Also, Alestorm made a song about a girl with really big boobs. What the fuck am I supposed to do with that?

Alestorm is now (in the United States) legal to drink, this being their 21st year of existence. Hard to believe! But it’s kind of poignant. A band that has spent it’s developmental years with the nearly impossible task of being taken seriously while also spearheading the very niche and subjective Pirate Metal subgenre, now find themselves true veterans of the scene and, for the sake of this comparison, fully self-aware adults. If this band was ever trying to actually being taken seriously, The Thunderfist Chronicles is doing nearly everything possible to ensure listeners know that was never the point. The vast majority of this album is so, SO dumb, and it would be so stupid if it were any other way.

Sure, opener “Hyperion Omniriff” may carry a more aggressive tone than perhaps we’ve become accustomed to from these Scots of recent, but the earworm chorus including the line “… are you a c#*t, or do you. Drink. Rum??” should be more than enough to dissuade anyone from thinking these guys are suddenly becoming philosophical in their old age. And sure, the band puts some growth and evolution on display by further blending their Folk/Pirate metal roots with more modern, bombastic riffs and drum work, not to mention further embracing club-friendly electronic elements that only serve to drive home the point that Alestorm is more than comfortable appealing to a wider audience, making the outrageous party they’re hosting that much more an inclusive and massive an event, a point driven even further by the absolutely ridiculous “Banana,” an ode to Banana Daiquiris and drinking rum and all things piracy with fully integrated EDM elements and more liberal use of C-Bombs throughout to land an even more immediate buzzworthy impact. It’s a song that would just as easily become a TikTok trend as it would become the party anthem of the next 10,000 Tons of Metal cruise and, you know what? I’m here for every second of it. Bring on the fruity, tropical drinks.

And I mean, come on. “Killed to Death by Piracy” and the absolutely stupid “Mountains of the Deep” (it’s the one about the big boobs) are absolute bangers in every essence of the word. Is there clever songwriting at play? Absolutely! Are there actual displays of legitimate musicianship on display? Sure! I guess? Honestly, who cares?? I’m having such a ball banging my head to songs about large-chested women and living the free-wheeling life of a pirate, AND it’s all helping me escape the harsher realities of my actual life to such a successful degree that hearing some of the more intricate progressive elements of a Nekrogoblikon cover in “Goblins, Ahoy!” (what an insane sentence to write) and blistering riffs of “Frozen Piss 2” (seriously what the fuck even is this?) are just bonus points on top of this gem of an album. Hell, the 17-minute “Mega-Supreme Treasure of the Eternal Thunderfist” is pretty much as epic a Sabaton song as you’ve ever heard, with not even a quarter of the level of seriousness. I think that’s incredible. I think that deserves all of our applause and admiration.

So like, I dunno man? What do you want me to tell you? In all likelihood, you’re already either fully on board with The Thunderfist Chronicles  or you want absolutely fucking nothing to do with it. To be fair, either opinion is valid and I totally get why this isn’t everyone’s cup of tea. But subjectively, you’re lame if it’s not. This is really fun. Have more fun in your life before we all get bombed into oblivion or whatever other fresh hell this world has cooking up for us. Live your secret pirate fantasies and get on board.

You know exactly what you are getting with Alestorm at this point in their prolifically fun discography while and that does not change with the short little EP, it feels a bit….filler-ish?

There’s the title track which frankly feels a bit too commercial and formulaic, despite including Patty Gurdy on vocals and Hurdy Gurdy for the chorus. It’s clearly a quickly written track to get to EP out for the tour and is one of the weakest songs of the band’s entire discography.

“Uzbekistan” continues the band’s country-themed shanty’s (“Mexico”, “Come to Brazil”, “Magyarország”) and has a fun little techno/disco break, an element the band is getting increasingly comfortable using.

We then get 2 appropriately fun seafaring covers, the EPs highlight,  a cover of The Arrogant Worms’ “The Last Saskatchewan Pirate”, which organically feels like an Alestorm song due to its maritime gait, and the cover of Ian Taylor’s “Sea Shanty” is a short instrumental number.

The EP rounds out with “Cock”, a short filthy little ditty in line with “Fucked with An Anchor”, but it still adds to the disappointing ‘filler’ vibe of the entire EP that seems to be rushed out to coincide with the current tour. I’m sure (I hope) the next album will be back on par.

Second, this is an Alestorm album, so by now, you know what you are getting, especially as the band has really locked into a sort of pirate/party metal blend, which is perfected on Seventh Rum. With a little more metallic rum swigging shanties and jigs, and only a couple of thrashing party anthems, Alestorm knows what they are and what they are good at, and the result is yet another fun Alestorm album that’s better than 2020s Curse of the Crystal Coconut.

“Magellan’s Expedition” kicks off the album with one of the better songs the group has penned harkening back to the Captain Morgans’s Revenge and Black Sails at Midnight sound. And it ends with one of the more epic moments the band has penned featuring the Hellscore choir  (Therion, Amorphis, Scardust) closing the song out brilliantly. “The Battle of Cape Fear River” has a great sing-along chorus, again displaying what the band is best at before “Cannonball” delivers the same foul-mouthed, but fun as fuck tone as “Fucked With An Anchor” from No Grave but the Sea. 

