Sunday, June 13, 2010
Omnihility (Oregon, U.S.): Omnihility
Omnihility is all about playing brutal death metal in the physically and mentally strenuous style: as fast as possible, blasting blast-blast in hyperactive frenzy; letting the riffs fly/swerve/dive/cut/turn and stream/zoom/rotate/slide/re-direct in rapid succession with no pauses in the action. Plus, a rather good production, too.
When Omnihility hits the ground, it is the “brutal, technical death metal” avalanche that takes over. Just how fast can this band play? How many riffs can they pack into the song? This band is finding out exactly that!
Omnihility has no time for slow songs, nor taking it easy and letting the music “breathe” or giving the listener time “digest” or anything like that. No. Not here. Come this way for the speed, the blast, the guttural growl and the technical.
This is not the door for melody, slow, melancholy or things like that.
What a lovely display of musical muscle and brain stress. Those longing for faster speeds, more technicality, and just more spazzoid death metal blasting will like this. It is 23 minutes, six songs of nonstop fun.
Omnihility originates from Oregon, with that Topeka, Kansas musical spirit running in their veins.
Ravenclaw (Slovakia): Welcome to the Ravenland
Ravenclaw is a classy, elegant even, heavy/power metal band with lots of neoclassical guitar work, and melodic, high traditional metal singing.
For those into high singing and who want to hear a band who have trained in the art of melodic metal, with some songs that are uptempo, midtempo, ballads, etc. The vocals are melodic, not sounding angry, aggressive or violent. Actually, this style has a kinship with André Matos’ vocal personality or HammerFall. Those are just two examples of the singing references, not an overall sound/musical similarity.
Examples of the Ravenclaw sounds:
Track five: “Dragon’s River” (3:33): This is a piano-and-vocals ballad about waters, mental peace, etc. Definitely for those into piano ballads.
Track number six: “Patron Saint” (3:15): After such a ballad, it’s only expected that these leather-jacket-wearers step up the energy to uptempo heavy metal thunder style. And that’s what they do. Imagine, basically, the opposite of the ballad they just played before.
Number 11, “Don’t Be My Enemy” (3:37): This song has a “medieval”/folky melody; another ballad for friendship and big hugs all around.
Some of the other songs give a further framework from which to approach Ravenclaw: “Brother Sun” is a sort of folky heavy metal midtempo track; “Light from You” is a catchy, very melodic heavy metal song, midpaced, and made for sing-alongs. “Power Slaves” is one of the heavier songs, with a bit more crunch and double-bass drumming and very high, air raid siren vocals, and keyboards. “Into the Night” also has a substantial crunch going on and a very melodic chorus.
Rienaus (Finland): Beneath the Black Wings
Though Rienaus is now a band, this recording is a one-man cave-recorded super-necro over-raw black metal. It’s the type of recording that one has to really turn up the volume to hear what’s going on.
Some will think this is total garbage by a 16-year kid processing black metal through a meatgrinder for your unlistening displeasure-irritation.
Such a view is completely understandable.
But some people love this! It’s total tremolo triumphalism.
It appears that Mavrofos, the human being behind this, is currently 17 years old and working on a second album, with a band.
At any rate, “Celebrate the Dawn of a New Age” is raw black metal chaos with a good attitude and feel. “Exaltation” is vocal torture, doomy black metal. It’s “no-fun” black metal. “Beneath the Black Wings” is eight minutes of more chaos and noise. “Enemy of Christ” is exactly what the name says: antagonistic black metal expression of revenge and anger, and things like that. OK, there are another two songs and this is more than 44 minutes of cave black metal that will be liked by the ardent. If you want a good production, stay very far away from this.
Until Extinction (Missouri, U.S.): Lament
After a short keyboard/atmosphere/gothic intro, “Putrefaction” rolls into town and in those five minutes and 24 seconds this band displays all their wares and wherewithal: speedy gothic black metal riffing/drumming, keyboards; slow brief moments with very low, guttural growling, then picking up the speed to a more black/death tempo with a few different types of growling. Then about the two-minute mark the angry/yelled/core vocals come in and the midpace sets in; now, more keyboards, at the three-minute mark, melodic guitar soloing and background keyboards; closer to the four-minute mark, come in the high, soprano-style vocals; as the five-minute mark nears the speed picks up to the blasting level and here it sounds like “symphonic black metal.”
That’s just in one song. Can you say, “bragging”?!
Some don’t like bands that move from style to style that way, within a song. Others do like bands like this one because they don’t want every song to be similar.
Now, Until Extinction does not mix as many styles as the above song in every track. Most songs have a combination of two or three styles, not seven or nine.
However, there are certain sounds that anchor the band’s perspective: one is the melodic/thrashy guitar riffing (in the Gothenburg style); another element is the gothic/atmospheric/melancholic/keyboard and the combination of growling and high vocals; in addition, the angry/yell/core vocals are pretty dominant. For example, the very low, guttural, incomprehensible vocals are used sparingly.
