Canadian heavy metal band Anvil got their start 34 years and 14 studio albums ago. Their highly influential sound struck a chord with many metal heavyweights like Megadeath, Metallica, Slayer, and Anthrax, but Anvil never made it big until recently, when a documentary which highlighted their struggles as a band was released to rave reviews around the world. This weekend, Urban Nomad will be screening Anvil! The Story of Anvil three times at the Canada Day celebration at the Huashan 1914 Creative Park (華山1914文創園區), and Anvil will take to the stage at Legacy on Sunday night.
The Taipei Times caught up with founding member of Anvil, Steve “Lips” Kudlow, via email to discuss heavy metal music today, what it’s like to finally have your dreams come true, and representing Canada all the way in Taiwan.
Taipei Times: Do you pay attention to current metal and rock and roll? What do you think of the state of metal at the moment?
Photo Courtesy of Anvil
Lips: I sometimes listen to something new but rarely enjoy it. For me good or listenable metal has to have a strong powerful feel that is consistent and steady with a memorable level of melody. I think a lot of metal music in this day and age lacks these qualities.
TT: How has your definition of metal changed over the years?
Lips: My personal definition of metal has not changed. I still love and listen to the music I grew up with and continue to be inspired to create in the same vein. Metal is a timeless format of music. What was good 40 years ago is still good today. Case in point — Black Sabbath.
Photo: Bloomberg
TT: What is your favorite Anvil song? Why?
Lips: My personal favorite is Swing Thing on the newest CD, Juggernaut of Justice. This is because this song has broken musical barriers and is extraordinarily unique. Speed metal crossed with big band swing. This is something I had never heard before and had the will, desire and drummer to make it really come to life.
TT: You and Anvil co-founder, drummer Robb Reiner, have been through the highs and the lows of Anvil. Was there ever a time when you thought that you two would never be friends again? What happened? How did you make up?
Lips: For whatever reason, we have never been faced with this type of breakdown. We certainly can have arguments and even sometimes push each other around but never to the point that would cause permanent damage physically or emotionally. There is a true honest friendship between us and even at the worst of times we have been able to resolve our differences.
After the heavy metal boom fizzled out in the late-1980s, Anvil still made albums but toiled in obscurity until a former roadie nicknamed “Teabag”, Sacha Gervasi, decided in 2005 to film a documentary about the band going on tour in Europe and recording their 13th studio album, This is Thirteen. Anvil! The Story of Anvil premiered at Sundance Film Festival in 2008 and ended up winning a slew of global awards. More importantly, the members of Anvil got to ride another wave of popularity and could finally quit their day jobs.
TT: What kind of credit do you give Sacha Gervasi for putting you guys back on the map and into people’s consciousness?
Lips: It isn’t easy to quantify how much gratitude I feel toward Sacha. He is a dear friend, and even more like my little brother. We help each other and have enormous respect for each other. We shared success with each other and this is a very powerful bond. We continue to be very close friends and probably will be for the rest of our lives.
TT: Now that you are touring again, have you ever run into the problems of venues or promoters not paying you like you did in the documentary?
Lips: No, that hasn’t been happening and I must say it was very unusual that it even happened in the film. That was the first time I had to do that in all the years I’ve been doing this. I didn’t know I was being filmed when it happened, but even if I did I just wanted to be paid for our work! The world of clubs I’ve played are more honest than most people think. Sacha caught an unusual moment but generally it doesn’t happen even to the worst of bands!
TT: After the documentary came out, did you instantly start getting booked again or did it take a while before you felt like you would be comfortable leaving your job in the food delivery business?
Lips: It wasn’t over night. I had to quit the deliveries but began working for my sister at her husband’s air conditioning refrigeration company doing filing. This way I could come and go freely until it became impossible to be there at all. I was working there for about a year until the movie came out and we began touring all over the world.
TT: Anvil is playing in Taiwan to celebrate Canada Day. Do you know much about Taiwan at all? How do you feel about celebrating Canada Day in a foreign country?
Lips: I really don’t know much about Taiwan and this is going to be a huge learning experience for us. We are so greatly honored to be included in such a special event. I am a very proud Canadian and it is an honor and privilege to know Canadians are proud of me.
TT: What can the local audience expect when they see Anvil in concert? Is it easy to connect with an audience that doesn’t speak English?
Lips: You can expect a show of great entertainment and musicianship. We have never had a problem connecting with an audience that doesn’t speak English as a first language. From the earliest shows we played in French speaking Canada to shows everywhere around the world. The language of our performance is universal.
Film Notes:
What: Anvil! The Story of Anvil
When and where: Screening times are Saturday June 30 at 7pm and Sunday July 1 at 1:30pm (with a Q&A session with Anvil afterwards) and 4pm. All screenings will take place in Building 2 East A (2東A ), Huashan 1914 Creative Park (華山1914), 1 Bade Rd Sec 1, Taipei City (台北市八德路一段1號).
Admission: Tickets are NT$150 per screening and the first 50 people at each screening with a ticket for the Anvil concert get in free.
Performance Notes:
What: Anvil concert
When and where: 8pm, Sunday July 1 at Legacy Taipei, Huashan 1914 Creative Park (華山1914), Center Five Hall (中五館), 1 Bade Rd, Sec 1, Taipei City (台北市八德路一段1號).
Admission: Tickets are NT$1,200 and can be purchased at the door, www.walkieticket.com, or at 7-11 iBon or FamiPort.
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
Hourglass-shaped sex toys casually glide along a conveyor belt through an airy new store in Tokyo, the latest attempt by Japanese manufacturer Tenga to sell adult products without the shame that is often attached. At first glance it’s not even obvious that the sleek, colorful products on display are Japan’s favorite sex toys for men, but the store has drawn a stream of couples and tourists since opening this year. “Its openness surprised me,” said customer Masafumi Kawasaki, 45, “and made me a bit embarrassed that I’d had a ‘naughty’ image” of the company. I might have thought this was some kind
What first caught my eye when I entered the 921 Earthquake Museum was a yellow band running at an angle across the floor toward a pile of exposed soil. This marks the line where, in the early morning hours of Sept. 21, 1999, a massive magnitude 7.3 earthquake raised the earth over two meters along one side of the Chelungpu Fault (車籠埔斷層). The museum’s first gallery, named after this fault, takes visitors on a journey along its length, from the spot right in front of them, where the uplift is visible in the exposed soil, all the way to the farthest
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,