Then we get this album’s “Tortuga”, a pop-metal romp called “P.A.R.T.Y”, which while the album’s worst song,  I just can’t get out of my head. Then the album hits a predictable flurry of fun but forgetful songs that don’t really stand out in the band’s overall discography, but on this album, certainly deliver some decent moments, notably “Magyarorszag” (Hungary), and “Return to Tortuga” with an appearance from Rumahoy’s Captain Yarface, but at least he’s not rapping this time.

That said, my personal favorite from the album is the criminally short-lived “Come to Brazil”, the spiritual successor to “Mexico” with a raucous chorus amid tales of pants-shitting and odd food choices. The album ends with part three of the “Wooden Leg” saga, a ballad featuring some guest appearances that ends the album on a bit of a down note, but hey, the third part of a trilogy is usually the worst, right?

I still struggle a bit with Elliot Vernon’s harsh vocals which have been shoehorned in for a few albums now, but these guys still consistently deliver smile-inducing pirate-y party anthems that are just damn fun.

There are some other editions of the album including a bonus acoustic version, and as with the No Grave But The Sea, there’s is a special edition of the album that is just for dogs. So there is that. YAAAAAAAAR! (WOOF?)

2017s No Grave But the Sea was another solid effort of pirate anthems, but after front man Christopher Bowes relocated to Tennessee, dropped some very good Gloryhammer albums, and dropped a goofy side project (Christopher Bowes and His Plate of Beans), I was getting an uneasy sense that Bowes and his band were getting to ‘rock star’ status, and that Alestorm would go too mainstream, self aware  or meta, essentially becoming a parody of themselves.

And that feeling wasn’t helped when the first two singles, “Tortuga” and “Treasure Chest Party Quest” came out. Both forgetful, fairly unpirate-y and Captain Yarrface’s (Rumahoy)  rap break on the already awful “Tortuga” being one of Alestorm’s cringiest moments in their discography. But then “Fannybaws” dropped and all was right with the world again, with its a signature, super catchy pirate romp and chorus that Alestorm has been known for. Also, Peter Dinklage….

Luckily, the rest of the album follows suit with much better songs that Alestorm has perfected over the years. That said, it’s also the same style that seems to be repeating itself over the course of 6 albums. Still, when they drop a killer keyboard drenched jig or shanty,  key change or chorus, it’s undeniably fun as heard on the likes of “Chomp Chomp”, (featuring Mathias “Vreth” Lillmåns of Finntroll), “Zombies Ate My Pirate Ship” (with a lovely little female vocal break from Patty Gurdy) or rousing gallop of “Call of the Waves”. Then the latter third of the album actually delivers some really fun stuff, with two short, funny bursts in rollicking shanty “Pirate’s Scorn” (yes, from Donkey Kong Country) and “Shit Boat (No Fans)” (“Your pirate ship, can eat a bag of dicks!“) and goofy stomp of “Pirate Metal Drinking Crew”.

Then, as they have done before (“Sunset on the Golden Age”, “Treasure Island”, “Death Throes of the Terrorsquid”)  Alestorm drop an eight minute epic “Wooden Leg Pt. 2 (The Woodening)” the sequel to “Wooden Leg” from 2014s Sunset on the Golden Age.  And with some dramatic spoken words and epic 8 bit jig,  its a pretty solid end note before the cover of Joan Beaz’s 60’s pirate/folk song “Henry Martin” ends the album.

My trepidation was somewhat alleviated after hearing Curse of the Crystal Coconut in its entirety, and the album certainly is another quality Alestorm album. I’m just not sure where it stands in the totality of the band discography. At times, I fear the pirate shtick has run its course but then I hear “Fannybaws”,  “Pirate’s Scorn” or “Shit Boat (No Fans) and I’m grinning from ear to ear.

I’m not gonna lie, even though some of the songs certainly sound a little similar to some of the bands prior songs, I friggin love these guys and they have absolutely locked into a Sabaton and Bal Sagoth influened, thrashy/folk/metal/ verse/pre chorus/chorus formula that is as catchy as ever, if not more than before. Also, I truly thought the whole Pirate theme would wear thin, but it hasn’t, and Bowes continues to deliver the booty, song after song, album after album.

The title track opens things up, immediately signalling the band has not dropped off at all, with a killer chorus, and shows keyboardist Elliot Vernon is once again delivering some harsher vocals here and there as with the last album. Then we get the album’s first single,  future drinking anthem, “Mexico” with a chorus that will stick with you long after the song is over, and an equally fun video to go along with it.

“To the End of the World” delivers the album’s first lengthier (7 minutes) track, but still has a rousing chorus. Then you get “Alestorm”, an almost dance metal ditty/jig that is a little too similar to “Drink”, from the last album, but still induces a goofy grin. “Bar ünd Imbiss”, a slower paced number has a simply killer shanty drinking chorus that I’m sure will just kill in a live environment. Then we get arguably one of Alestorm’s finest moments in “Fucked with an Anchor”, a hilariously filthy song about a Tourette’s syndrome like ‘witch doctor’s curse’ that causes endless swearing.  I caught my self singing the chorus out loud many times, much to the chagrin of my co workers, in laws and strangers in stores. Even worse, my daughter was singing along with me……Again, should be another fun live song.

Admittedly, the albums’ latter stages seems to be a little less memorable compared to the first 2/3 as even though “Pegleg Potion”, “Man the Pumps” (even with its clever innuendo), “Rage of the Pentahook” and needlessly long closing slow number “Treasure Island” are catchy and solid, they seem a little to similar to prior Alestorm songs and they don’t hold my attention quote as well, despite delivering all of Alestorm’s tropes in spades. But it’s really hard to follow up “Fucked with an Anchor”….

