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From The Vault: MDMA and psychotherapy

*** Article published in Teen Art Out Issue #64 ***

We have all heard about ecstasy, right? Molly? What about 3,4-Methyl​enedioxy​methamphetamine? Yes, this train of a name, or its short form, MDMA, is (probably) the substance you might find yourself taking if you are handed an ecstasy pill in a rave somewhere. However, there is way more to this psychostimulant than just being a party drug. Studies have shown its potential to help treat individuals suffering with mental health issues, such as post-traumatic stress disorder (PTSD) and alcoholism. But let me give you a bit more context about this substance.
Australia pops the most ecstasy pills in the world | Dazed

What is MDMA?

MDMA is a psychoactive drug also classed as an “empathogen”. This means that it allows the user to experience feelings and sensations of emotional communion, oneness, relatedness and emotional openness1. By binding to serotonin transporters and blocking its reuptake into the neurons, it allows for a higher availability of free serotonin to circulate in the brain. It also promotes dopamine, noradrenaline and oxytocin release, which are the neurotransmitters responsible for the sensations I have just mentioned1.

Is it safe?

There are several things to consider when consuming MDMA – how much are you taking, how many times, and how pure it is. A 2005 study showed that 61% of the tested ecstasy pills contained other drugs, with 46% containing no MDMA at all2. Between 2009 and 2013, 85% of “Molly” analysed by the DEA was mostly “bath salts” with 0% MDMA on it3. Having other substances mixed with MDMA, or completely different substances, can cause worse side effects than pure MDMA. This is why regulating MDMA could be a step forwarding in guaranteeing a safer consumption. 

MAPS (Multidisciplinary Association for Psychedelic Studies) laboratory studies have shown that pure MDMA is “sufficiently safe for human consumption when taken a limited number of times in moderate doses”4. In a 2010 study comparing the side effects of several substances, and how they can be harmful to the users and to others, MDMA showed to be less harmful than cannabis, tobacco, and alcohol5. 

How can MDMA be helpful for psychotherapy?

Due to its mechanism of action and pharmacology, it will produce some very pleasant effects, such as an increased sense of well-being and euphoria, sharpened sensory perception, greater sociability and also extraversion1. However, it can also cause some physical unwanted effects, such as muscular tension, jaw clenching, bruxism and increased body temperature6. There is also evidence that repeated use of MDMA might lead to serotonin neurotoxicity, which can lead to acute psychotic symptoms and cell damage1. However, the existing evidence regarding this unwanted side effects is in fact anecdotal, and it is impossible to say if the alterations in serotonin function are caused by MDMA or if they were already present. There is, however, evidence that MDMA has the ability to contribute to memory reconsolidation and fear extinction7. 

Memory reconsolidation is the process of reactivating an established memory, destabilizing it, and then modifying it with more information. This destabilization is promoted by an increase in dopamine release.  When a traumatic memory is recalled, it can often trigger strong feelings of fear and anxiety, but due to MDMA’s ability to release “happy” neurochemicals and hormones, instead of just feelings of fear and anxiety, there will also be emotions such as love or empathy, allowing for an update of information and a rewriting of this memory7. This is why there has been such a push for MDMA use in PTSD treatment, as well as other disorders. 

During the last 10 years, MAPS has sponsored several studies to pave the way for the introduction of MDMA as an adjunct to psychotherapy treatment for PTSD sufferers. The idea is to use MDMA sporadically as an adjunct. There will be MDMA-assisted sessions as well as non-drug sessions. The ability of MDMA to release oxytocin – the same hormone mother release during child birth – has shown to facilitate emotional attachment, as well as promoting feelings of empathy and trust towards the therapists. Non-drug sessions are supposed to last up to 90 minutes, and MDMA-assisted ones can up last up to eight hours, and the participants will have their physical health assessed before the treatment. The typical dosage for the drug-assisted sessions will be of 125 mg, and after two hours a supplemental dose of half the original one might be offered to prolong the effects. 

Phase 2 trials have taken place to assess how safe and beneficial this approach in psychotherapy might actually be. In a 2011 study, the results showed that the MDMA-treated participants had lower PTSD scores, as well as the results were sustained after a period of 17-74 months8. In 2013, a study conducted in Switzerland showed that MDMA-assisted therapy promoted improvements in individuals with chronic PTSD, and that MDMA was safe to use in a therapy setting, with no serious adverse events or side effects reported9. Four other phase 2 studies were completed in 2016, with 52.7% of the participants treated with MDMA no longer meeting the criteria for PTSD10. These results have provided precious evidence that MDMA can indeed be a beneficial adjunct to psychotherapy for PTSD. 

“But ecstasy is a party drug!”

When someone thinks about MDMA, they usually associate it with ecstasy and its recreational use. It is seen as a party drug, as people will take it in raves whilst consuming alcohol and other substances such as cocaine. However, it is important to refer that street “ecstasy” might not even be MDMA. There is also a biased perception of the substance and political impediments and disregard for expert advice11. An example is when the UK government’s Advisory Committee on the Misuse of Drugs advised that MDMA should be a class B drug (like cannabis), and not class A, the Home Secretary disregarded it saying that changing the drug’s classification would “send the wrong message”. In fact, the chief of ACMD spoke out against this decision, ended up being sacked from his position as a drug advisor to the government11.

What the future holds

Several phase 3 trials are currently planned across the world, including the United Kingdom. It is extremely important to understand that the use of MDMA as an adjunct to psychotherapy cannot be directly compared with the morbidity and mortality statistics when it is used for recreational purposes, without supervision and in an uncontrolled manner12. When asked about their experiences with MDMA-assisted therapy, participants have said that MDMA helped them thinking about traumatic experiences in a more neutral and safe manner. Other participants said that being on MDMA was the first time they felt compassion for themselves, or that it allowed them to see trauma without fear or hesitation and finally processing things and move forward7. 

There is still a lot to be done when it comes to implementing MDMA into therapy. More phase 3 trials are necessary, changing the public’s perception is imperative and government backing is also crucial. MDMA research is also extremely expensive, since 1g of pure MDMA can cost hundreds of euros to produce. Further research is also necessary to assess the possible long-term effects that MDMA therapy might have. For now, the future seems promising. 

References

1. Kalant H. The pharmacology and toxicology of “ecstasy” (MDMA) and related drugs. CMAJ : Canadian Medical Association journal = journal de l’Association medicale canadienne [Internet]. 2001;165(7):917–28. Available from: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC81503/

2. Tanner-Smith EE. Pharmacological content of tablets sold as “ecstasy”: Results from an online testing service. Drug and Alcohol Dependence. 2006 Jul;83(3):247–54.

