Residents of Norway, purveyors of the high five, all around awesome dudes; readers meet Shot at Dawn. In addition to winning the OurStage Metal Channel last January with their song “In Hoc Signo Vinces,” the group has been destroying venues around Norway. We wanted some feedback on the Oslo/Norway metal scene— where it was, and where it’s headed— from a band who is in the thick of it. Here’s what they had to say:
Check out the Q&A with the band after the jump…
Bundle up music fans, this week OurStage Model U.N. is heading north to Norway, the “Land of the Midnight Sun.” While it might be best known as the home of the Vikings, Norway also produces some interesting music that is making waves around the world. Currently, the country’s most well-known musical export is Norwegian black metal. Black metal tends to focus more on occult imagery and themes than other metal subgenres and is often much more lo-fi. Bands like Dimmu Borgir and Immortal have proven successful ambassadors for the genre, winning over metalheads worldwide.
Aside from metal, Norway has made some stellar contributions to electronic music with Röyksopp and Apoptygma Berzerk, punk with Turbonegro and pop with Annie, Sondre Lerche and 80s favorite (and early MTV staple) a-ha. Here’s a sampling of the best Norway has to offer on OurStage:
Continue Reading OurStage Model U.N.: Norway
Rock and theater have always been ardent bedfellows, ever since The Rocky Horror Picture Show did the time warp and Meatloaf did anything for love. Broadway has delivered countless rock musicals from anonymity to mainstream consciousness, from Jesus Christ Superstar to Hedwig and The Angry Inch. The aforementioned Meatloaf along with KISS and Alice Cooper took their rock to operatic heights during the ‘70s and inspired recent theater kids like My Chemical Romance and Panic at the Disco to update the rock opera canon with youthful sensibilities.
When you think of Daddysmilk, consider them as equals to MCR and PATD. Hailing from Manchester, UK by way of Norway, the band churns out fantastically cheeky rock with a theatrical sweep. There’s plenty of dissonance and distortion – guitars careen herky jerky to the raucous stomp of drums. Singer Kris Zeigler teases, mocks and croons like a rakish pied piper, beckoning listeners to follow him through his tales and character sketches. Surrender now, and you’ll find yourself doing anything for Daddysmilk’s deliciously melodic rock drama. (But you won’t do that.)
