Where Did Mary Go?

Where Did Mary Go?
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Interviews from ThisDayInMetal.com and other sources related to musicians and their careers focusing mostly on metal and rock artists.https://wheredidmarygo.substack.com/ 

  1. 2d ago

    Episode 45: Ville Friman (Insomnium)

    Metal fans might be hard-pressed to find someone in the realms of heavy music with a more diverse and impressive resume than Insomnium’s Ville Friman.  Though many may know him for being an original member and songwriting force for the Finnish melodic death metal masters, as well as one of their clean vocalists, some may be surprised to learn that despite the tremendous skill he displays in all those facets, music isn’t his main gig.  With a doctorate in evolutionary ecology, Friman’s primary focus is being a professor of microbiology at the University of Helsinki, or leading research teams and writing scholarly articles based on his research in the field.  These days, it’s only in his limited spare time that he’s composing the incredible riffs or reflective lyrics you hear throughout Insomnium’s well-celebrated catalog.  Due to his academic commitments, Friman’s contributions on previous albums may seem less than in the past, where he was one of, if not the predominant songwriter for the band’s early, classic albums.  His contributions on Heart Like a Grave and Anno 1696 pale in comparison to the volume he delivered on the group’s earlier works, but that’s since changed since moving back to Finland recently after being a member of the faculty at University of York in England for many years.   On Netherworlds, the band’s 10th studio album due out October 16th on Century Media Records, Ville seems to be firmly back in the saddle with his bandmates, penning two of the lead singles from the record, and by his own account, participating much more actively in the songwriting process now that he and his bandmates are back to residing in the same country.  The results are fantastic as usual: melancholic yet optimistic lyrics inspired by old literature, crushing and catchy riffing, beautiful acoustic sections, and the high-quality melo-death the world has come to know Insomnium for, with some new twists and turns mixed in for good measure. Ahead of the release of Netherworlds, I had a chance to catch up with Ville about all this and more, including: the “best of” approach to songwriting the band took for Netherworlds, what fans can expect from the rest of the album based on the first three singles, the meaning behind “Arch of the Sky” which Ville composed, and the centuries-old song Insomnium chose for their first ever proper cover.the artwork for the record designed by Travis Smith, a discussion of classic Opeth albums and how they influenced Insomnium, the reason for fewer contributions on the previous two records from Ville, why it’s not possible for him to tour with the band currently, and how the addition of a third guitarist in the group came to alleviate that issue.the band’s collaboration with Amorphis members on “The Hour Grows Late,” how they came to perform on the song, their upcoming tour of North America with them, and a recent performance at a Medieval castle in Finland.the unexpected answer to a question I posed about the mixing of In the Halls of Awaiting at Astia-Studio with Anssi Kippo, the Edge of Sanity inspiration behind Winter’s Gate, whether or not scientific principles can be useful in music, and what Ville hopes to achieve in two fields he excels in moving forward.Though Ville rarely has time to tour anymore, and will only occasionally join the band on stage when his schedule permits, his passion for songwriting is evident when speaking to him.  That passion is on full display on Netherworlds, which is another classic addition to an already sparkling catalog that Insomnium have created over their nearly thirty years in existence.  The day remains to be seen when Ville will be able to join the band on the road, an experience he laments not being able to enjoy anymore.  These things happen when you’re teaching the finer points of microbiology by day and writing catchy-yet-somber guitar melodies and lyrics by night.  But as long as there are more songs to be written, especially if they’re rockin’ (and a bit depressing), you can expect to be hearing from him in both of his fields of excellence for the foreseeable future.