My promo did not have the “dog” version of the album, where the vocals are ‘performed by dogs’, but I’m sure it’s as silly as it sounds. Although I would have preferred the route Sunset of the Golden Age took, with some acoustic versions of songs and the album has no cover song as some of the prior ones did (“Wolves of the Sea”, “I’m a Cider Drinker”, “Hangover” etc). But overall, another great album from one of my favorite bands who seem one radio play song away from really breaking into the big time.

Those that disregard the band’s fun, humorous thrash tinged take on Pirate themed metal, will find nothing to sway their opinion here, but those that have loved the previous three albums will be more than satiated. The core of the sound is still catchy as all get out folk/thrash songs glossed with sea shanty sing alongs and a continued bigger exploration of more epic, orchestral elements that cement front man Christopher Bowe’s love of Bal-Sagoth (the band as a full time keyboard player now to complement Bowe’s keytar).

Big, boisterous riffs and Pirate-ish ho downs still dominate the the album even as Bowe and co spread their wings a little from pure rum and tits themed anthems to space squids, actual  history,  a little 8 bit sampling, yet another goofy cover song and even an 11 minute album closing ballad. It’s all incredible fun and silly, but also incredibly well written with addictive choruses abound. As with the last album or two, the  bigger Bal Sagoth influence is grander in scale as apparent on tracks like “Magnetic North”, “1741 (The Battle of Cartagena)” and the title track feature much more bombastic,  brass and string backing, as opposed to just jig driven violins and such. There’s even a more more harsher vocals scattered around those two tracks, adding even more to the overall tone.

But the heart of the album is just downright fun shanties such as opener “Walk the Plank”,  “Drink” (though a lead single, arguably the album’s weakest, if admittedly radio track), “Mead From Hell”, personal favorite “Quest For Ships” and the rollicking “Wooden Leg”- this album’s “Keelhauled” or “Rum”. Adding to the band’s collection of cover songs (“Wolves of the Sea”, “In the Navy”, “Barrett’s Privateers”, “You Are a Pirate”, “I am a Cider Drinker”), is a cover of British pop hit “Hangover” by Taio Cruz, featuring a downright fun rap vocal break from MC Immobilizer from Aussie pirate metal boozers Lagerstein.

The 11 minute  title track ends the album, and I can’t help but feel a sense a mood of closure that’s suggested by the title itself or the somber mood the song imbues (i.e lyrics like “The final chapter, the end is close is at hand, time to turn the page, etc“). Whether the band is getting ready to move on thematically, label wise or something else. Maybe I’m reading too much into it, and I hope I’m wrong as Alestorm  has become one of my very favorite metal acts, despite pirate metal becoming a ‘thing’ now, and this album, whatever the future holds ensures the band is the very best of bunch and one of my favorite releases of the year.

It should be noted that there is a limited edition media book version of the album that comes with a second CD called “Rumplugged”, and features acoustic versions of Alestorm songs ‘Over the Seas”, “Shipwrecked”, “Keelhauled”, “Nancy the Tavern Wench” and “The Sunken Norwegian”  and a cheeky little extra called “Questing on the Poop Deck”.  Its a fun little add on that’s worth the few extra bucks to hear these already catchy enjoyable numbers given a different acoustic perspective.

1 – Walk the Plank
2 – Drink
3 – Magnetic North
4 – 1741 (The Battle of Cartagena)
5 – Mead from Hell
6 – Surf Squid Warfare
7 – Quest for Ships
8 – Wooden Leg!
9 – Hangover
10 – Sunset on the Golden Age

If you didn’t like the first two Alestorm records, they won’t win you over with this one. The theme is the same, the sound is more or less the same, and the silliness is still in full effect. If, like me, you loved the first two records, then album number three will definitely be to your liking as well.

The tone of the album is established right away in the title track, which envisions a battle between pirates and Vikings with the aid of a time portal. The song also announces the arrival of new drummer Peter Alcorn, who, quite literally, blasts out of the gate with some pummeling skin work while guitarist Dani Evans throws down some blazing sweeps over it. The heavier guitar tone and drum sound is immediately noticeable throughout this track and gives the music a little more seriousness than on the last two albums, but the quirky pirate movie folk themes and lyrical content keep it fun.

First single “Shipwrecked” is a thrasher in the vein of some of the heavier work from their first two records with a wickedly addictive hook on the chorus. Again, Alcorn’s drumming is a noticeable addition. There’s more serious musicianship on display on “Death Throes of the Terrorsquid.” The longest track on the record, it goes for more of an epic approach, and while there are definitely some really nice musical touches, I have to admit that I prefer the shorter, catchier pieces.

Along those lines, as silly as it is, my favorite driving home from work song has become their version of “You Are a Pirate,” a song from the Icelandic kids’ television show “Lazy Town.” Having a child and the opportunity to have numerous songs from kids’ television shows stuck in my head over the years, I’ve always thought someone could make a mint recording metal versions of those insidious melodies. This song reinforces that belief. Yes, it’s goofy and silly, but it’s also the catchiest, most fun minute and a half on the record. It makes me want to grab one of my son’s plastic pirate swords and dance around with it – and believe me that’s a difficult feeling for music to evoke in me (and an even more difficult image to deal with for any poor soul that actually witnessed it. Therapy might be needed. So far, I’ve been able to restrain myself, much to the relief of my family.)

