{"id":14279,"date":"2013-04-30T00:00:20","date_gmt":"2013-04-30T00:00:20","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=14279"},"modified":"2013-09-12T22:58:50","modified_gmt":"2013-09-12T22:58:50","slug":"feature-avantasia-04-13","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-avantasia-04-13\/","title":{"rendered":"AVANTASIA – Where Clock Hands Melt (April 2013) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"

AVANTASIA – Where Clock Hands Melt<\/strong><\/span>
\nAnthony Morgan<\/span>
\nApril 2013<\/span><\/p>\n

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Tobias Sammet<\/em><\/strong><\/span><\/div>\n<\/td>\n
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The brainchild of Edguy vocalist Tobias Sammet, German power metal outfit Avantasia was to initially disband following touring commitments for full-lengths The Wicked Symphony<\/em> and Angels Of Babylon<\/em>. Platters four and five respectively, both were simultaneously released in April 2010. The pair in question concluded The Wicked Trilogy<\/em>, a trio of records inaugurated by January 2008 outing The Scarecrow<\/em><\/a>. By 2011, Avantasia had been in existence for 12 years.<\/p>\n

\u201cI thought I had said everything, and I thought that it was time to focus on Edguy and just force the end of it upon myself,\u201d Tobias reflects. \u201cI was so happy that I had come to that point \u2013 where I had finished the second tour successfully without anybody getting killed, and without big damage. We headlined Wacken twice, we just had a number one DVD release in Germany (March 2011\u2019s The Flying Opera), and the last studio album (The Wicked Symphony) had been at number two in Germany. I thought \u2018This is as big as it gets, without causing damage to anybody or me (laughs).\u2019 I was just happy that I made it out alive, and so I thought \u2018Now it\u2019s time to focus on Edguy again.\u2019 That\u2019s what I did, and I thought it was the right step at the time. <\/p>\n

\u201cI really wanted to make a statement with Edguy, which we did with Age Of The Joker<\/em> (August 2011) I believe. It may sound clich\u00e9d, but you don\u2019t know what you\u2019ve got until it\u2019s gone. I realised how much I needed to be creative, because Avantasia gives me the ultimate opportunity to be creatively free. There are no limits and boundaries; you create a world of its own, and you paint it the way you want it to be painted. You create characters for a story that you\u2019ve written, and then you make these characters come alive by choosing vocalists out of your record collection to sing those characters and those songs. There are no limits and no boundaries. I needed that creative thing. Even though I didn\u2019t want the stress part of it, I needed to be creative.\u201d<\/p>\n

The Mystery Of Time<\/em>\u2019s March 2013 issue subdues speculation regarding Avantasia\u2019s future. \u201cI didn\u2019t want to do it again originally, but I just had the urge of being creative,\u201d the mainman reiterates. \u201cIn between getting lost in the routine of the music business, every man needs a hobby. I was sneaking into the basement, but instead of painting tin soldiers or playing golf or tuning my car I was being creative, coming up with a little story, and putting little bits and pieces of songs together. All of a sudden, I realised that this is the quintessence of what Avantasia is all about. <\/p>\n

\u201cI think about half a year after I had done what was meant to be Avantasia\u2019s last show (August 6th, 2011 at the Wacken Open Air festival in Germany), I discovered myself at the beginning of writing a new Avantasia chapter. It wasn\u2019t meant to be a lie when I said I didn\u2019t wanna do it again, but I just couldn\u2019t resist. I didn\u2019t even realise what I was doing when I was doing it. I just had the urge of being creative, and Avantasia for me is a great way to recharge my batteries. It may sound like a paradox \u2013 to be recovering from the stress of the music business by doing even more music (laughs) \u2013 but it\u2019s the truth. It\u2019s my hobby, and I had to do it again.\u201d<\/p>\n