  2. Sep 18

    Episode 44: Johan Söderberg (Amon Amarth)

    If there’s a testament to the old maxim of doing one thing and doing it very well in today’s metal world, look no further than Amon Amarth.  After briefly exploring more classic metal tropes in their early demos, the group made a conscious decision to focus their lyrical content on Norse mythology and history, which set them apart in early 1990s Sweden the melodic death metal was expanding rapidly to global recognition.  Though record executives warned the band about the potential pitfalls of pigeon-holing themselves in such a way, Amon Amarth was steadfast in their belief in their overall vision for the group’s sound and aesthetic.  That belief was challenged early in their careers when faced with difficulty breaking through to mainstream success after the group’s first three releases on Metal Blade Records.    When entering the studio for Versus the World, the members of Amon Amarth were prepared for it to be their last record if it didn’t reach the level of success they deemed necessary to make music their full-time careers.  In fact, the band approached the album as if it would be their last and the result was a pivotal release in their discography, as the dark, angry, melancholic, and classic album from 2002 ended up moving the group onto the upwards trajectory they’ve been climbing since that record. Fast forward to the current day and Amon Amarth have evolved into a worldwide sensation, headlining shows and festivals around the world and releasing albums to critical acclaim over the last quarter of a decade.  Incorporating these Norse and Viking themes into their live show at the suggesting of their label, which also began shortly after Versus the World, has gone a long way in making Amon Amarth’s live show a must-see event.  This evolution continues on the group’s 13th studio album, The Allfather Awakens, which will be released on October 2nd through Metal Blade.  Ahead of its release, I had a chance to catch up with guitarist Johan Söderberg, who joined the group shortly after the release of 1998’s Once Sent From the Golden Hall, about the new record and a number of other topics, including:  the different writing process the group used for The Allfather Awakens, treating each song on the record as if it was a single, and the first-ever all acoustic offering from the band.how he gave frontman Johan Hegg the lyrical idea for “Eight Legs of Thunder,” the Wild West-themed video for the song, the nod to Breaking Bad contained within it, and a hilarious comment on the band’s official page.whether or not the band intentionally writes songs they know will work in the live setting, the evolution of rowing in the crowd, and the importance of the band’s stage show to their success.playing Jones Beach Theater with Pantera shortly after Ozzy Osbourne’s death, Amon Amarth’s upcoming all-Swedish tour with Soilwork and Orbit Culture, how the group has never toured with Soilwork before, and the band’s proximity to the Gothenburg scene in their early days.the crucial role Michael Trengert and Metal Blade Records played in the band’s rise to popularity, the importance of Versus the World as a turning point in the group’s history, how he rates drinking beers in a lake in the United States, and reflections on Amon Amarth’s accomplishments to date and how they seem to continue to improve on every record.Johan was a pleasure to speak with and very gracious with his time.  It’s clear that he is grateful for the opportunities available to him playing with Amon Amarth, especially when discussing that make-or-break moment when the band considered abandoning the band once and for all when writing their fourth album.  Though difficulties and doubts will creep in to any young band’s thoughts without immediate success, Amon Amarth’s unwavering belief in their vision of what they wanted the band to be had led them to where they are today: when you think Vikings and metal, you think Amon Amarth.  The Allfather Awakens further cements their ascent at this later stage of their career, and ensures that they sit upon the Hliðskjálf as the undisputed rulers of the waves.

  3. Aug 19

    Episode 42: Mirai Kawashima (Sigh)

