Michael Schenker has just released a new album called "Universal" (review here) and was on European tour, too (live review here). Back home I had to great chance to do a phone interview with him to talk a little bit more in detail about the writing process of the album and about his 50-year career in rock history. Enjoy reading and don't be confused about all the Michaels in the interview!

Michael

Hi Michael, did you have a good tour?

Yes, the tour went well, lots of happy fans and that's fun.

I saw you guys in Bochum and I have to say it was great. Just the fact of finally being able to see a band live again was great. How was it for you to be on stage again after Corona?

(Laughs) For the body a bit unusual, because at this age, when you haven't been on stage for two years, and the first time was back in England at the end of October, that was quite a shock for my body, even with my position to play guitar. That's already noticeable especially a little bit later. Footballers, for example, have to train themselves, stamina and all. And if you don't do that, it can be quite a strain on the body, which is suddenly shocked. The tour was now longer and the body has adjusted to it, there was everything okay.

Your new album "Universal" will be out soon. First of all, I think the cover is pretty cool. Who had the idea for it?

It was basically my own idea. Captain Kirk (William Shatner; M.) had spoken on the first Temple Of Rock record back then and that's when the idea came to me, I made a sketch and my website designer then expanded a bit. But that was not yet the right time for such a thing, the acoustics then had another idea and that became this pyramid. At some point, when we were making the new record, I remembered it, showed the sketch to Markus Staiger (head of Nuclear Blast; M.) and then changed it a bit and that's how it came about.

I didn't know that Wiliam Shatner had a guest appearance with you!

Yes, on the first Temple Of Rock record, where Doogie (White; M.) also sang for the first time. I played on his record and he did the intro with me.

What do you want to say with the title? That music is equally important everywhere?

Universal basically has several meanings. First of all, music is very universal, you can understand that everywhere, no matter in which country or on which planet, that's mainly meant that way. But you can also understand it ironically. I'm in this spaceship and I'm probably looking for venues on other planets and behind me are the UFOs and they probably met me sometime in the past and I joined them, so everybody can build their own story.

How important are the lyrics for you as a guitarist?

Basically not at all. I used to just listen to music as a kid and the music I liked was English or American. I didn't know English, so I focused on the music and for that reason alone it wasn't important to me. But the lyrics are important so that you form words that then become a sound. For that reason, the lyrics are important because through those words the singer makes some sounds that are then incorporated in different ways and through that also becomes an instrument. But what's behind it, that's not important for me and as someone said before, that it takes something away from the music if you concentrate on two things, but there are people who are maybe more keen on the lyrics than on the music or vice versa.

On the 13 tracks you once again show your skills as a guitarist. How do you manage to write such sophisticated melodies? When do you get the ideas?

Michael Voss and I have a good cooperation, we have been producing together for 12 years. He doesn't know how the songs sound until we book the studio to record, and then he gets ready right from the start to put the lyrics and melodies together and when I go to the hotel he continues in the evening and plays it for me the next morning and that's how it comes together. I then give him feedback and we never know what's going to come out of it because it's all brick by brick. I start with the music and the rest, all the ideas, who's singing and who we should maybe bring in as musicians, that comes together.

With the intro 'Calling Baal' and the corresponding track 'A King Has Gone' you pay tribute to Ronnie James Dio. Why only now or how did you get the idea for this?

Again, brick by brick - you don't know what's going to happen next. On 'A King Has Gone' Michael Voss said to me "Here, I did this last night" and he also said that the lyrics are about Ronnie James Dio and I just said "Ah, my favorite rock singer, play it!". Then he played it for me and I thought it was fantastic and then Michael Voss suggested that we have the Rainbow guys who played with Ronnie James Dio back then with us. He managed that and we had Bobby Rondinelli, Bob Daisley, Tony Carey with us. Markus Staiger also thought the song was great and had the suggestion to get Michael Kiske as a singer. We tried that and it sounded great and so Michael Kiske became the singer for the piece.

You have a lot of guests on "Universal" who contribute different things to the tracks. Was it difficult to get all those people to do it and record all the different stuff or did it go through file sharing?

We did the music first and then I explained to Michael what I needed as drums for the tracks so he understood what direction it was going in rhythmically and then we do like a guide bass and guide keyboard to that so you have a good base to work with. Of course we also have the vocals, Michael has written all the lyrics and melodies this time and that we send to the musicians and singers and they then practice it and what is important then are the personalities of the participants. The building is done, so to speak, and Michael Voss is the engineer and when everything is right between us, I first take a break and he goes to engineering. When that's done, I'm back in and you think about which version - sometimes you have three or four different versions of some instruments or vocals - and we agree at some point and that's how a record comes about.

