Episode 36: Chris Caffery (Savatage)

Episode 37: Matt Barlow (Iced Earth, Ashes of Ares)

When Matt Barlow announced that he was leaving Iced Earth in 2003, fans and the metal world in general were stunned by the decision.  Iced Earth had risen to international acclaim since he joined the band prior to 1995’s Burnt Offerings, ascending with each subsequent release to become one of the most well-known entities in the realm of heavy metal on the back of the powerful combination of Jon Schaffer’s songwriting vision and Barlow’s powerhouse voice.  Though he loved the music, fans, and adoration, Matt began to re-evaluate his priorities in the wake of the September 11, 2001 terror attacks against the United States and started to reflect on if he were meant for a more meaningful purpose in life.  As a result of that pondering, he decided to leave the rock star life, start a career in law enforcement, and focus on his family.  While the move may have puzzled and even upset some fans across the globe, Barlow insists that it was the right one for him at the time, even now 20-plus years after the fact. Though he briefly rejoined Iced Earth in late 2007 for The Crucible of Man and a lighter touring schedule, he would exit again for good after a 2011 performance at Wacken Open Air.  The group struggled to strike a balance between accommodating the relaxed concert schedule and profitability, hampered by a detrimental shift in the music industry away from album sale revenue.   Barlow wouldn’t be on the sidelines for too long, however, as in 2012 he formed Ashes of Ares with former Iced Earth bandmate Freddie Vidales and Nevermore drummer Van Williams, whom he had been friends with since their bands toured Europe together in 1996 while promoting The Dark Saga.  Though Williams departed after the first album in 2013, Ashes of Ares have now released four albums over the last decade-plus, including last year’s New Messiahs.  In a bit of a full circle moment, Vidales and Barlow have embarked on a Dark Saga 30th anniversary tour starting last fall and continuing next month, under the Ashes of Ares moniker, to commemorate the legacy of that tremendous record.  Ahead of the next run of dates in Europe, I had a chance to catch up with Matt about the tour, plus a number of other topics, including: * the reception to Ashes of Ares’ New Messiahs, the song and video for “Keep On Walkin’” Matt wrote for his two sons, fans’ reactions to hearing The Dark Saga in full on the first run of dates last fall, and whether he had to relearn any of the material prior to hitting the road. * why The Dark Saga may have never been written without a certain Christmas gift, the European tour with Nevermore in 1996 promoting the album, the friendships formed from that and subsequent tours featuring the two bands, and Matt’s thoughts about Nevermore’s return. * a discussion of the difficulties of running festivals in the United States as opposed to Europe, the anticipation of Ashes of Ares performance at ProgPower this September, the 25th anniversary of Horror Show, and some insight into how Iced Earth approached writing that album. * the factors that led him back to the group for The Crucible of Man, what he would say if approached about reviving Iced Earth at some point, what the future holds in terms of getting more involved with music again once he retires from the police department, and a fanboy moment for me about Iced Earth’s 2008 show at the Nokia Theatre in Times Square. Matt was more than gracious with his time and responses to everything asked of him.  Speaking to him, it’s evident that while he had always had a passion for music and is grateful for everything that his career has given him, his first priority is his family.  One of the most telling responses he gave through the course of this interview was when reflecting on the prospect of touring for six to nine months out of the year and lamented the amount of time he would have been away from his wife and children.  Though others in similar positions may have jumped at the opportunity to continue in the spotlight, Barlow chose to step away and be true to himself and his own, like he wrote in “Stand Alone” on Something Wicked This Way Comes.  With Ashes of Ares, he’s found a way to balance his creative output with a traditional family life and career that allows him to work with both of these passions on his own terms.  As Matt stated himself, he is approaching eligibility for retirement soon , allowing him the time to possibly renew focus on his musical career, which would be welcome news for fans all over the world, myself included.