3. EDT MKO 03/25/15 at 1:19 P. College Kids Are Unknowingly Rolling on Bath Salts [Internet]. Newsweek. 2015. Available from: https://www.newsweek.com/college-kids-are-unknowingly-rolling-bath-salts-316550

4. MDMA-Assisted Psychotherapy – MAPS [Internet]. MAPS. 2019. Available from: https://maps.org/research/mdma

5. Nutt DJ, King LA, Phillips LD. Drug harms in the UK: a multicriteria decision analysis. The Lancet. 2010 Nov;376(9752):1558–65.

6. Montoya AG. Long-Term Neuropsychiatric Consequences of “Ecstasy” (MDMA): A Review. Harvard Review of Psychiatry. 2002 Jul 1;10(4):212–20.

7. Feduccia AA, Mithoefer MC. MDMA-assisted psychotherapy for PTSD: Are memory reconsolidation and fear extinction underlying mechanisms? Progress in Neuro-Psychopharmacology and Biological Psychiatry [Internet]. 2018 Jun;84:221–8. Available from: https://www.sciencedirect.com/science/article/pii/S0278584617308655

8. Mithoefer MC, Wagner MT, Mithoefer AT, Jerome L, Martin SF, Yazar-Klosinski B, et al. Durability of improvement in post-traumatic stress disorder symptoms and absence of harmful effects or drug dependency after 3,4-methylenedioxymethamphetamine-assisted psychotherapy: a prospective long-term follow-up study. Journal of Psychopharmacology. 2012 Nov 20;27(1):28–39.

9. Oehen P, Traber R, Widmer V, Schnyder U. A randomized, controlled pilot study of MDMA (±3,4-Methylenedioxymethamphetamine)-assisted psychotherapy for treatment of resistant, chronic Post-Traumatic Stress Disorder (PTSD). Journal of Psychopharmacology. 2012 Oct 31;27(1):40–52.

10. Feduccia AA, Holland J, Mithoefer MC. Progress and promise for the MDMA drug development program. Psychopharmacology. 2017 Nov 20;235(2):561–71.

11. Sessa B. MDMA and PTSD treatment. Neuroscience Letters [Internet]. 2017 May;649:176–80. Available from: https://www.sciencedirect.com/science/article/abs/pii/S0304394016304906

12. Sessa B, Higbed L, Nutt D. A Review of 3,4-methylenedioxymethamphetamine (MDMA)-Assisted Psychotherapy. Frontiers in Psychiatry [Internet]. 2019 Mar 20;10(138). Available from: https://www.frontiersin.org/articles/10.3389/fpsyt.2019.00138/full

Author: Lúcia Correia

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From the Vault: Interview: Joost van den Broek

We’re starting a new series called “From the Vault” where we bring back parts of our past issues, one blog article at a time. You can expect interviews, reviews, thought pieces, and many more. Our first one is this 2018 interview with Joost van den Broek. We thought this was a strong pick as we’re diving into our #64 issue with which we wanted to get a sneak peek behind the musical curtain and find out more about how music actually happens, how it gets created, produced, recorded, played. Enjoy!

T.A.O: Throughout your career you have worn many hats: from keyboard player to mixer, producer, composer, and many more. How did you start each of them?

Joost: Yes, I love doing all this and I really like to multitask, but also to have this variety of tasks. It keep me very sharp, fresh and inspired. I started out as a keyboard player and studying Music Production on the conservatory. Since then it has always been this mixture. Besides that I always had a huge passion for orchestras and choirs, so after I also did a master in classical arrangement, I’ve added this to my list. Most of the productions I’m doing have one or more of these elements in them.

T.A.O: How do you divide your time among all those activities? How do you structure your workdays?

Joost: I plan ahead quite far and try to make realistic plannings. Of course sometimes things can really come together all at once, so it’s a struggle to get them done. But I love working hard and making long days, giving everything a lot of focus. It’s a lifestyle for me, since it’s both a big passion and such a huge part of my life. I live very close to the studio I work in (www.sandlane.nl) and spent A LOT of hours there…but I love what I do and love creating great things with nice people.

T.A.O: Can one be a good music producer without having been an active artist?

Joost: I do believe that’s possible, although I think that when you’re a musician yourself and master at 1 instrument really well, it gives you a lot of skills and insight in music, a great communication tool, plus a more independent and higher productive level. On the other hand, combining a very active live band with a full time career as a producer is very hard. That’s also why I play live on very rare and special occasions, not being in a full time band at the moment. Productions are such big projects and take a lot of good planning and focus, that one a very high level I don’t believe (at least) I could combine it well enough.

T.A.O: Let’s talk about what it means to record music. What is the technical process of getting a song from idea to being put on an album?

Joost: I could write many books about that (maybe an idea for later ;)), but to write it down quickly: writing music and lyrics, demoing the initial song ideas, working on details, creating the productional vision and arrangements in pre-production, rehearing with the band, preparing and planning the recordings, getting all necessary instruments and musicians or scores prepared, doing the actual studio recording and coaching the musicians in there performance and keeping track of all the file management and overall process status, editing and comping the recordings, doing additional recordings and programming, mixing with all revisions and feedback, mastering…and it’s done  With some productions I do this process can lead up to 1 year of work on and off.

T.A.O: When you’re producing an album for a band, how hard do you push them? How do you figure out how much to challenge them?

Joost: Pushing might not be the right word, but encouraging, inspiring, coaching, etc would be better. I try to get the best out of everyone in a production, but first of all everyone needs to be happy and feel like they do what they wanna do. Of course I try to create a strong productional vision in the process and in preparations, so I do have a clear idea in my mind of what I want and what the level should be…but it always starts on a personal/musicianship level, working with people and creating something special together. Challenging and pushing could belong to this process, but never making people uncomfortable with it. I believe a great is born out of a very positive vibe.

T.A.O: Are the vocals your main concern on a song? How do you construct the vocal melody?

Joost: They are obviously super important and the first thing people tend to listen to when they hear a song. Sometimes I’m very much involved in the melody writing process, sometimes more during pre-production or recording. It depends on the artist and style…but of course I always put a lot of focus on the vocal, the sound, lyrics and pronunciation, performance, timbres and dynamic, etc etc…it should always grab me and move me.

T.A.O: How much is songwriting a team sport? Do you believe artists should rely on themselves and a few close connections, or should they go where the best melodies and lyrics come from?

Joost: I do believe most artists will find the best songs when they deep dig in themselves and work hard on creating and developing their taste and skills. With most bands you see 1 or 2 people being most involved in songwriting because this comes more natural to them. I strongly believe in this natural urge and passion to create, which simply not all people have and which is fine. Not just every random song works for every band or artist, so I don’t believe when making very strong and focussed authentic album, you can just gather a group of random songwriters and start writing. Anyhow, different things work for different people.