“You Are a Pirate,” though, perfectly encapsulates what initially drew me to Alestorm, and why I still love what they do. The band is, in many ways, very serious about their music, but at the same time, they want to entertain. They want their listeners to sing along with big grins on their faces. Sure, there’s fun to be found in metal still, but so often musicians and fans are obsessed with darker images, anger and aggression. There’s nothing wrong with that. It’s part of what drew most of us to the music in the first place. But every now and then, I think metal needs a good “yar har, fiddle-de-dee,” and that’s where bands like Alestorm come in.

Fun is a key element on most of the songs. “Scraping the Barrel” is a somewhat self-deprecating sea shanty that addresses the band’s critics and comparisons to German power metal outfit Running Wild, which also released quite a bit of pirate-themed material, though it was less over the top than Alestorm. It’s also a quite catchy little ditty. “Rum” gives the band an excuse to riff and yell “RUM! RUM! RUM! YAR!” Not that that’s a bad thing. “I Am a Cider Drinker,” a cover of a song by the folk band The Wurzels, has a definite flavor of their Scottish home with a pumping accordion and a lot of just plain goofiness.

There are a few tracks here, to be honest, that I’m not wild about. “Buckfast Powersmash” starts as a full-on thrasher and then moves back and forth between that and the folk sound. I don’t think it makes the transition quite as well as some similar songs they’ve done in the past. I also still have mixed feelings about “Barrett’s Privateers,” though it grows on me with each listen. My first reaction was the same as “Flower of Scotland” from the band’s first record. It’s a rough, pirate sing-along – perhaps too rough. But the more you listen, the more the melody infects you.

The music has improved over the course of three albums. The addition of Alcorn has a big impact, and Evans lays down some of his heaviest riffs throughout the record. The voice of Christopher Bowes, though, is still what makes the band. He has occasionally been criticized for not being a great vocalist, and he’s not. But he’s great for Alestorm. I can’t think of a more piratey sounding voice in music, and it’s part of what makes the humor in the songs go over so well.

There is a segment of metal fans out there that tends to be uber-serious and bristles at the notion of any light-heartedness in the music. This isn’t for them. For the rest of us, who like to have a drink, sing along and laugh occasionally with our metal, it’s perfect. I can’t think of a better way to sum this record up than by returning to my favorite tune from it: “Yo ho, ahoy and avast/ being a pirate is really bad ass/ hang the black flag at the end of the mast/ you are a pirate.” Now, excuse me for a moment while I go replace the wife’s hummingbird flag in the front yard with a Jolly Roger. I promise I’ll leave the plastic sword inside.

Well, they all say that don’t they? I’ve never once had a interviewer say, “Yup, I’ve heard the new album and it’s terrible”. That’s cool that you like it though.

Is this the same lineup as on the last album?

No it’s not. Our last drummer (Ian Wilson) ran away. I’m not sure where he went. He ran away said, “fuck you guys, you’re all dicks” and we never heard from him again. So we had to hire a new guy (Peter Alcorn) on very short notice. He drummed on the new album, as well as helped out writing some of the songs.

Would this new drummer be responsible for the increased level of blast beats and ‘heavier’ material on this album?

Yeah. Our last drummer, he could really do the old drumming thing very well, so it held us back. This time around we were able to me much more stupid with the drums ‘cos we had a bit more confidence that we could actually play the songs. But yeah, there’s a few more blast beats and stupid bollocks.

I’ve got to say I love the way the album opens with the blast beat and a song about Vikings battling Pirates due to a wormhole time travel thingy. That’s a great way to get the two stored warriors together

It goes back a little to the whole internet argument thing about who would win between so and so, but some of it is me being annoyed with the Pagan/Folk/Viking metal thing. These bands and fans that supposedly worship Odin and stuff.

How do you feel about Viking metal as a whole?

Some of it is OK like Tyr and Enslaved who are interesting, but otherwise it seems to be 3-minute songs about Odin’s beard and stuff.

But you, as a concept band about Pirates, what happens when you run out of songs about Pirates? I noticed on the song “Scrapping the Barrel” you actually address your critics about your lyrics.

Not too many have actually noticed that. It’s definitely a song about the naysayers and critics who say we can’t just sing about Pirates all the time. I mean what the fuck?! The first song is about time travel and Vikings, but we did it anyway. There’s a whole world of stupid shit we could do if we wanted, but we are happy writing about Pirates.

I noticed the last song “Death Throes of the Terror Squid” seems to be a return of the mighty beast from the song “Leviathan”.

I think that song as a bit of a “Leviathan Part 2”. In the first song these Pirates try to kill the sea monsters but it eats them, but this time they kill the shit out it.

So that’s the end of the beast, no “Leviathan part 3”?

Who knows, that’s what Hollywood is for! Maybe it will come back from some form of genetically created monster. Or they all wake up from a dream and they are all monsters?

So you are getting ready to hit US shores again in August. The last time I saw you was on the Pagan Knights tour back in 2009 I think, and you told me then that you really enjoyed touring the US. Are you looking forward to coming back?

Yeah, this is our third time in the US. That Pagan Knights Tour was fun! I’ve been really looking forward to it, more than anything all year. It’s just really nice to play in countries where the people speak English and you can party with the people as opposed to after the show where the fans can only speak five words and all they say is “I’m very much enjoying show tonight!” over and over. Its just nice to shoot the shit with people that speak English.

Who are you touring with this time?