You have been active in many bands over the years. Which one would you describe as the most important for you or your career?

Life is a development for me, there is nothing important or less important. All steps are important that have led me to today. It's all a puzzle work for me that belongs together and until the end of my life it's all as it should be.

Do you have an absolute favorite song that you are particularly proud to have composed?

I am not proud at all, maybe happy. But in general also with music, for me it's about the record and having the balance, like a well-written book, that everything is well balanced, that it doesn't get boring, that nothing repeats itself over and over again and has a certain freshness in it. That's the most important thing for me. There is no moment that can be the same, every moment is different and it depends on the moment and what is happening around. All that together, all the steps and all the little moments are important. But I don't have a favorite song. Not even on this record. Every song has different things that come out. It can be a very well done solo, some melody...I see it all very detailed and very different than a consumer who just hears the thing for the first time. By the time people hear it, I've heard it a thousand times (laughs) and that's a very different kind of being there because I'm also a creator. I do everything much different than the commercial world and I'm an artist and I evaluate everything much different than normal people do.

Now I have a question Sebastian Ramstedt from Necrophobic asked me to ask you. Some bands like to steal from you, like Iron Maiden on "Back In The Village" or Europe on the first two albums. Did you notice that and what do you think about such things happen?

Keep paying attention, but don't know anything about it. I also basically don't care, because you can't do anything about it. In the 80's a lot of people copied my style and I'm used to that, but as I said, I don't listen to music, haven't for over fifty years and I don't even know what's out there. There are certainly awesome guitarists and singers, but I always say "spreading and expressing the joy of music from the place of pure self-expression". That's why I don't listen to music, because the brain is like a sponge and absorbs everything and you automatically copy things if you are too busy as a consumer, so I made the decision from the beginning of my life to only be an artist and creator instead of a consumer. This also kept me fresh and gave me less opportunity to copy something.

How do the further plans look like? You canceled your Russian tour for perfectly understandable reasons.

We are playing festivals, Graspop, Hellfest and some more in July and August. In September, October, November we will be in America - all that with Ronny Romero as singer and after that in Japan and we hope to come to South America and Australia and then we will see.

Will your first MSG albums ever be remastered? You can hardly buy them anywhere and if you do, then only at horrendous prices.....

Some things are coming together title by title. I just got an offer for the Chrysalis re-releases, all the Michael Schenker Group stuff as a setbox. But I've had different record companies and different bands like McAuley Schenker Group or Michael Schenker Group and so on. That all comes up at some point when you're asked if you'd like to do that and then you decide to do it. Probably other things will come along as well.

What advice would you give to young guitarists who have just started playing?

They have to decide what they want. Whether they want to be commercial musicians who want to get famous really fast and make a lot of money with short cuts and all kinds of tricks - so more artificial lifestyle as a musician, or they really want to be in it with heart and soul and that joy that comes from playing guitar instead of calculating - people have to be clear about what they want. Then it's also clear: if you want to be successful quickly in the short term, most people stick to the trend so that they get a piece of the pie, in other words they have to do what the trend is doing and thus copy and make something that fits in and the other direction is that you have joy in playing and not insist on becoming famous or making a lot of money.

In October 2023, Within Temptation returned in full force to the music scene with "Bleed Out," which explores global injustices and the tumultuous state of the world. In this exclusive interview, vocalist Sharon den Adel shares insights into the creative process behind this intense and politically engaged album. With a more aggressive and dark musical approach, the new work marks an innovative phase in the Dutch band's trajectory. During the conversation, Sharon reflects on the unexpected ease in writing "Bleed Out" due to the proximity of the themes to her own emotions and experiences. The band addressed issues such as the war in Ukraine and the fight for women's rights in Iran, transforming their concerns into powerful and impactful songs. The interview also details the band's involvement with Music Saves UA, an organization that supports Ukrainian musicians and offers humanitarian aid to refugees in the country.

Marcelo Vieira

"Bleed Out" explores global injustices and the tumultuous state of the world. How did this approach impact the band's songwriting process and musical choices?

I think the sound is more aggressive, and the emotions are a bit more intense. I believe this is the most intense album we've ever made. We'll never be as heavy as Sepultura, but in our own way, it's the heaviest album we've produced.

What were the main challenges in creating an album with such intense and politically engaged themes?