    Japanese black metal legends Sigh have become synonymous with some of the most creative, eccentric, and truly avant-garde metal releases over their thirty-six years in existence, but according to band leader Mirai Kawashima, it never would’ve happened without help from halfway across the globe.  After starting as a band playing Venom covers and then starting to create a brand of black metal inspired by the ‘80s thrash he loved, Mirai began sending demos to any record label he knew existed in the world.  A copy of that demo would wind up in the hands of Euronymous, the now infamous and departed guitarist of Mayhem, after he found it amongst Dead’s possessions after the lead singer committed suicide in 1991.  Scorn Defeat, Sigh’s 1993 debut album, would be released through Euronymous’ Deathlike Silence Productions a few months after his own demise at the hands of Varg Vikernes, the culmination of many events that brought to metal world’s focus to Norway and the music of the second wave of black metal. Without that tape being found at Dead’s place, Mirai says that Sigh would’ve just been another demo band and his life would look very different now.  Their mythical status in the genre is a testament to Mirai’s willingness to push boundaries on what can be encompassed under the umbrella of metal.  Incorporating instrumentation and sounds that are traditional in Japanese culture, alongside lyrical content echoing horror films and themes of death, has transformed Sigh from the more-traditional group you hear on Scorn Defeat to one of the most truly unique metal bands that are still active today.  In recent years, the focus of Sigh’s music has become intensely personal, with Mirai’s lyrical content on both 2022’s Shiki and their newest record, Goh-Ka, focused intently on his own mortality.  Due out on September 4th through Peaceville Records, Goh-Ka’s artwork and themes are based largely on Kuso-zu, a series of Buddhist painting depicting the nine states of a human body’s decomposition through death to encourage meditation on the impermanence of life and the inevitability of death.  Ahead of the release of Goh-Ka, I had a chance to speak with Mirai about this latest evolution of Sigh, along with a number of other topics, including: the multiple meanings of the album’s title and it’s relation to Shiki, explaining the concept of Kuso-zu and how it permeates throughout the album’s lyrics and artwork, and his original plan to write a long-form song related to Kuso-zu before deciding to break it up into pieces.the shift from using English as the primary language for vocals to his native Japanese, the lead single’s sinister lyrics, and how he finally got his long-time friend Mikael Akerfeldt of Opeth to play on a Sigh song.how Frederic LeClercq from Kreator and Dragonforce fame came to contribute to the last two albums, where the band is pushing into new territory on Goh-Ka, and the group’s recent appearance at Fire in the Mountains on their first U.S. tour in 18 years.the cultural significance behind Sigh’s stage show and how it was partly inspired by KISS and Mercyful Fate, the huge role Venom played for Mirai in his early years, and his experience performing with Mantas and Abaddon in Japan.the story behind Euronymous finding the original Sigh demo, being encouraged to burn churches by Varg Vikernes, reflections on how long Mirai will continue making music, and why 2030 might be the perfect year for Sigh to call it a day.Mirai was very gracious with his time and a pleasure to speak to about the evolution of Sigh and the history of the band.  Though death has been a theme throughout the band’s career lyrically, it seems that after being at it for close to four decades has caused Sigh’s frontman to reflect even deeper about his mortality and it becomes more of a reality.   Using music as his outlet, he has created another incredibly unique work of art where he pushes his band further into more creative and outlandish instrumentation that come together beautifully as something that can only be described as a Sigh album.

  4. Aug 19

    Episode 43: Brittney Slayes (Unleash the Archers)

    For Unleash the Archers lead singer Brittney Slayes, the world of science fiction, comic books, and the like has always been a source of inspiration.  As an avid reader of the genre and a self-proclaimed lover of all things nerdy, those stories have guided her own writing as the primary lyricist for Unleash the Archers, leading to top-notch storylines for their six studio albums, most of which are intricately written concept albums.  When the opportunity to lend her voice to a legendary franchise’s reimagining of a classic soundtrack in the same ballpark as all of the entertainment she knows and loves, Brittney jumped at the chance, breathing new life into the classic theme song for the Transformers.  In collaboration with Hasbro, Reigning Phoenix Music has released The Reformatted Edition of the classic The Transformers movie soundtrack to celebrate the 40th anniversary of its release, re-imagining and re-recording these classic songs with some of the bright stars from today’s rock and metal world, with a few from the original soundtrack coming back to contribute as well. In addition to the soundtrack, fans attending Comic Con in San Diego this past July were treating to a one-of-a-kind celebration of life for Optimus Prime at the House of Blues, where the Knights of Unicron performed all songs from the album, with all contributors past and present coming through to serenade the crowd.    I had a chance to speak with Brittney about this show, and many other topics, including: how she was selected to perform on the reformatted soundtrack, whether there was any debate on which song she would sing, her recording process for the track, and any additional pressure she felt on being given the title track.performing with the Knights of Unicron at the celebration of life for Optimus Prime, how her usual crowd work differed from a traditional set at a festival or tour stop, and how it feels to replace an imaginary robot in a fictional band.the influences that led her to write the storyline for Phantoma, her thoughts on how technology was intended to work vs. how it’s actually being used, and how she’s working on graphic novels to accompany and accentuate the stories she’s created on recent Unleash the Archers albums.the lead vocalists who inspired her in the past like Bruce Dickinson and Geoff Tate, how those singers crafted storylines that motivated her to write, and her karaoke rendition of “Queen of the Reich” and the crowd’s reaction. the tip she received from Bjorn “Speed” Strid of Soilwork and how it shaped how Apex, Abyss, and subsequent albums are written, and an update on the next record the band is slowly but surely working on.It was great speaking with Brittney about all of these things and how she draws inspiration from different sources and how they manifest themselves into her own writing.  Judging by her resume so far, with the detailed fictional concepts behind many of Unleash the Archers albums, gravitating towards contributing to the Transformers franchise and reinvigorating the classic theme song was a natural step for Brittney given her interests outside of music, and the results are fantastic as usual.

