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 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.

  2. 6d ago

    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.”

  3. 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.

  4. 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.

  5. 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

  6. Jun 27

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

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

  7. Jun 26

    Episode 36: Chris Caffery (Savatage)

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

  8. Jun 14

    Episode 35: Mortiis (Mortiis, ex-Emperor)

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

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About

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

Information

  • Creator
    Where Did Mary Go?
  • Years Active
    2024 - 2026
  • Episodes
    42
  • Rating
    Explicit
  • Copyright
    © 2026 Where Did Mary Go?
  • Show Website
    Where Did Mary Go?