In a world where connectivity is the key and internet is all the rage these days, it is said societies have become more democratic as a result. Could be true, though reality might, in fact, tell a completely different story. It has certainly inspired a new wave of bravado. But not the bravado that Led Zeppelin – to pick up a very obvious example – exuded every single time they set foot on stage but some sort of empty bravado that is merely a shell to hide our own failures and insecurities. Fake it until you make it, as they say. And sadly Heavy Metal is not immune to this new blueprint for an illusory sense of success. So it is really not that uncommon to browse through the pages of a professional, semi-professional, amateur or homemade magazine (both online and in real paper) and find some high and mighty drum-rolling announcement of some random interview being highlighted as a mega exclusive feature. And usually it is not that hard a task to find that exact same band being exclusively interviewed in other publications of the kind. Something that should come as no surprise. After all, a disposable society turns the language inside out. Words are continuously stripped of its meaning. Image is everything – content is irrelevant. If you constantly boost yourself with some big words – who knows? – maybe you might even grow an inch or two. This is not a dick joke, by the way.
“Yes, I tried but only after everything was complete, once more, although I did send only a couple of promo packs to some greek labels. You know, I wanted to share this album with people around the world for free in the first place. The only reason that this album has now a price is because I wanted to be featured on online platforms such as Spotify, iTunes, etc. It would have been great if a record label paid some attention to the album and wanted to release it in a physical copy, but this is mostly my fault, since I didn’t chase any labels myself”.
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Having said that, it is my great pleasure to introduce you an exclusive interview with the Tolkien-obsessed greek-german Heavy Metal project Herc. I make this huge announcement not with fireworks and fanfare but just a slightly ironic smirk. I take no pride in being the first to interview Herc and I sincerely hope others will follow with new pseudo-exclusive Herc interviews. Let me just give you some biographical context real quick before handling the microphone to the man behind the work. Born from the ashes of Arkenstone, this project Herc, the child of Iraklis Horaitis (all vocals and male choirs, electric, acoustic and bass guitar, drums & keyboards), has released two albums in digital format only, the acoustic «Of Perilous Realm… and Other Stories» in 2004 and the ambitious «Towards The Mountains» in 2016. But let us give Mr. Horaitis the chance to tell us his own story.
What else is there to know about Arkenstone? I want to know if he also was the main songwriter in the band like he is doing now in Herc (I’m not comparing both bands for obvious reasons) or was it more a collective effort. “Arkenstone was formed in 1998 by me and the demo singer, Nick Spyridakis, who wrote the lyrics for the «Towards The Mountains» concept in the first place. Right away, another member, George Agapakis, has joined the band as a second guitarist and together we started composing the first songs for Arkenstone. Our very first song was «Lord of The Eagles». Later on, Nick Vachouthianakis and Chris Tarantilis completed the band and from that point on, music composition became a collective effort, as you said". Turns out, as I wrongly assumed, Arkenstone was not Iraklis’ beginning in his musical adventures. “Arkenstone wasn’t my first band since I’m an active musician since 1995. I had a few side projects before and after Arkenstone. Worth to mention is De.ma.x.i.ma.m. (Greek Punk-rock’n’roll), Sians (Cinematic Ambient), Echoes of Silence (Acoustic Ambient) and Anamnisis (Greek Rock)”.
A marginally asinine question because success is always self-defined but I am still curious of how successful was Arkenstone in the Greek Metal scene. I am just thinking aloud because I have some vague recollections of the name. I imagine the band must have built some kind of following. “We had some reputation” he confirms, “mostly because we shared the stage with bands like Jag Panzer, Brocas Helm, Manilla Road, Septic Flesh and Rotting Christ. We have played several live shows within Greece but we never made it abroad”. In 2008, after 3 demos, Arkenstone finally managed to release its debut album (that would prove to also be the last one). «Dead Human Resource» turned out to be kind of disappointing, to be honest. I am left pondering what led to the change in sound regarding the demos, for something more modern, so to say. “The music style changed because the line-up of the band changed and the new members used to listen to different Metal styles. To be honest, this album didn’t end up the way we wanted, maybe because we changed our singer during the recordings”. We all know hindsight is 20/20 and news reporter Jack Brolin and his faithful companions Shoulda, Coulda, and Woulda have all the right answers but it still feels good to hear an honest answer for a change. “In 2004 George Sotiriou (Chaos Eternal) had joined the band as second guitarist and together we composed a 3rd demo with 4 songs. The result was a modern Power Metal style, not the Power Epic we used to have in our first demos. In 2006 we travelled to Germany to record our first full-length album and when it was completed, the result, vocal-wise, wasn’t that satisfying. The music itself wanted something more aggressive so we re-recorded all vocals with a new singer, but on the last minute”. Let this be a lesson for you out there. Take all the time you need until you are absolutely sure you can’t do any better. What’s the point in doing something if it’s not done to the full extent of our abilities?
Since the album bears the Casket seal I am interested to know if there might have been any pressure whatsoever from the label to sound more in line of what was deemed popular back then. “Not at all. Casket’s contract came on our table after everything was already done”. A fully transparent answer, without a whiff of blame shifting. “With our full-length album in our hands, mixed and mastered by R.D. Liapakis (Mystic Prophecy, Devil’s Train [and now in Steel Prophet as well – DEFIANCE]) and Christian Schmidt (co-producer), we reached out to record labels for a contract. Casket was the only label who showed interest in our music”. It is no wonder, then, that the Arkenstone releases that are closer to Iraklis’ heart nowadays are the 2 first demos. “I always felt the urge to re-record our 2 first demos properly” he confesses. “As for the rest, if I could turn back time I would have changed a lot of things and maybe I would have achieved something bigger. Anyway, it’s never too late to get back on track!”. Those 2 demos, «Whispers of Fire» (2000) and «The Sentinel of The Dwarven Gate» (2004) have actually gotten another go in the stunning Herc album as it is explained: “As a matter of fact, all Arkenstone demo songs where featured in the «Towards The Mountains» album. It is just that some of them were slightly changed, music-wise”.
What else is there to know about Arkenstone? I want to know if he also was the main songwriter in the band like he is doing now in Herc (I’m not comparing both bands for obvious reasons) or was it more a collective effort. “Arkenstone was formed in 1998 by me and the demo singer, Nick Spyridakis, who wrote the lyrics for the «Towards The Mountains» concept in the first place. Right away, another member, George Agapakis, has joined the band as a second guitarist and together we started composing the first songs for Arkenstone. Our very first song was «Lord of The Eagles». Later on, Nick Vachouthianakis and Chris Tarantilis completed the band and from that point on, music composition became a collective effort, as you said". Turns out, as I wrongly assumed, Arkenstone was not Iraklis’ beginning in his musical adventures. “Arkenstone wasn’t my first band since I’m an active musician since 1995. I had a few side projects before and after Arkenstone. Worth to mention is De.ma.x.i.ma.m. (Greek Punk-rock’n’roll), Sians (Cinematic Ambient), Echoes of Silence (Acoustic Ambient) and Anamnisis (Greek Rock)”.