We are touring with Kamelot. Have you heard of them? They are some sort of gothic power metal band or something. Then there is Blackguard and The Agonist. We aren’t sure how it’s going to go…

That’s seems like an odd bill! The Agonist are a female fronted metalcore act. The Pagan Knights Tour I saw you on was with Suidakra and Tyr, which was a pretty perfect bill for you, if you ask me.

Yeah that was a nice little tour. Those guys were fun.

So back to the album. Are you happy with how it came out, three albums in?

I’m very happy with it. It sounds better than we imagined. It was nice to improve some things and give it a nice folky edge. And there are things like the last track, which you already said has a bit of a black metal feel to it, we had Ken Sorceron from Abigail Williams do a little vocals there. And we didn’t hear those ’till after the album was done, as they were done out of the studio. That turned out awesome!

You couldn’t get Lord Byron from Bal-Sagoth to make an appearance, seeing as I know you are a huge fan?

I was actually talking to him about the possibility of him adding some huge pretentious spoken words or narration on the album, but it didn’t work out.

I still hear an even bigger Bal-Sagoth influence in your sound now. Especially in the orchestration and synths, which are pretty full on epic and over the top now. Not just Pirate-y twiddling.

Yeah, it would be nice to take the band more fully in that direction,  but it’s too much hard work! It’s nice to make one or two tracks with that sort of over the topness, but not a whole album.

Let me ask you about bands that rip off other bands’ styles. Right after your first album, a US band called Swashbuckle released an album of Pirate metal (I thought it was pretty terrible compared to you guys.) What are your thoughts on them?

We are actually pretty good friends with them. There’s actually a song on the new album, called “Swashbuckled” that’s a tongue n cheek song about all of them dying in horrible ways. It’s good fun. I just hope they don’t sue the fuck out of us over that song. The guitar player’s girlfriend is a lawyer, so were fucked. Luckily, they don’t quite know how the song goes yet.

You’ve been with Napalm for three albums now. Are you happy with them and plan to stay there?

They’ve played nice, so we aren’t going to be dicks as we are happy. As long as they release out albums and give us some money once in a while, we will stick with them.

Another Napalm-artist, Lord Jaldaboath of Jaldaboath appears on the album as I understand it provided the Pirate-y voice that announced the Vikings on “Back Through Time”. How did that occur?

We actually talked about doing a split-single with them a while ago, doing some stupid covers, but I dunno if it will happen or not. I’d still like to do it at some point. They are one of my favorite bands right now.

I hope so, that would be great. He is an odd character. I did an interview with him, via email, a while ago and he was in character for the whole interview!

Yeah! He’s a really funny strange guy. He’s one of the strangest  guys you’ll ever meet.

Speaking of covers, I noticed on the limited edition of Back Through Time, there is a cover “I am a Cider Drinker” by The Wurzels. As a former Brit, I appreciate that gem!  And there’s a cover “You are a Pirate” from the kids’ show Lazytown. What’s next? A Chas ‘n’ Dave song? What’s the one song you’d love to cover?

We’ll definitely have to up the ante and do something even more stupid! Maybe we’ll just become a cover band that does outrageously stupid cover songs. We are going to do a version of Spandau Ballet’s “Gold”, but make it about digging for gold.

Do you have a video planned for the new album?

Yeah, actually a couple of days ago we released a video for “Shipwrecked”. It’s awesome! It’s us on a green screen beach surrounded by babes and a midget. I’m sure it’s all over the internet by now.

When you go to the studio to record the album, is the whole thing written and ready to go? I’m picturing lots of drunken improvising and silliness in the studio.

Actually, it’s all written and done. We get in and get out. I’d love to be one of those bands that goes to a studio and jams for three years and possibly comes out with an album, but that sort of thing requires money which we don’t have.

Well, that’s all the time I’m allotted. I wish I could catch you on this current tour. Have fun, OK?

Oh I will, catch you next time. Cheers mate!

Alestorm Official Web Site

Napalm Records

Here are the confirmed dates and venues for ALESTORM supporting KAMELOT:

8.25.11 – Charlotte, NC @  The Casbah     *Headlining
8.26.11 – Atlanta, GA @ The Masquerade     *w/Kamelot
8.27.11 – Springfield, VA @ Jaxx     *w/Kamelot
8.28.11 – Philadelphia, PA @ The Trocadero     *w/Kamelot
8.29.11 – Buffalo, NY @ Broadway Joe’s     *Headlining
8.30.11 – New York, NY @ Gramercy Theatre     *w/Kamelot
8.31.11 – Worcester, MA The Palladium     *w/Kamelot

9.01.11 – Ottawa, ON @ Maverick’s     *Headlining
9.02.11 – Montreal, QC @ Club Soda     *w/Kamelot
9.03.11 – Quebec City, QC @ Imperial De Quebec     *w/Kamelot
9.04.11 – Toronto, ON @ Mod Club     *w/Kamelot
9.05.11 – London, ON @ Mod Club     *Headlining
9.06.11 – Cleveland, OH @ Peabody’s     *w/Kamelot
9.07.11 – Detroit, MI @ Blondie’s     *w/Kamelot
9.08.11 – Chicago, IL  @ Bottom Lounge     *w/Kamelot
9.09.11 – St Paul, MN @ Station 4     *w/Kamelot
9.12.11 – Seattle, WA @ El Corazon     *w/Kamelot
9.13.11 – Portland, OR @ Peter’s Room     *w/Kamelot
9.14.11 – San Francisco, CA @ Slim’s     *w/Kamelot
9.15.11 – Hollywood, CA @ House of Blues     *w/Kamelot
9.16.11 – Tempe, AZ @ Clubhouse     *w/Kamelot
9.17.11 – Mexico City, MX @ Ciro Volador     *w/Overkill, DRI
9.19.11 – Tulsa, OK @ The Marquee     *Headlining
9.20.11 – Dallas, TX @ Trees     *w/Kamelot
9.21.11 – Houston, TX @ Scout Bar     *w/Kamelot
9.23.11 – Orlando, FL @ Firestone Club     *w/Kamelot
9.24.11 – Tampa, FL @ Brass Mug     *Headlining

