baptized to the eerie sound of the Serpent. Are you ready to be damned?




It is a super group of our days. It is not only a band, but a rock ‘n roll music collective, where famous musicians collaborate. Ladies and gentlemen, The Dead Daisies! Glenn Hughes, Doug Aldrich, David Lowy and Tommy Clufetos! No introductions needed, of course, however, I have to mention that The Dead Daisies’ classic rock music is wonderfully fresh and uniquely interesting, they rock like no other! “Holy Ground” is their latest effort, an album which will be a great rock n’ roll company. Myth of Rock grabbed the chance and talked with Doug Aldrich (guitar), who had so many things to say. It was a honor for us to chat with him!

by Dimitris Zacharopoulos

Hello Doug! Let’s start! Rock n’ roll history has showed us that most of the times super groups don’t last too long, they release one or two albums and then they split up. The Dead Daisies is of course a supergroup, however, you have already released four studio albums and now you are releasing your fifth one. Which are the reasons for this longevity of The Dead Daisies? What keeps you alive and rocking?

Well, … music! I love music, I love guitar! I feel so blessed that I wake up every day and I play the guitar, I play music. You know, we need music, this year (2020) had been very difficult and music definitely helped me get through it.


The Dead Daisies were formed in 2013. After all these years, how much different is the band?

I think it is very different. This band, The Dead Daisies, has been called a collective, so basically, people can come and go, it is like a roundabout. Early Deep Purple was a roundabout, people would come in and write some songs … Purple didn’t have a solid line-up, until Mark II. And then Mark III started. That’s a big change, from Mark II to Mark III, then Mark IV, there was a different guitar player. So, it’s something like that, The Dead Daisies have changed a lot through these seven years, since David Lowy (rhythm guitar player) formed the band. However, the band has always kept the flavor of something that David created back in 2013 - straight ahead, simple rock guitar sound. And now we have made a big change, as you know, because we have Glenn Hughes in the band, it is really amazing! It is amazing for us, we are so happy with the sound, Glenn is truly gifted, not only as a singer and a songwriter, but also his bass playing is insane, you know, I love it.


How did it come and Glenn came to the band?

When John Corabi (vocals) decided to leave the band at the end of 2018, we knew that we would make a fresh start in 2019, so we began to talk about with some different people to come in, and then the management phoned me and told me that they had spoken to Glenn! Wow, I thought that would be really something! They told me Glenn would also like to talk with me. I know Glenn, we have been friends for years, I am a fan of him, we are really close, so I called him. To be honest, I didn’t think of Glenn, since he was busy, he was touring doing his Deep Purple stuff. When the management told me they were speaking to Glenn and that he was interested in us, I thought that it was perfect, an amazing change. Because that wasn’t just a little change, we were making a big change, we were going to a brand new, fresh direction. I called Glenn and he told me, “You know, Doug, it is time for you and I that we make music together”. I was like, “I know, this is awesome!”. We got together and played, so that he could meet everybody, the sound was killer!   Glenn’s bass is like a whole band by itself, it’s pretty much complete! He’s got this massive sound, he is a very melodic player, I really enjoy watching him, especially when he going off! During a solo section for example, I see him playing his solo bass part and I say, “Ohh, that is so cool” and I try to play around that with my guitar, maybe he is wailing up high, so I go way down low, … it is awesome, man, really fresh!”.


Did Glenn write songs for the new album?

 Yes, we all wrote songs for the “Holy Ground” album. Glenn brought in some songs that were complete, and we just put our style on them, we maybe re-arranged some stuff. When Glenn came to the band, I immediately started writing …, I got inspired and started writing for Glenn, I know what Glenn likes and I know how Glenn writes. There were some things that I maybe wouldn’t have done before, like for example in the second song of the album “Like No Other”, I basically had the musical vision for this song figured out already, I had a demo and I was keeping this track especially for Glenn, I thought that he was going to love the groove of this song. And he did … I was inspired, I thought I could see Glenn on stage, starting off the song with his bass, then the bass drops off during the verse, there are only two guitars, one on its side, I could picture me and David playing and Glenn singing his ass off, and when the chorus hits, boom, the bass comes in! Another example is the riff of “Bustle and Flow”, I thought Glenn would really like it! … We all brought in ideas, David and I had worked on some songs together, for example on “Come Alive”, we had written a part of the song, not the chorus part, but when Glenn listened to it, he liked it and suggested the chorus of the song, bam bam bam! It was done! So, we collaborated really well together on a bunch of stuff, Glenn brought four or five songs, I helped him arrange them, we made the demos so that we could present them to the band. When we get to a room, everybody does his own thing to the songs so that we make them the best they can be … if I bring a song, Glenn is definitely going to make it better, he will say, “Hey, how about this? What if you did this?”. On the other hand, when he sings something, I may say “If you are going to sing that, I will play this (on the guitar), because it will work better”. It is a natural progression.