  5. Aug 15

    Episode 41: Samy Elbanna (Lost Society)

    For Samy Elbanna, his destiny was clear from an early age; 7, to be exact.  That’s when a young Samy set the goal for himself to become a professional musician.  From that moment, pretty much everything he has done has revolved around achieving that dream.  He started playing guitar around the time he was 11 , and if you listen to him talk about how often he practices, I don’t think he’s put it down since.  Lost Society was formed in 2010, and in three years time, the band was slated to play at Finland’s Tuska Festival when their frontman and guitarist was just 17 years old – a few months shy of being able to legally attend the event as a spectator.  Shortly after that, Lost Society would find themselves in a spot that a young Samy could only have dreamed of years earlier: landing an opening spot for Children of Bodom on a 2013 tour promoting Halo of Blood.  As many young metal musicians in Finland will attest, Alexi Laiho was an inspiration and idol, and the pinnacle of both rock and metal success.  Samy was no exception, as he often speaks about the influence Children of Bodom, especially 2003’s Hate Crew Deathroll had on him as a guitarist and musician.  Upon meeting Laiho on that tour, the two would strike up a friendship that would continue for years, to the point where Samy played in The Local Band with Alexi up until his untimely passing in 2020.  Though Samy and Alexi are distinct players in their own rights, it’s hard to ignore the similarities in their stories: setting their sights on music careers from an early age, arriving to stardom before their 18th birthdays, and a soft touch and mind-blowing skill on the guitar.   When the opportunity arose recently for the remaining members to celebrate the music of Children of Bodom, Samy was the obvious choice to stand in for his departed friend and mentor.  His performance during those two shows at Tavastia, playing some of the most complex songs Alexi ever wrote flawlessly with an equally impressive vocal delivery, was nothing short of spectacular.  It served as an eye-opening moment for those unaware of Samy’s incredible ability and only elevated his status as one of metal’s elite players today.  I had a chance to speak with Samy about those performances, and a number of other topics, including: Lost Society’s festival run in Finland this summer, the festival that means the most to him to appear at, and the fact that he first attended Tuska as a performer rather than a fan.the writing process for Hell Is A State of Mind, how the orchestral and symphonic nature of the album evolved over time, the evolution of his clean vocal style, and how Bruce Dickinson influenced him as a frontman. his interactive, intensive guitar course which ran for the first time in May and the second installment coming in September, the positive effect running has had on his mental and physical health, his recent reel with Jordan Rudess of Dream Theater, and how much he practices guitar every day.when he was asked to be a part of the Celebration of Music shows with Children of Bodom, how often he practiced prior to the shows, a discussion of rehearsals with the band, and a question from an anonymous source about the Hello Kitty guitar.what it means for Samy to be honoring the legacy of Alexi Laiho by filling his role within Children of Bodom for the celebration show and a reflection on all he’s done and missed to make his rock ‘n roll dreams come true. Samy was more than gracious with his time and it was a true thrill for me to speak with him.  As the celebration of Children of Bodom’s music carries on next year for the band’s 30th anniversary, I expect for Samy’s profile in the metal world to continue to its meteoric rise as so many more people are exposed to his playing throughout festivals in Europe next summer.  In reflecting on what we spoke about, it’s evident Samy is grateful for all of the accolades and opportunities music has given him.  While chasing the goal he set for himself in his youth, a question comes to mind which Samy asked himself on the latest Lost Society record.  During the chorus of one of the singles from the album, written about all the sacrifices necessary to achieve one’s dream, he reflects with the eponymous line of the song’s title, “Is this what you wanted?”  A seven-year old Samy would answer that question with a resounding “yes.”