A marginally asinine question because success is always self-defined but I am still curious of how successful was Arkenstone in the Greek Metal scene. I am just thinking aloud because I have some vague recollections of the name. I imagine the band must have built some kind of following. “We had some reputation” he confirms, “mostly because we shared the stage with bands like Jag Panzer, Brocas Helm, Manilla Road, Septic Flesh and Rotting Christ. We have played several live shows within Greece but we never made it abroad”. In 2008, after 3 demos, Arkenstone finally managed to release its debut album (that would prove to also be the last one). «Dead Human Resource» turned out to be kind of disappointing, to be honest. I am left pondering what led to the change in sound regarding the demos, for something more modern, so to say. “The music style changed because the line-up of the band changed and the new members used to listen to different Metal styles. To be honest, this album didn’t end up the way we wanted, maybe because we changed our singer during the recordings”. We all know hindsight is 20/20 and news reporter Jack Brolin and his faithful companions Shoulda, Coulda, and Woulda have all the right answers but it still feels good to hear an honest answer for a change. “In 2004 George Sotiriou (Chaos Eternal) had joined the band as second guitarist and together we composed a 3rd demo with 4 songs. The result was a modern Power Metal style, not the Power Epic we used to have in our first demos. In 2006 we travelled to Germany to record our first full-length album and when it was completed, the result, vocal-wise, wasn’t that satisfying. The music itself wanted something more aggressive so we re-recorded all vocals with a new singer, but on the last minute”. Let this be a lesson for you out there. Take all the time you need until you are absolutely sure you can’t do any better. What’s the point in doing something if it’s not done to the full extent of our abilities?
Since the album bears the Casket seal I am interested to know if there might have been any pressure whatsoever from the label to sound more in line of what was deemed popular back then. “Not at all. Casket’s contract came on our table after everything was already done”. A fully transparent answer, without a whiff of blame shifting. “With our full-length album in our hands, mixed and mastered by R.D. Liapakis (Mystic Prophecy, Devil’s Train [and now in Steel Prophet as well – DEFIANCE]) and Christian Schmidt (co-producer), we reached out to record labels for a contract. Casket was the only label who showed interest in our music”. It is no wonder, then, that the Arkenstone releases that are closer to Iraklis’ heart nowadays are the 2 first demos. “I always felt the urge to re-record our 2 first demos properly” he confesses. “As for the rest, if I could turn back time I would have changed a lot of things and maybe I would have achieved something bigger. Anyway, it’s never too late to get back on track!”. Those 2 demos, «Whispers of Fire» (2000) and «The Sentinel of The Dwarven Gate» (2004) have actually gotten another go in the stunning Herc album as it is explained: “As a matter of fact, all Arkenstone demo songs where featured in the «Towards The Mountains» album. It is just that some of them were slightly changed, music-wise”.
With thousands of albums released every year, it is kind of disheartening to see this album still in a digital-only format. But I am still hoping for a proper release on CD or vinyl for that is Herc's goal too, after all. “Yes, I tried but only after everything was complete, once more, although I did send only a couple of promo packs to some greek labels. You know, I wanted to share this album with people around the world for free in the first place. The only reason that this album has now a price is because I wanted it to be featured on online platforms such as Spotify, iTunes, etc. It would have been great if a record label paid some attention to the album and wanted to release it in a physical copy but this is mostly my fault, since I didn’t chase any labels myself”.
This is a refreshing view, for a change. We all know that nowadays we see people – even in the sacred realms of Heavy Metal, unfortunately – completely obsessed over views, likes and assorted pettiness of the like. Yet, Herc has made it pretty clear that in all the years this album has been in the work the completion of this concept was always the main focus. This project is – first and foremost – something that Iraklis wanted to do for himself, regardless of popular demand. What a beautiful way to break the chains of this dishonorable obsession over exposure and the shameful begging for attention, so common in this brave new world. “Depends on who’s asking for attention” is the first reaction. "For sure I have no deep knowledge when it comes to music marketing, since I haven’t dived deeply into the business, but my common sense is telling me that there are bands that are suffering, especially during this pandemic, and without being able to tour, they try to survive throughout social media exposure! I personally, would like to see what a few of my beloved artists are doing outside of the studio. What are their interests? Not in a stalking way though (laughing)! There are of course some exceptions which I refer to them as “attention whores” and sadly we are surrounded by them.” It is a trap. Music has turned into an accessory for “content creation”.
Working on this album for a couple of years is no mean feat when we take in consideration how bands usually behave nowadays. No time to lose, no strive for perfection, no broader vision. I suppose it makes it a lot easier when we are talking about a labor of love but it shouldn’t have been a walk in the park to stay focused as years have gone by. “The whole album has been recorded in my own home” he starts. “Its recordings started back in 2009 and it was finished in 2016, when the album has been released. When the recordings started, I was still living in Greece and for the last 4 years I have been a german citizen. My family and me have been through a lot of difficulties until we managed to settle in one place. The only way to stay focused on a project like that, under those circumstances, is of course to have the passion and the love for the things you are creating. This is what kept me focused. I always wanted this concept to be complete”. Let me add as a personal note… regardless of the time it takes to complete it. No compromise, no half-baked attempts. Full throttle, speed on, ever moving onward.
Still, looking at «Towards The Mountains» now and comparing it to when the project first started to take shape, I reflect on how close to the initial vision it really is. Is this all really the fruition of an elaborate master plan or was there some free space to let it all grow and become – in a way – a living entity? Iraklis sheds some light of the subject: “Funny fact: my first demos, almost all 20 songs, were in an Epic Power Metal style. Exactly like Arkenstone’s first demos. Now, when I tried to put some vocals on them I discovered that it was pointless, as my voice didn’t fit in at all. So I decided to follow a different path. I wanted to be Metal in a way but not get far away from my first album which was in an acoustic rock style. One of my past side projects, Sians, was a two men band. Thanos Tsouanas is a very talented composer and a good friend and I had plans for him regarding my album. He has composed and co-produced some of the album’s songs and this has given the album its cinematic atmosphere. So yes, the album has been completely different from what it was in the first place”. This fits tightly like a glove (of Metal) in the theory that regards music as a breathing organism that we create through love and then nurture into adulthood where it flies away towards being embodied in a magic ring of sound.
«Towards The Mountains» is undoubtedly Iraklis’ offspring but he did manage to co-write a couple of songs with some friends of his. Since this seems to be a very individual process, we could assume it might not be in the best of interest to let someone else interfere in the creation process, namely co-writing a couple of songs with some friends of his. Turns out it all went pretty smooth. “This was a great experience from my point of view. Nowadays, Internet can make this happen. You just send around your demos to people that like to get involved and everyone gets to play his part. In my case I let everyone, who was involved in this album, express their creativity without rules. Even though some songs changed completely in the end, I wanted to keep everything because I loved this collaboration and its outcome in the end”.