Episode 36: Chris Caffery (Savatage)

Chris Caffery was always meant to play guitar for Savatage, even if the route he took to becoming a permanent member of the band was anything but linear.  From his first gigs with the band in 1987 at only 19-years old while they toured for Hall of the Mountain King, there was a new role carved out for him as second guitarist in a band that had never utilized one before.  Having connected with Savatage through producer Paul O’Neill, who knew Chris from his playing in Heaven, Caffery swayed in and out of Savatage’s orbit throughout the late 1980s and early 1990s, ultimately settling in to the group on a lasting basis prior to 1995’s Dead Winter Dead.  During those previous years though, Chris remained close with all members of the band, touring with them, being featured in the Gutter Ballet album insert despite not playing on the record, and collaborating on other projects with its band members, including Doctor Butcher with Jon Oliva.  Though the band would cease touring in 2002 following Poets and Madmen, they would never technically break up, as the members of the group treated it more as a hiatus due to a number of different issues.  Several of them became involved in Trans-Siberian Orchestra, another venture of Jon Oliva and Paul O’Neill, including Caffery, who also pursued a solo career on top of a number other projects.  But the door was never fully closed on Savatage.   Though they would eventually reunite to play a lone show with TSO at Wacken in 2015, more years of dormancy would follow.  During this time, Caffery was busy with his other projects, but always hoped for Savatage to resurrect.   Chatter about new material from the band would leak out from time to time, stoked by statements from Jon in different interviews.  The prospect of live shows, however, remained dormant until late 2024 when the group announced they’d be playing shows throughout Europe in the summer of 2025, with another string of festival appearances and headlining shows announced for the summer of 2026 the following year.  After so many years away, it’s finally happened: Savatage has returned, and it seems like they’ll be here for a while. Along with the exciting tour news, the group also announced the official release of a long lost live show recorded in 1990 in Hollywood, titled Madness Reigns From the Gutter, to be released on June 26th in Europe and September 18th in the United States.  Featuring what most would consider the classic Savatage lineup, including the masterful lead guitar work of their departed co-founder Criss Oliva, the 19-song set presents an electrifying look and listen to the band during a peak performance.  Prior to its release, I had a chance to speak with Chris about that show, plus a number of other topics, including:  * the process for creating the new “Gutter Ballet” video for the new live cut released recently, how it feels to be back playing Savatage material over the last year, their upcoming European shows including a special performance in Pompeii with a 40-piece orchestra, and the possibility of it being recorded for a special release. * memories of the Madness Reigns From the Gutter show at the Hollywood Palace, the Rulin’ Gutter tour, why the live album took so long to release, and the perfect performance that took place that evening.  * the importance of Jon Oliva in Chris’ career, trying to replicate his unique vocal style, and where he ranks on the list of all-time metal vocalists.  * the bond he shared with Criss Oliva, what it was like playing alongside him, a touching story from his funeral, and reflections on missed opportunities prior to his passing. * Chris’ path through the early days and decisions regarding joining Savatage, an update on new Savatage music, and the conditions necessary for Savatage to play their first tour in the United States since 2002. In speaking with Chris, it’s evident how grateful he is to have had the opportunity to play in Savatage for all of these years.  Even through the years of inactivity, as he stated, he always hoped they would return to the stage to play all of these iconic songs once again for adoring fans all around the world.  Though the lineup has changed since the excellent live album they’re releasing, with Jon Oliva no longer being able to tour, and his brother Criss having passed on from this world far too soon, the songs live on through Chris and the other remaining members of the group.  No strangers to the Savatage world in their own right, Zakk Stevens, Al Pitrelli, Jeff Plate, and Johnny Lee Middleton seem set on delivering this timeless music to the next generation of fans.  And if you take Chris at his word that he’d put together a five-and-a-half hour setlist, it sounds as if he’s ready to play until the crowds are gone.  After waiting for Savatage to return for so long, it doesn’t look like that’s going to happen anytime soon.