This time you cooperated with another producer, Ben Grosse. How was it, working with Ben?

 It was great, it was different. We needed to cooperate with someone like Ben, because Ben really makes everybody comfortable, he sets a really great environment for creating. He is a musician himself, I think his main instrument is drums, he has a great sense of melody … there was a solo section in a song, he had an idea for a melody and he just put that melody on his computer, he put the midi dots on the computer! He’s got melody in his head. He was perfect, because we are a new band together, we had to find where to jell, we wanted everyone to feel comfortable and he did that. The other thing that was interesting with Ben was that he got us some different guitar sounds, sounds a little different from what we had done in the past. It was cool, there were heavier sounds in some spots, we did some clean guitars and he had in mind some amps he thought I would like. He said, “Hey, I’ve got this Budda amp and it is really great for clean guitar … let’s go with the Budda!” It was excitingly fresh with Ben! The other thing that it was interesting about Ben is that he is an old-school producer. He had a list of things he wanted to accomplish. Once we had the tracks recorded, after I had done most of my guitars, Ben called me and told “Can you come in for a couple of hours tomorrow? I just got a few things I need you to do”. I got there, he told the engineer to go to the chorus of “Holy Ground”, for example, and said “I just need you here to play this part balls out!”. He set the amps and I played. Then he told me about the solo section, “I love the beginning of the solo, but the end isn’t really working”. So, I put some new, different ideas and he said “OK, I’ve got it!” … he got a list of small things he wanted me to do, and then he edited the way he wanted. It was cool! I didn’t know what he was doing, how the sound would be, he just told me what he needed, maybe more energy on the chorus, maybe the guitar was a little out of tune … he wouldn’t tell what it was, he just told me to play. When I heard the mix, I said, “Oh shit, that sounds great”!


You went to a different recording studio this time, to La Fabrique Studio in the South of France. Why did you choose that particular studio?

Yes, we recorded at the La Fabrique Studio, that’s correct, it was a great studio. South of France was perfect for us, because we needed a place where we could really focus. It was a beautiful place … we could really focus there. We didn’t have to go anywhere, basically it was just “sleep, wake up, have breakfast together, jam and write”, then we would probably go for dinner and maybe go back and record a little more. Generally, we were together all time, so that we could really focus … We were there for three weeks in November, 2020, and for other three weeks in December, 2020. Most of the album was done there, apart from a few things left for Glenn and I to do back in Los Angeles in January, 2021.


Which are the trademarks of The Dead Daisies sound in your opinion?

I would say, first of all, David Lowy’s guitar sound. Another trademark is keeping things fresh, we don’t want to fall to the same groove every time, we want to keep it fresh. Another thing that is a trademark and it isn’t a trademark at the same time, is the fact that we always want to push ourselves.


Why do you think a fan of classic rock music should listen to your music?

He/She doesn’t have to listen to our music, haha! It is up to everybody! I think the new album is a really groovy album, it has got some cool moods to it, I think that if you like classic rock, you will enjoy it. But I am not forcing anybody, they will do what they want to do!


Live shows and tours are very important for The Daisies and you, Doug. How have all these cancellations of live gigs, tours, festivals etc. due to the coronavirus pandemic affected you? How do you feel about that?

It has been a long break. We took off 2019 as well, so it has been two years of being home, which has been amazing on the one hand, but also very difficult on the other hand. Mentally I am used to playing live shows, I miss it, I really miss it. When we were making the record, that was fun, we were playing all the time. We also rehearsed for ten days in October, 2020, and that was great … Not being on tour means that I am home, which is great for my family … So it’s like juggling, because I am working but I am also a dad. There are so many things going on. When I am on tour, I am very focused on touring, on my playing, it is very easy to be focused, when I am home, there are more distractions.