T.A.O: In symphonic metal, bands are known for their big and epic sound. Can they keep with making album after album more bombastic? When does it become too much?

Joost: Too much or the term over-the-to-top is a very relative saying. In this genre most bands are looking for a huge and exciting experience when listening to their music, very dynamic and colourful, emotional and intense. Every band does it in its own way and is searching for their own flavours and combinations. It just has to keep making sense altogether, not overshadowing important elements, have a strong vision and message and arranged and performed/recorded really well…it’s a big puzzle and when you’re able to figure it out, the sky’s the limit. This at the same time is very much a matter of taste as well.

T.A.O: How do you make sure not to repeat yourself, whether across albums of the same band or different bands?

Joost: I always keep developing as a musician, technician, producer, arranger, both most of all as a person. I also believe in a strong ‘momentum’ which for each time and or place in your life or a bands career is different. This eliminates ‘repeating yourself’ very much…you are always looking for the next best thing and always getting inspired by new things whatever they are. On top of that I really like challenging myself and are always aiming for the best result I can deliver on that moment, which makes that you will also look forward and will never be satisfied with a mediocre and repetitive result.

T.A.O: Can you “turn off” your producer brain when listening to a song, or do you end up noticing different elements in it?

Joost: Yes, I can actually…maybe in my subconsciousness it still goes on, but I can truly just enjoy and listen to music without being ‘at work’.

T.A.O: How do you see the move in creating songs from lyrics and music towards tracks and hooks? Obviously, not so much in the metal world.

Joost: Honestly I don’t have a lot to do with this. I believe in creating freedom and when that’s a strong hook it can create a great song for certain purposes, but also a really inspired story and a strong vibe can create a great and special song for a band. I do believe this works differently for everyone. Whatever artists and bands feel good with and they find something of themselves in. Of course you can create out of a certain commercial vision, but then this should be so extremely strong and well-done (which is possible) that it still stands out in a unique way.

T.A.O: Have you ever looked for inspiration or lessons towards other well-known producers, from different genres or eras (Sir George Martin, Max Martin, Quincy Jones, etc)?

Joost: Sure! I love learning about all these fenomenal producers and arrangers. I do watch and read about them when and what I can…very inspiring and energising!

T.A.O: What about people trying to emulate you? Do you ever find other artists/producers mimicking your style?

Joost: I don’t know…I never really felt or heard anything like this, but when it would happen I would actually feel more honoured than angry about it. It’s logical that people inspire and influence each other. I also do believe that everyone has such different ears and taste, that there always will be a different endresult even with the exact same technical or theoretical process.

T.A.O: What makes a great song for you? Is there ever a formula for a good song or a hit, even if it only last for a brief period of time?

Joost: I don’t actually believe this. Maybe you can over analyse all world hits, but even then it’s hard to find 1 solid formula. It’s matter of so many elements for a song to become a hit. You need a whole team of people for this and all the stars should be aligned. I never would write a song with only this purpose, since I don’t find it very inspiring. If you catch the right song for the right artist, create the right production around, their label and management know business and you get a great momentum, a song will get a chance to be a hit. But the cool thing is to see that this can happen in any style, with every production, so always stay thinking out of the box.

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Heilung – Amplified History la Arenele Romane

Program si reguli de acces

 Heilung canta pe 16 octombrie la Arenele Romane din Bucuresti in aer liber in cadrul turneului “Amplified History”. Din fiecare bilet vandut 1 euro se duce la plantarea unui copac. 

1. REGULI DE ACCES

Accesul in incinta Arenelor Romane se face incepand cu ora 18:30 iar concertul incepe la ora 20:00. Concertul are loc in aer liber.

Pentru toate categoriile de bilete, accesul se face pe la portile de jos din parc ale Arenelor Romane.

La intrarea in perimetrul evenimentului, toti participantii vor fi controlati in bagaje de catre agentii de securitate.

Biletele ofera participantilor acces doar in categoriile in care si-au cumparat bilet.

Este interzis accesul cu:

– sticle, conserve;

– mancare sau bauturi de orice fel;

– artificii, obiecte periculoase;

– selfie stick-uri;

– casti moto;

– obiecte cu laser (ex. pointere, brichete cu laser);

– umbrele (va rugam in caz ca se anunta ploaie sa veniti cu pelerine);

– arme, bate, cutite, spray-uri, lanturi lungi, selfie stick, glow stick, obiecte ascutite, artificii

– substante interzise cf. legii 143 / 2000;

– obiecte cu laser (ex. pointere, brichete cu laser);

– aparate foto/video profesionale sau semi-profesionale (cu obiectiv detasabil);

– aparate de inregistrare audio-video profesionale sau semi-profesionale;

– animale de companie;

– persoanele cu probleme de ordin medical trebuie sa aiba asupra lor dovezi clare pentru a putea intra la concert cu medicamentele necesare.

Organizatorii NU vor stoca si NU vor pazi obiectelor prezentate in lista de mai sus pe durata evenimentului!

Organizatorii informeaza publicul participant ca spectacolele includ lumini puternice ce pot afecta persoanele epileptice.

2. PROGRAM

EARLY ENTRY – PREMIUM:   18:00

OPEN DOORS:                       18:30

HEILUNG:                               20:00 – …

3. Categorii de bilete

– Accesul in spatiul de eveniment va fi permis unei singure persoane pe baza biletului valid, o singura data. Biletul in baza caruia se va face accesul va trebui pastrat pe toata durata concertului.

– Parasirea perimetrului Arenelor Romane, dupa validarea biletului de acces, va fi strict interzisa. Persoanele care doresc sa paraseasca zona de eveniment o pot face, dar la iesire bratara le va fi rupta si daca doresc sa intre din nou, vor trebui sa-si cumpere alte bilete.

– Se considera biletul validat momentul in care ati intrat la concert, atunci cand acesta a fost scanat / rupt. Din acel moment biletul nu mai este valid si a inceput spectacolul / concertul / festivalul iar biletul (contravaloarea acestuia) nu mai poate fi returnat(a) in nicio circumstanta. In caz de vreme nevaforabila sau in caz de urgenta organizatorii va pot cere sa evacuati locatia si sa reveniti cand este sigur pentru dumneavoastra sa participati la eveniment. Va rugam sa urmariti cu atentie mereu instructunile organizatorilor, ale firmei de paza si mai ales ale autoritatilor pe toata perioada cand sunteti in locatia unde are loc evenimentul. Va multumim! 

– Posesorii biletelor la Categoriile Premium si Teren vor primi bratari care le vor permite accesul in categoriile la care au bilet. Posesorii de bilete la categoria Acces General nu vor primi bratari.

