INTERVIEW WITH
JOHAN NIEMANN
(EVERGREY)
JOHAN NIEMANN
(EVERGREY)
«You know, the bass just followed the guitars. But through guys like Billy Sheehan, Justin Chancellor and Rex Brown the bass is allowed to take up more space, sonically and musically» EVERGREY
OFFICIAL WEBSITE |
Johan Niemann joined Evergrey in 2010 by taking over for the outgoing Jari Kanulainen. Niemann is a really solid musician coming from many years of militancy in glorious Therion as well as in the very interesting Mind’s Eye; he finally represents a remarkable cornerstone for the great Sweden band mentioned above. Just last year Johan Niemann recorded the powerful and daring album The Atlantic together with Evergrey, a work that we want to advise also in the beautiful Deluxe Collectors Edition released by AFM and the refined Line Of Fire of First Signal whose drummer, Dany Flores, was a member of Mind’s Eye, not to mention Harem Scarem’s lead vocalist Harry Hess and the guitarist Michael Palace, who has already been the leader of tasteful Palace. This album has been released by the italian label Frontiers, an authentic cathedral of melodic hard rock.
Johan Niemann is a bass player particularly comfortable with the most frantic hard music tinged with epic style as well as with prog metal and the clearest AOR; moreover he is the bassist who has more often played (and probably he will do it again) along with Talisman orphaned by the master Marcel Jacob who has been a monument of electric bass in hard rock music. So it’s not for anyone to take up Marcel’s bass duties, but we’re talking about a total artist who perfecly suits any score and musical writing.
We leave you to the interview he gave us and that we publish with an unintended huge delay: for this reason we really thanks Johan for his patience and kindness.
We leave you to the interview he gave us and that we publish with an unintended huge delay: for this reason we really thanks Johan for his patience and kindness.
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BMF: Let’s start from your beginnings. Would you like to tell us how you started to approach electric bass? Why did you choose it?
John Niemann: Well, it was chosen for me, kind of. When I was about 10 yrs old, the music teacher in my school wanted to start a school-band. I was sick the week the instruments were “handed out”, so when I got back to school the only instrument left was the bass. I looked at it and thought “Four strings has to be easier than six”. I was right!
BMF: Your new album The Atlantic released in January 2019, is a new chapter in the history of Evergrey. Would you like to talk about this new creature?
JN: I feel that the new record is our darkest and heaviest, so far. But also the most melodic and “pretty”.
It’s also more progressive. Both in terms of song structure and arrangements. So, more of everything, basically.
John Niemann: Well, it was chosen for me, kind of. When I was about 10 yrs old, the music teacher in my school wanted to start a school-band. I was sick the week the instruments were “handed out”, so when I got back to school the only instrument left was the bass. I looked at it and thought “Four strings has to be easier than six”. I was right!
BMF: Your new album The Atlantic released in January 2019, is a new chapter in the history of Evergrey. Would you like to talk about this new creature?
JN: I feel that the new record is our darkest and heaviest, so far. But also the most melodic and “pretty”.
It’s also more progressive. Both in terms of song structure and arrangements. So, more of everything, basically.
BMF: On album The Atlantic, the bass is strong and solid, a keystone as well as a glue for the powerful sound of the band. The lead and the following development of the tune called “Departure” is a textbook. Can we say that the electric bass in metal music is increasingly gaining the importance it deserves? What’s your opinion about that? JN: Yes, I think it does. We’ve obviously had pioneers in the past, like Geezer Butler, Steve Harris and Cliff Burton. Then we seemed to go into ”the dark ages” where both the tone of the bass and the playing got a bit dull. You know, the bass just followed the guitars. But through guys like Billy Sheehan, Justin Chancellor and Rex Brown the bass is allowed to take up more space, sonically and musically. |
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BMF: As regards your riffs and phrases there’s a brilliant jazz fluidity. Moreover, and I hope that you like this mention, your clever and sumptuous way to play reminds the best pages of the well-known Eddie Jackson… In this respect we want to ask you about your main influences as regards your instrument… JN: Thank you very much! That’s high praise! Being a huge Queensryche fan growing up, Eddie is a massive influence on me. His simple-yet-musical, to-the-point playing set the standard of how to play and fit into a band. Not to mention his enormous bass sound! Another huge guy for me is Anthony Jackson. His work on the old Al DiMeola records is simply stunning. Billy Gould from Faith No More is also amazing. Bob Daisley. Geezer. I could go on and on. |
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BMF: And talking about hard rock and heavy metal bass as well as bassists, can you mention us the most influential as well as innovative bass players for you? And today, who could take the baton? Are there any bassists whom you consider promising and impressive?