Regarding the press reaction to Back Through Time, released in North America last week by Napalm Records, Bowes had the following to say: “Every review I’ve seen in English says we suck! But from what Google Translate tells me, the Germans seem to love it, and they know metal better than anyone else in the world. So, you should all believe them and buy the fuck out of our album. It’s the soundtrack to every badass pirate party – you can quote me on that if you want.”

For more info, consult www.alestorm.net, www.myspace.com/alestorm, and www.napalmrecords.com.

Nov 3 Worcester, MA @ The Palladium
Nov 4 Toronto, ON @ The Opera House
Nov 5 Montreal, QC @ Le National
Nov 6 New York, NY @ The Gramercy Theater
Nov 7 Cleveland, OH @ Peabody’s
Nov 8 Detroit, MI @ Blondie’s
Nov 9 St Paul, MN @ Station 4
Nov 10 Chicago, IL @ Jaguar Club
Nov 12 Springfield, VA @ Jaxx
Nov 13 Atlanta, GA @ Masquerade
Nov 14 Orlando, FL @ TBA
Nov 16 San Antonio, TX @ Warehouse Music Venue
Nov 17 Ft Worth, TX @ Ridglea Theater
Nov 18 Albuquerque, NM @ Launchpad
Nov 19 Tempe, AZ @ The Clubhouse
Nov 20 Hollywood, CA @ The Roxy Theater
Nov 21 San Marcos, CA @ The Jumping Turtle
Nov 22 San Francisco, CA @ DNA Lounge
Nov 23 Portland, OR @ Hawthorne Theater
Nov 24 Seattle, WA @ Studio Seven
Nov 25 Vancouver, BC @ Red Room

Well, here is the follow up, and though I feel a tad robbed because of the 10 songs on Black Sails at Midnight, two are taken from the Leviathan EP, the fact remains Alestorm have upped their game. They have become even more Pirate-y, even more catchy, even more epic and even more complete as a utterly enjoyable metal act and as a result, Black Sails of Midnight will unquestionably be one of my very favorite albums of 2009.

Armed with a ‘bigger’ sound that includes more orchestral arrangements, resulting in a heavier Bal-Sagoth vibe and more songs that feature swashbuckling jigs and rum swillin’ anthems, Alestorm have more or so dropped some of the forced thrash harshness of the debut (i.e. “Death Before the Mast” and “Terror on the High Seas”) and basically developed into a folk/power/heavy metal act (Korpiklaani come to mind) with a Pirate backbone- and they pull if of perfectly.

As “Over the Seas” did on the debut, epic opener of “The Quest” the album simply rocks with more may catchy moments than you can shake a hook at. Those that saw the bands recent run or purchased the Leviathan EP will recognize the titular track, and I’m pretty sure more orchestral/synth arrangements have been added from the EP version. “That Famous Ol’ Spiced” is a perfect sing along drinking song while one of my personal favorites “Keelhauled”, a high octane, pure Finntroll-ish romp/jig mash up with a rollicking chorus, might be one of my favorite songs of the year (and my 9 year old daughter), even more so with the violin, which was obviously missing from their live version of it that blew my mind. The track is destined to become a live staple and fan favorite like “Wenches & Mead”. Things settle down a bit with the somber ballad “To the End of Our Days” (this albums, “Nancy, the Tavern Wench”) which sees front man Chris Bowe do a bit of rough and ready crooning and nice bagpipe/hammond break, and while I’m not sure if it completely ‘works’, it shows a softer side of Alestorm.

Initially, the title track starts as the albums weakest cut, harkening back to the debut’s slightly forced thrash hues, but it ends with a simply brilliant power metal segment/solo that’s to die for. “No Quarter” is a rambunctious instrumental track, but for those that are familiar with the Pirates of the Caribbean trilogy, a nice nod to the movie’s main theme surfaces, bringing a smile to my face, though I wish they had carried it through to its climax or flat out covered the whole theme like Epica did recently on their The Classical Conspiracy release. I can’t think of a more fitting cover. Then, the band delivers my second favorite track and another front runner for me and my daughter’s favorite song of the year, the simply titled “Pirate Song” where a killer chorus and a simple, head-banging, killer C, D, E chord progression all come together to form a rousing shout along number to die for. I can only hope they play it on their upcoming fall US tour.

The increased Bal-Sagoth influence is no more apparent than on penultimate track, “Chronicles of Vengeance”, especially glorious epic second half, that features a simply epic synth flocked blast beat. Then the album appropriately closes out with “Wolves of the Sea” the ridiculously catchy cover of a god awful Song for Europe pop song, that like “Leviathan” seems to have some added orchestral grandeur from the EP version, making the fact I’ve heard it before sting less.

