EMQs with Flying Circus


Hi everyone! Welcome to our new EMQ’s interview with German Progressive Psychedelic Hard Rock band, Flying Circus. Huge thanks to Michael Dorp for taking part.

What is your name, what do you play, and can you tell us a little bit about the history of the band?

We are called “Flying Circus”, I’m Michael Dorp and I am the singer of the band. I founded the group 30 years ago with our guitarist Michael Rick – at first as a quite straightforward hard rock band in the Led Zeppelin/Deep Purple vein. Over the years, more and more progressive rock elements crept in, and since our debut album “Seasons” in 1997, most critics have described us a mixture between Led Zeppelin and Yes, and we have often been compared to another crossbreed of these two sides, Rush. We released a string of albums and had major line-up changes in 2011/2012. Since then, the band members have been me and Michael Rick, Rüdiger Blömer (keys and violin), Roger Weitz (bass guitar), and Ande Roderigo (drums), and the music has become even more open. The hard rock influences are still there, but the progressive influences have become more varied. Sometimes, we get compared to King Crimson now, but I guess we draw our inspirations from all the late 60s and 70s rock world and make our own mixture of styles out of that.

How did you come up with your band name?

When we founded the band, I studied English at the University of Cologne, and as I was a big fan of the Monty Python movies! I was very glad to find out that you could rent the complete Monty Python TV series on video cassettes at the British Council in Cologne. I binge-watched the whole lot, and always thought that “Flying Circus” was a great name for a band as well, as it has so much energy. So, when we formed the band, it was clear that we would call it that.

What Country/Region are you from and what is the Metal/Rock scene like there?

We are still based around Cologne and Düsseldorf in Germany. As you know, this area is in the western part of Germany, and in the music world, the two cities are best known for Can (Cologne) and Kraftwerk (Düsseldorf) – who are both quite arty, of course. Maybe that’s why we picked up that half of our influences. On the other hand, we recorded our latest album in the Cologne hinterland at “Dierks Studios”, which has always had strong hard rock and metal links. The classic Scorpions albums were all recorded there and many works by Accept and U.D.O. The studio has always been host to great recordings from all kinds of genres (Rory Gallagher, Ike and Tina Turner, Eric Burdon…). So, the music scene in general in our area has always been, and is still quite vibrant, but for bands playing their own material, it’s sometimes hard to get gigs among all the tribute and cover bands around. But I guess that has become a worldwide phenomenon.

What is your latest release? (Album, EP, Single, Video)

Our latest release is a concept album called “1968”, which will come out on 27th March. All the album’s songs share a unique historic event of this momentous year and are set in different places all around the world. Thus, incidents that happened in Paris, Prague, Berlin, Vienna, Derry, My Lai (Vietnam), Memphis/Tennessee and New York in 1968, get set to music in tracks named after the respective cities they are set in. Currently, we have released two singles with videos accompanying the album which you can have a look at on our YouTube channel at: https://www.youtube.com/channel/circuscrow

Who have been your greatest influences?

Besides the bands we have already mentioned, our strongest influences probably comprise Black Sabbath, Rainbow, and Uriah Heep on the metal/hard rock side, and early Genesis and Pink Floyd on the prog rock side. But really, we listen to everything that falls between these two corner stones of ours: Jethro Tull, Pavlov’s Dog, Wishbone Ash, Manfred Mann’s Earth Band, Nektar… folk, metal, psychedelic, blues rock, krautrock, jazz rock – you name it! Bert Jansch, Iron Maiden, Hawkwind, Free, Mahavishnu Orchestra – ANYTHING fitting in with our concept.

What first got you into music?

I was a keen listener from my teenage years onwards, and I really liked Queen at the time, but I guess my interest got much more serious when Deep Purple reformed in 1984, which was a huge event in Germany. In addition to their then new “Perfect Strangers” album, I bought a greatest hits LP set that was advertised on TV at the time. I really got into that, and similar “old” stuff, and asked myself why there weren’t more bands like that around, still. And with Michael Rick, I soon found another guy who wanted to recreate that magic of the 70s.