The outing\u2019s storyline concerns itself with the concept of time, of course. \u201cIt\u2019s about the lack of time, and about how everybody seems to be busy,\u201d Tobias supplements. \u201cIf you take a look around, everybody\u2019s busy running like on a hamster wheel or a treadmill. Everybody\u2019s running, but nobody knows exactly what for and where they\u2019re running. It seems like an invisible force is sucking away our time, so we keep ourselves busy with unimportant stuff. We don\u2019t find the time any more to focus on what\u2019s really important, and what we are doing all this for, and why are we doing all this. <\/p>\n

\u201cThe story takes place in the 19th century in a small English town, where there\u2019s a young scientist (Aaron Blackwell) trying to explore. He realises the same thing, that people around him don\u2019t have time any more. He\u2019s got a feeling that an invisible force is trying to take people\u2019s time away, that people don\u2019t have time to become aware of their spiritual roots and of spirituality in general. He explores that lack of time, and then he eventually explores the coherencies of his professional convictions as a scientist as well as spirituality, and the impact that time has on the whole thing. It\u2019s a really exciting story, even though it\u2019s a little bit out there. It\u2019s got a lot to do with spirituality, and the pace that is forced upon our society if you take a look around. To me, it seems like an invisible force is trying to force a pace upon our society that is too fast and too much for us to handle. That\u2019s what the story is about. I tried to write something that is really scary, that I really think about a lot, and that I\u2019ve really experienced myself. I tried to put that into a beautiful, fantastic fairytale.\u201d<\/p>\n

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Tobias Sammet<\/em><\/b><\/span><\/div>\n<\/td>\n
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Lyrics as well as musical fragments were authored in co-ordination. \u201cIt really works hand in hand,\u201d the singer observes. At the beginning I just had song fragments, and that was all. I just had song fragments, and a feeling of what it could be about. In the beginning, when I start to work it\u2019s very much instinctively free-flowing and free-styling. I just work on a bit of a song here, and another part of a song there. You just do it, and then you have an idea of what the story could be about, and it starts to take shape. <\/p>\n

\u201cIt\u2019s funny. When I really wrote down the beginning of the story, and what the album would be about… When I started to phrase my feelings and put them in order, and started to write that \u2018Once upon a time…\u2019 type fairytale, that was when I was in England \u2013 I was on tour with Edguy in February or March of 2012. I enhanced my stay, because I happened to find England and Great Britain in general… It might sound offensive, but it\u2019s meant to be a compliment. I think clocks are moving a bit slower there. In most places in the world, everybody is so busy trying to scratch off any kind of patina, and trying to refurbish everything. They\u2019re trying to maximise and optimise, and make everything new and effective. <\/p>\n

\u201cI think in England, I have a feeling. To me, it\u2019s very romantic. To me, people just embrace patina. People embrace character that is attached to an object, and people embrace history. It\u2019s not as fast; people are not so busy, and renewing everything. It\u2019s a renewal mania in Germany, and so I just enhanced my stay in England and went to some historical sites. I just sat in some pub, had a couple of pints, and just started to write this story. It was so inspiring \u2013 it was a great, great, relaxing atmosphere. It\u2019s pretty much a story that was born in England (laughs).\u201d<\/p>\n

In certain instances, Tobias pens compositions with a specific vocalist in mind to occupy microphone duties. \u201cFor example, with \u2018Where Clock Hands Freeze\u2019 I had the first initial idea for the melody of the chorus in the back of my mind, and I knew right at that same moment that it would be Michael Kiske (Unisonic \/ ex-Helloween) singing it,\u201d he recalls. \u201cMichael Kiske\u2019s voice was the voice of this little angel called inspiration that was singing the song in the back of my mind. When I write songs like that… For example, when I wrote a song like \u2018The Great Mystery\u2019 I had Bob\u2019s voice in the back of my mind. A song like that needs a voice not like Bob Catley\u2019s (Magnum), but the voice of Bob Catley. <\/p>\n