Which are your resolutions for the new year 2021?

That’s a good question. I want to become healthier, I want to come back in the best shape that I can be in. I need to get my body and mind into a better shape than it is now. It is ironic, I used to smoke cigarettes and drink Red Bull, but I was super fit … I used to smoke terribly for years and I quit smoking 12-13 years ago. Of course, in this lockdown pandemic it is normal that you get a little out of shape. The gyms are closed in Los Angeles, for example … I also want to be a better father, a better husband, I want to work on my personality, I just wanna be better, you know. As my kids are growing, I am learning what I need to do, what it is important 


Doug, as an epilogue, I would like you to tell me who your three favorite guitarists of all time are. Give me also your comment for the loss of Eddie Van Halen.  

 It is hard to pick three favorite guitarists, but Eddie Van Halen would of course be in the top five. He was one of my favorite guitarists, I respected him so much. When I saw him playing live for the first time, I thought I had never seen anything like that before. The first time I was him was in 1979. Eddie Van Halen was an innovator, not just because of his playing, but also because of the way he changed everything, the way he built his guitars, the way he made everything custom for himself, he inspired so many people to do the same thing. I think he was the most influential rock guitar player ever … it is so difficult to pick only three guitarists, there are so many guys … I have to say Jimmy Page … Randy Rhoads, Tony Iommi, Ritchie Blackmore, Stevie Ray Vaughn, Gary Moore … !!!

It’s not very often that Spice gives interviews, and for that reason I am glad I had the opportunity to speak with him for the new album of his band (Band of Spice) called “By the Corner of Tomorrow”, to be released very soon from Scarlet Records. He is sitting in his living room at home in Småland, he is in a very good mood and I hope you will find this interview interesting.

Antonis Mantzavinos

Good afternoon from Stockholm! How are you doing?

Hello my friend, good to hear from you again! I am doing fine, we have a lot of snow right now in Småland, which I don’t mind of course, but I don’t like this damn cold at all, so, it’s been not so good lately I must say (laughs).


I have listened to the new album of Band of Spice, which I like it very much and wanted to catch up with you about this. First of all, how are things for you and the other band members in terms of Covid-19? How are you coping? And how has this whole situation for almost a year has affected your songwriting, playing music together, etc.?

Nothing has changed for me in terms of writing songs and stuff like that. I have been constantly writing music. However, it was quite difficult to write this record, because we started to record the drums, I think it was in February last year, and we recorded bass and guitar as well in early March, then Covid-19 came and we had to stop everything, every activity basically had to be stopped. I recorded the vocals in the summer, in August. We could not meet earlier, because of the whole situation, and also because the guy who owns the recording studio did not to operate the studio for many weeks, so, it was quite difficult I must say. Studio-wise, the drums were recorded in Helsingborg, and the rest of the album was recorded in our rehearsal studio. Like we did for the “Economic Dancers” album.


“By the corner of tomorrow” – in my humble opinion – has quite many similarities with the music you play in My Regime, guitar-wise and the way you handle the riffs and all the guitar parts. How does this thing work for you, being in different bands, playing different things, having different inspirations? Tell us a few words about that.

Sorry for the dog noise in the background (editor notes: his dogs sound like they want to play or something, so there was a bit of background noise – which was funny actually)! Actually, in the fall of 2019, we were rehearsing with My Regime for a new album. Then we got a notice from Scarlet that ‘we don’t want to release a new My Regime album now’, so, some of the songs, actually 2 of them were meant to be part of a new MR record, but I decided to put them on this one now. ‘The Sharp Edge’ and ‘Reglutina’ (which I actually wrote 20 years back and now it was about time to release it!). For the latter, I had the main riffs and the structure, but now I worked on that more, so I am happy it will be released now. But for now, it’s focus on Band of Spice. I already have 20 songs that I want to rehearse and play.


This new album has a strong early 80s heavy metal feeling all over it, the songwriting, the riffs, tell us a little bit about your influences and inspirations for this particular record and why you wanted to make it sound like that.

