In this interview you're about to read, Andy Burgess, guitarist for Praying Mantis, reflects on the creative process and the evolution of the band's sound on their new album "Defiance". He explains how the group has maintained its melodic roots and AOR influence, elements that set them apart from other bands in the NWOBHM movement. Collaboration between members, a focus on strong melodies, and striking backing vocals are characteristics that continue to define Praying Mantis' identity, even after more than five decades of existence. In addition, Burgess talks about the positive reception of "Defiance", especially in Japan, where the band performed a tour celebrating its 50th anniversary. He also shares curious stories, such as the re-recording of Russ Ballard's track "I Surrender", and comments on the desire to finally play in South America, with plans for a tour in Brazil in 2025.

Marcelo Vieira

The press release mentions that "Defiance" builds on the success of "Katharsis" while staying true to your roots. Can you elaborate on how "Defiance" builds upon the previous album and which elements of your roots are most prominent?

Yeah, sure. I joined the band in 2007—I'm terrible with dates. We first did the "Sanctuary" album, followed by "Legacy", and then another Sanctuary album with Mike Freeland and a different drummer. Since "Legacy", we've brought in two Dutch members, JC Kuypers (vocals) and Hans in't Zandt (drums). The last four albums, including "Defiance", have been with this lineup. Over time, we've developed a distinct sound and working method that really suits us. "Defiance" continues from where "Legacy", "Gravity", and "Katharsis" left off. Chris, Tino (the founding members of Mantis, who started back in '74), and I still maintain the melodic style and backing vocals that have always set Praying Mantis apart from other NWOBHM bands. While a lot of the genre focuses on heavy guitar-driven music, Mantis has always emphasized melody and harmonies.

The writing process is quite collaborative. Chris, Tino, and I each contribute songs, and we work in our home studios, sharing ideas and pooling our work together. The twin guitar harmonies and strong backing vocals are the key elements that continue to define Praying Mantis, and that's what we remain faithful to.

"Defiance" has a more melodic and AOR-influenced sound compared to some of Praying Mantis' earlier work. Was this a conscious decision, or did the sound evolve naturally?

It wasn't a conscious decision—it's just how we write. We throw ideas into the mix, and the songs that stand out with strong melodies and choruses naturally come to the forefront. We haven't been a "metal" band for quite some time, even in the early days. If you listen to Captured City or Time Tells No Lies, the sound was always more melodic rock than outright metal. These days, we have more resources at our disposal—keyboards, more sophisticated recording techniques—and our influences lean toward melodic rock. We still share bills with NWOBHM bands at festivals, which creates an interesting mix, but it works. We just finished a successful tour in Japan, where the audience was really receptive to this blend of styles. It's a formula we enjoy, and it continues to resonate with fans.

Two months ago, I interviewed Neil Kay, the DJ from the Bandwagon. He mentioned that, in his opinion, no other NWOBHM band deserved more than Praying Mantis to achieve greater success. In your opinion, what prevented the band from reaching that higher status?

There are a lot of stories, and Tino and Chris could probably tell you more. But I think it comes down to management decisions and timing. The opportunities were definitely there, but things didn't align perfectly. Tino and Chris also had families and other careers, so that played a role. Bands like Iron Maiden had a very strong management team from the beginning, with a clear vision and an iconic image. For Mantis, things got a bit lost between Time Tells No Lies and our early success in Japan. But honestly, we're happy with where we are now. Sure, we'd love to have our own private jet, but there aren't many bands in that position these days. We're mature, we enjoy what we do, and we get to travel and perform around the world. It could have gone differently, but we're content with how things turned out.

It's impressive how classic bands like Praying Mantis are still releasing strong albums today. What are your thoughts on bands from the same era, like Tokyo Blade, who are also putting out solid material?