If you could collaborate with a current band or musician who would it be?

Oh, as far as current bands and musicians are concerned, an obvious choice would certainly be Opeth and Steven Wilson – simply because I think we share the same ethos.

If you could play any festival in the world, which would you choose and why?

That’s quite easy to say as well: Simply because there are not that many festivals for our type of music around, we would love to play the “Night of the Prog” festival over here in Germany. Our albums have all been very well received, especially by the critics, but we certainly need some live exposure on a bigger scale. Plus, that festival takes places at the Loreley arena directly overlooking the Rhine, and it has seen many great concerts in its history.

What’s the weirdest gift you have ever received from a fan?

Oh, at one of our concerts in the 1990s we had a dozen or so cuddly toys being thrown at us. That was really odd, especially considering our type of music…

If you had one message for your fans, what would it be?

Always give new music a try. Don’t just listen to types of music you already know and like. I think that’s very rewarding. And go to small live shows where you can look the musicians in the eye. That’s what it’s all about.

If you could bring one rock star back from the dead, who would it be?

That would probably be Jimi Hendrix – I think he would have been the most interesting guy of those who are already gone to see develop further. I am certain he would have given the world so much more incredible music we cannot even imagine.

What do you enjoy the most about being a musician? And what do you hate?

The best thing is being able to express yourself. To turn your innermost feelings into something tangible. What I hate is the administrative side of it. People have no idea of how time consuming all the booking and promotion work is. I like interviews, though… 🙂 It’s the social media stuff nowadays that ties you to some kind of screen or another for hours and hours…

If you could change one thing about the music industry, what would it be?

I guess that would be rewinding the clock, but I would love to see labels go back to the practice of really LISTENING, and then getting behind a band – sometimes maybe even simply for artistic reasons. Nowadays, they let all the bands do the work themselves up to a certain degree, and then they just pick what’s got the most popular already in order to cash in on that.

Name one of your all-time favourite albums?

“Physical Graffiti” by Led Zeppelin – it’s so varied and open that I still consider it a template worth striving for.

What’s best? Vinyl, Cassettes, CD’s or Downloads?

Vinyl, of course! The wonderful sleeves alone would be enough, but it just feels different to put a needle on a turntable in order to sit down and have a listen. That’s how it’s meant to be!

What’s the best gig that you have played to date?

As far as reputations go, that would be playing the Burg Herzberg-Open Air here in Germany alongside some bona fide 70s-stars like Man, Colosseum, Wishbone Ash, Caravan & John Mayall, but musically I think it was our first promotional show we did for our current album “1968”. We really nailed live what we’ve recorded there!

If you weren’t a musician, what else would you be doing?

Oh, I AM doing something else in addition to being a musician: I am a freelance publicist and editor.

Which five people would you invite to a dinner party?

Jimmy Page, Robert Plant, and Jon Paul Jones, so they can reunite Led Zeppelin and David Gilmour, and Roger Waters in order for them to bury the hatchet as well…

What’s next for the band?

The current album is our first in years that has been published by a label, so we are very curious what difference that will make for us. But we are already thinking of various concepts for a follow-up album and will probably start writing for that very soon.

What Social Media/Website links do you use to get your music out to people?

https://www.youtube.com/user/circuscrow https://open.spotify.com/artist/1ax4rGbXiW2HqYamidXrju

Jaffa Cakes? Are they a cake or a biscuit?

We don’t have them in Germany, but I have always considered them to be a biscuit when I have come across them in Britain.

Thank you for your time. Is there anything else that you would like to add?

Yes, you British are so lucky with your incredible rock heritage – cherish it!