JN: Metal guys, I would say Eddie Jackson, Steve Harris, Geezer, Justin Chancellor are the main ones, for me. But also guys like Pino Palladino and Lee Sklar.
There are so many guys nowadays I can’t really keep track, but Nolly from Periphery is cool. Jon Stockman from Karnivool. Though not metal, Cody Wright is a monster. Love him. Henrik Linder from Dirty Loops is unreal! Federico Malaman. Janek Gwizdala. Hadrien Feraud. There are so many amazing players out there.
JN: Metal guys, I would say Eddie Jackson, Steve Harris, Geezer, Justin Chancellor are the main ones, for me. But also guys like Pino Palladino and Lee Sklar.
There are so many guys nowadays I can’t really keep track, but Nolly from Periphery is cool. Jon Stockman from Karnivool. Though not metal, Cody Wright is a monster. Love him. Henrik Linder from Dirty Loops is unreal! Federico Malaman. Janek Gwizdala. Hadrien Feraud. There are so many amazing players out there.
BMF: Who have been, in your view, the most underrated bassists in metal context? That is to say bass players who maybe didn’t stand out because their bands didn’t get particularly popular… JN: I think Muzz Skillings from Living Colour is criminally underrated. Billy Gould from FNM, too. Ryan Martinie did some cool things with Mudvayne. BMF: What’s your relationship with fretless bass and double bass? JN: I played a bit of double bass in school. Not nearly enough to be any good at it, unfortunately. But I love playing fretless. Haven’t done it in a while so I probably suck right now. I’d love to play more fretless. BMF: Have you ever thought to record a solo album? JN: No, I prefer the band setting to doing solo stuff. |
BMF: You have played for many years with Therion group, you were a member of Mind’s Eye a really interesting band in addition to have joined Demonoid, Evil Masquerade. Would you like to share with us any of your memories about those experiences? JN: I’m very fortunate to have played with some really cool bands and talented people. Mind’s Eye was my first band. That was a great training ground. We rehearsed three days a week, playing very tricky material, at times. If it weren’t for that band I wouldn’t be able to play the way I do now. Therion was a great experience. I got to tour the world and I learned a lot about being a professional touring musician. |
The Demonoid record was really fun to make. It’s always fun to play with my brother, we don’t get to do that nearly enough.
We didn’t do any live playing with Evil Masquerade, I was only on one record. And one video.
I’ve been lucky to have done some other cool gigs as well.
I was the live guitarist for Tiamat for two years. I still play with them if they need me and I’m available.
We didn’t do any live playing with Evil Masquerade, I was only on one record. And one video.
I’ve been lucky to have done some other cool gigs as well.
I was the live guitarist for Tiamat for two years. I still play with them if they need me and I’m available.
I’ve also done a few shows with Talisman. That has been an unbelievable experience. Just playing with those guys, man. Unreal. I used to run home from school to listen to Yngwie Malmsteen’s “Marching Out”. And here I am playing with Jeff Scott Soto?!? Come on! A dream come true. Needless to say, it’s a huge honor to try and walk in Marcel Jacob’s shoes for a while. |
BMF: You have also played on five tracks of the 220 Volt’s album Walking In Starlight, this is a mythical group in the melodic hard rock scene. How did it start that collaboration? JN: I’ve known Peter Hermansson, the drummer, for years. And also, the singer on that album, Andy Engberg, was in Therion for a while. They were doing a new album and needed bass on a few songs. That was really fun. Great guys! |
BMF: I can’t help but asking you to express your opinion about the fact that Sweden is an institution as regards hard rock and heavy metal with attendant subgenres and derivations. Stoner, symphonic metal, death, progressive metal… How can you explain the very high number of seminal bands and so skilled musicians? Moreover, do you know anything of any italian heavy metal or any italian bands whom you like? Have you ever played in Italy? Have you ever been in our country?
JN: A couple of things. There are (or was when I grew up!) a lot of places to rehearse. Supported by the State. And music programs in school. And don’t overlook the fact that Sweden is a cold, dark place for half the year. So there is a lot of time to practice. You either play music or hockey. Lol..
There seem to be a lot of power metal bands in Italy. Not really my cup of tea. But I like Goblin. And Lacuna Coil are pretty cool.
I played in Italy many times. We were direct support for Dream Theater a couple years ago. We did two shows with them, in Rome and in Brescia.