– Categoria Premium – Bilete cu loc in sectoarele K si E. Asigura acces si in zona Teren si Acces General, afis cadou si earlyentry.

– Categoria Teren – Bilete fara loc, in fata scenei pe teren. Asigura acces si in zona Acces General.

– Categoria Acces General  – cu loc in Arena

4. Accesul copiilor

Copiii sub 10 ani au acces gratuit doar in zona Teren (nu si pe scaune) si insotiti de un adult posesor de bilet valabil.

Recomandam fanilor care vin cu copii sub 10 ani sa le protejeze acestora urechile cu casti speciale. La concert volumul va fi puternic si acesta poate afecta auzul copiilor.

BILETE:

Biletele se gasesc in format electronic pe www.iabilet.ro si in magazinele Flanco si Muzica. Online, puteti plati cu cardul, Paypal,carduri de tichete culturale Sodexo, pe factura la Vodafone sau Orange sau ramburs prin Fan Courier oriunde in tara.

Biletele au urmatoarele preturi:

– Premium (cu loc in zonele K si E) – 259 lei in presale si 300 lei la intrare

– Teren (pe teren, fara loc, in fata scenei) – 179 in presale si 210 lei la intrare

– Acces General A (cu loc in Arena) – 149 lei in presale si 180 lei la intrare

– Acces General B (cu loc in Arena) – 99 lei earlybird, 119 lei in presale si 140 lei la intrare

Un eveniment BestMusic Live & METALHEAD

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East European Comic Con 2024

I’ve lost count of how many Comic Cons I’ve attended over the years, but this time, something clicked: I felt old. And oddly enough, I’m happy about it. The kids are alright. They’ve come prepared, donning their armor, costumes, and face paint, ready to immerse themselves in a day of celebration and creativity.

For those who haven’t experienced it, Comic Con is more than just an event. It’s a cultural phenomenon. It offers a unique space where people can unapologetically be themselves, express their passions, celebrate their quirks, and share their love for all things fandom. It’s a place where being a fan is not just accepted but encouraged. No judgment, no holding back—just pure, unfiltered enthusiasm.

This year marked a first for the East European Comic Con—it was held at Arena Națională, Romania’s largest stadium. Comic Con at Arena Națională? Wow

The venue was a much better fit . The sheer size of the stadium gave the event an entirely new energy. The panels felt bigger, more important. For me at least, it’s much easier to get to Arena Nationala than Romexpo, the previous venue, so that’s a plus. One of the best improvements was the separation of the gaming area, which often overpowered the rest of the event with noise. This time, it had its own space, allowing fans of other genres to enjoy the day without constant sensory overload.

Walking through the stadium, I couldn’t help but notice how well the event was supported this year. Big sponsors were everywhere, and it was a great sign for the future of events like this. Sponsorships mean sustainability, which means that East European Comic Con has the resources to grow and evolve year after year. These companies also brought along some fantastic activations—interactive experiences and booths that kept the crowd engaged all day long. The food court gave you many options to choose from, just like in the previous years.

And, of course, the beloved staples were still there: Artist Alley, the gaming corner, board games galore, and a variety of stores selling everything from geeky merchandise to Asian snacks. Speaking of which, I even had the chance to try some authentic sake!

As I walked around, I couldn’t help but marvel at the cosplayers. The costumes, the dedication, the time and effort that must have gone into each piece—it was all there on display. I know I couldn’t do it. But I am so proud of them. And this year more than ever, Comic Con welcomed you with many places to help you get your makeup and hair done, to get your glitter on.

For some, cosplay is a form of art, for others, a way to embody their favorite characters, and for many, a chance to be part of something bigger than themselves. Seeing the passion of these fans reminded me of my own early days, where being a fan was all-consuming, and every moment spent at Comic Con felt like magic.

This sense of belonging is what keeps Comic Con alive. It’s why people return year after year, why new generations pick up the torch, and why, even as I stand there feeling a little older, I can’t help but feel hopeful. The kids are more than alright—they’re thriving. But this is not to say Comic Con isn’t for everyone. There is no age limit on joy.

At the end of the day, I left Arena Națională with a heart full of nostalgia and excitement for the future. The energy, the enthusiasm, and the community spirit are as strong as ever. Comic Con isn’t just an event, it’s a homecoming for fans from all walks of life.

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Un actor din Vikings vine la Comic Con Arena Națională

În perioada 13-15 septembrie, la Arena Națională din București, are loc Comic Con, cel mai amplu eveniment dedicat iubitorilor de filme, seriale, jocuri video, benzi desenate, cosplay și nu numai, din Europa Centrala și de Est.

Mai mult, 6 actori reprezentând seriale populare precum Stranger Things, The Witcher, Supernatural, Game of Thrones, House of the Dragon sau Hunters vor lua parte la eveniment pentru a face poze, a da autografe și a sta de vorba cu fanii în cadrul panel-urilor de Q&A. Acestea sunt Jamie Campbell Bower (Stranger Things, Harry Potter, Twilight saga), Mark Sheppard (Supernatural), Royce Pierreson (The Witcher), Greg Austin (Hunters), Clinton Liberty (House of the Dragon) și Toby Sebastian (Game of Thrones), iar astăzi li se alătură un nou nume: George Blagden, cunoscut pentru rolurile din Vikings și Versailles.

George Blagden s-a remarcat în rolul principal din serialul Versailles, unde îl interpretează pe Regele Soare, Ludovic al XIV-lea. În perioada 2013-2016, l-a jucat pe Athelstan, călugăr creștin care devine un consilier de încredere al lui Ragnar, în seria Vikings, dezvoltată de History Channel.

Printre alte producții din cariera lui George Blagden se numără și After the Dark, Wrath of the Titans sau Les Miserables. 

Bilete și noutăți de ultimă oră sunt disponibile pe www.comic-con.ro. 

Comic Con România este cel mai mare eveniment de acest gen din centrul și estul Europei.

În cei 11 ani petrecuti de la prima ediție, publicul a avut șansa să-și întâlnească mulți dintre actorii favoriți. Printre aceștia se numără Jason Momoa (Game of Thrones, Aquaman), Clive Standen (Vikings), Ed Westwick (Gossip Girl), Paul Wesley (The Vampire Diaries), Tom Wlaschiha (Game of Thrones, Stranger Things), Daniel Gillies (The Originals), Andrew Scott (Sherlock), Jim Beaver (Supernatural), Robert Knepper (Prison Break), Charles Dance (Game of Thrones, The Imitation Game), Sylvester McCoy (Dr.Who, The Hobbit), precum și mulți alți actori de seamă din producții de top ca House of the Dragon, Lord of the Rings: The Rings of Power, La Casa de Papel, Game of Thrones, Spartacus, Supernatural, Doctor Who, Fringe, Harry Potter, The Vampire Diaries, Lord of the Rings, Sherlock sau Vikings.