Disclaimer: This interview is solely the property of Ever Metal. It is strictly forbidden to copy any part of this interview, unless you have the strict permission of said party. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Trippy Wicked and The Cosmic Children of The Knight – Moving On Singles


Trippy Wicked and The Cosmic Children of The Knight – Moving On Singles
APF Records
Release Date: 30/10/2019
Running Time: 21:24
Reviewed By: Dark Juan

Good evening, my initiates. It is I, the Ipsissimus of all things Groovy, Dark Juan, and I am here to take your mind off the mundane and into realms of cosmic thought never truly encompassed in the human journey before. Or I could just write a record review.

However, I’m sure you have all become accustomed to me babbling incoherently about anything but the record I am supposed to be writing about AND THIS TIME IS GOING TO BE NO DIFFERENT! However this time, it’s a simple message I want to share with you all. After all this unpleasantness to do with rich bastards squabbling over who gets to tell us what to do and lying about what they will give you to make you like them is out of the way (they won’t give you what they promise anyway) take the time to reconnect with people who might have different opinions to you.

Love everyone without question, my people, for that is what makes the world a better place. Not which motherfucker in a suit sits in a leather chair and talks a lot. Love each other and for fuck’s sake look for the good in each other because I have never seen such venom and vitriol flying amongst friends before. It’s fucking depressing to see friendships that are years old fall apart because of shitposting on the internet. Us alternative people only have each other to depend on – so fucking love each other, drink the fucking beer, smoke the fucking weed, hug fucking strangers and turn them into fucking friends and dance the fuck out of every piece of metal you hear. So sayeth My gospel. Here endeth the sermon…

Trippy Wicked and The Cosmic Children of The Knight. Now there’s a name to conjure with and no mistake. I like it. I like it a lot. This EP comprises four songs that didn’t make the Movin On (I hate it when bands do this. There’s a G at the end of the word for a reason. STOP IT FOR FUCK’S SAKE!) album recorded in 2009 and as the demented pscyhonauts themselves put it, “10 songs had made the album while the other 4 went in the cupboard under the stairs and were forgotten about for a while. Since then we’ve played a whole bunch of gigs, released another album and a few EPs, went on a few tours around the UK and Germany, and generally did what bands do. The 10 year anniversary is a perfect opportunity for us to revisit the recording on Movin On, give those 4 extra songs a release and finally share them with our fans. So here they are. Dig it.”

Quite. So here we have four songs based on absolute fuzz heaven. Fuzzy fuzzy fuzz fuzz with a bit of fuzz-wah thrown in for variety. It is stoner doom distilled down to the most basic elements of stoner doom – highly distilled Sabbath riffs, lazy tempos, thunderous fuzzy bass (if only the bass player was called Fozzy, then my life would be complete) and a drummer who seems intent on reducing his drums to their component atoms instead of playing them.

Opening track “Evil” starts with the sound of a bad earth before the instruments all kick in together with the kind of punch in the guts a certain Mr. Tyson might deliver if you upset him and a heartbreakingly beautiful palindromic riff of such stoner splendour this hellpriest fell to his knees and wept against the sofa. Hodgson Fartpants (the only dog to be classified as an illegal chemical weapon under both NATO rules and the Geneva Convention. Not even the Russians would have him) was sat on it at the time and gave me a look best described as quizzical and not “What the fucking fuck is that fucking demented human bastard doing this time and why does it not involve feeding me?” It is very, very good as it stomps all over the landscape like some kind of ironclad assault walker. Vocals from Peter Holland are very Ozzy-esque as well, having that high pitched, throaty and raw quality that the auteur Mr. Osbourne had when he fronted Sabbath the first time.

Track two “Hark At You” is more of the same wholesome stoner wonderfulness but a bit faster this time, as if the boys had put down the weed and decided a bit of the old Billy Whizz was the way to go this time. It’s a bit of a goer, this song, like it’s had its arse whipped sore by a vigorous rider and moves along at a brisk canter.