Surprisingly, this album was remarkably easy for us to write because it was very close to our emotions. We just let our frustration and emotions flow. The album was written in a very short period, about two and a half months, although it was spread over an entire year since we were touring and doing other things alongside. But every time we got together, new songs always came out, and there was a lot to write about, of course. So, there weren't many challenges, to be honest. Of course, we wanted a specific sound and had to experiment a lot in the studio with drums and guitars, making them more interesting, heavier this time. That was a musical challenge for us, as there are more [sonic] possibilities nowadays. 

How did you balance the need to talk about these topics with producing music that is also accessible and catchy?

Well, I think that in terms of sound, combined with my type of voice, there's always a certain softness. But the music, of course, was louder and more aggressive. And this combination of softness and aggressiveness has always been present in our type of music, more or less. So, the pieces always fit together, in my opinion.

Among the complex themes addressed in the lyrics are the war in Ukraine and the fight for women's rights in Iran. How is it for you and the band to take a stand on these issues through music?

We've always been politically involved, but we used to use metaphors, like in "The Heart Of Everything," which talks about William Wallace; some historical events that can also be seen happening in everyday life. The song 'The Howling' was written when far-right groups were gaining strength in our country in 2004, just as [the album] "The Silent Force" was also inspired by it. However, the influence of the far-right was already present before that, with [the album] "Mother Earth," with some turbulence in that area. So, many songs have been politically motivated and engaged over time, but we never talked about it so clearly unless someone asked us, which rarely happened. So, people always thought our songs were about fantasy stories, which, of course, was the image we conveyed visually on stage. But in reality, we often had a political engagement [behind the scenes].

Now, we feel we are older, and the threat of Russia is approaching Europe. It's only a two-hour flight from where I live to Kyiv and realizing that this war is happening in our backyard makes us feel that we need to be clearer about our position. I applaud anyone who does that because it's necessary for us, as Europe, to unite and confront Russia's aggression and help Ukraine because, at the moment, the situation is not favorable for Ukraine.

With "Bleed Out" being so diverse in terms of musical styles and themes, is there any aspect related to the album or the creative process that you would like to highlight?

Well, as I said, the way we wrote this album was a bit different from usual, with different types of guitars, which gave me the possibility to do more vocally and resulted in a song like the title track, which is more experimental than we've done before. That was something I really wanted to have, more experiences, a more experimental approach. For us, it's already something experimental to try to take a new step forward.

In the past, I was very limited with my vocals because I have a range, but I will never sound like a man, of course, and with the same aggressiveness. However, with the guitars now having more strings, we can go lower than before, and that allows me to sing in different registers. It's a challenge for me and also for the guitarists, who had to play guitar lines on the keyboards and then transfer them to the string instruments.

We would tell the band's musicians: 'Okay, now you play this on the guitars.' And they would ask: 'How? That's not possible.' But we can do it, even if we can't do that, you know? Sometimes it's easy for us because some of us don't write so well on the guitars, and it's easier on the keyboard [emulated] with guitar sounds. But then it's impossible to play because you need to stretch your fingers to a certain point, and there's a limit to that. So, we had to work together with the guitarists to find a middle ground in the guitar sound, and it worked perfectly for me.

You mentioned living in Yemen when you were a child. How have your personal experiences in the Middle East influenced the lyrics of "Bleed Out" and the way you approach social and political issues in your life as a whole?

Although I enjoyed my time in Yemen, even being so young, only six years old, I studied at an Arab school for a while. The people were super friendly to me, but I always noticed, you know, the things people don't say, the way they looked at me as a girl in general, not just at me, but at girls in general. It was a world very different from where I came from, the West. And at six years old, I already felt that difference. The way people dressed was different, and you can also feel something even without people saying it.

I always felt that women were oppressed because it's a different culture, a very male culture, where men can hold hands, but women can't do anything. It's so strange. For me, it was like seeing the women in Iran, but also an entire generation, especially the younger ones, trying to break the regime. They want more freedom, while the older generation and the regime, especially those in power, want to keep everything the same, even though the people's voice is saying something else.

If you want to continue with your way of life and are happy with it, that's fine with me. But if many people want a different way of life, more democracy, or more freedom to perceive religion, I support the voice of those people. I think everyone should have their own voice and be able to choose what they want to wear or how they want to present themselves, but that comes from the West, of course, and I acknowledge that. However, when I lived there, I really felt that there is a big difference between men and women.