\u201cThat\u2019s how it came together, but with some other vocalists… For example, with \u2018Black Orchid\u2019 or \u2018Invoke The Machine\u2019 \u2013 with songs like that \u2013 the song was there, and then I thought \u2018Who could be the right vocalist for that?\u2019 You go through your record collection, and then you say all of a sudden \u2018Yeah. That would be it. It\u2019s got to be Biff Byford (Saxon),\u2019 or \u2018\u2026 It\u2019s got to be Joe Lynn Turner (ex-Rainbow),\u2019 or \u2018\u2026 It\u2019s got to be Ronnie Atkins (Pretty Maids),\u2019 or \u2019\u2026 Eric Martin (Mr. Big).\u2019 It\u2019s a very intuitive thing. You write it, and then you know the kind of voice that should be singing it. You then have to go through your record collection, to find out which voice has which name (laughs).\u201d<\/p>\n

Certain guests who lend vocals to The Mystery Of Time<\/em>\u2019s numbers were acquaintances of the frontman, but not all. \u201cFor example, I\u2019ve known Biff Byford for a very, very long time,\u201d he divulges. \u201cI was onstage with Saxon as a guest of theirs at Wacken Open Air in 2007. We\u2019ve known each other for a very long time, and it was overdue to work with Biff. He\u2019s a legend; he\u2019s one of the finest voices in the history of heavy metal. He was there when heavy metal literally got invented, so it was overdue. Other people like Ronnie Atkins for example, I had already asked in the early days. I had asked Ronnie in \u201999 for The Metal Opera<\/em> (January 2001), but he didn\u2019t wanna do it back then. I had to ask again 13 years later, and finally he agreed. <\/p>\n

\u201cWith other musicians like Joe Lynn Turner or Eric Martin for example, it was just getting in touch with them, asking them, explaining the project to them, and waiting for their answer. Luckily, they accepted the invitations. It\u2019s always a little bit tricky \u2013 or can be tricky at times \u2013 when you have to wait for answers and you have to make things work, especially with people who have never worked with you before. It went quite smoothly for this record, though.\u201d<\/p>\n

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Sascha Paeth and Tobias Sammet<\/em><\/strong><\/span><\/div>\n<\/td>\n
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Not all potential guests were able to appear on the full-length. \u201cTo be honest, I was just thinking about somebody who I wanted to have, and who I had talked to last week,\u201d Tobias explains. \u201cThere was one, though \u2013 Slash (guitarist, ex-Guns \u2019N Roses \/ Velvet Revolver). I wanted to have Slash. We were on tour with Slash, but he was so busy that he couldn\u2019t squeeze it in. I didn\u2019t even try to work with Bruce Dickinson this time, but one day I will work with Bruce Dickinson. It\u2019s probably his schedule \u2013 Iron Maiden doing a lot of stuff, Bruce flying a lot of aeroplanes, doing books, movies, and what have you. He\u2019s such an all-round, busy guy that it\u2019s really difficult to even get in touch with him, but one day I will get him (laughs). It\u2019s a dream, and it\u2019s also great to have unfulfilled dreams so there\u2019s something that you can keep on working at.\u201d<\/p>\n

Uriah Heep sticksman Russell Gilbrook stepped behind the drumkit for The Mystery Of Time<\/em>. \u201cI was looking for a drummer,\u201d the vocalist remembers. \u201cAt first I planned to have Eric Singer on the album of course, because he had played on the last several Avantasia records. He was busy with Kiss, though. I wanted to have a real rock drummer who technically had the skills to drum heavy metal. I wanted to have people with a rock background \u2013 John Bonham (Led Zeppelin<\/a>). A heavy metal version of John Bonham and Cozy Powell (ex-Rainbow \/ ex-Black Sabbath<\/a>). I remembered that I had once played a show with Edguy, and Uriah Heep had played as well. I watched the Heep show. <\/p>\n