So the next question should now be obvious to anyone with half a brain. Who are the other members on this fellowship? How were they tracked and convinced to be part of this endeavor? “I would like to start with my wife who has been very supportive throughout the years. She really loves my music and she has expressed the need to be a part of it at some point. So I did, and I also have future plans for her. Now, George Liontas and Nick were former Arkenstone members and they accepted my proposal at once. I already expressed my thoughts about Thanos before. What I didn’t say about him… He works PERFECTLY under pressure. Throughout the whole recording process, Thanos managed to play his part only in the last month, before the album was finally mixed and mastered. Jim Ioakimoglou (Anorimoi) is a good friend and he joined the project because he liked it a lot. Last but not least my very good friend and my manager (in my working environment), Mob Böttcher (Rodgau Monotones). This guy is one of the craziest musicians I have ever worked with. I’m really glad that he accepted my proposal”.
This is a refreshing view, for a change. We all know that nowadays we see people – even in the sacred realms of Heavy Metal, unfortunately – completely obsessed over views, likes and assorted pettiness of the like. Yet, Herc has made it pretty clear that in all the years this album has been in the work the completion of this concept was always the main focus. This project is – first and foremost – something that Iraklis wanted to do for himself, regardless of popular demand. What a beautiful way to break the chains of this dishonorable obsession over exposure and the shameful begging for attention, so common in this brave new world. “Depends on who’s asking for attention” is the first reaction. "For sure I have no deep knowledge when it comes to music marketing, since I haven’t dived deeply into the business, but my common sense is telling me that there are bands that are suffering, especially during this pandemic, and without being able to tour, they try to survive throughout social media exposure! I personally, would like to see what a few of my beloved artists are doing outside of the studio. What are their interests? Not in a stalking way though (laughing)! There are of course some exceptions which I refer to them as “attention whores” and sadly we are surrounded by them.” It is a trap. Music has turned into an accessory for “content creation”.
Working on this album for a couple of years is no mean feat when we take in consideration how bands usually behave nowadays. No time to lose, no strive for perfection, no broader vision. I suppose it makes it a lot easier when we are talking about a labor of love but it shouldn’t have been a walk in the park to stay focused as years have gone by. “The whole album has been recorded in my own home” he starts. “Its recordings started back in 2009 and it was finished in 2016, when the album has been released. When the recordings started, I was still living in Greece and for the last 4 years I have been a german citizen. My family and me have been through a lot of difficulties until we managed to settle in one place. The only way to stay focused on a project like that, under those circumstances, is of course to have the passion and the love for the things you are creating. This is what kept me focused. I always wanted this concept to be complete”. Let me add as a personal note… regardless of the time it takes to complete it. No compromise, no half-baked attempts. Full throttle, speed on, ever moving onward.
Still, looking at «Towards The Mountains» now and comparing it to when the project first started to take shape, I reflect on how close to the initial vision it really is. Is this all really the fruition of an elaborate master plan or was there some free space to let it all grow and become – in a way – a living entity? Iraklis sheds some light of the subject: “Funny fact: my first demos, almost all 20 songs, were in an Epic Power Metal style. Exactly like Arkenstone’s first demos. Now, when I tried to put some vocals on them I discovered that it was pointless, as my voice didn’t fit in at all. So I decided to follow a different path. I wanted to be Metal in a way but not get far away from my first album which was in an acoustic rock style. One of my past side projects, Sians, was a two men band. Thanos Tsouanas is a very talented composer and a good friend and I had plans for him regarding my album. He has composed and co-produced some of the album’s songs and this has given the album its cinematic atmosphere. So yes, the album has been completely different from what it was in the first place”. This fits tightly like a glove (of Metal) in the theory that regards music as a breathing organism that we create through love and then nurture into adulthood where it flies away towards being embodied in a magic ring of sound.
«Towards The Mountains» is undoubtedly Iraklis’ offspring but he did manage to co-write a couple of songs with some friends of his. Since this seems to be a very individual process, we could assume it might not be in the best of interest to let someone else interfere in the creation process, namely co-writing a couple of songs with some friends of his. Turns out it all went pretty smooth. “This was a great experience from my point of view. Nowadays, Internet can make this happen. You just send around your demos to people that like to get involved and everyone gets to play his part. In my case I let everyone, who was involved in this album, express their creativity without rules. Even though some songs changed completely in the end, I wanted to keep everything because I loved this collaboration and its outcome in the end”.
So the next question should now be obvious to anyone with half a brain. Who are the other members on this fellowship? How were they tracked and convinced to be part of this endeavor? “I would like to start with my wife who has been very supportive throughout the years. She really loves my music and she has expressed the need to be a part of it at some point. So I did, and I also have future plans for her. Now, George Liontas and Nick were former Arkenstone members and they accepted my proposal at once. I already expressed my thoughts about Thanos before. What I didn’t say about him… He works PERFECTLY under pressure. Throughout the whole recording process, Thanos managed to play his part only in the last month, before the album was finally mixed and mastered. Jim Ioakimoglou (Anorimoi) is a good friend and he joined the project because he liked it a lot. Last but not least my very good friend and my manager (in my working environment), Mob Böttcher (Rodgau Monotones). This guy is one of the craziest musicians I have ever worked with. I’m really glad that he accepted my proposal”.
The recording process was also pretty easy going, given the circumstances. The challenge was to capture that atmosphere of Middle-Earth in a home setting, which was not really that complicated. “Yes, as I mentioned before, the whole album is a homemade work, also from the guest musicians’ side. For me it wasn’t that difficult to create that atmosphere. You see, the place I live now is surrounded by a huge forest and the whole picture creates the perfect scene for me to work in, plus this type of music is coming out of my head so easily. If I had my own studio I could have definitely released one such album each year!”. Could be but I would prefer ideas to have a slowly brewing process. Good things take time to build and this album is a great example. It has now been a couple of years already since «Towards The Mountains» was released. In my opinion, and in the current state of affairs where most albums are immediately forgotten as soon as they stop spinning (if not sooner), this is one of those albums that has so far stood the test of time. Still sounds as fresh today as the first time I listened to it. Asked how he looks at it now, Iraklis answers humbly. “I also go back and listen to it from time to time and I still love the result. It was a long project and well developed in any aspect, considering my capabilities”.
The biggest achievement of this album is that it manages to be surprisingly varied. It moves in a lot of different directions and it all works out great, if you ask me. From that pastoral landscape of the acoustic-flavored guitars to the ill-omened Saviour Machine apocalyptic stuff. Or those subtle nods to 80’s US Power Metal, coated in a very personal interpretation of what Epic Metal really is. Was this the plan all along or did it just turn out that way? “I recently had a conversation with a very good friend of mine regarding the music style variety of my album. He told me that people who have listened to my album are wondering what kind of music I want to play. For me the answer is simple. I simply want to play music! I don’t have much time and my own space to work on my music. So when the time comes I simply compose songs of whatever music style fit better at the time. Of course there are significant music influences from bands like Blind Guardian and Bathory, to Styx and King Diamond and these are a few of my beloved bands that have inspired me throughout the years. So no, there was no plan of reaching this music style variety in my album. It just happened”.