I was aiming of course, to make an album with strong influences from records like “Heaven and Hell”, “Mob Rules”, “Blizzard of Ozz”, those were the albums I had in mind when I wrote the songs for “By the corner of tomorrow”. When we recorded the songs, I wanted to capture that sound, that guitar sound, and some songs are closer to that – some others not so close ha-ha! But I must say that Black Sabbath’s ‘Paranoid’ was a strong influence on the new album as well. Those four albums were on the background in my head. This is the first time I recorded on standard tuning actually, because the first two Black Sabbath albums were on standard tuning too, and then they tuned it 3 steps down. But, despite those influences, I wanted a more fresh sound I guess, maybe to feel a bit younger myself ha-ha!


What about the lyrical themes that this album is dealing with? There are many similarities with the previous albums as well, but I wanted your opinion on this as well.

I think this might sound weird, but the “Shadow remains” album was a lot darker overall. I wanted to go a step up, to lift the mood up of the new album, so, for example songs, like ‘The Fading Spot’, are glimpses and pictures in my head, like this one where I see myself as a kid in school, looking out of the window and wanted to be somewhere else instead. So, it’s not that dark from my perspective. Many of the lyrics in the songs are images in my head, and I want the listeners to picture their images inside their head when they put and listen to this record, or any other record I make.


We have discussed together in the past, about this term ‘political correctness’, which I know you dislike so much, how does this term affect the way you write music and lyrics, for this record but also in general?

Well, this is interesting, because in this record I intentionally stay away from this term, and from giving a ‘political’ denotation to the songs and the overall feeling. But of course, ‘common sense’ is what I like, especially when you are not hurting someone else. Because nowadays, everybody is offended by something, and this is something that worries me a lot.


How does it feel after all these years to work together again with Bob and Saso? I know you have been friends for so many years, maybe more than 20. But I would like a few words about your band mates.

Last year was a challenge for all of us due to Covid-19, so it was tough lately due to the whole situation. I must say that Saso shines on this record a lot, he plays really well, he can contribute more to this band rather than in My Regime where he follows the guitar riffing, but here he is very creative. And of course, Bob he has been my friend for so many years, we have played a lot of music together, so, I am really happy with him.


Do you currently listen any new or old band that you would like to share with us?

The last couple of weeks actually, I listen a lot to REM, specifically their early stuff. I absolutely love their “Green” album. There is a song there “I remember California” that I really like and wanted to make a cover of that for almost 30 years now, so, maybe in the next album we can make a cover of that one, who knows?! Its really heavy, especially the riff. You know, I was kinda disappointed when ‘Losing My Religion’ came out ha-ha! I Said: “What is this??”. Lately I also listen a lot to Captain Beyond’s second album, this is a very special one for me.


Is there any news about Kayser?

Kayser has completely disbanded, so we should not expect anything from there.


No further comments about Kayser, I understand that J Ok!
Changing subject, do you consider any Swedish bands-musicians from 30-40-50 years back as your influences in both writing and also listening to music in general? We have discussed in the past about other countries, but I wanted to focus now on Swedish bands. Rock Metal or any other genre.

Ooh.. Difficult one… Well, I do like a lot November, Entombed, Candlemass, and I really like an artist called Thomas Di Leva, not the stuff he is doing today, but his records from the 80s. “Rymdblomma” is his best album and my favorite. I really like his lyrics there, so I have been kinda inspired by him in a way. All his albums are in Swedish, but you can try to listen to that if you want.


To get back to the new album, what is the story behind the instrumental song ‘Tehom’?

‘Tehom’ means ‘Abyss’ in Hebrew. It’s just a build-up to the next song “The Sharp Edge”. Actually, both songs are the same one song, but I cut the intro part as an instrumental to the main song.


Last but not least, what are your next plans? Are you soon going to record something new or take it easy?

My plan is to rehearse the songs I have now, starting in maybe the next couple of weeks, depending also on the intensity of the Covid-19 situation. This album took almost a year to make, so, I am eager to do another album soon. I can’t stop.. Let’s see.. “Find what you Love and let it Kill you”!


Maybe that is the best thing, I agree! Thank you for your time, I appreciate and cheers till the next time we talk!

Thank you my friend, take care!