\u201cUsually I prepare for our own show, and so I don\u2019t have the opportunity to watch the band that goes on prior to our show because I have to get ready for our own show. I remember that I stood at the side of the stage though, and that I couldn\u2019t stop watching because he was demanding my attention because it was so great. He was beating that poor drumkit \u2013 I felt so sorry for the drumkit \u2013 and that was Russell Gilbrook. When Eric Singer said he couldn\u2019t do it because he was busy working with Kiss on a new album, I got in touch with Russell. I contacted him via Facebook. Russell agreed, and then three weeks later he was in a cinema in Hamburg where we recorded the drums. It\u2019s a studio, an old cinema. It was a great drum recording room.\u201d<\/p>\n

Erstwhile Kiss axeman Bruce Kulick and At Vance co-founder Oliver Hartmann supply the majority of the platter\u2019s guitar parts, meanwhile. \u201cThere are four guitar players on this record, which is really insane, but it\u2019s great,\u201d Tobias enthuses. \u201cIt\u2019s Sascha Paeth, of course \u2013 the producer. Then it\u2019s Oliver Hartmann on additional lead guitars, and then there\u2019s Bruce Kulick on additional lead guitars and Arjen Lucassen. Bruce was obvious, because he brings in an American aspect. It\u2019s a very European record, but if you have the chance to have somebody bring in a different sort of paint \u2013 a different touch \u2013 then it\u2019s always great. Bruce is an American, and comes from a bluesy, American background. That gives the whole thing an exciting, new appeal, and of course if you get the chance to work with a guy who played in Kiss for 12 years, and who played for Meat Loaf… Jim Steinman is one of my biggest songwriting influences, so if you get that chance then you\u2019ve got to seize it. I\u2019ve been friends with Bruce for a very long time now, and it was obvious that I would ask him again. <\/p>\n

\u201cWith Arjen Lucassen, it\u2019s funny. I sang for his project once \u2013 Ayreon. He found out about my project \u2013 the new Avantasia album \u2013 on the internet. He got in touch with me, and said \u2018Hey, I heard you\u2019re doing a new Avantasia album. I wanna pay my debts.\u2019 He played on the record as well, which was great. Oliver Hartmann is the live guitar player as well. They\u2019re members of the Avantasia family. Everybody is a member of the Avantasia family \u2013 all of the aforementioned \u2013 but Oliver Hartmann and Sascha Paeth have been Avantasia guitar players for a very long time, and also the live guitar players. I\u2019m blessed to have worked with four great guitar players.\u201d<\/p>\n

The topics of Kiss sparks discussion as to the possibility of vocalist Paul Stanley appearing on a future Avantasia full-length. \u201cI think I would have to sell my house then,\u201d the lyricist chuckles. \u201cOf course I\u2019m a huge fan of Paul Stanley and I will try that one day, but I seriously don\u2019t think there\u2019s gonna be that much of a chance unless he really listens to it and thinks it\u2019s something exciting. From an economic standpoint though, I think it would be really hard to make that work. He makes more money in one night with Kiss than I make in a whole year, so I think it would be a little bit difficult to arrange (laughs). You never know, though. Maybe he will listen to Avantasia one day, and will think it\u2019s great and would be worthwhile doing. If he was interested in doing it for the right reasons then it would be a dream of mine, but I don\u2019t necessarily expect that to happen. I\u2019m realistic. Bruce Dickinson is my number one priority. Then I can go to Paul Stanley, and say \u2018If it was good enough for Bruce, it should be good enough for you as well (laughs).\u2019\u201d<\/p>\n