As much as I enjoyed Captain Morgan’s Revenge, only about 4 songs were in regular rotation (“Over the Seas”, “Captain Morgan’s Revenge”, “The Huntmaster”, “Wenches and Mead”) however, Black Sails at Midnight I enjoy from start to finish over and over again and while I hate to anoint an album of the year only halfway through 2009, chances are Black Sails at Midnight will be vying for that spot.

Haha, wasn’t that Chris (Bowe- vocals) and Gazz? (Gareth Murdock- bass) I remember watching it and laughing my ass off. Got the video anywhere? It would be hilarious to see!

I do have the video-its right here. Sorry its such bad quality. Has there ever been any feedback from the band (Latvian pop group Pirates of the Sea) about your cover? Personally I think your version could have won Song for Europe.

We have been in contact with the songwriter and he enjoyed it very much so, which is great for us. He’s a nice guy and has received some free copies for his efforts too. We would have liked to have seen our version on the Eurovision though, it’s much better.

I agree wholeheartedly.

How did the rest of the tour turn out? How did you enjoy your first trip to America in all its calorie filled glory?

The US was AMAZING!! We totally fell in love with it. I certainly got a bit ill from eating fast food and so forth all the time so I didn’t eat much for the final two weeks of the tour which was a bit of a downer for me but other than that the US treated us amazingly. We got to see some of the coolest places on Earth and hang out with some amazing and utterly insane people at times. It’s probably one of the greatest times of mine and the bands life. We cannot wait to come back at some point.

How was it touring with Tyr and Suidakra, its seems based on some of your photos, and the after party at the kansas City show, that Henri and Tyr were partying it up with you guys and Suidkara kept them selves to themselves.

We had toured with Tyr before so we were good friends before any of the US stuff kicked off. We got on so well and partied hard together all night and day (this stayed true for the EU tour after this too). Suidakra were great guys to be on tour with. While they certainly weren’t as party friendly as we were they still were up for a good time and partied with us on numerous occasions. I just think it was difficult for them coming into the Alestorm/Tyr camp and joining in as part of the group. I certainly wouldn’t have had any other band on that tour though. They were awesome.

I understand you might be coming back to the US later this year? Care to elaborate? Will it be Pagan Knights 2 or just a separate tour?

We’re currently unsure of our position on returning to the US this year due to a few matters but if we can have them sorted we will be coming back on a separate tour of the US with some bigger name bands which will be amazing. As it stands though, I cannot give a certain answer about when, or if we will be there.

How did you come up with the name Alestorm- it has to be one of the most perfect, fitting monikers for a band- so much better than Battleheart.

It was Chris Bowe’s idea. When approached by Napalm to change the name we knew we had to think of something to fit the style of music. One day, I have a phone call from our old guitarist and he just simply says “Alestorm”. Off that phone call alone the moniker was born and Alestorm came to be.

How did the band initially react when Napalm Records asked you to change your name because the band Battlelore was already on there roster?

We weren’t overly bothered about changing the name as Battleheart is a very “We sing about unicorns and questing through castles” kind of band name. Alestorm fits with us so much better and I am happy that they asked us to change it.

So – onto the new album- Black Sails at Midnight. I have to say its even more Pirate-y than Captains Morgan’s Revenge. Did you approach this album any different than the first album?

I think the song writing changed on this as we had done a lot of live shows and had heard our songs live as opposed to Captain Morgan’s Revenge when were writing them without performing a lot of them live, which gave it a very different feel. Also the way we recorded and mastered the album was much more in the vein we wanted originally with the use of real instruments and not keyboards (violin, brass, bagpipes etc…). This changed the whole feel of the album.

It also sounds as if the Bal-Sagoth influence has been upped (especially on “Chronicles of Vengeance”) – I assume you guys are fans? Has Byron or any other Bal-Sagoth members commented on your sound?

The majority of the band are big fans of Bal-Sagoth, none more-so than Christopher. Johnny Maudling came to one of our early shows and watched us support Turisas and seemed to enjoy it very much so. I have no idea about the rest of the band though, I hope so!

Also- is that the theme from Pirates of the Caribbean I hear in “No Quarter”? How come you didn’t flesh it out to include the full theme?   I don’t suppose there’s been any interest about you guys doing a song for the 4th movie has there?

“No Quarter” was originally written in our demos before Alestorm and it was a revival of that song really. We didn’t want to flesh it out too much as it sounds great as it is. Too much would have spoiled it I think and make it sound…overly gay. I didn’t even know they were doing a 4th movie. Haven’t even seen 2 or 3.

Would you do it if approached?

Probably. I wouldn’t know though. Depends on what they want.

What are your thoughts on bands like Swashbuckle and to some extent Blackguard, and this sort of mini explosion of “Pirate” metal?

Swashbuckle are good friends of Alestorm. While musically different our attitudes towards our music is similar and that makes for good fun. I personally think Swashbuckle are great fun live and so very heavy it makes for a good parody and a lot of fun. We recently played with them in Austria and stage invaded them through a song which was awesome fun! I think the ‘explosion’ is interesting as we see how many bands try and come out of the woodwork and go for the pirate moniker with so many different styles of music(death, thrash, folk, melodic etc…) It’ll be an interesting time for all involved. Especially Alestorm.

Chris Bowe recently joked on your bands official message board that Running Wild ‘finally’ calling it quits, other than being Pirate Metal, how big of an influence was Running Wild?

Running Wild weren’t influences to us at all. I had personally never listened to them before Alestorm and never knew of the ‘Pirate’ tag in music before. None us of particularly enjoy the music and we try not to associate ourselves with them as it’s a whole different genre for us with RunnigWild doing Old School German Heavy Metal and us having a more melodic folky style with accordions and sing-a-longs and such!