JN: A couple of things. There are (or was when I grew up!) a lot of places to rehearse. Supported by the State. And music programs in school. And don’t overlook the fact that Sweden is a cold, dark place for half the year. So there is a lot of time to practice. You either play music or hockey. Lol..
There seem to be a lot of power metal bands in Italy. Not really my cup of tea. But I like Goblin. And Lacuna Coil are pretty cool.
I played in Italy many times. We were direct support for Dream Theater a couple years ago. We did two shows with them, in Rome and in Brescia.
BMF: We’re really curious to know something about your gear from the past to the present day… JN: Oh, I have had sooo much gear it’s almost embarrassing. I can start with what I use now, which is, for me, the holy grail of bass gear and tone! My bass is a Spector Euro4LX. It’s got EMG pickups and an EMG BQC preamp. Amazing sounding and playing bass. So easy to play. I plug that into a Tech 21 VT Bass pedal. That’s it. No amp. Just the pedal though a DI box. Both live and in the studio. I haven’t used an amp in 4-5 years. I use DR Hi Beam strings, gauges 130-105-85-65, tuned BEAD. And Dunlop Tortex Triangle picks. 1.14mm. The purple ones. Basses I still have: Spector NS2000Q5, Fender Precision ’62 Reissue, Ibanez SDGR 885 (my 2nd ever bass) that was coverted to fretless in ’97. Basses I’ve sold: Zon Sonus Special 6-string, Yamaha BB1024X, Ibanez Iceman, Ibanez EDA905. Amps I’ve owned or still own, but not use: GK800RB, SWR SM400S, Ashdown ABM900 EVO II. Ampeg 4x10, 1x15, 8x10. Other gear (I don’t use or own anymore): Tech 21 SansAmp RBI (it got destroyed at the airport in Moscow) Tech 21 SansAmp Classic pedal, Ashdown BassDrive pedal, Ampeg SVP-BSP Billy Sheehan preamp. I’m probably forgetting a lot of stuff. |
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BMF: What are the bass performances of your own that make you prouder? JN: I’m very proud of the playing on the new Evergrey album. Me and Jonas recorded it almost completely live. We rehearsed for a week, just the two of us. Then we went in and knocked it out in a couple of days. “Departure”, for example. That’s a first take. “The Beacon” has some nice fills in the choruses. And I must mention Gothic Kabbalah with Therion. That record also has some nice bass moments. |
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BMF: What’s your view on vinyl revival? Is that a real need or just a trend? JN: I like vinyl. It takes me back to when I was a kid. Unfortunately, we don’t have a vinyl player at home. BMF: What kind of music you like to listen to? Are there any records which have impressed you in the last few years? JN: I loooove 70’s prog, like Genesis, Yes, Kansas, King Crimson. I can listen to that stuff all day long. And I love 60’s and 70’s Soul and R&B. Motown, Muscle Shoals, Stax/Volt. All that stuff. So good. As far as “new” music, I love the latest Voivod record ”The Wake”. I like VOLA. Nox Vorago. Don Broco. I like a lot of different things, like Emperor, Satyricon, Jellyfish, Peter Gabriel, Stravinsky, D’Angelo, Mahavishnu Orchestra, Weather Report, Slayer, Kiss, David Bowie, Frank Zappa. If it’s good, I like it. |
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BMF: Instead of asking you about desert island records, we ask you to mention us ten metal songs - as you please - on which the bass is the lead. According to your taste!
JN: Any Tool song, basically. But “The Grudge” is great.
“Perry Mason”, “No More Tears”, “Rock n’ Roll Rebel” by Ozzy are all great bass songs.
“Peace Sells...” by Megadeth.
Any Iron Maiden song. “Wrathchild” and “Rime of the Ancient Mariner”, perhaps.
”Operation: Mindcrime” with Queensryche has a great bassline.
Not metal, but “Roundabout” and ”The Calling” with Yes are also great bass songs.
JN: Any Tool song, basically. But “The Grudge” is great.
“Perry Mason”, “No More Tears”, “Rock n’ Roll Rebel” by Ozzy are all great bass songs.
“Peace Sells...” by Megadeth.
Any Iron Maiden song. “Wrathchild” and “Rime of the Ancient Mariner”, perhaps.
”Operation: Mindcrime” with Queensryche has a great bassline.
Not metal, but “Roundabout” and ”The Calling” with Yes are also great bass songs.
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BMF: What about your future projects? JN: We have a few festivals booked, like Sweden Rock Festival and Wacken. They are always great. Then I guess we’ll start looking at a new record. Gathering ideas and setting a general direction. Talisman released new music recently, so if we’re all available maybe we can do some playing as well. |
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