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The German Film Orchestra Babelsburg provide orchestration to The Mystery Of Time<\/em>. \u201cI had worked with them before for the Hellfire Club<\/em> album (April 2004) with Edguy, and I knew that it was a major event to be working with a real orchestra,\u201d Tobias cites. \u201cAs you can imagine, nothing compares to working with a real orchestra. When you enter a room and 60 people with real, old, classic wooden instruments who\u2019ve all studied music start to play songs that I have written in my little music room in our basement, that\u2019s an amazing feeling. There\u2019s so much energy, so much power, and so many vibrations in the room when you enter a room like that. It\u2019s unbelievable. It\u2019s almost a sacred moment. That was great, and I knew that that would be a great feeling. <\/p>\n

\u201cWhat you always have to be aware of is that in the end, you may be the only person who can tell the difference between an orchestra and a well programmed keyboard orchestra. I took that risk though, because I said, \u2018Down the line I will know that it\u2019s a real orchestra, and it\u2019s me that I\u2019m recording this album for.\u2019 Of course I need to sell it so I will get the chance to be financed for another one \u2013 to get the budget to produce another album \u2013 but ultimately, it\u2019s only me that I want to please. I know that there\u2019s an orchestra on it, and so it was obvious for me that I would do it this time. It was a gut decision. After I had written the song \u2018Black Orchid\u2019, I just thought \u2018This needs a real orchestra.\u2019 It\u2019s not too fast and it\u2019s not too filled up with sound information, so you may hear the organic benefits of a true orchestra on that song. That was a gut decision, very subconscious.\u201d<\/p>\n

Crafting The Mystery Of Time<\/em> was \u201cjust approached very innocently. I didn\u2019t even have a goal, and I didn\u2019t have a vision of what the end result should sound like. I just wanted to compose a new piece of music, be innocently creative, and just have a great time producing the album. The quest was the purpose, and so the journey was its reward. It was the rainbow itself, and not the pot of gold that was to be found maybe at the end of the rainbow. I enjoyed the production process, and didn\u2019t have any ambitions of a certain direction. The whole thing comes across as a little more conceptual than the previous records. <\/p>\n

\u201cIf you take a look at the previous records \u2013 especially if you read the stories and take a look at the booklets \u2013 you have the feeling that they\u2019re albums by Tobias Sammet and friends. With the new album, you have the feeling that this is absolutely a mature, grown-up rock opera. It feels like a rock opera; it was created like a rock opera and it is a rock opera, and I think that\u2019s a big difference, that everything goes much, much more hand in hand with each other on this album. It\u2019s a more fitting, close, compact concept all the way through.\u201d<\/p>\n

Cover artwork duties were handled by Rodney Matthews. \u201cI wanted to have a real artwork that was hand crafted, hand painted,\u201d the mainman elaborates. \u201cA piece of art for a hand crafted piece of music. I thought it may not be modern and it may not be trendy to have such an artwork \u2013 a fairytale\u2019ish artwork \u2013 on an album like The Mystery Of Time<\/em>, but I didn\u2019t care. I\u2019m a huge Rodney Matthews fan, and I really wanted to have that true piece of art. I thought this album \u2013 having consumed so much of my time and my love for detail, and so many true artists and musicians having been involved in the production \u2013 didn\u2019t deserve anything but a true piece of art even on the cover, so I asked my favourite fantasy painter Rodney Matthews.\u201d<\/p>\n

A limited edition version of The Mystery Of Time<\/em> includes bonus tracks. \u201cOne is \u2018Death Is Just A Feeling\u2019,\u201d informs Tobias. \u201cIt\u2019s a song that was on the Angel Of Babylon<\/em> record, but this is the version with my guide vocals on that we sent to Jon Oliva (Jon Oliva\u2019s Pain \/ Savatage \/ Trans-Siberian Orchestra) back then to have him sing the vocals on. The other song is \u2019The Cross And You\u2019, and that\u2019s a completely new song. It\u2019s a little bit Queensr\u00ffche\u2019ish, but a great track I think. It\u2019s just me on vocals, but it\u2019s a great, anthemic song.\u201d<\/p>\n

