[Unearth] "The theme believes that the good of humanity will overcome the bad. The bad aspects of our society, the power hungry politicians for example, have the potential to take away our freedoms just to gain power for themselves. The album speaks of the hope that normal people will overcome for the greater good. Ultimately, though, the meaning of the album is up to the listener’s interpretation." - Buzz McGrath

[Moonsorrow] "There were already clear signs that folk metal would become a big trend. Finntroll was a big name in the scene and many of the bands that ride the wave now, were already gaining recognition. I always thought that this folk/pagan metal would have potential to make it big time, because it really was a new thing. Probably the only new genre of metal since black metal. In 2003 we weren’t yet touring internationally, even though there was demand for it already. But yeah, I had no idea that we would tour extensively around the world as we do now. I assumed that we would never make it to USA, but I was wrong, eventually." - Mitja Harvilahti

[Trivium] "It takes all the ingredients and different elements that we felt really made up our sound from the previous albums. The new record is like we used those old albums as the blueprints. There's a lot of familiarity with the new record in terms of an overall vibe. There are a lot of different elements that give it a new sound, but there are definitely some links to the previous album interns of style and vibe, so I think people who know us and know what we're all about will be able to really get the record. We think we've found our sound and what makes Trivium Trivium." - Corey Beaulieu

[Taproot] "Basically, we got dropped from Atlantic. It was a blessing. We weren’t too happy with the way they promoted our last record [Blue-Sky Research], so we were trying to look at other options anyway. Velvet Hammer is our management company, so instead of going to an Indie label, which is basically just a small version of a major, we tried to do something our own way and hopefully we can reap the benefits of doing it ourselves." - Stephen Richards

[Battlelore] "We don’t really think about the expectations when we make music, we concentrate only on the music. We are very critical about everything we do, but that’s because we want to go forward with the music, develop ourselves and be better musicians – be better as a band playing and making music together as well as individually. Of course, the fans and record label and media have expectations, but thinking of the expectations would in my opinion disturb the creative process and just make the music forced or artificial. We want to let the music to come from our hearts and create whatever feels right. In a way I feel that our own expectations are higher than anyone else’s." - Maria

[Psycroptic] "Nah, it’s just a bit of fun really. It kind of fascinates a lot of people that we are actually from Tasmania, so we can understand the interest or the excitement it generates. It’s kind of cool...we are proud to be from Tasmania...and the Tasmanian Devil is probably the most famous Tasmanian icon. It’s a real animal as well." - David Haley

[Sonata Arctica] "Well, there was one time when I was a young boy an older man asked me what I wanted to do when I grow up, and I said 'I want to be a singer!' so he replied 'oh, what kind of singer? An opera singer?' and I said 'No! A rock singer!' I knew that if felt it here in my heart and in my mind that is what I wanted to do." - Tony Kakko

[Cynic] "Cynic is a return to innocence for us. It’s really our roots. This is where we grew up, what we started doing. Making this record for us has been like becoming kids again and tapping into that pure state where it’s just really a band and free and there are no rules and we can do whatever we want. It’s been cool to come full-circle and be in this headspace." - Paul Masvidal

[Omnium Gatherum] "Strange but true, this piece's working title was 'Spider Crab of Osaka' because this one was influenced by those strange creatures of the deep. I was watching some nature documentary of those fellas at the same time when I had guitar in my hand. Though, the opening arpeggio of the song is old as hell, dating as far back as ’97. This ongoing instrumental saga started on the Snakes Way album title 'Snake & the Way,' and I’m sure it’ll continue in the future releases. From snakes to crabs and what comes after that?" - Markus Vanhala

[Exodus] "Anytime we’re recording anything, I tend to use Paul as my barometer to see if it’s heavy enough. Whether we’re working on Atrocity or Shovelheaded, I always think what Paul would think. When we’re doing drum tracks, Tom and I were laughing the whole time because we were remembering the total mayhem that it was when we were recording the album. We did the album at this studio [called] Prairie Sun which is on a farm north of San Francisco. We stayed in these cabins and went insane. It was amazing we got any work done [laughs]." - Gary Holt

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