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Heilung au lansat LIFA Iotungard

Heilung au lansat LIFA Iotungard, concert live ce a fost filmat in 2021 la Red Rocks Amphitheater. Rezultatul il puteti vedea mai jos.

Aceeasi atmosfera si aceeasi prestatie scenica o vor emana Heilung si la Arenele Romane, pe 16 Octombrie.

Biletele se gasesc pe iabilet.ro la urmatoarele preturi:

– Premium (cu loc in zonele K si E) – 259 lei in presale si 300 lei la intrare

– Teren (pe teren, fara loc, in fata scenei) -179 in presale si 210 lei la intrare

– Acces General A (cu loc in Arena) – 149 lei in presale si 180 lei la intrare

– Acces General B (cu loc in Arena) – 119 lei in presale si 140 lei la intrare

Copiii sub 10 ani au acces gratuit doar in zona Teren (nu si pe scaune) si insotiti de un adult posesor de bilet valabil.

La pretul tuturor biletelor se adauga comisionul agentiei de ticketing.

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Mark “Crowley”Sheppard vine, în septembrie, la Comic Con România

Actorul Mark Sheppard, cunoscut pentru rolul emblematic al demonului Crowley, Regele Iadului, din serialul “Supernatural”, şi-a anunţat prezenţa la Comic Con România, care va avea loc în perioada 13 – 15 septembrie, la Arena Naţională

Mark Sheppard este un actor britanic cunoscut pentru rolul său memorabil din serialul „Supernatural”, unde l-a interpretat pe Crowley, Regele Iadului. Crowley a devenit unul dintre personajele preferate ale fanilor datorită umorului său sarcastic, inteligenței și complexității morale. Pe parcursul serialului, Crowley a avut un rol crucial, fiind atât aliat, cât și adversar pentru frații Winchester, oferind multiple răsturnări de situație și momente de neuitat.

Mark Sheppard nu este cunoscut doar pentru rolul său iconic în Supernatural, ci și pentru performanțele sale remarcabile în Doom Patrol, Walker: Independence, Warehouse 13, White Collar, Doctor Who, Battlestar Galactica și 24.

Alături de Mark Sheppard şi-au mai anunţat prezenţa la Comic Con România actorii Clinton Liberty (Addam of Hull din “House of the Dragon”) şi Toby Sebastian (Trystane Martell din “Game of Thrones”).

Biletele sunt disponibile pe www.comic-con.ro.

Comic Con România este cel mai mare eveniment de acest gen din centrul şi estul Europei. În cei 11 ani trecuţi de la prima ediţie, publicul a avut şansa să-şi întâlnească mulţi dintre actorii favoriţi. Printre aceştia se numără Jason Momoa, Clive Standen, Ed Westwick, Paul Wesley, Tom Wlaschiha, Daniel Gillies, Andrew Scott, Jim Beaver, Robert Knepper, Charles Dance, Sylvester McCoy.

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Thirty Seconds to Mars revin in concert la Bucuresti!

Thirty Seconds To Mars revin la Bucuresti pe 25 octombrie la Hala Laminor! Jared Leto si colegii aduc turneul “Seasons World Tour” si la Bucuresti. Cel de-al saptelea turneu al trupei promoveaza noul album It’s the End of the World, But It’s a Beautiful Day.”, dar va include toate piesele care i-au facut celebri!

Thirty Seconds to Mars vin din Los Angeles, bazele formatiei fiind puse in 1998. Membrii fondatori sunt fratii Jared Leto si Shannon Leto. Primele concerte au fost sustinute sub diferite nume pana cand au ajuns la ‘Thirty Seconds to Mars’, nume preluat dintr-un manuscris intitulat Argus Apocraphex ce a fost scris de un fost profesor de la Harvard.

Thirty Second to Mars abordeaza un progressive rock cu influente de space rock, la care se adauga elemente de muzica electronica. Pana in prezent au lansat sase materiale de studio care le-au adus 14 Discuri de Platina si 19 Discuri de Aur, intrand in topurile din intreaga lume. De-a lungul timpului au colaborat cu artisti importanti ai scenei muzicale internationale printre care Maynard James Keenan, Ed Sheeran sau Bob Ezrin.

Trupa il are ca solist vocal pe carismaticul Jared Leto, actor premiat cu Premiul Oscar, un Glob de Aur și un premiu Screen Actors Guild (SAG Awards) pentru rolul din Dallas Buyers Club (2013). Jared are multe filme de succes jucate printre care “Fight Club”, “Requiem for a Dream”, “American Psycho”, “Girl, Interrupted”, “Mr. Nobody” sau “Suicide Squad” unde l-a jucat pe Joker.  Leto a regizat, de asemenea, videoclipuri muzicale, incluzand castigatoarele Premiului MTV Music Award, The Kill (2006), Kings and Queens (2009) si Up in the Air (2013).

Biletele se pun in vanzare pe iabilet.ro la urmatoarele preturi: 

– Premium – in tribuna fara loc, la inaltime, aproape de scena cu bar separat – doar 500 de locuri – 599 de lei in presale si 700 la intrare.
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– Categoria B – fara loc, in spatele categoriei A –  259 de lei in presale si 280 de lei la intrare

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Un eveniment BestMusic Live powered by Radio Guerrilla

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“Orice festival de succes a riscat si in primul rand a educat” – Stefan “Buvnitz” Zaharescu

Intre 30 Iulie si 4 August 2024 vom fi prezenti la Rockstadt Extreme Fest, un festival de traditie, care a reusit sa construiasca mult, sa adune o comunitate in jurul lui. Editia de anul acesta are un line-up de nerefuzat. Ca sa aflam mai multe despre aceasta editie si nu numai, am vorbit cu Stefan “Buvnitz” Zaharescu.

Ce înseamnă pentru tine o experienta de festival?

Cred ca experienta in sine nu poate fi definita. Pentru mine, importanta si impactul unui festival si-au schimbat valorile odata cu etapele vietii. Printre primele festivaluri majore de profil la care am fost, daca nu chiar primul, a fost Hellfest in 2011 sau 2012. Atunci am mers cu autocarul pana in Franta, 2 zile dus, 2 intors, cu aproape zero bani in buzunar, totul pentru a vedea zeci de concerte comasate in 3 zile.

In retrospectiva, efortul logistic a fost un real cosmar, insa nu as schimba povestea pentru nimic in lume. Tot pe ‘saracie’ am mers si in urmatorii ani. A meritat cu varf si indesat. Sunt experiente care te definesc in primul rand ca om si apoi ca ascultator de muzica. 