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A music video was filmed for the composition \u2019Sleepwalking\u2019, with vocals on that specific track being lent by Cloudy Yang. \u201c\u2019Sleepwalking\u2019 is the only song that is below the four-minute benchmark, and it\u2019s the poppiest song on the album,\u201d the singer critiques. \u201cWe needed to do a song like that because if you wanna have a chance to be played on television during the daytime, you have to pick a song that is either a ballad or a poppier song. We don\u2019t have much pop on the album; the only poppy song on the album really is \u2019Sleepwalking\u2019, and it\u2019s below the four-minute benchmark. We could\u2019ve also gone for \u2019The Great Mystery\u2019, which I think is an epic piece of music. It\u2019s a little opera within an opera, but it\u2019s ten minutes long, and it doesn\u2019t make sense to shoot a video for a ten-minute long song.<\/p>\n

\u201cWhen we shot the video for \u2019Sleepwalking\u2019 in the forest, it was 6 degrees below zero; it was fucking cold, it was snowing, and it was windy. It took 14 hours to shoot in the forest, and it\u2019s an enchanting video. It\u2019s like it was taken right out of Sleepy Hollow<\/em> (1999), or Brothers Grimm \u2013 a really amazing video.\u201d<\/p>\n

At the time of writing, a DVD chronicling a select live performance from The Mystery Of Time<\/em>\u2019s touring commitments hasn\u2019t been planned. \u201cI\u2019ve read on the internet that some festival announced that we\u2019re gonna do a DVD, but that\u2019s not true,\u201d Tobias cautions. \u201cI never said that; nothing is planned in that regard. We\u2019ll see. I haven\u2019t thought about it yet.\u201d <\/p>\n

Edguy plan to author a tenth studio full-length album. \u201cI talked to Jens recently,\u201d the frontman discloses. \u201cRight after the tour in September, we\u2019re gonna throw ideas back and forth into a bucket on the table \u2013 everybody. We\u2019ll then slowly but surely start working on a new Edguy record. I think it\u2019s gonna be out sometime in 2014, but nothing is written yet.\u201d<\/p>\n

Additional Avantasia studio outings seem likely. \u201cThere\u2019ll definitely be The Mystery Of Time Part II<\/em>, but I don\u2019t know,\u201d Tobias muses. \u201cI wanna focus on Edguy first after The Mystery Of Time<\/em>. I don\u2019t know when another Avantasia record will come out, but there will be The Mystery Of Time Part II<\/em>. It has not been composed yet, so I expect this to come out maybe in 2015, 2016. There will have to be a continuation story-wise though, because the story continuation isn\u2019t complete yet. There are some pieces of music, but I have had to put everything to rest since October or November 2012 I\u2019d say. I have ideas for two or three more songs, but there isn\u2019t 40% of the material written for an album or something \u2013 nothing like that. I have put it onto a shelf, and will forget about it until it\u2019s time to work on a new Avantasia album.\u201d<\/p>\n

The Mystery Of Time<\/em> was released in Japan on March 27th, 2013 via Avalon \/ Marquee. The album was subsequently issued on the 29th in Europe and on April 30th in North America, all via Nuclear Blast Records.<\/p>\n

Interview published in April 2013.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

AVANTASIA – Where Clock Hands Melt Anthony Morgan April 2013 Tobias Sammet Pic: Alex Kuehr The brainchild of Edguy vocalist Tobias Sammet, German power metal outfit Avantasia was to initially disband following touring commitments for full-lengths The Wicked Symphony and Angels Of Babylon. Platters four and five respectively, both were simultaneously released in April 2010. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[370,23],"tags":[],"class_list":["post-14279","post","type-post","status-publish","format-standard","hentry","category-avantasia","category-features"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/14279","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/comments?post=14279"}],"version-history":[{"count":15,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/14279\/revisions"}],"predecessor-version":[{"id":63273,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/14279\/revisions\/63273"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=14279"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=14279"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=14279"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}