That is an interesting aspect on the album, to have some people left wondering what kind of music Herc want to play… That was probably not meant in a bad way. I agree that «Towards the Mountains» takes us through a lot of diverse sceneries but all in the same universe. It’s not like if this is a compilation of random songs. Besides, most of our favorite records from the 70s/80s have very different moods and completely different songs, unlike most new albums. Reactions have been short but positive, unsurprisingly. “Well, even though I’ve sent the album to both online and printed press around the globe, I’ve only got a handful of reviews regarding my album”. That is what you get when you don’t have a PR company working for you. Zero attention. Underground Metal bearing exactly the same character traits of the much-maligned mainstream monster. “The good part of this was that none of them was negative! On the contrary, I had a few, but awesome reviews to show around. Now regarding my music style, yes, this was something that has been mentioned by others but, as you said, in a good way. I really love “a lot of different tastes at the same time” if you get what I mean! Anyhow, what I’m currently working on, as to be my next album, has a firmer music style, compared to «Towards The Mountains»”.
Then again, this multifaceted aspect of the album should come as no surprise. First of all because it is – in essence – a greek project and if you pay any attention at all to the underground you have to be very much aware of the pool of talent that is bursting out from the land of the Olympian gods. In this fertile scene there are usually two things that you can rely on: there are a lot of different influences present in the music and bands never forget they are first and foremost Heavy Metal. You all should know what I’m talking about. Most allegedly new Metal bands are firmly opposed to Heavy Metal sound wise, regardless of what they might claim (a contradiction in terms, if there ever was one), and also when you listen to some new albums you can pretty much tell the guys only listen to a handful of bands. I am not entirely sure this is a greek thing but the truth is this – the fact that greeks are so fiercely obsessed with music is reflected in their creations. “I can’t say if this is a greek thing” our guest mulls over. “I can say, though, one thing about greek Metalheads. They are definitely obsessed and loyal fans! They love this kind of music and they are making it their way of living. Most of them, though, are stuck to the classics and therefore those bands influence them. Nowadays there are a few new bands in the greek Metal scene that have chosen a different path and they are doing it very well! Bands like Doomocracy, Thy Darkened Shade, Dirty Granny Tales, Foray Between Ocean, Six2Nine and Wardrum are worth mentioning”. From these suggestions I can definitely vouch for the bands I am most familiar with. Doomocracy play very good Doom Metal (no kidding, huh?) in the american way – think of a certain legend from Texas, the great Power Metal (with a special emphasis on the word Power – never forget that when you use the term) with some US Metal touches of Wardrum and the artistry of the acoustic ensemble Dirty Granny Tales – you will probably recognize one Stavros Mitropoulos from the Horrified days.
Secondly because a story like «The Hobbit» unquestionably demands all these different atmospheres and varied shades of color in order to achieve a somewhat faithful portrait of the story. For instance, while the farewell song «Beyond The Mist» invokes images of a group of dwarfs gathering by the fire at night, «Labyrinth of Darkness» is the complete opposite with the palpable tension you can feel in that spiraling solo. Or that ominous mood in «A Gift From Below», especially when we hear that really deep voice. I always think about Eric Clayton from Savior Machine. Anyway… this light & shade color palette is what makes the album an absolute winner. “Of course I had to create different music elements and atmosphere for each part of the book in order to audio-visualize the concept in the best way possible” Iraklis’ points out. “I believe that I have achieved that pretty well. But I will leave the final decision to the listeners”.
The first album released as Herc is an acoustic work based on J. R. R. Tolkien & Edgar Allan Poe. At first I thought this option for something else than Tolkien, more specifically the adventures of Bilbo Baggins, was a way to let all the ideas gain some maturity. Turns out I was wrong again. “No, «Of Perilous Realm… and Other Stories» was released in 2004,” he begins, “right before Arkenstone did the big change from Epic Metal to modern Power Metal. So the plan for the “Hobbit album” was still on Arkenstone’s table at the time”. And how did this compulsive interest in Tolkien began? Has this love for Tolkien remained unchanged over the years? Or does it get an altogether offbeat perspective as the sands of time drift away? “It was the summer of 1997 when I first read «The Hobbit». My love for Tolkien’s work was immediate” the man behind Herc reminisces. “Since then, I have read almost all of his published works, both in greek translation and in english. I also used «The Hobbit» and «Roverandom» as bedtime stories for my daughters. Lately, due to work load and family responsibilities, I’m getting really sleepy when I open a book to read. Regardless of this fact, I managed to finish reading «The Children of Hurin», «The Story of Kullervo», «Bilbo’s Last Song» and and I am also about to finish «Beren and Lúthien». At the same time I read again and again, chapter by chapter, «Silmarillion» due to my upcoming concept album. After finishing the lyrics for the next album I will proceed with my recently purchased book, «The Fall of Gondolin»! Therefore my love regarding Tolkien’s work has remained unchanged and it has even grown bigger” is the final verdict.
And why the choice for «The Hobbit» in particular? “After I finished «The Hobbit» I wanted to do an album about it right away” is the enthusiastic reply. “Because Arkenstone didn’t fulfill their “purpose” on that matter, I felt the need to finish this. I don’t like to leave unfinished projects, even if they need a certain amount of time”. Hear, hear… “Of course, after «Hobbit», I was already reading «Silmarillion» and then after that the «Lord of The Rings» trilogy. «Hobbit», though, was an unfinished project. Even its songs in the album have been recorded in the sequence of the chapters, as they are on the book, one after the other”.
The fascination about Tolkien’s work can be seen/listened throughout the world of Heavy Metal. This mark is as undeniable as it can be. I wonder if our visitor likes to draw parallels between his work and the world around us. And what lessons – if any – should we learn from his work. “What’s so fascinating?” he asks. “Oh boy, the guy was a genius! He even created his own alphabet and language in order to use it in his books! Also, many people are finding his way of describing things kind of boring. Well, if you ask me I believe quite the opposite. Tolkien had this gift of describing things in a way that the reader can perfectly capture the pictures in detail inside their head afterwards. What I also find fascinating in his books, is their complexity and the story behind each character. The cross-stories and the connection he has created between his books. In the end, Middle-Earth is a whole world with a huge history behind it.” That is what we call true conceptual art. “Of course there are a lot of similarities between Middle-Earth and our world. Tolkien has experienced both WWI and WWII. In his books you will always find the eternal battle between good and evil that wants to prevail in our world as well. Middle-Earth has also a lack of religions and its people want to simply live prosper and peaceful. This is what they’re fighting for after all. Maybe this is a lesson that people of our world could learn from.” A world without religion seems like a nice idea but how would we learn our place then if we don’t fear eternal damnation? How would we know what’s right and wrong without any moral compass to guide us from above? We would have to think for ourselves… Oh, the horror!