With such a niche theme of Pirates, is there some concern that like Nile for example, you might run out of ideas based on such a specific concept? I mean how many songs can you write about rum, wenches and booty?

Plenty!! I don’t think we have that worry yet and I don’t think we’ll be too concerned until after album 3. Maybe them we’ll try and do something different with the genre but right now: “More Rum, Wenches and Booty!”.

Is there a part of you than wants to write a non pirate song and just branch out a bit?

Not really, the music works and we enjoy playing it. We have a decent variation of song styles as it so we’re always able to play different things. Faster, thrashy songs to slow ballads and sing-a-longs. It’s a good mix and makes for interesting times on stage.

Will Alestorm ever get to shoot a decent budget video for a song? – do you have a video for a certain song planned in your head or anything should the offer come up?

We already have one…kind of. We just finished (yesterday) shooting the video for Keelhauled with a German producer who has done Tyr, Atrocity, Leaves Eyes etc… So We are very much looking forward to the final product. It should be ready in about a month to 6 weeks for release.

Any parting words for the scallywags reading right now?

Thanks for all your support on the Pagan Knights tour. We hope we can come over and party with you all again! The new album is out June 2nd in the US we hope you buy it and enjoy it and we shall see you soon!

Alestorm Myspace

Napalm Records

The EP consists of 1 new song (the 6 minute title track), a reworked track from the Battleheart demo days (“Heavy Metal Pirates”), a German reworking of “Wenches and Mead”, and for me, the highlight of the EP, a cover of “Wolves of the Sea” from a Latvian pop band called Pirates of the Sea, which actually was entered as the Latvian entry into the Eurovision Song Contest (a staple of my childhood television viewing).

“Leviathan” is typical Alestorm; an epic, rollicking synth laden shanty with a glorious chorus. It shows Alestorm is still able to pen their ridiculously catchy style of metal and that the debut album was no one hit fluke. “Weiber und Wein” seems like filler track, but even with its German lyrics, it revisits my favorite track from Captain Morgan’s Revenge. The reworked “Heavy Metal Pirates” is a thrashier, traditional heavy metal number, but has a nice little jig between verses reminiscent of “What do You Do with a Drunken Sailor?”

However, “Wolves of the Sea” seems to have been made solely for the purpose of Alestorm to cover, and in fact it wasn’t till I did some research that I discovered the original song was a ridiculous pop song played by swarthy Eastern Europeans in pirate garb. Don’t believe me?  Check it out here is all its glory and have a righteous fucking laugh. The thing is, Alestorm’s version is so ridiculously catchy is will be in your head for days, and it has actually become my 8 year old daughter’s favorite new song-fuck you Hannah Montana.

A nice little stop gap, and I hope to hell they play “Wolves of the Sea” on their current US tour-I’ll see you thar mateys!

‘Scottish Pirate Metal.’

I’d say that about covers it.

Formerly known as Battleheart, Scotland’s Alestorm (arguably the best moniker I’ve seen in ages- I literally picture a storm of Ale and smile endlessly) embrace the fun of metal that bands like Korpiklaani, Turisas, 3 Inches of Blood and to some extent older Finntroll imbue. Throw in the Pirate themed lyrics and a general ‘Arrrrrrrr matey!’ (I’m often reminded of the Blackadder II episode where Tom Baker plays a legless pirate captain) atmosphere of Running Wild and some truly solid songwriting, and the recipe is here for a swashbuckling good time.

You’d be forgiven for thinking you have thrown in a Bal-Sagoth album when the synths and bombastic salvo of opener “Over The Seas” kicks off the album, but a more traditional heavy metal meets thrash mix soons settles in with a galloping, rollicking and at times stupidly catchy delivery. Trust me, if my wife says “Hey, this is pretty catchy”-it is). The trio of opening tracks is the albums main highlight as “Over the Seas”, sing along chorus of “Captain Morgan’s Revenge” and rousing “The Huntmaster”(with my funeral eulogy its lyrics: Up from the bowels of hell he sailed. Wielding a tankard of freshley brewed ale. Slaying all those in his path. Those who might hinder his god-given task. To bring back beer to the lands of the free. This is his quest, his true destiny. Legends shall speak of his name Hail the Huntmaster, with honour and fame. With the power of ale – He could not fail!)

You get the idea.

The gravelly vocals of Christopher Bowes (kinda like the Spongebob Squarepants theme), much like Korpiklaani’s Jonne Järvelä are a prefect fit for the album’s maritime, ale swilling, wench taking, pillaging themes, and though the synths are never full on Pirate-y, they do add a Jig like nature to many of the tracks such as “Nancy, the Tavern Wench”, and to be truthful this could be a Viking metal album, were it not for the actual Pirate-ness of the themes.

Now after “Nancy the Tavern Wench” I’ll admit, things level out a bit as “Death Before the Mast” and “Terror on the High Seas” focus more on slightly forced Bay area thrashing than overboard high jinks. However, “Set Sail and Conquer”, jig-like “Of Treasure” and personal favorite, the raucous “Wenches and Mead” return to the more over the top Johnny Depp styled wackiness.

Much like some of the other bands mentioned above, Alestorm are going to be a love it or hate it band that will either bring a huge grin to your face or make you grimace in true metal seriousness at its silliness. Me personally? I’m still fucking grinning.