“Things Go Up” is the third song in. This is where Peter decided that we needed to hear his fuzz-wah. He was right. We all needed to hear his fuzz-wah. Fuzz-wah me, baby. It’s soooooooooo good. I love it when you fuzz-wah me. Don’t stop. Drummer Chris West had apparently also decided that his cymbals had to die on this song and gave his crashes the kind of thrashing that only Basil Fawlty can deliver with any conviction.

The final song on the record is called “I Wanna Be” and sees the entire fucking kitchen being thrown at the song, not just the sink. There’s wah, there’s phaser, there’s the kind of monolithic riffs Kirk Windstein and Tony Iommi would face off in a grim battle to the death to claim to have written. And the bass. Oh, the bass. Dicky King (probably deploying the smile of champions he is displaying in the band photo) goes into some kind of fuzz nirvana and disappears (in my head anyway) into a pineal focus streaming outwards from his third eye in glorious psychotropic colour, dissolving into a self-contained universe of the groove…

Ok, I have managed to contain myself. It’s cost me a pair of pants, as it usually does. Trippy Wicked are awesome. Buy their music.

Trippy Wicked, I salute you. Now I’m going to drink this beer.

The Patented Dark Juan Blood Splat Rating System is floating motionless in a universal groove constant and awards Trippy Wicked etc etc 9/10 for a trip through the psychedelic heartlands that leaves me wanting more…


Hark At You
Things Go Up
I Wanna Be

Trippy Wicked and The Cosmic Children of the Knight are: quite clearly insane.
Pete Holland – vocals, guitars, brass, slightly worrying propensity to look at your left ear when talking to you.
Dicky King – bass, winning smile, award winning face fuzz.
Chris West – drums, knowing smirk. This man has seen things – things that would fuck you right up.







Disclaimer: This review is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Duel – Valley Of Shadows

Valley Of Shadows Cover

Duel – Valley Of Shadows
Heavy Psych Sounds
Release Date: 17/05/2019
Running Time: 38:00
Review by Alun Jones

Duel have been on my radar for quite a while. Despite hearing a few tracks via the band’s social media, I’d never sat down, ear-goggles locked in place, to listen to a full album. So, I was pretty stoked to have the opportunity to review their latest album: “Valley Of Shadows”, released recently by Heavy Psych Sounds.

Hailing from Austin, Texas, these four fiends are responsible for an almighty stoner doom racket; full on heavy rifferama with psychedelic and classic metal references. In case that description alone doesn’t grab you like a graveyard ghoul on the way to an unholy shindig, their whole aesthetic is tripped out in the sort of late-night, B-movie gore that’s lurid enough to make your eyes pop.

It’s like Dracula Has Risen from the Grave sound-tracked by a bunch of longhair ne’er-do-wells, and that’s just how I like it.

‘Black Magic Summer’ opens up the proceedings with some appropriate rain-soaked sound effects, before launching into the heavy-as-a-crypt-door attack. There’s a brilliantly melodic middle section too, adding some light to the gloom.

Second track ‘Red Moon Forming’ has a direct, driving pace that’s infectious and purposely concocted to inspire the raising of horns. ‘Drifting Alone’ has a real classic desert rock vibe, with a cool head shaker riff.

‘Strike And Disappear’ comes on like the vampire Western that Tarantino needs to make. A slower, bluesy pace with a dusty feel, it’s the first taste we get of a very different – and effective – approach. It melts into a ferocious, face pummelling section that screams blood and violence.

Songs like ‘Tyrant On The Throne’ have a classic metal, almost (gasp!) Iron Maiden feel to them. Otherwise, the sound explores more of the head-banging, smoke induced groove of bands like Trouble and The Obsessed.

But just like the best stoner metal movers and shakers, there’s always room for some ZZ Top-style boogie, which particularly comes to the fore in the final track, ‘The Bleeding Heart’.