Episode 35: Mortiis (Mortiis, ex-Emperor)

If you’re familiar with Håvard Ellefsen, better known as Mortiis, then you know that his musical career has evolved and changed many times since he was a member of Emperor in their founding years.  Since departing the legendary black metal group in 1992, Mortiis embarked on a solo career in the early 1990s that featured several releases which would heavily influence the dungeon synth genre, before gravitating towards an electronic pop and industrial rock format largely inspired by Trent Reznor and Nine Inch Nails at the turn of the millennium.  In the years since, the undefinable artist has continued to progress and vascillate between genres, creating musical landscapes that defy categorization. While still in Emperor during the years before the formal release of their famous EP and debut album In the Nightside Eclipse, Mortiis contributed the lyrics of “I Am the Black Wizards” and “Cosmic Keys to My Creation & Times,” arguably the two strongest songs from featured on both by creating an alternate world for the songs to live.  He would continue to provide soundtracks to that world during his Era 1 solo work of the 1990s, before evoking new ones once he pivoted to a more pop oriented sound.  His latest creation, Ghosts of Europa, carries trademarks from all of his eras, while creating an expansive atmosphere of dystopian dread that pushes his own musical limits, if there are any left, to places unknown. Ahead of the release of Ghosts of Europa, I had a chance to speak with Mortiis about it and many other topics, including:  * what world Ghosts of Europa lives in, a revelation about the album beginning as an ode to Tangerine Dream and then having a member of the group contribute, a discussion of the making of Spirit of Rebellion and returning to Era 1, and how the new record compares to the rest of his discography. * the reflective and introspective nature of the album’s lyrics, if he considers creating music as a therapeutic process, his process of creating Ghosts of Europa, and how viewing electronic music through a metal lens can influence his decision making. * his recent performance with Emperor at Z Rock Live in Spain, how the idea of performing the Emperor EP with Faust with Ihsahn and Samoth at select shows came to be, writing “I Am the Black Wizards,” and some reflection on the highly publicized non-musical events from the early Norwegian black metal scene and their repercussions.  * an existential discussion of being able to change the past involving the lyrical content of the closing track of his new record and questions about the his next musical direction. Mortiis gave genuine and thoughtful responses to every question posed to him, and for that I thank him.  It’s evident in speaking with him that he takes great care with his craft, poring over and experimenting with different sounds and methods until he finds something that works as uniquely his.  As he has changed the face of his music, and well, his actual face if you’ve seen him perform live over the last thirty years, his ability to adapt and change and succeed creating these musical worlds is unparalleled with one of the most unique catalogs that still loosely falls under the metal umbrella.  His latest incarnation, Ghosts of Europa, is no exception to that and is a testament to his untiring search for new approaches to sound that push traditional boundaries.

Episode 34: Andy LaRocque & Pete Blakk (King Diamond, Lex Legion)

Though it may seem that Lex Legion took the metal world by storm a few months ago by announcing their debut album in late March, the project boasting four of the five members of the classic late 1980s King Diamond lineup that created Them and Conspiracy had been in the works for much longer than that.   According to guitarists Andy LaRocque, King’s legendary axeman for more than 40 years, and Pete Blakk, a mainstay for the aforementioned albums plus The Eye, the roots of Lex Legion stretch back to 2021, with some of the demos and riffs even predating that by years.  Now, after meticulously refining their brand of classic ‘80s inspired heavy metal (and finding a singer who fit the material), the group is set to deliver their debut album this Friday, June 12th through MNRK Music. Rounding out this classic lineup are Mikkey Dee on drums, who famously played drums for King before moving on to Motorhead and Scorpions, Hal Patino from the same incredible run of albums as Pete, and lead singer Nils K. Rue from Pagan’s Mind, who worked with Andy on previous musical endeavor years prior.  Mikkey, Pete, and Andy have a long history together stretching back to the early 1980s Gothenburg scene, before they all joined King Diamond’s band in Copenhagen at different points as the decade progressed.  Though they would eventually go their separate ways in the early 1990s, they remained in close contact.  When Pete played some demos of new material he’d been writing for Mikkey, he suggested they call Andy to see if he was interested in playing, just as he had decades prior when King Diamond was in need of a guitarist.  The result is what Lex Legion is prepared to unleash upon the world with the eponymous debut.  Ahead of its release, I had a chance to sit down with Andy and Pete to discuss the record and many other topics, including: * how the band formed, why the project has been in the works for longer than the metal world is aware of, and the strategy behind waiting until the album was completed to announce the band’s existence. * the writing process the band used to create the album, the throwback sound the group has created, the guitar dynamic between Andy and Pete, and why Nils was the perfect singer for the group. * the band’s appearance and listening party at Sweden Rock Festival, the announcement of a show in three members’ hometown of Gothenburg for November of this year, the anticipated setlist including two unreleased Lex Legion songs and some surprises, and a discussion of the early Gothenburg scene prior to the advent of melodic death metal.  * a shoutout for Astroqueen’s Into Submission which was produced at Andy’s Sonic Train Studios and an update on their new record, a brief discussion of Rainbow, and Andy’s experience working with Chuck Schuldiner on Death’s Individual Thought Patterns. * Pete’s reflections on being asked to join the band again for Them and Conspiracy after declining earlier, and reflections on being able to reunite and play together again after so many years apart. Andy and Pete were a pleasure to speak with and very generous with their thoughtful responses and time.  Though many years have passed since their time on stage together, it’s evident in speaking with both that they’re enjoying creating new music together again after over 35 years since their time in King Diamond.  As the guitar duo said themselves, the friendships they’ve maintained with Mikkey and Hal over the years feel as if they haven’t skipped a beat, making the same old jokes as always while creating incredible music together.  Fans worldwide should be thankful that these stars aligned to rejuvenate a classic style of metal that is sorely missed in the current heavy music landscape.  Enjoy!