Grande Fox, the psychedelic heavy rock band from Greece, have set the bar at a high level. The full-length album “Space Nest” and the EP “Kulning” were only the beginning. Myth of Rock, mesmerized by the heavy space sounds of the band, contacted Nick Berza (vocals) and Zao Lefteris (guitars), who answered our questions. The next chapter of the Grande Fox story is titled “Empty Nest”. Shall we proceed?

 by Michalis Kapetanakis

For those who don’t know you, who are Grande Fox?

Hello, thank you very much, we are very happy about this interview! Grande Fox is a psychedelic rock band from Thessaloniki which was founded in 2013 by two talented persons and musicians, Nick Berza and Zao Lefteris. They matched very well as personalities and they had a big vision of creating a band with dominant elements such as timelessness, high goals, experimentation, professionalism, spirit and independence. In its first steps the band started with session members and was playing cover songs in different live stages in Thessaloniki. However, they were in the process of finding permanent members who would frame the band. After a period of time, a need for emotional expression was created and they started to experiment with new material, new music. The results of that was our debut LP album, called ‘’Space Nest’’, which was released in 2016. Until now we count two more projects - our second EP album titled ‘’Kulning’’ and a single called ‘’Documento’’. Nevertheless, we would like to announce that our new LP album is on the way and it will be released in February. All projects are fully accompanied by visual material, such as artwork, video clips, photographs, that represent them. Some of our most remarkable performances were in Cyprus with Nightstalker and in Blackland Rock and metal bar in Berlin, Germany. Nowadays and during the last two years, two permanent members were added in the group. George Chaikas in the role of the bassist and Dimitris Loukas in the role of the drummer. The position of the second guitarist is taken by Pavlos Georgiadis. He is a professional guitarist, teacher and friend, who helps the band in its live performances.

Which word do you think is the best definition of your sound? Stoner? Metal? Something else?

We could say that we are not minimalists. We believe in complexity and diversity and maybe that’s why most people find something special in our music. Our best definition of our sound is psychedelic heavy stoner rock music.

Which moment do you consider your highlight and which one as the worst of your career?

Life is a journey. In every route you make in your life you face good and bad moments. The sure is that, in each of these, you receive a message, you learn something. Two moments we will remember as highlights are the time we went to the studio to write and record our debut album. You know, feelings are very special, because you record for the first time your own project for which you’ ve worked and spend so much time to compose it. The second one is, when we traveled to Berlin for our live show in Blackland. On the other side, there was a period we had some bad moments due to differences created among the members of the band. This was combined with some facts that were happening in our lives outside of the band. So, it was one of our worst moments in our career.  

Which were your influences from the very start? What has changed now?

Our influences from the very beginning came from bands like Rage Against The Machine, Limp Bizkit, AC/DC, Korn, Tool, Godsmack, ZZ Top, Nightwish, Slipknot and many other bands. The thing is that we were always a band that didn’t put boundaries to what we listen to. We are affected by lots of bands from various genres. For example, Red Hot Chili Peppers is a band we admire so much despite the fact that they have a different style. Music has no limits.  

Talking about “Kulning”, which is the concept of your EP? Also please let us know some details about your upcoming album!

Well, our second EP album is a very special trilogy, called ‘’The valley of Unknown’’, which consists of three chapters. These chapters describe a journey or a fairytale that takes place. The main characters are a witch that Aggelina Papadopoulou incarnates with her amazing voice, a hermit, a druid and Erebus. It is remarkable also the participation of Stephen Keeman who plays cello with that magic way. Regarding the second question, we are very happy and looking forward because we will release our fourth project in February. It’s an LP album titled ‘’Empty Nest’’, which includes eleven songs. You will hear once again something unique from us. Heavy riffs, lyrics with deep meaning and strong features of rage are some of the elements you will hear. We released the single ‘’Hangman’’ the previous month, which is one of the album’s songs accompanied by a lyric video. You can check it out for a first audiovisual contact and stay tuned, because many more will follow in the visual part.

Sometimes your vocalist sounds similar to established rock-metal singers! How difficult is to sound so great? What do you have to sacrifice for technique and studies?

There are many necessary things you need to improve in this field. First of all, you need to spend many hours of practice and experimentation. As every musician who works with his instrument on a daily basis, a singer should constantly work on his voice. It takes passion, perception and technical ability that will come through the hard work. He must remain focused and do research on interpretation and the techniques of it. Something that is also important is experience. Live shows are the one will give you the experience you need, as you are exposed to people who judge you either positively or negatively. In the end, in combination with your skills, live shows will guide you in the development process. What a singer needs to understand is the range of his abilities in order to realize his limits and how he is going to extend them.