As recomanda ca fiecare sa mearga, macar o data in viata, singur la un festival, intr-o tara straina. Singur, fara prieteni, fara cunostinte, fara un plan concret. Va promit ca va fi una din cele mai memorabile si definitorii experiente din viata voastra. Un festival inseamna in primul rand, educatie. Insa cu toata sinceritatea, la nivel de public majoritar, experienta de festival este usor pierduta in Romania, sau are valente diferite fata de ce gasesti in Europa.

Poate ca a ramas mai mult in conglomerate, in comunitati, printre oamenii care au simtit cu adevarat asta sau cei care au trait primii ani de entertainment din Romania, cand bucuria de a vedea un artist strain nu stiu daca poate fi replicata in ziua de azi. Imi pare ca exista cazuri unde se insista mai mult pe partea de marketing, pe partea de sponsori si activari, iar ascultatorul si muzica in sine nu mai sunt neaparat ‘headlineri’. Sigur, depinde de caz.

Sunt lucruri pe care le-ai văzut ca participant la alte festuri și le implementezi și ca organizator?

Da, din 2011 merg anual la festivaluri si, in 90% din cazuri, o fac singur. Merg la festivaluri de metal, dar si generaliste, mainstream, sau axate doar pe anumite nise. Muzical, sunt un polivalent. Am acasa viniluri cu Bolt Thrower, dar si cu Taylor Swift sau Fred Again. La un festival, imi place sa imi trasez anumite obiective de la care nu vreau sa fiu distras. Vreau sa vad in primul rand lineup-ul, vreau sa vad ce artisti noi au aparut, cine prezinta potential, cine cred ca va fi urmatorul headliner. Vreau sa vad logistica, implementarea, vreau sa vad serviciile, profesionalismul, nivelul la care trebuie sa ne ridicam, ce este in spatele scenelor, ce productii noi au aparut, care sunt trendurile. Apoi, de fiecare data incerc sa le implementez acasa, fie ca vorbim de Rockstadt sau alte evenimente de club pe care le bookuiesc. Desigur,in limita realitatii si potentialului pe care il avem. Noi suntem inca intr-o faza incipienta. Trebuie sa ne gandim ca primul festival major aparut in Romania, gandit dupa o structura si abordare internationala, a aparut la noi acum mai putin de 20 ani. Daca nu ma insel, a fost Bestfest-ul din 2007.  

Ceva ce observ ca insiști sa spui este despre cum fiecare formație este aleasa pentru un tot unitar. Ce te face sa alegi o formație? Cum îți dai seama ca lipsește ceva în line-up?

Daca este un lucru pe care il urasc in lumea asta cand vine vorba despre festivaluri, sunt exact acele evenimente care insista sa aiba un headliner mare, de obicei un headliner foarte ‘sigur’ cand vine vorba de vanzari, doar ca apoi sa-ti tranteasca cateva nume ieftine, de umplutura, pentru a justifica un festival de cateva zile. Acela nu este un festival, este doar un produs si atat, nimic mai mult. Nu acesta este rolul unui festival.

Orice festival de succes a riscat si in primul rand a educat. Niciun festival nu va ramane relevant, pe termen lung, daca nu isi va stabili o directie clara, nu-si va crea o comunitate si nu va ramane fidel povestii pe care a creat-o. Stau drept exemplu evenimente precum Electric Castle, Summer Well, Sunwaves, festivaluri are u riscat si au creat o comunitate in jurul lor, dorinca de a explora si a risca, atat ca experienta cat si ca muzica. 

Asta cred ca am facut in acesti ani si cu Rockstadt Extreme Fest. Cel putin, pe segmentul in care noi activam, am fost festivalul care a adus cele mai multe trupe in premiera, in Romania. Si inca o facem. Unul din obiectivele acestui festival a fost mereu acela de a educa, de a oferi publicului experiente muzicale noi, de a-l scoate din cochilia cu care cu totii eram obisnuiti, de a-I arata ca exista atat de multa muzica buna.

Am riscat mult, am mers pe diversitate, pe nume noi si fresh, iar de multe ori am refuzat headlineri pentru ca ne interesa foarte tare ce au de adus in fata publicului, cum se vor prezenta ei, ce relevanta au. Sunt capabili sa ofere un show de headlining, sau isi cer banii doar din pricina numelui? Nu au fost putine trupe pe care le-am refuzat, unde notorietatea lor pur si simplu nu ne-a interesat.

N-ai sa vezi trupe de umplutura la Rockstadt Extreme Fest, doar ca sa ne mandrim cu un numar cat mai mare. Nu, fiecare trupa este aleasa ‘pe spranceana’, fiecare trupa trebuie sa completeze conceptul pe care noi il avem definit, fiecare trupe prezinta calitate, o abordare profesionista si diversitate.   

Care a fost gandirea sau abordarea pentru a crea un line-up mai divers si de ce?

Cred ca In 2024 am ajuns suficienti de maturi cat sa intelegem si sa ne bucuram de diversitatea muzicii. Din fericire, muzica rock si metal cred ca este una din cele mai expansive si complexe genuri muzicale ce poate incropi o sumedenie de influente. Aceasta maturitate se observa si in ‘noul val’ de artisti aparuti, indiferent de genul prestat. De ce am creat un lineup divers? Pentru ca nu imi doresc ca Rockstadt Extreme Fest sa fie un festival blocat in trecut sau un festival ‘sigur’.

Nu imi doresc sa avem un festival ce mizeaza pe aceeasi headlineri pe care ii vedem peste tot in ultimii zeci de ani, nume care, din pacate, vor spune stop mai devreme sau mai tarziu. Imi doresc ca Rockstadt Extreme Fest sa fie un loc ‘pentru toti’. Un loc unde poti vedea numele consacrate, headlinerii de care vorbeam mai devreme, dar si noua generatie a scenei, cat si nume experimentale, indraznete, nume pe care poate nu le prinzi la orice eveniment de profil. 

Imi doresc sa educam si sa crestem odata cu publicul. Sa avem trupe care in 2024 canta la 15:00 dupa-masa, iar poate peste 10-15 ani ii vom vedea co-headlineri. Imi doresc sa avem calitate si inovatie, indiferent de nivelul artistilor sau abordarea muzicala.

Inca de pe acum, pot sa va spun ca editia din 2025 va fi si mai indrazneata si mai diversa fata de ce am facut pana acum.

S-au anuntat 3 scene mari, asta inseamna ca s-a marit suprafata festivalului?