Episode 33: Tarja Turunen (Tarja, ex-Nightwish)

From a young age, everyone around her seemed to know that Tarja Turunen would have a future in music due to her incredible voice.  What many didn’t see coming though, was the way in which that voice would become part of a groundbreaking style of music that essentially created an entirely new genre of music.   After years of training in her youth and teenage years as in classical music, Tarja was seemingly faced with a decision to make based on two opportunities presented before her.  The first was to join a local symphony as their soloist, a position she had been preparing for for years through her schooling and vocal lessons.  The second option was to join an acoustic project that would become the genre-transforming symphonic metal band Nightwish that in a few short years would reach international acclaim.  As you might be able to tell, she chose the latter, with her incredible lead vocals being one of the main reasons Nightwish became a household name around the world for their unique blend of operatic singing and power metal.  As the band continued to rise in popularity with each subsequent release, it seemed that the most challenging choice for Tarja had been a successful one.  That meteoric rise would come to an abrupt halt at the end of Once Upon a Tour in 2025, as she was unceremoniously fired from the band.  The events surrounding their separation have been well-documented by other sources, but the way in which they transpired had a lasting effect on her, so much so that she left her home country of Finland.  Faced with a new set of challenges, Tarja once again embarked into the unknown and decided to go solo.  Starting first with a Christmas themed album in 2006, she released her first metal record, My Winter Storm, in 2007.  The lyrics to the album were largely introspective, dealing with the emotions she had felt from the happenings of the past few years: fear, determination, resilience, defiance, and independence.  Those themes would continue to weave throughout her subsequent releases, which have catapulted Tarja to international stardom in the metal world as she routinely tours the globe performing for spellbound audiences.  Her latest album, Frisson Noir, delves into those same concepts with which the world was first introduced to her as a solo artist, and packs perhaps the heaviest punch of any album in her catalog.  I had a chance to catch up with Tarja and discuss the new record, and a number of other things, including: * why it was the right time for her to get back to metal, the album’s title and its meaning, the concept of frisson, and how it fits the music she’s delivered on this record. * releasing a 10-minute song as a first single, the composition process for “At Sea,” her defiant second single “I Don’t Care,” and why Dani Filth was the perfect counterpart for her voice on the track. * Tarja’s dream collaborator for a duet, her process for writing a song for former Nightwish bandmate Marko Hietala, and how it feels to have rekindled that friendship.  * getting on stage at Tuska 2025 in Finland, the YLE “The World’s Best” podcast about her, and reflections on her joining Nightwish so many years prior and now having the opportunity to pursue both metal and classical music. Tarja was wonderful to speak with and gave me a sense of gratitude for every opportunity that she has been given.  A common theme in both her life and music, the first single’s setting of the turbulent sea provides a perfect analogy.  Tarja has battled rough seas in many different contexts throughout her life and career, and each time the storm she faced has turned into the truth she delivers on each one of her records.