When one thinks of late 70s metal, two styles come to mind: the hard rock driven, arena friendly American style (i.e. Van Halen, Riot, Y&T) and the rough and ready NWOBHM, then in its infancy. The giants of the decade’s first half had declined drastically in popularity or fizzled out altogether (i.e. Black Sabbath, Deep Purple, Uriah Heep). Yet apart from it all, was a group of Italian teenagers creating metal so sinister, evil, and primal, that it was 5 to 10 years ahead of its time. The band was Death SS and their frontman was (and still is) Steve Sylvester. Almost 45 years later and the band’s dark dominion reigns stronger than ever, thanks to a trail of disciples in their wake that range from Watain to Ghost. We had a chance to sit down with the enigmatic Sylvester to discuss their new album, Ten, the band’s impact on heavy metal, and more.
Just in time for Halloween is the release of Death SS’s brand new album, Ten. Could you give us some background on the themes of this album and when did ideas start coming together?
Steve Sylvester: Ten is almost a sort of concept-album because all the songs that compose it are connected to each other by a common feeling. They’re connected to this particular historical period dominated by the terror of the COVID-19 pandemic that all us have experienced in the last two years. It was this period in which I started the sessions of the record, and that we are still living all over the world. Both lyrically and musically, there is an alternation of lights and shadows, even if the latter often seem to prevail over the first. The mood is therefore very “doom”, even if there is no lack of power and energy and the desire to rebel and fight, which is the characteristic of all the “heretics” of the ROCK people.
The leadoff single from Ten is “Zora”, which has a real melodic hard rock vibe reminiscent of solo Alice Cooper. I’ve noticed in recent years that Death SS has been incorporating more melodic elements into their sound. What do you attribute this creative direction to?
SS: There is no particular reason. I think it’s the natural fruit of our musical evolution. Even if we deal with horror and esoteric topics, we have never overlooked a certain melodic research, probably borrowed from my musical influences ranging from The Sweet to Black Sabbath.
Many of the songs on here were co-written and recorded with Bulldozer guitarist Andy Panigada, who has worked with you as far back as Heavy Demons. What’s it like working with Andy? Was there ever consideration of him becoming a full member of Death SS?
SS: Andy is a great professional and my dear longtime friend. Musically, we really understand one another. Therefore, we love to collaborate together whenever possible. In fact, he is a kind of “secret member” of the band!
One aspect of your music that I feel isn’t recognized enough are your ballads. Whether it be “Way to Power” off Heavy Demons or one of my personal favorites, “Dirty Game”, off your solo album Free Man, you’ve written and recorded no shortage of ballads. “Heretics” off Ten joins this long lineage. What would you say makes the perfect ballad?
SS: I think it’s a question of feeling. I try to express at my best musically the sensations that the written text suggests. Ballads are never planned before. They arise spontaneously during the creative process of the song. The perfect ballad for me is the one that best expresses the emotion that comes from the depth of the artist’s soul with its melody.
Speaking of your solo work, those albums were recorded in collaboration with Death SS co-founder Paul Chain. Do you still keep in contact with Paul and would you ever consider working with him again?
SS: No, I really would say no. After all, Paul was in Death SS only for 5 years and as far as I know, he totally changed direction.
Death SS was founded by yourself and Paul Chain in 1977. At that time, what was the scene like in Italy? Were there any other bands playing heavy metal or hard rock?
SS: Absolutely no! At the time, no one in Italy played this kind of thing, at least I didn’t know any! There was no scene and still there was no talk of metal, but of hard rock. Then I came up with the idea of mixing the glam rock of The Sweet with the dark atmospheres of Black Sabbath and the violent impetuosity of the very first English punk rock bands, and so they were born Death SS.
Looking back on those early Death SS compositions (“Terror”, “Murder Angels”, “Horrible Eyes”), they have a true raw and grim spirit that wouldn’t be heard until the 80s with bands like Venom and Hellhammer. Are you amazed by how ahead of their time these songs are and do you wish they had been properly released earlier than the 1987 The Story of Death SS 1977-1984 compilation?
SS: When in the period between 1977 and 1979 I composed those songs, I didn’t think at all about what their impact on the music scene of the time could mean. They just seemed like cool songs that best expressed my adolescent emotions. Only later did the groups you mentioned become famous with similar sounds. Unfortunately, we were just Italian kids who didn’t have any support and promotion from major record companies, but I must say that at the time we didn’t care much about these things.
In 1982, you left Death SS. Why did you leave and what did you do during those years before the band reformed in 1987?
SS: I was just a teenager at the time and it had really pushed me too far in my extreme experiences. I had to leave my city and take a period of hospitalization to calmly rearrange my life. I moved to Florence and when the time was right for me, I reformed the band with new and valid musicians.
How did the infamous Oliver Reed end up doing the narration on “Walpurgisnacht”?
SS: I’ve always been an Oliver Reed fan, ever since I first saw Ken Russel’s The Devils movie. Through some friends who worked on an Italian magazine dedicated to cinema, I learned that the actor would be in Italy for a few days for an appearance in a television program. I then managed to contact him and we met in Rome. Oliver was very kind and helpful with me, so I asked him if he wanted to do a speech narrated with his deep voice for the intro of the album I was about to make (Heavy Demons). He listened to the music, liked it very much, and gladly accepted my proposal. Afterwards, we kept talking and he told me he liked the record very much! Oliver was a real rocker!
Finally, Death SS is legendary for their theatrical stage production. Has there ever been talks of bringing it here to America, if only for a one off festival like Maryland Deathfest?
SS: Perhaps! That would be something I would like very much! I’ve been to the United States several times, but always to record records or on vacation, never for live shows. I hope the right opportunity comes along!
The new Death SS album, Ten, is available now on Lucifer Rising Records. For more information on Death SS, visit www.deathss.com.