  6. Aug 10

    Episode 40: Blake Judd (Nachtmystium)

    The opening track to one of Nachtmystium’s most well-regarded albums, 2008’s Assassins: Black Meddle, Part I, contains only one lyrical line: “One of these nights, I’m going to f*****g die.” Though when it was written it was an homage to Pink Floyd, that phrase could easily apply to the lifestyle frontman Blake Judd was living not too long after the album’s release.  The U.S. black metal legends ascended from the underground Chicago scene to sign with Century Media Records, only to see the bottom fall out due to a number of controversies connected to Blake’s heroin addiction.  Judd would eventually be arrested for theft, dropped from Century Media, living in and out of homeless shelters and on the streets of Chicago at the absolute low point of his addiction.  A number of questionable decisions connected to merchandise purchased by fans that was never delivered spurred more negative media attention to both Blake and the band, which at this point had ceased operations.  On the day Judd decided to check himself into rehab after living on the street and ripping off drug dealers, he recalls being robbed at gunpoint of every last possession he had.  And had he not gotten that help eventually, his opening words from Assassins would have been prophetic. Now about a decade after these events, Blake seems to have gotten the kind of help he needed to treat his addiction and now maintains a “California sober” lifestyle.  Though there have been missteps along the way, he says that he has taken steps to make amends with friends, family, fans, and fellow musicians to atone for his mistakes from the past.  Nachtmystium has been revived as well, as the band was a surprise addition to this year’s Milwaukee Metalfest, playing two sets across the weekend.  I had a chance to speak with Blake there, amongst other fans who all shared a common sentiment to him: “We’re happy you’re alive.”  I sat down with Blake to talk about his journey to where he is today, and a number of other topics, including: getting back on stage during Milwaukee Metalfest, Jamey Jasta’s role in making it happen, his thoughts on the band’s performance, and how he pulled it all together in just eight weeks.his reservations about playing live, interactions with fans during the festival, our conversation at the merch stand, and the positive nature of it all.his journey towards recovery from heroin addiction, living on the streets of Chicago, tragic events that triggered relapses, and how he helps people who reach out to him about recovery and addiction.the future of Nachtmystium and the potential for more shows, plans for an Assassins 20th anniversary tour in 2028, and possible festival appearances.how he has tried to make amends with those he has hurt in the past with his actions to those around him and reflections about what he has learned about himself throughout the entire ordeal.Though the controversies of the past should not be forgotten or condoned, in speaking with Blake, he acknowledges the wrongs and a willingness to move forward with his life without making excuses for his past behavior.  It’s clear that the mistakes he made have caused him to reflect and carry himself in a more humble manner, and above all, he is happy to have cleaned himself up and remain alive throughout the entire ordeal.  Not everyone who falls into drug addiction gets a second chance at life – I’m excited and optimistic to see what Blake does with his.

  7. Jul 23

    Episode 39: Lord Ahriman (Dark Funeral)