Since Tolkien’s universe is so immersive I guess for many of us, the single most striking aspect of «The Hobbit» (let’s focus on this one) is our own experience of our perception of Middle-Earth, more so than the story itself. “Especially for «The Hobbit» and because it was my first Tolkien book, whenever I refer to Middle-Earth, my mind automatically recalls Smaug and Bilbo, Thorin and Gandalf, The Grey. The impact that this book had in me was deep so yes I definitely agree with your opinion!”. Still on the same subject, the term used for this kind of authors is fantasy writers. I was always a bit unsure about the assertiveness of this terminology because, though the “action” occurs in strange new worlds, most of aspects are things we can all relate to… But our guest helps me to come to terms with it, finally. “Yes, I’m quite comfortable with this term. These writers are giving us the chance to re-live our world in a different way, sometimes even better from our reality. So even if we relate to characters or events that occur inside those books, it’s always a nice escape from this world.” And if you out there are interested to know other of these fantasy writers Herc is into, here they are. “Apart from Tolkien and almost in the same level of beloved writer I like Michael Moorcock and his masterpieces about Elric of Melniboné and Corum. I also like very much Guy Gavriel Kay and his epic book «Tigana» and Ursula Le Guin and her epic books about Earthsea. Those are the top out of many that I have read in the past.”
In the grand scheme of things, I am pretty sure we all have our own particular views on how we stand regarding Bilbo’s voyage. Is this a regular quest in search for treasures or a more personal journey? I believe this is almost like a coming of age story, trying to find out who we really are and what is our purpose here… which, in a way, is what Life is all about. “It’s definitely not a regular quest for Bilbo. He was a peaceful character that loved his privacy and he had strict rules about his comfort zone. What he became after his adventure was something completely different. He found the “One Ring” that changed him so deeply and of course this was the beginning of a new Era for Middle-Earth. So, one “simple” quest caused so many changes in his life and had an impact to the entire world.”
There are two quotes that I’ve always cherished in «The Hobbit». The first one comes right at the end, incidentally, when Gandalf addresses Bilbo: “You are a very fine person, Mr. Baggins, and I am very fond of you; but you are only quite a little fellow in a wide world after all!”. It’s obvious that we are only just a speck in the spectrum (like the Nevermore song), just a small part in a gigantic machine but still we should be aware that we are all – individually – agents of change that should strive for a better world/more just society. “I totally agree with you.” is the answer. “We should always try to make this world better in a way, no matter what our position in this life is. We should offer what we can offer. The only thing we need is to trust ourselves and discover and use the strength that is hidden inside us, as Mr. Baggins did after all.” And the second one is when Bilbo reminisces about the war in a not very enthusiastic manner, to say the least: “Victory after all, I suppose!… Well, it seems a very gloomy business.” This is very far from the usual portrait we see of Tolkien of a moralistic polarizing storyteller. There is a lot of ambiguity in this conclusion, I would say. “Tolkien had started «The Hobbit» in the early 1930 so he was clearly inspired by his own experience from the WWI. Any kind of war, no matter the victories, always leaves behind its shadow and “gloominess”". As Gerrit sings in Battleroar, “the swords are drawn – and then you die”.
One of the things that used to put me off in the Tolkien universe was how strict the race system (let’s call it that way) worked. Of course we have come a long way and race is now an obsolete concept but still (within the context of Middle-Earth, on one hand, and Europe after WWI, on the other) these very rigid racial differences (goblins are always evil and elves are always good) in contrast with free will and individual choice leaves a sort of sour aftertaste. “Of course when Tolkien started to create Middle-Earth, race wasn’t an obsolete concept as you say.” Yes, that is the danger of watching scenes from the past with today’s goggles. “I see that he tries to visualize the “good” in a nice and beautiful form and “evil” as a disgraceful and ugly form accordingly. If you read more of his books you will also realize that not only Goblins and Orcs are the bad guys. There were also different types of races that took a dark path in his stories. As in real life, people are always driven by their personal interests and choices, which are sometimes very arrogant and evil.”
The biggest achievement of this album is that it manages to be surprisingly varied. It moves in a lot of different directions and it all works out great, if you ask me. From that pastoral landscape of the acoustic-flavored guitars to the ill-omened Saviour Machine apocalyptic stuff. Or those subtle nods to 80’s US Power Metal, coated in a very personal interpretation of what Epic Metal really is. Was this the plan all along or did it just turn out that way? “I recently had a conversation with a very good friend of mine regarding the music style variety of my album. He told me that people who have listened to my album are wondering what kind of music I want to play. For me the answer is simple. I simply want to play music! I don’t have much time and my own space to work on my music. So when the time comes I simply compose songs of whatever music style fit better at the time. Of course there are significant music influences from bands like Blind Guardian and Bathory, to Styx and King Diamond and these are a few of my beloved bands that have inspired me throughout the years. So no, there was no plan of reaching this music style variety in my album. It just happened”.
That is an interesting aspect on the album, to have some people left wondering what kind of music Herc want to play… That was probably not meant in a bad way. I agree that «Towards the Mountains» takes us through a lot of diverse sceneries but all in the same universe. It’s not like if this is a compilation of random songs. Besides, most of our favorite records from the 70s/80s have very different moods and completely different songs, unlike most new albums. Reactions have been short but positive, unsurprisingly. “Well, even though I’ve sent the album to both online and printed press around the globe, I’ve only got a handful of reviews regarding my album”. That is what you get when you don’t have a PR company working for you. Zero attention. Underground Metal bearing exactly the same character traits of the much-maligned mainstream monster. “The good part of this was that none of them was negative! On the contrary, I had a few, but awesome reviews to show around. Now regarding my music style, yes, this was something that has been mentioned by others but, as you said, in a good way. I really love “a lot of different tastes at the same time” if you get what I mean! Anyhow, what I’m currently working on, as to be my next album, has a firmer music style, compared to «Towards The Mountains»”.
