Interview with Andy Freeman and Travis Karcher of Fatal Opera

March 23, 2020

Interview with Andy Freeman and Travis Karcher of Fatal Opera

By Mick Michaels

COSMICK VIEW: Hello, Andy and Travis! Welcome to The Cosmick View. Thank you for taking some time out of your day to chat with me, it's greatly appreciated.

CV: What kinds of feelings get stirred up working on a project like “Fate Opera III” that essentially was started more than 20 years ago? Was it a positive emotional experience? Where there any reservations with its undertaking?
Andy Freeman: At first, it was and experience of completion…finishing the work that we started. As time went on, I could remember when we recorded some of the songs, and what we were doing at the time. A flood of memories and emotions suddenly took over. This changed the way that I approached the engineering process.

Travis Karcher: For me, Fatal Opera includes 10 years of my young adult life, of which I've always been very proud to be a part of. We were a family. We spent 4 days a week together writing and rehearsing. So hearing it again brings back an exciting feeling, and I can't wait for the rest of the world to get to hear this.

CV: Did you find that any feelings you may have experienced lent themselves to add additional depth to the album's tracks; driving the project to exceed any initial expectations?
Andy: The memories and feelings that have surfaced during this project absolutely have affected the outcome. Although many of the tracks, such as Gar’s drums were recorded 20 years ago, a large portion of the tracks were just recorded by the surviving members just recently. As far as the vocals go, every word that I sing has memories and current emotions attached to it.

Travis: I certainly hear greater depth in this music than I ever have. And after 20 years, I would say we all have a different perspective. It exceeded my expectations from the moment I heard it the first time, after all the years.

CV: Was there any concern that the material would sound dated or even possibly be disjointed in any way to properly make a complete album suitable to the band's liking and legacy?
Andy: There is no escaping the fact that the music was written many years ago. I think that in today’s music business, it is more acceptable to be a bit dated. I have used modern mixing techniques, which help. There is also quite a bit of keyboard tracks added. Fans of the band will appreciate the journey through this album. It has songs that are straight up Speed Metal, and also a few that are almost Blues. As a progressive band, we experimented with many styles. There were about 7 songs that were lost forever, the tapes could not be found or were damaged beyond repair. We wish that these songs were on the album. This is a special kind of project, and keeping that in mind makes it really work.

Travis: Considering that our music was the amalgamation of all kinds of influences, I'd say we were ahead of our time back in the 90s. We sound like every kind of music and like none of them all at the same time!

CV: While culling through the tracks for what would become "Fatal Opera III", were there any recordings found that the team was surprised to hear or even find out existed? Were there any ghosts in the machine so to speak?
Andy: There were a few. Although some of the songs that we recorded were more major productions, there were a couple sort of “demo” sounding songs, that were never given the proper time, due to Gar’s passing. I decided to include a few of these “demo” tunes, but I can’t help but think how they would have sounded if we were able to let the songs “grow”. As for “ghosts in the machine”, there were many spots in the recordings where the different band members would be talking before and after recording the track. It was weird and surprising to hear everyone’s voice in that way.

Travis: Well, they're all ghosts in the machine at this point. I myself was pleasantly surprised with "Little Sister", because I don't think any of us remember it as being a stand out. But I think its Groove is infectious.

CV: It goes without saying that to complete an album which was started and shelved more than 20 years ago is an amazing accomplishment; a testament to not only the power of the music but to the dedicated group of musicians who believed in it enough to see it through. Was there anyone specifically involved who was most instrumental in getting the project to the finish line?
Travis: Andy deserves instrumental credit in acquiring and keeping it alive over the years. Also, with input from Bill and Stew…ultimately gaining the interest of Dave Ellefson and Combat Records.

Andy: A lot of the start up credit could be given to my manager Steven Bauer. He is also the manager of Chris Poland. He was always a big fan of Fatal Opera. He hooked me up with Stew, and planted the idea that this might be possible. He also helped get the deal with Divebomb Records for the remix and re-release of the first two albums. Steven was also instrumental in coordinating with Combat Records and getting David Ellefson and Chris Poland to play on a track.

CV: Is there any consideration to officially regroup on some level to tour in support of the album's release...sort of a tribute tour?
Andy: I would do it in a second, but unfortunately not everyone is able to. We have had various offers from some of the best drummers in the world, including a few former Megadeth drummers…you would have to be good to play Gar’s beats. Maybe there is someone out there that can make it happen.

Travis: That is something I would love to see happen. At the moment there are lots of stars that have to fall in the right places for that to become a reality. But you never know!