Many things have changed in music since the ‘90s. How do you see these changes and music, in general, now?

It is true that things have changed to a large extent. Music was simpler then compared to today, without implying that now music is better. In the 90s many bands appeared in the world music scene, such as Nirvana and Guns ‘n Roses, which were a huge influence and they are still considered as idols for all of us. They brought a special, grunge and revolutionary sound and lots of their songs became hymns that we still admire. Now things are quite different, but it makes sense because technology is constantly evolving. Music follows the stream of technology. Lots of new stuffs, sounds, audio material processing and composition are made and developed thanks to electronic systems and computers. Changes like that have affected the music scene and bands experiment and create new electronic sounds and generally new music with lots of various and complex elements. That’s why we see hundreds of bands and we find difficult to specifically characterize their style.

Greece has always been mighty about culture and especially music. Why do you think this happens and how’s the scene nowadays?

We believe that all this started and flourished from our ancestors, who brought and taught culture in all the lengths of the world. In general, Greece has always loved music. Music flows in our blood. You listen to it and you find its company everywhere. Whatever has to do with fun and entertainment, music is one of the key factors. People who deal with music in Greece make up a large part of population. Greeks are everywhere. There are too many Greeks even abroad that live in other countries and are involved in the music scene. Overall there are many talented and remarkable musicians and bands out there that work hard and want to get involved with music at a higher level and make their dreams come true. There are several bands that have already achieved great things in Greece and abroad. However, we believe that the music industry in our country has developed less than in other countries like the United Kingdom and should support more and give more opportunities to newer bands to show off their talent and work.   

How do you see the financial and social issue in the world, today? How are the things in Greece and how do you feel about all of this?

The situation is extremely difficult today both financially and socially. More specifically, from the moment Covid-19 appeared and the countries’ governments were forced to take restrictive measures in order to protect people from the virus, households have been hit financially. They closed or under-operated their businesses, resulting in severely reduced incomes or no income. This also happens in Greece. Lockdown has negatively affected businesses and some of them close and stop working completely. People are very indignant and divided. A huge social problem that prevails in the world is also immigration. It's very sad as in war-torn countries people have left their homes to save themselves and their children and now they are looking for asylum in countries like Greece. We are clearly sad about that. All these have affected us psychologically and we are very concerned. It’s a difficult period and we have to be patient and strong.

What can we expect from Grande Fox in the future? When will we see you live on stage? Any booked shows?

We feel very good, we feel productive and we will surely continue the hard work because we have a lot to give and show. The next period we will focus on our new LP album. New audio and visual material is being prepared for release. Generally it will be a very interesting and complete project which we believe will interest you. Unfortunately due to the Covid-19 we cannot organize and play live. We missed live shows so much, but we all have to be patient and take care of our health until we overcome that situation. We hope this happens soon. The only scheduled live we have is in Bucharest, Romania. We will have the pleasure to be the opening act for the Greek band Villagers of Ioannina City. However, we don’t know the exact date yet. It will be probably after the winter.

Would you like to leave a message or add something left unspoken?

We would like to say once again to people to be patient and protect themselves and their families. We will all return on shows with more thirst for music and we will wait for them to meet them and talk up close. Finally, don’t forget our new release ‘’Empty Nest’’. It will be out on February 19th

Thank you for your time and congratulations for your great work until now!

Thank you too, it was our pleasure!

FACEBOOK https://www.facebook.com/outofnesta/

INSTAGRAM https://www.instagram.com/grande_fox_official/

WEBSITE https://grandefox.gr/

SPOTIFY https://open.spotify.com/album/2YzDXu1x4ic0OnqxCLeGOP

YOUTUBE https://www.youtube.com/channel/UCDFXjbSxD6SkNlcv2LDu63w

BANDCAMP https://grandefox.bandcamp.com/album/space-nest

APPLE MUSIC-ITUNES https://itunes.apple.com/us/artist/grande-fox/1165537328

SOUNDCLOUD https://soundcloud.com/user-699685715-777881746