Then again, this multifaceted aspect of the album should come as no surprise. First of all because it is – in essence – a greek project and if you pay any attention at all to the underground you have to be very much aware of the pool of talent that is bursting out from the land of the Olympian gods. In this fertile scene there are usually two things that you can rely on: there are a lot of different influences present in the music and bands never forget they are first and foremost Heavy Metal. You all should know what I’m talking about. Most allegedly new Metal bands are firmly opposed to Heavy Metal sound wise, regardless of what they might claim (a contradiction in terms, if there ever was one), and also when you listen to some new albums you can pretty much tell the guys only listen to a handful of bands. I am not entirely sure this is a greek thing but the truth is this – the fact that greeks are so fiercely obsessed with music is reflected in their creations. “I can’t say if this is a greek thing” our guest mulls over. “I can say, though, one thing about greek Metalheads. They are definitely obsessed and loyal fans! They love this kind of music and they are making it their way of living. Most of them, though, are stuck to the classics and therefore those bands influence them. Nowadays there are a few new bands in the greek Metal scene that have chosen a different path and they are doing it very well! Bands like Doomocracy, Thy Darkened Shade, Dirty Granny Tales, Foray Between Ocean, Six2Nine and Wardrum are worth mentioning”. From these suggestions I can definitely vouch for the bands I am most familiar with. Doomocracy play very good Doom Metal (no kidding, huh?) in the american way – think of a certain legend from Texas, the great Power Metal (with a special emphasis on the word Power – never forget that when you use the term) with some US Metal touches of Wardrum and the artistry of the acoustic ensemble Dirty Granny Tales – you will probably recognize one Stavros Mitropoulos from the Horrified days.
Secondly because a story like «The Hobbit» unquestionably demands all these different atmospheres and varied shades of color in order to achieve a somewhat faithful portrait of the story. For instance, while the farewell song «Beyond The Mist» invokes images of a group of dwarfs gathering by the fire at night, «Labyrinth of Darkness» is the complete opposite with the palpable tension you can feel in that spiraling solo. Or that ominous mood in «A Gift From Below», especially when we hear that really deep voice. I always think about Eric Clayton from Savior Machine. Anyway… this light & shade color palette is what makes the album an absolute winner. “Of course I had to create different music elements and atmosphere for each part of the book in order to audio-visualize the concept in the best way possible” Iraklis’ points out. “I believe that I have achieved that pretty well. But I will leave the final decision to the listeners”.
The first album released as Herc is an acoustic work based on J. R. R. Tolkien & Edgar Allan Poe. At first I thought this option for something else than Tolkien, more specifically the adventures of Bilbo Baggins, was a way to let all the ideas gain some maturity. Turns out I was wrong again. “No, «Of Perilous Realm… and Other Stories» was released in 2004,” he begins, “right before Arkenstone did the big change from Epic Metal to modern Power Metal. So the plan for the “Hobbit album” was still on Arkenstone’s table at the time”. And how did this compulsive interest in Tolkien began? Has this love for Tolkien remained unchanged over the years? Or does it get an altogether offbeat perspective as the sands of time drift away? “It was the summer of 1997 when I first read «The Hobbit». My love for Tolkien’s work was immediate” the man behind Herc reminisces. “Since then, I have read almost all of his published works, both in greek translation and in english. I also used «The Hobbit» and «Roverandom» as bedtime stories for my daughters. Lately, due to work load and family responsibilities, I’m getting really sleepy when I open a book to read. Regardless of this fact, I managed to finish reading «The Children of Hurin», «The Story of Kullervo», «Bilbo’s Last Song» and and I am also about to finish «Beren and Lúthien». At the same time I read again and again, chapter by chapter, «Silmarillion» due to my upcoming concept album. After finishing the lyrics for the next album I will proceed with my recently purchased book, «The Fall of Gondolin»! Therefore my love regarding Tolkien’s work has remained unchanged and it has even grown bigger” is the final verdict.
And why the choice for «The Hobbit» in particular? “After I finished «The Hobbit» I wanted to do an album about it right away” is the enthusiastic reply. “Because Arkenstone didn’t fulfill their “purpose” on that matter, I felt the need to finish this. I don’t like to leave unfinished projects, even if they need a certain amount of time”. Hear, hear… “Of course, after «Hobbit», I was already reading «Silmarillion» and then after that the «Lord of The Rings» trilogy. «Hobbit», though, was an unfinished project. Even its songs in the album have been recorded in the sequence of the chapters, as they are on the book, one after the other”.
The fascination about Tolkien’s work can be seen/listened throughout the world of Heavy Metal. This mark is as undeniable as it can be. I wonder if our visitor likes to draw parallels between his work and the world around us. And what lessons – if any – should we learn from his work. “What’s so fascinating?” he asks. “Oh boy, the guy was a genius! He even created his own alphabet and language in order to use it in his books! Also, many people are finding his way of describing things kind of boring. Well, if you ask me I believe quite the opposite. Tolkien had this gift of describing things in a way that the reader can perfectly capture the pictures in detail inside their head afterwards. What I also find fascinating in his books, is their complexity and the story behind each character. The cross-stories and the connection he has created between his books. In the end, Middle-Earth is a whole world with a huge history behind it.” That is what we call true conceptual art. “Of course there are a lot of similarities between Middle-Earth and our world. Tolkien has experienced both WWI and WWII. In his books you will always find the eternal battle between good and evil that wants to prevail in our world as well. Middle-Earth has also a lack of religions and its people want to simply live prosper and peaceful. This is what they’re fighting for after all. Maybe this is a lesson that people of our world could learn from.” A world without religion seems like a nice idea but how would we learn our place then if we don’t fear eternal damnation? How would we know what’s right and wrong without any moral compass to guide us from above? We would have to think for ourselves… Oh, the horror!
Since Tolkien’s universe is so immersive I guess for many of us, the single most striking aspect of «The Hobbit» (let’s focus on this one) is our own experience of our perception of Middle-Earth, more so than the story itself. “Especially for «The Hobbit» and because it was my first Tolkien book, whenever I refer to Middle-Earth, my mind automatically recalls Smaug and Bilbo, Thorin and Gandalf, The Grey. The impact that this book had in me was deep so yes I definitely agree with your opinion!”. Still on the same subject, the term used for this kind of authors is fantasy writers. I was always a bit unsure about the assertiveness of this terminology because, though the “action” occurs in strange new worlds, most of aspects are things we can all relate to… But our guest helps me to come to terms with it, finally. “Yes, I’m quite comfortable with this term. These writers are giving us the chance to re-live our world in a different way, sometimes even better from our reality. So even if we relate to characters or events that occur inside those books, it’s always a nice escape from this world.” And if you out there are interested to know other of these fantasy writers Herc is into, here they are. “Apart from Tolkien and almost in the same level of beloved writer I like Michael Moorcock and his masterpieces about Elric of Melniboné and Corum. I also like very much Guy Gavriel Kay and his epic book «Tigana» and Ursula Le Guin and her epic books about Earthsea. Those are the top out of many that I have read in the past.”
In the grand scheme of things, I am pretty sure we all have our own particular views on how we stand regarding Bilbo’s voyage. Is this a regular quest in search for treasures or a more personal journey? I believe this is almost like a coming of age story, trying to find out who we really are and what is our purpose here… which, in a way, is what Life is all about. “It’s definitely not a regular quest for Bilbo. He was a peaceful character that loved his privacy and he had strict rules about his comfort zone. What he became after his adventure was something completely different. He found the “One Ring” that changed him so deeply and of course this was the beginning of a new Era for Middle-Earth. So, one “simple” quest caused so many changes in his life and had an impact to the entire world.”