Da, suprafata festivalului a fost marita, cred eu substantial, iar in acest moment putem acomoda peste 12.000 de oameni. In orice caz, la nivel de implementare si productie, va fi cea mai grandioasa editie Rockstadt Extreme Fest de pana acum.

In fata unui eventual sold out pentru anul aceasta, se ia in calcul ca festivalul va mai creste in viitor si daca asta este cazul, Rockstadt va ramane in Rasnov? Mai este loc de creștere a festivalului?

Da, contrar tuturor asteptarilor,se pare ca Rockstadt Extreme Fest va fi Sold Out, mai devreme sau mai tarziu. In acest moment au mai ramas undeva la 1400 de abonamente si cateva sute de bilete pe zi disponibile. La modul in care decurg vanzarile, suntem increzatori ca in acest an vom declara primul Sold Out din istoria festivalului. Insa, in acelasi timp, nu vom creste mai mult de atat. Vrem ca festivalul sa ramana un eveniment relaxat, friendly, nu vrem sa il transformam intr-un produs. Este un eveniment facut de catre fani si pentru fani. Din acest motiv, Rockstadt Extreme Fest va ramane si in viitor la capacitatea maxima din acest an.  

In afara de line-upul impresionant de anul aceasta, la ce se mai pot astepta vizitatorii?

Fara a intra in prea multe detalii, am tinut cont de toate recomandarile venite din anii trecuti, recomandari pe care am incercat sa le implementam si sa le imbunatatim in 2024. Cred si sper ca participantii vor fi multumiti si impresionati de eforturile pe care le-am depus pentru acest an. Ma bucur ca exista aceasta interactiune mai personala intre festival si participant.

Care sunt cele mai mari dificultăți în organizarea REF pe care publicul nu le înțelege?

Sincer, nici nu stiu de unde sa incep. Pot spune doar ca o mana de oameni normali, rationali si sanatosi la cap, ar fi renuntat din start la a pune pe picioare acest eveniment. Si n-as putea sa ii condamn. Din punct de vedere al ‘creatiei’ in sine, este de N ori mai dificil sa organizezi asa ceva in Romania. Cea mai mare provocare, ca in fiecare an, este sa reusesti sa pui la punct un lineup bun, atractiv. Cu cat mai mare evenimentul, cu cat mai mare provocarea.

Am ajuns in punctul in care vezi la Rockstadt aceleasi trupe pe care le poti gasi si pe afisul unor evenimente de profil mult, mult mai mari ca noi. Pentru ca aceste trupe sa ajunga sa cante in Romania, in plin sezon de festival (in sine un cosmar), ai nevoie in primul rand de un plan bine pus la punct, plan ce se discuta de obicei chiar si cu 15-18 luni inainte de eveniment. In momentul in care ai un headliner, spre exemplu, asta implica o productie de 2 camioane si 2 nightlinere/headliner, sa spunem. 

Adauga asta la faptul ca principalul punct de interes, teritoriul in care aceasta trupa canta de obicei in vara, este la 2000 de kilometri departare, si anume Europa Centrala si de Vest. Pentru formatii este mult mai practic sa isi confirme festivaluri in acea zona, apoi sa mai lege cateva showuri, tot in zona, decat sa bata 2 zile dus-intors pana la noi. Aici exista multa munca de convingere, discutii si eforturi ce se intind pe luni de zile.Apoi urmeaza nopti nedormite, stres, frustrari.  De datele financiare nici nu mai are sens sa discutam. 

Apoi ai inconstienta de a organiza un festival cu peste 100 de formatii. Raportat la numar de oameni, asta inseamna undeva la aproape 2000 de persoane, insumand doar formatiile si stafful acestora. Asta se traduce in cazari, transporturi de la aeroport, backstageuri si, in esenta, un program si o logistica extrem de bine pusa la punct. Tot acest proces de a aduna toate informatiile, de a planui toata logistica, se intinde pe durata a cel putin 6 luni de zile. 

Apoi ai implementarea. Trebuie sa pornesti cu ideea ca ai ca obiectiv constructia unui ‘sat’ de la zero, capabil sa acomodeze 12.000 de oameni timp de 6 zile. 

Dupa care ai partea de parteneri si sponsori. Noi avem in fiecare an o mana de parteneri si sponsori care au crezut in acest eveniment si ne-au ramas alaturi. Insa ii numeri pe degete. In rest, am fost si suntem in fiecare an ignorati de orice inseamna sponsor sau partener media, lucru care se datoreaza, cred, nisei si comunitatii pentru care ne adresam, a ideilor preconcepute despre aceasta muzica si a oamenilor care o asculta, idei de care cu greu scapam.

Suntem pe drumul cel bun, insa drumul este unul lung. Il parcurgem impreuna si tragem inainte. Este trist, dar asta e realitatea. Am reusit sa punem pe picioare acest eveniment, aproape independent, un efort ce isi pune amprenta an de an.

Urmeaza problemele legate de teren, dificultatile in a te intelege cu autoritatile locale, birocratia unde, din pacate, ajungi sa fii partener involuntar cu Guvernul Romaniei care percepe taxe si impozite ce ajung chiar si la jumatate din valoarea biletului, in unele cazuri. Iar toate aceste lucruri sunt doar varful eisbergului. 

Am ajuns la concluzia ca publicul nu trebuie neaparat sa ‘sape’ in culisele unui eveniment. In primul rand, ar distruge orice bucurie si euforie, credeti-ma. Sa faci un eveniment, de orice fel, in Romania poate ajunge foarte repede un cosmar. Pana la urma, publicul plateste bilet, iar noi suntem obligati sa ii oferim cea mai buna experienta posibila, in contextul pe care il avem. 

Care crezi ca au fost cele mai importante lecții învățate din edițiile trecute pe care le veți aplica ediția aceasta? 

Sa fiu sincer, in fiecare an cred ca am facut greseli. Mai mici sau mai mari, insa cred ca mereu am invatat din ele, am fost cat se poate de transparenti cu publicul nostru si, ulterior, am incercat sa imbunatatim lucrurile in anul urmator. In mare, eu cred ca am reusit an de an acest lucru. Cert este ca pentru editia din acest an, am acordat atentie fiecarui detaliu, mai mult ca niciodata. Am ajuns pana sa si alegem personal meniurile vegane si vegetariene pe care le vom avea in perimetrul festivalului.

Nu exista perfectiune, exista insa dragoste si pasiune pentru ce faci, intelegere si deschidere pentru comunitatea ta. Fara aceste elemente, este imposibil sa persisti pe termen lung, sau sa fii respectat si apreciat.

Cu atâta muncă și stres, când vine momentul festivalului, te poți bucura de el? 