CV: How different was the music industry in the late 90s as compared to now in 2020? Has the audience changed or just how business is conducted?
Andy: Due to the internet, it is very different. Record companies do not help to financially support the bands for the most part. Most income is made through touring, which is an issue for us right now. As far as the audience, it is much easier to reach them due to YouTube and other websites. New fans are everywhere due to the simplicity of being able to search for and find many different types of music.

Travis: The music business is like night and day compared to the 90s. I don't see it being controlled by the large corporations that it once did. Back then it was about "who you knew", and not always about talent or musicianship. Today, I think you can be self-made and thrive with the advent of the internet and social media. Music seems to have "niche audiences" today, also. I think if the 1990s Fatal Opera existed today, we would have thrived because of it.

CV: In your opinion, how does "Fatal Opera III" compare to the band's two previous albums, 1995's self titled release and 1997's energetic "Eleventh Hour"? Do you feel the fans will be more than satisfied with the final production...will they feel it was worth their wait?
Andy: The album is an evolution of the band…almost a picture of changing from one style to another. It would have been even greater if we would not have lost several of the recordings. We have live versions of some of those though. I think that the fans will be very appreciative of the album. If it was not released, this music would be lost forever.

Travis: I certainly hope everyone feels it was worth the wait…I certainly do. Our music was written in an evolutionary process. So, what you will hear comes from that same time frame. Although I feel the production value of Fatal 3 will be much more advanced than the previous albums.

CV: Fatal Opera's first two albums were re-released in 2017 on Divebomb Records. Yet for the completion and release of "Fatal Opera III," the new rejuvenated Combat Records was charged with the resurrection of this project. Was it a matter of timing or moreso a fitting way of reconnecting the music to drummer Gar Samuelson's roots of his time with the original Combat label?
Andy: Although it is a tremendous coincidence for Gar’s final album to be on Combat Records, it is probably more due to the fact that David Ellefson is the owner. If David was with another label, we would probably be there. It is pretty cool that David E., Chris P., and Gar will be together kind of where they started years ago. I am still very appreciative of Divebomb for what they have done also.

Travis: Timing is everything, as they say. And I can't think of anything more poignant than Combat Records being a part of this…where Gar's recorded career began.

CV: Was David's (Ellefson) involvement with the project something that would mark and validateFatal Opera's musical legacy as well as Gar's place in and contribution to Heavy Metal's History?
Andy: This is a tough question. I would hope that the music created by Fatal Opera would be a validation in and of itself. Gar had a lot to do with the creation of our songs. He was the greatest drummer ever, apart from anyone else. As far as David being involved in this project, I believe that it is a testament to the band that someone of his caliber, along with Chris P., and Pags would lend their efforts to it. They are just as excited as we are. I often sit and think of how historical it will be, to release this album with the help of Combat. I am so close to the music that over the last few years of restoring, recording and mixing it, the music has become a part of my life…kind of like a brother. But now he is grown up and must leave home and bring joy to the world.

Travis: As a bass player, bass and drums are like a comedy duo. And there is an unspoken cerebral connection between you as musicians. Gar and I shared that. And being an early Megadeth fan, David and Gar also had that connection. It is an honor to have David Ellefson to be a part of this project along with Chris Poland, Robert Pagliari (Pag)…all amazing musicians.

CV: What do you want fans to come away with after hearing "Fatal Opera III"?
Andy: I hope that they can appreciate it for what it is…a long overdue release. As artists, we strive to make art for others. It is hard when that art gets hidden or put away. Here is the chance for the world to listen to what they missed so many years ago.

Travis: We chose the name Fatal Opera because it described the world as we saw it…a dark, seemingly unscripted but scripted play, similar to the way world governments and social situations play out. The music reflected that view. It's Groove music…sometimes dark, sometimes mysterious, but always moving. And Gar Samuelson was the catalyst to it all. It's not Megadeth, and it was never meant to be that. Just put some headphones on, close your eyes, and lay back and enjoy where the music takes you.

CV: Thank you again fellas for spending some time talking and sharing with our readers. It was a pleasure. I wish you all the best and continued success.
Andy: It was our pleasure.

Check out Fatal Opera at:
Website: http://fatalopera.weltzin3.com/

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My name is Mick Michaels...I'm an artist, music fan, songwriter, producer, dreamer and guitarist for the traditional Heavy Metal band Corners of Sanctuary. Writing has always been a creative outlet for me; what I couldn't say in speech, I was able to do with the written word. Writing has given me a voice and a way for me to create on a multitude of platforms including music and song, articles, independent screenplays, books and now, artist interviews. The Cosmick View is an opportunity to raise the bar and showcase artists in a positive and inspirational light. For me, it's another out-of-this-world adventure.