Yeah, it's great! We tour quite a bit in Europe, especially in Germany, and often play with bands like Demon. There are still plenty of bands from the early days that are going strong. I remember being a fan in 1979, going to shows in London where you could see bands like Iron Maiden, Mantis, and others in small clubs. It was an amazing time for NWOBHM. Nowadays, the structure is different, and there isn't the same network of venues, so we have to be more strategic. But we see the same bands still doing it, and we all love what we do. The passion is still there, and thankfully, we're all still alive and kicking!

Andy Boulton from Tokyo Blade, whom I've interviewed a couple of times, mentioned that he stopped feeling the pressure to live up to past glories and gained more creative freedom. Does this apply to Praying Mantis as well?

Absolutely. We're on Frontiers Records, a label known for its AOR-style bands, and it suits us well. We don't write for the label specifically, but the material we produce fits nicely with their roster. When we perform live, especially in places like Germany or Japan, we play a lot of our older material too, because that's what some fans want to hear.

At the same time, we have the creative freedom to write new songs without feeling bound to our past. We understand the legacy and why people come to see us, and we enjoy playing the older tracks just as much as the new ones. But as musicians, we don't want to be stuck in 1979—we need to move forward while still honoring the past.

The album features a cover of Russ Ballard's "I Surrender." Can you explain the decision to revisit this song and how you put your own stamp on it?

Actually, it was my idea. There's a story from the 1970s when Mantis was offered the song, and they recorded a demo. But then they were told Rainbow was releasing it, and their version became a global hit. It's a story that pops up every now and then, and I thought, "Why not try it again?" I pulled together the basis for the track, and when our singer John was in town, we got him into the studio to record the vocals. It worked out really well. Tino added a guitar line that gave it more of a Mantis feel, and we weren't trying to redo the song but just give it our own spin. It was fun to record, and it's a great track. We actually realized after our Japan tour that we should have played it live there—it would've gone down well!

Several reviewers mentioned specific tracks like "Forever In My Heart," "Standing Tall," and "Let's See" as standouts on the album. Which songs stand out to you personally?

We've been playing Standing Tall live, and it's definitely a departure from NWOBHM—it's got a disco beat! Tino wrote it, and when he first played it for me, I thought, "Let's rock this!" It's become a big part of our live set, and it's interesting to see a room full of rock fans dancing to that groove, but it works! Forever In My Heart was another song that came together quickly, based on a melody John brought in. It's one of those tracks that developed smoothly. For me, I'm particularly fond of Night Swim, the instrumental track Tino and I wrote. I've always been a big fan of Joe Satriani, and I wanted to do something different. We hadn't done an instrumental since the 90s, so it was fun to experiment with harmonies and guitar layers.

How has the initial fan and critical reception been for Defiance?

The reception has been really positive. You never know how an album will be received, but we have a formula that works, especially with Frontiers. We're not going to shock anyone by suddenly doing death metal or anything like that! Japan, in particular, has been very enthusiastic about this album. We hadn't toured there in seven years, and the feedback has been incredible. The venues were packed, and the fans were very happy with the new material. We couldn't have asked for a better response.

This year marks the band's 50th anniversary. Are there any special plans for celebrating this milestone?

Our tour in Japan was partly to celebrate the 50th anniversary. We called it "The Last Tour of Japan" because it's getting harder to make the logistics work. But after how well it went, we're already thinking about going back! Our t-shirts for the tour had a special 50th-anniversary logo. It's crazy to think that Tino and Chris started the band 50 years ago. The real anniversary might be when Time Tells No Lies came out or when Metal for Muthas featured Captured City, but either way, 50 years is a long time, and we're still going strong!

Are there any plans for Praying Mantis to tour South America, specifically Brazil, to promote the new album?

Yes, we're currently working on it! We've always wanted to come to South America, and we've seen bands like Tank and others make it happen regularly. Finding the right promoter and package has been a challenge, but things are falling into place for 2025. For me personally, it would be a dream come true to finally perform in Brazil. Every time we've gotten close, something has gone wrong. But this time, everything seems to be aligning, and we're very optimistic that it's going to happen.

Link for video version: https://youtu.be/nfaR0W5iObM