    When Dark Funeral released their debut EP in 1994, it came as a bit of a surprise to the unsuspecting Swedish metal scene – and for good reason. Mikael Svanberg, better known as Lord Ahriman, and his bandmates kept the formation of Dark Funeral a secret for well over a year before arriving to Unisound to make their now legendary first recording with Dan Swanö.  Eschewing the idea of a traditional demo, the band elected to self-finance and self-release the four-song EP that propelled them to fame inside and outside of Sweden with a brand of true black metal built on speed, precision, and intricacy.  After saving money for months to produce a thousand copies of it, Lord Ahriman and co-founder Blackmoon worried that they would be in debt for quite some time after financing the whole production.   Those worries were thankfully misguided – the CDs sold out within a week and the band made all of its money back. Since that moment, Dark Funeral have continued to evolve and deliver high quality black metal during their thirty-plus years in existence largely through the strong, award-winning song writing of Lord Ahriman.  The group have put a strong emphasis on their live performances, evidenced by the numerous tours that have hit locations in 55 countries to date and countless headlining gigs at metal festivals around the world.  Their upcoming live release, A Beast to Praise due out August 21st through Century Media Records, is a testament to their technical acumen, as it showcases the band’s first show after the global pandemic in Stockholm that was broadcast globally in 2022 to coincide with the release of We Are the Apocalypse.  Ahead of the release of the new live album, I had a chance to speak with Lord Ahriman about that gig, plus a number of other topics, including: the significance of that particular show for Dark Funeral after the global pandemic, the importance of touring in this day and age for metal artists, how the recording showcases newer members of the band like vocalist Heljarmadr, and how the band’s live sound continues to get tighter with each and every year.the amount of rehearsal time necessary to be content with a show, the group’s setlist selection process, the upcoming run of shows in Europe with Behemoth and Dimmu Borgir, and a discussion of stage aesthetics and why the band continues to wear corpse paint.an update on the new Dark Funeral album tentatively set for release in 2027, Lord Ahriman’s recent appearance with Mantas and Abaddon from Venom on stage to commemorate Welcome to Hell, his reaction to a lack of media attention to those performances, and the widespread influence that Venom had on the extreme metal community.self-financing and self-releasing the Dark Funeral EP, his fears about being in debt after spending the money and making it all back within a week after moving a thousand copies, working with Dan Swanö, and what the Swedish black metal scene was like in the 1990s.reflections on what more he would like to accomplish, how he motivates himself to push into new territory, and what’s next for Dark Funeral.Lord Ahriman was great to speak with and more than gracious with his time and responses.  As he stated to me, he needs to have a purpose for doing certain things artistically and musically, which might explain why Dark Funeral have fewer studio albums that one might expect for a band active since the early 1990s.  The emphasis on quality over quality, with a dose of artistic integrity, seems to have gone a long way towards helping Dark Funeral reach their status not only as a pillar of Swedish black metal, but as a truly legendary band with fans around the globe.  The same attitude that led them to believe in their material enough to pay for and self-release it back in 1994 is still evident in Lord Ahriman’s approach to music today -and that artistic vision will continue to lead Dark Funeral onward and upwards in the future.

  8. Jul 3

    Episode 38: Jon Schaffer (Iced Earth, Demons & Wizards, Sons of Liberty)

    Jon Schaffer is the founding member, chief songwriter, and driving force behind Iced Earth, Demons & Wizards, and Sons of Liberty.  Jon was also the first person to plead guilty to the charges brought against him for his role in the breach of the Capitol Building on January 6, 2021 in the largest prosecution in the history of the United States.   After a wide-sweeping pardon in 2025, he returned his focus to music after years of being embroiled in legal troubles.  When given an opportunity to speak with Jon about both of these topics, I decided to hear what he had to say.   Fans of Jon’s music know that he is not one to shy away from controversy or mince words about what he believes.  Not everyone will agree with what he has to say, but as he states very clearly in the interview, that has never really bothered him very much anyway.   Thought Crimes Vol. 1 & 2 by Sons of Liberty, a reworking of two prior releases from the band with a new mix and live drums, will receive a physical release on July 4th to coincide with the 250th anniversary of the signing of the Declaration of Independence.  Originally released as a gift to his fans, the album gives insight into Schaffer’s view of the state of the American system through historical references to the founding fathers and other sources.  For the full transcript of Jon’s sentencing hearing mentioned in the interview, click the link here: ⁠https://drive.google.com/file/d/106jegQGJBE2ubmcphuvR9nxD__F8PZXp/view

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Interviews from ThisDayInMetal.com and other sources related to musicians and their careers focusing mostly on metal and rock artists.https://wheredidmarygo.substack.com/ 

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  • Creator
    Where Did Mary Go?
  • Years Active
    2024 - 2026
  • Episodes
    45
  • Rating
    Explicit
  • Copyright
    © 2026 Where Did Mary Go?
  • Show Website
    Where Did Mary Go?