As always, my sound comparisons are only meant as genuine compliments. Duel manage to create an album full of their own spirit and character, and it’s one hell of a fun ride. At turns hypnotic, fist pummelling, and sombre; “Valley of the Shadows” pulls the stake out of the stoner doom corpse and brings it back to bloody life again.

The last time I actually was involved in a duel, it was a case of duelling banjos. I was on a canoeing trip with some buddies out in the Appalachian back country. We ran into some unsavoury redneck types, one of whom challenged me to a banjo showdown. Of course, I threw in some licks that my old mentor Jimi Hendrix had shown me, and the creepy little weirdo had no chance: I was victorious.

Unfortunately, the locals weren’t too happy and we had a bit of a run-in of sorts with ‘em later. It was all fun and games really, and we were on our way home soon enough. But I tell you: just whatever you do, don’t mention piggies to my buddy Bobby!

01. Black Magic Summer
02. Red Moon Forming
03. Drifting Alone
04. Strike And Disappear
05. Broken Mirror
06. Tyrant On The Throne
07. I Feel No Pain
08. The Bleeding Heart




Disclaimer: This review is solely the property of Alun Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Stew – Hot EP

Hot EP Cover

Stew – Hot EP
Release Date: 01/06/2018
Running Time: 17:13
Review by Dawn “The Metal Priestess” King

Have you ever had that warm, fuzzy feeling of bliss and contentment when you stick a CD on and straight away it reminds you of times gone past? Yes? Well, that’s exactly the feeling I got when I started playing this new EP from Swedish band Stew. I didn’t really know what to expect as, once again, I hadn’t read the notes that came with the EP, but I was (very) pleasantly surprised.

Stew hail from Lindesberg / Ӧrebro in Sweden, forming in early 2017 and are made up of the power trio of Markus Asland on bass and vocals, Nicklas Jansson on guitar and Nicklas Dahlgren on drums. The music they play is a mix of classic rock, blues and soul, heavily influenced by the late 60’s and 70’s era.

The bands notes state that they play a “gritty and nostalgic fusion of classic rock and blues inspirations” and they are not wrong! You could almost have been transported back four decades as soon as this EP kicks in with the track ‘Might Be Keeping You’, which, by the way was picked for Classic Rock Magazine’s Best Of The Year in 2018!!

And Classic Rock, themselves, couldn’t have summed it up any better if they had tried; “spewing embers of psychedelic wonder, Stew emerged from Sweden this year with an album so far out that half of us still haven’t come back. This track is a highlight, a deep, rumbling ode to the days when metal was acid-rock and life was consistently wild.”

With groovy riffs, strong vocals (love this guy’s voice!) and swinging drums this is classic yet with a modern twist. With a little bit of blues, a little bit of rock and killer guitars, these guys have nailed the sound of the 60’s / 70’s with true musicianship.

With influences stated by the band including the likes of Jimi Hendrix, Free, Deep Purple, Grandfunk Railroad, Buddy Miles, Rory Gallagher and Spooky Tooth, these guys wouldn’t have been out of place at the great Woodstock Festival in 1969.

Despite only being around for just about two years, this band sounds like it is a seasoned veteran of the 60’s and 70’s and have decided to get back together for a reunion tour, playing all their old hits.

I loved this EP from the very moment it started and the only gripe I have with it is that’s it’s just not long enough! Just as I am really getting into it, it finishes. So, my next comment would be, I am REALLY looking forward to an album when one is done. I think that would be on my play list for a very long time to come!

The only other thing I can comment on about this EP and band is the fact that they are unsigned! Why these guys haven’t been snapped up by a record company is beyond me, but I hope they are very soon. With a little bit of support, Stew could really go places!!

1 Might Be Keeping You
2 If This Will Be
3 Tongue Tied
4 Dig For Gold




Promo Pic1

Disclaimer: This review is solely the property of Dawn “The Metal Priestess” King and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.