It is necessary to recognize the power of women in taking a stand, knowing that they could be imprisoned or even die for it. Many men also composed songs in honor of their sisters, mothers, and ended up being hanged just for making music, for talking about what is not acceptable there. When I saw the news about Mahsa Amini's death, it touched me deeply; I was very sad. It immediately inspired me to compose 'Bleed Out,' which talks about this girl knowing she is doing something good for the last time, conscious that she won't survive but doing it because she knows it's for a good cause and for other girls after her. That is very inspiring.

How has the response from fans been to this new album?

Most people really liked it. And, of course, it's a slightly different sound again, so sometimes people need to adjust and really get familiar with it. But, for the most part, it's been very positive. In my opinion, people also know that we change a bit with each album, and it becomes a little different. Sometimes it's difficult for people because often, of course, also for me, when I hear an album that I really love, I identify with the music I listen to. And if the next album is very different, I also need to get used to the new sound of the band I like so much. So, sometimes it works, sometimes it doesn't work as much.

What do you hope they take away from "Bleed Out" in terms of message and musical experience?

What I hope is that what I wanted, what we wanted to do with this album. We are storytellers and bring news, inspired by things happening around us, inspired by our own lives. Many things. But especially when we talk about Iran or Ukraine, it's important for us that people realize that a news story is forgotten the next day and life goes on, which is natural. I do the same thing.

But if we really want to change things and support certain people in certain countries, we need to keep talking about it and bringing these issues to light. By writing songs about it, I hope that people start to think a little more about these issues and maybe do something, like donating or even talking with friends about the same topics, to keep these themes alive, because people in those countries won't feel so alone. We need to support each other in that direction, I believe. And not just a little. We need to really support each other, and together, we can make that change. Sometimes, they also need external help.

The music video for 'A Fool's Parade' was shot on the streets of Kyiv. How was the experience of filming in important landmarks of the city during such a delicate moment for Ukraine?

I couldn't fly in because there were no commercial flights. So, we flew to Poland and then took an overnight train to Kyiv. It was a long journey to get there. And when we arrived, they immediately gave us guidance to download the air raid alert app on our phones and set it up for the region we were in. So, every time there was an alert, we could get to a shelter safely.

These things are a bit strange when you come from the West, where you live a normal life. You immediately realize you're in a different country, which is at war. We had to seek shelter a few times while we were there.

I felt many emotions being there: sadness, but also admiration for the people who are so resilient and united in fighting against the Russians. Every person I spoke to had lost someone in the war, but also everyone had their own story about something that happened to them. Additionally, everyone is doing their part, volunteering, and donating money to the army. They are very united and understand the need to donate money because they know it's the only way to win the war.

In many moments in Ukraine, they lack ammunition to fight back because there isn't enough ammunition. These situations make us realize that they are on the verge of losing the war if they don't receive support, not just from me, but from everyone. They need support, they need money, they need more advanced air defense systems than they already have to stay safe. They also need ammunition.

It's simple things like that. They can't defend themselves on certain days and just let it happen because they know they can only use it once and only when it's really dangerous, and not when it's far away. That brings the war closer to us, affects us deeply. Although I stayed there for only a few days, it changed something in me and made the experience more intense, in my opinion.

The band announced that all royalties from 'A Fool's Parade' will be donated to Music Saves UA. How and when was this decision made?

We have made donations in other ways to Ukraine, but since we were going to make a song about this war along with a Ukrainian singer [Alex Yarmak], we got in touch with the organization. We felt it's a good organization because they try to help musicians in Ukraine, but also because music is very important in these difficult times for them. And sometimes, music is all you have when you feel sad.

What they do is use the money to help refugees in their own country, providing clothes, food, and other special needs they have. The money is also used to build shelters for the refugees. They also try to help musicians continue playing, holding shows in underground venues for people in need. Moreover, they organize classes for children with PTSD [post-traumatic stress disorder]. They do many good things with this money. So, we think it's a good organization to donate our money to.

To wrap up, the previous single from 'Bleed Out,' 'Ritual,' is described as inspired by the movie "From Dusk Till Dawn." Is it your favorite Tarantino movie?

It was the first film I saw of his. And it was the biggest shock I had. Like, "Oh my God, what's happening?" At first, it seems to be an adventure movie, and suddenly, everything turns into chaos, and everyone turns into vampires, which I didn't expect because I didn't read about it before watching. I loved it. It made me fall in love with his films, and I watched all of them. And yes, I'm looking forward to the next one.

Which one is your favorite, then?

Oh, God! It's "Django." But I must say, they are all cool. And "Kill Bill" was, of course, amazing. But honestly, which one isn't good? That's a better question. "Which of his movies don't you like?" [Laughs.]