There are two quotes that I’ve always cherished in «The Hobbit». The first one comes right at the end, incidentally, when Gandalf addresses Bilbo: “You are a very fine person, Mr. Baggins, and I am very fond of you; but you are only quite a little fellow in a wide world after all!”. It’s obvious that we are only just a speck in the spectrum (like the Nevermore song), just a small part in a gigantic machine but still we should be aware that we are all – individually – agents of change that should strive for a better world/more just society. “I totally agree with you.” is the answer. “We should always try to make this world better in a way, no matter what our position in this life is. We should offer what we can offer. The only thing we need is to trust ourselves and discover and use the strength that is hidden inside us, as Mr. Baggins did after all.” And the second one is when Bilbo reminisces about the war in a not very enthusiastic manner, to say the least: “Victory after all, I suppose!… Well, it seems a very gloomy business.” This is very far from the usual portrait we see of Tolkien of a moralistic polarizing storyteller. There is a lot of ambiguity in this conclusion, I would say. “Tolkien had started «The Hobbit» in the early 1930 so he was clearly inspired by his own experience from the WWI. Any kind of war, no matter the victories, always leaves behind its shadow and “gloominess”". As Gerrit sings in Battleroar, “the swords are drawn – and then you die”.
One of the things that used to put me off in the Tolkien universe was how strict the race system (let’s call it that way) worked. Of course we have come a long way and race is now an obsolete concept but still (within the context of Middle-Earth, on one hand, and Europe after WWI, on the other) these very rigid racial differences (goblins are always evil and elves are always good) in contrast with free will and individual choice leaves a sort of sour aftertaste. “Of course when Tolkien started to create Middle-Earth, race wasn’t an obsolete concept as you say.” Yes, that is the danger of watching scenes from the past with today’s goggles. “I see that he tries to visualize the “good” in a nice and beautiful form and “evil” as a disgraceful and ugly form accordingly. If you read more of his books you will also realize that not only Goblins and Orcs are the bad guys. There were also different types of races that took a dark path in his stories. As in real life, people are always driven by their personal interests and choices, which are sometimes very arrogant and evil.”
“A foreigner will always be a foreigner, in a good or bad way and that’s a fact, my friend! For me (and my family) to leave everyone behind and start a new life in a non-English speaking country was a huge challenge for the first couple of years. Nowadays, we have nothing to complain about, apart from the weather sometimes (laughing again)! We‘ve been established, my daughters are doing great in school and, work-wise, I have never been better before, so to speak!”
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Although Iraklis was born in Greece, he has established himself in Germany for a couple of years now. Taking in context of what we just spoke about above in terms of races, I wonder how easy or hard is it for someone to change country, so to say. And how is anyone perceived in a new country. Are we still looked upon as foreigners, whatever that means in this day and age? “A foreigner will always be a foreigner, in a good or bad way and that’s a fact, my friend! For me (and my family) to leave everyone behind and start a new life in a non-English speaking country was a huge challenge for the first couple of years. Nowadays, we have nothing to complain about, apart from the weather sometimes (laughing again)! We‘ve been established, my daughters are doing great in school and, work-wise, I have never been better before, so to speak! To my point of view, you should make yourself at home no matter where you live, so that you can prosper and go forward in your life!” The old adage that teaches home is where the heart is or, as Mägo de Oz so brilliantly put it, “que tu país sea donde te lleven los pies”. Besides, for us – wanderers – it is not that uncommon to feel a foreigner in our own country, is it?
That takes us straight to the concept of borders and frontiers. Do we really think anything good will come up from living boarded up within concrete walls protecting us from the “threat from abroad”? Are we not all pilgrims, like the Van Der Graaf Generator song tell us – “All of our hands joined in hope, holding the weight on the rope, all of us pilgrims”. Doesn’t that contribute significantly to the xenophobic escalation all over the world in the last couple of years? “I believe that xenophobia levels were more or less the same throughout the years, if not worse. It is just that the media can reach out to more people and now almost everyone knows even the tiniest detail happening around the world.” This is an important point. We are so wrapped up in the black vortex town of mass communication that we fail to see the bigger picture sometimes. It is evident that life now is – in broader terms – incomparably better than 50 years ago (we just need to look at the numbers of life expectancy, for instance) but still we must strive for more. More in a humane sense, not in an economic sense – that’s bollocks. Nevertheless, with the dark cloud of fascism looming not very far on the horizon we must keep vigilant and put an end to this wave of madness that is ravishing the world. “I believe that border and frontiers are a human structure and there is nothing we can do to stop the momentum of globalization. If this is good or bad only time will tell. In my perspective as people of the 21st century we should have already learnt to be able to live harmoniously with each other.” We must never forsake our gardens for (another sentence from the ever-present Peter Hammill – now without Van Der Graaf Generator) “our flowers need each others’ rain.”
I have to confess here that I am not really a fan of Peter Jackson’s adaptation of «Lord of The Rings» & «The Hobbit». I am much more into both the animation movies of the same books (from 1978 and 1977, respectively). I am entirely aware that the 70’s were a special time (and Ralph Bakshi’s «The Lord of The Rings», in particular, manages to capture that spirit very well) but comparing these two visions of Tolkien it seems like they are completely different universes. That menacing gloom is almost absent in the Peter Jackson films. But I guess that’s what you get when you try to appease the Hollywood money machine. However the Herc founder completely disregards my nitpicking temper… and rightly so. It’s his opinion that matters, after all. “I have both the animation and live action movies in original DVD copies. I see your point but listen. There’s no book that has been transferred 100% to a screenplay. I do love and respect the work from both directors, even though Peter Jackson has altered the story. In the end, and from my perspective, I lived the experience of seeing 2 of my favorite books ever, on a very good screenplay with good acting and amazing visual effects. Even if the events are not accurate or crucial characters like Tom Bombadil in «The Lord of The Rings» are missing, I still get tears in my eyes when I watch the films.” Fair enough.
Herc’s first album was about E. A. Poe & Tolkien, the second was about Tolkien again. And the plans for a third one are now firmly put in motion. “Yes and it will be about Tolkien again” is the expected confirmation. “Hopefully this time it won’t take that long to be completed. This time will be my first attempt to write lyrics as well. I will walk a path that others have walked before me successfully and I hope that I will present something completely different and new in the end.” Actually, recordings have already started. “During the past year, I’ve been working on some new material that will conclude my next album. This time I took «Silmarillion» chapter by chapter and I compose one song per chapter. Then, I will split the concept into two different albums, sort of Part I and Part II. This is also my first attempt to write lyrics by myself. So far, I have written lyrics for 10 out of the 12 songs for Part I. Six of them already are a rough demo version but without vocals. I have tons of ideas for this album and I hope that I will manage to realize most of them. Hopefully, by the end of 2020, I will have the whole album ready for mixing and mastering! At the same time and since I’m a designer myself, I’m working on completely re-designing my website, according to the new artwork that I’m currently preparing!” And with that note we close this off, hoping for new music, new tales and new and inspiring sonic landscapes.