Deloc. Anul trecut, daca au fost 5 concerte pe care le-am vazut, si nici pe acelea integral. Anul acesta, cu toata logistica si implementarea pe care o avem in fata, ma astept sa nu vad nimic. M-am obisnuit cu asta, e un fel de sacrificiu constient pe care il fac an de an. Nu am ce sa regret, bucuria mea este impartasita de toti cei care ne calca pragul. Realistic vorbind, nu am prea multe momente de respiro, bucurie sau relaxare. 

Noi deja lucram la editia din 2025, in paralel cu pregatirile pentru cea din acest an. Este un job care, realmente, se desfasora 365 de zile pe an. Poate cand mor, se gandeste cineva sa-mi faca o statuie de jumatate de metru in Rasnov.

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Interview: Elvellon

Rising symphonic metal band ELVELLON is set to release their second album, Ascending in Synergy, on May 17, 2024! The ten track offering marks the outfit’s Napalm Records debut, and is the successor to their highly acclaimed 2018 album Until Dawn and 2015 EP Spellbound. The official music video for the track “Born From Hope” from Until Dawn has reached 1.3M views on YouTube, and the EP version of the song has more than 2.5M Spotify streams. Dubbed as “heroes of tomorrow” by Metal Hammer Germany, ELVELLON has performed at several festival stages both internationally, such as RockHarz Festival, M’era Luna and Rock Fest Barcelona to name a few, and has shared the stage with significant bands in the scene such as VISIONS OF ATLANTIS.

Teen Art Out: What inspired the theme and concept behind your new album, “Ascending in Synergy”?

Nele: We started writing our new album when the pandemic started. We worked on the instrumentals first and afterwards I started getting visions for the lyrics of each song more and more. During the pandemic I noticed how out of touch and literally quarantined everybody was. What came with that was that I noticed how out of touch everybody is with themselves as well and what consequences that implies. I myself started working hard on finding a way to get through to myself again. I felt the urge to give this world a positive album. And this is really what Ascending In Synergy is inspired by. It’s an invitation for the listeners to get back in touch, feeling seen, feeling heard, having a hopefully safe place to resort to.

Teen Art Out: What was the significance of signing with Napalm Records for this album?

Jan: The label plays an important role on many levels. Maybe the most significant impact of being with Napalm Records is the increased public attention. When your band is signed by a big label, naturally more people will notice your releases. Additionally, the PR professionals at Napalm are a great support in managing all the incoming interview requests and similar things.

Teen Art Out: How do you feel about the response to your singles “A Vagabond’s Heart” and “My Forever Endeavour” so far?

Jan: The feedback we’ve received – whether it’s Youtube comments, direct messages or emails – has been extremely positive. It feels amazing to get such great responses from “old fans” and people who have just discovered us alike.

Teen Art Out: What song is the closest to your heart at this moment?

Gilbert: When we recently started rehearsing for our release show, it quickly became clear that the song “Ocean Of Treason” was a lot of fun to play. Of course, that influences the general opinion a lot and I would say that we are celebrating it the most right now.

Teen Art Out: What can fans expect from the rest of the tracks on “Ascending in Synergy”?

Gilbert: I would say that we offer a broad spectrum of very different songs. On the one hand, we have songs like “The Aeon Tree”, which is our longest track to date with a playing time of over 9 minutes and takes the dreamlike quality we are known for to the extreme. On the other hand we have some very heavy songs like the just mentioned “Ocean Of Treason” or “Into The Vortex”.  We already had a heavier song on our debut album with “The Puppeteer” but the new songs in this direction are much more consequent and darker. We are sure that there will be something for everyone.

Teen Art Out: In what way do You feel you have had to push yourselves with this record?

Gilbert: This might sound weird since we’ve been working on this record for 6 years, but we’ve really tried to hurry up and optimize our songwriting process so that we can get to a result that doesn’t feel rushed. One of the effects of this endeavor is that we have divided the lyrics between us. So now the lyrics of most of the songs are written by Nele, 3 songs by Martin our drummer and one song I wrote myself.

Teen Art Out: How do you feel being the one to put out a symphonic metal record, remembering the ones you used to listen to growing up?

Gilbert: That feels very good! We make the kind of music I wish there was more of these days. I don’t listen to that much metal anymore, but the symphonic metal of the early 2000s really appealed to me back then and I’m very happy that we’ve had some success with this form of the genre.

Teen Art Out: Is there something most people don’t realize about being in band?

Gilbert: I think above all how much time and therefore sacrifice it takes to keep a band running at a professional level. We all still have a normal job and everything we do for the band we do in our spare time and that’s very hard because your personal life suffers a lot. Maintaining a functioning relationship on your own is difficult and I would like to express my admiration for all partners of musicians.

Teen Art Out: What was a moment when you realizez you were “famous”?

Gilbert: I don’t have the feeling at all that we are “famous”. But of course there have been a few moments when you realize that you’ve already achieved something. Especially at the beginning of our history so far. For example, when you no longer know the people who comment on your pictures on Facebook in private. Or our concert at M’era Luna in 2015 was also a very sublime moment for us. We hadn’t played in front of such a large audience before. It’s a great feeling, but also a new one. You can immediately feel that the band is getting “bigger”.

Teen Art Out: If ELVELLON could be the soundtrack for any movie, which movie would you choose?

Gilbert: Good question, I don’t think I would really want to hear metal music as a soundtrack for a film. You would have to make a film specifically for that. There have been several music films like this in the past. Some better, some worse. But to answer the question: I could imagine that with a film like “Pirates of the Caribbean”.

Teen Art Out: What is your biggest motivation to keep going?

Gilbert: The answer to this question is a very personal one. I don’t know how exactly I can or want to answer this. For me, making music is an outlet, a reason for being, something by which I define myself. Even the little bit of success that we are able to enjoy makes me very happy and gives me the feeling that I am worth something more. That might sound a bit dramatic or sad, but I can assure you that I’m fine 😀 Music is simply very essential for me and my life.

Teen Art Out: What’s the most unusual place you’ve found inspiration for your music?

Gilbert: Good question. We draw inspiration from many things and probably each of us would answer a little differently. I also get mine from computer games, but I don’t think I’m alone anymore 😀

Teen Art Out: Who in the band is the most likely to get lost on tour

Gilbert: That’s probably me 😀 I can sometimes party excessively and often I’m a bit confused 😀 Luckily it hasn’t happened yet, but that can still change

Teen Art Out: Who in the band has the strangest or most surprising hobby?

Jan: That could possibly be me 🙂 Not really strange, but most people are surprised when I tell them that I have a 40m² vegetable garden. I have to admit it’s pretty much wilderness at the moment because due to all the band related stuff I don’t have enough time left. However, I’m planning to revive it and plant my own tomatoes, carrots, beans, etc. again.