That takes us straight to the concept of borders and frontiers. Do we really think anything good will come up from living boarded up within concrete walls protecting us from the “threat from abroad”? Are we not all pilgrims, like the Van Der Graaf Generator song tell us – “All of our hands joined in hope, holding the weight on the rope, all of us pilgrims”. Doesn’t that contribute significantly to the xenophobic escalation all over the world in the last couple of years? “I believe that xenophobia levels were more or less the same throughout the years, if not worse. It is just that the media can reach out to more people and now almost everyone knows even the tiniest detail happening around the world.” This is an important point. We are so wrapped up in the black vortex town of mass communication that we fail to see the bigger picture sometimes. It is evident that life now is – in broader terms – incomparably better than 50 years ago (we just need to look at the numbers of life expectancy, for instance) but still we must strive for more. More in a humane sense, not in an economic sense – that’s bollocks. Nevertheless, with the dark cloud of fascism looming not very far on the horizon we must keep vigilant and put an end to this wave of madness that is ravishing the world. “I believe that border and frontiers are a human structure and there is nothing we can do to stop the momentum of globalization. If this is good or bad only time will tell. In my perspective as people of the 21st century we should have already learnt to be able to live harmoniously with each other.” We must never forsake our gardens for (another sentence from the ever-present Peter Hammill – now without Van Der Graaf Generator) “our flowers need each others’ rain.”
I have to confess here that I am not really a fan of Peter Jackson’s adaptation of «Lord of The Rings» & «The Hobbit». I am much more into both the animation movies of the same books (from 1978 and 1977, respectively). I am entirely aware that the 70’s were a special time (and Ralph Bakshi’s «The Lord of The Rings», in particular, manages to capture that spirit very well) but comparing these two visions of Tolkien it seems like they are completely different universes. That menacing gloom is almost absent in the Peter Jackson films. But I guess that’s what you get when you try to appease the Hollywood money machine. However the Herc founder completely disregards my nitpicking temper… and rightly so. It’s his opinion that matters, after all. “I have both the animation and live action movies in original DVD copies. I see your point but listen. There’s no book that has been transferred 100% to a screenplay. I do love and respect the work from both directors, even though Peter Jackson has altered the story. In the end, and from my perspective, I lived the experience of seeing 2 of my favorite books ever, on a very good screenplay with good acting and amazing visual effects. Even if the events are not accurate or crucial characters like Tom Bombadil in «The Lord of The Rings» are missing, I still get tears in my eyes when I watch the films.” Fair enough.
Herc’s first album was about E. A. Poe & Tolkien, the second was about Tolkien again. And the plans for a third one are now firmly put in motion. “Yes and it will be about Tolkien again” is the expected confirmation. “Hopefully this time it won’t take that long to be completed. This time will be my first attempt to write lyrics as well. I will walk a path that others have walked before me successfully and I hope that I will present something completely different and new in the end.” Actually, recordings have already started. “During the past year, I’ve been working on some new material that will conclude my next album. This time I took «Silmarillion» chapter by chapter and I compose one song per chapter. Then, I will split the concept into two different albums, sort of Part I and Part II. This is also my first attempt to write lyrics by myself. So far, I have written lyrics for 10 out of the 12 songs for Part I. Six of them already are a rough demo version but without vocals. I have tons of ideas for this album and I hope that I will manage to realize most of them. Hopefully, by the end of 2020, I will have the whole album ready for mixing and mastering! At the same time and since I’m a designer myself, I’m working on completely re-designing my website, according to the new artwork that I’m currently preparing!” And with that note we close this off, hoping for new music, new tales and new and inspiring sonic landscapes.
MIX TAPE
It’s not hard to see the universe of Tolkien has inspired countless bands. You just need to take a look at the glossary of any Tolkien book to recognize dozens, if not hundreds, of bands names. We want to build a mix-tape of Tolkien inspired songs (outside Herc & Arkenstone, naturally) with the help of Iraklis Horaitis. A “tough decision to make” as the man admitted but in the end he pulled through in style.
HERC SIDE
DEFIANCE SIDE
It’s not hard to see the universe of Tolkien has inspired countless bands. You just need to take a look at the glossary of any Tolkien book to recognize dozens, if not hundreds, of bands names. We want to build a mix-tape of Tolkien inspired songs (outside Herc & Arkenstone, naturally) with the help of Iraklis Horaitis. A “tough decision to make” as the man admitted but in the end he pulled through in style.
HERC SIDE
- Without second thought BLIND GUARDIAN – The Bard’s Song (The Hobbit). I think you don’t need an explanation why, right?
- BLIND GUARDIAN – Time Stands Still At The Iron Hill, for this one is describing one of the most epic and sad battles between Fingolfin and Morgoth from the «Silmarillion». I was very emotional when I read this chapter. Imagine what happened when I first listened to the song.
- BLIND GUARDIAN – Lord of The Rings, because it is one of the reasons that “Herc” project was created in the first place.
- In 2001 SUMMONING released the «Let The Mortal Heroes Sing Your Fame» album that was also based on «The Hobbit». Its intro and the song that follows, «South Away», are an epic masterpiece for obvious reasons!
- As for the final one I had a hard time deciding but I will choose MORGANA LEFAY – To Isengard, for its dark atmosphere that fits perfectly to the concept.
DEFIANCE SIDE
- Probably one of first Hard Rock songs inspired by Tolkien, LED ZEPPELIN – The Battle of Evermore bears an amazing vocal performance by Robert Plant, accompanied by the genius of Jimmy Page on his first attempt at the mandolin: “I just picked up John Paul Jones's mandolin, never having played a mandolin before, and just wrote up the chords and the whole thing in one sitting.”
- A.R.C. – War of The Ring – A short-lived English band (like so many at the time) released this astonishing single back in 1981. With a very pronounced Epic Metal feeling this just shows that what is labeled as NWOBHM is not so much a distinct style but more a conglomerate of different styles from the same geographical area.
- DOOMSWORD – Helms Deep – From the debut (and a personal favorite) Doomsword album comes the retelling of the battle at Helm’s Deep (who would figure it out with a song title like that?). Marching rhythms and a very tasteful performance by Gabriele Grilli make this a true Epic Metal hymn. Resounds the horn indeed!
- This obscure dutch band (founded by the drummer Ed Warby that you know from a lot of bands – look it up if you can’t remember) has only released a demo in 1986. VALKYRIE - Battlefield of Pelennor takes us to the fields of Pelennor right into the fray of the battle. No wonder the sonic vista is firmly fixated on Manowar’s «Into Glory Ride», booming bass and all.
- RUSH – The Necromancer – Inspired by Sauron comes this epic anthem by Rush’s best album. For those of you who have a soft spot for Manilla Road’s «Mark of The Beast» (and if you haven’t why the hell are you reading this ‘zine anyway?) that lead guitar will certainly remind you of the one and only Mark Shelton.