The sound quality is good, overall, and sounds pretty professional. One would think the band should be content with this recording, as it shows their abilities. Guess this is a self-release, but the sound quality is good, not garage-like. For those into bands exploring different styles.
Mormânt De Snagov (Finland): Rise from the Void
Black metal raw, minimalistic attack, with decent sound quality, actually: they like that old time black metal. Do you?
1. “Antagonism” (4:46): A yelling and raging beginning. Of course, they have to set the pace. Good start.
2. “The Serpent Undead” (4:32): Another good assault; those drums sound mighty fine. Mostly speed. They are keeping it up with the right attitude.
3. “Secluded Sleeper” (4:33): That shrieking is inspired by classic black metal vocal torture. Doing it right. This song is part speed, part midpaced rage, part minimalistic melody.
4. “Nefarious Apostle” (5:06): Starts out as total black metal. At about the two-minute mark: slow guitar work until about the three-minute point, where the speed returns and stays until the end. A bit different.
5. “Inquisition” (2:52): Short and filthy, filthy.
6. “Rise of the Sardonic Lord” (5:19): This one is a slow track, with a doom-black metal atmosphere; the shrieking fills out the spaces between those slow guitar notes. It’s a pretty big change compared to the other songs.
7. “Severe Escape” (4:42): A return to the dominant uptempo black metal. A good one, for sure.
8. “Mentor Forever Dead” (5:56): A midpaced exploration into those other moods that the band is working into their sound; there is midpaced black metal raw guitar repeated for effect; this one takes a few listens to understand better.
Of Raven and Ruins (Texas, U.S.): Bound to ProphecyOf Raven and Ruins is clear, crisp guitar melodies, often with a neoclassical feel. They apply the same approach to the prevalent use of keyboards. In addition, they use growling with the melo-thrashy guitar work. The result is something like a meeting point of Gothenburg and symphonic/neoclassical, with a few hints of other little things, such as gothic and melancholic sounds, for example.
What they have in mind is making songs that are catchy.
Sometimes it’s a thrashier moment combined with a bit more uptempo pace; or, mellower midpace with a more symphonic feel. The vocals are growled. “Atrophy of the Unavailing” has guttural and some higher, shriek vocals, within a speedy/uptempo melo-thrash main rhythm; some tremolo riffs are used; guitar harmonies, too; the keyboards while present, play only a supporting role.
“Dance of Disdain” is midpaced, tremolo-riffs/melo-thrash riffs with more upfront symphonic keyboards.
While different in some ways, both songs are good examples of the main aesthetics at work here for this album, not just these songs.
This band is aiming for a polished clean production, and even though this is a self-release, it’s not a recording with demo sound, but a rather good quality recording. They probably want a big, bombastic sound, but on here they kind of already are in that territory, even if they don’t have the big budget yet. www.myspace.com/ofravenandruins
Jormundgand (Sweden): Satanic Attack
The titles of their four-song demo: “Occult Sacrifice,” “Black Winds of Death,” “Satanic Attack,” and “By the Grace of Death” speak of the pentagramist crossinverting fire.
Tobias and Erika are the 666-ers who give their music that certain feeling: basically, they want to be as good as advertised: pounding drums, fast and sharp guitar riffs, vocals consumed by revenge.
“Occult Sacrifice” is a short keyboard intro for “Black Winds of Death” (8:39), a black/death metal assault on the senses, with good riffs and a good vibe in general. It has lots of headbanging moments. Solid work here, with good guitar riffs and hooks. The song is a bit long, but they do well keeping it interesting. It’s all good here.
The song “Satanic Attack” (6:06) is a straight-up headbanging number with the title chanted repeatedly to deliver the knock out. This song will go over really well live because it will have the maniacs growling along “Satanic Attack” over and over in unison, fists in the air, heads banging, horns up. You likes!
“By the Grace of Death” is a near three-minute outtro of guitars/whispering and keyboards. The end.
The sound quality is definitely listenable, despite being a demo. We would not hesitate to play this loud in the car with the windows down. Good job with your filthy noise, Tobias and Erika.
Martriden (Montana, U.S.): Encounter the Monolith
Forty-five minutes of tripping metal. A big part of the sound is inspired by black metal and prog, and a penchant for long songs and exploration. These six songs in general have smooth transitions from faster parts, to proggy parts and the mellower/space metal elements.
This music requires patience and repeated listens: “Heywood R. Floyd” (8:42) makes it difficult to remember all the parts, since the mental traveling within the song is too much to understand in one listen. Definitely for the studious.
Who writes this music? Is it total metal nerds weeding out those with short attention spans or the simple-minded? Is it absent-minded musicians who pay no attention to time?
Who knows, but at least the following is clear: there are long segments without vocals; lots of proggy moments and black metal shriek style vocals.
“Death and Configuration” is more than ten minutes of mellow guitar work, keyboard/space moments, proggy segments, etc. It’s an instrumental song in which the band enjoy the twists and turns they have created for themselves.
But this band does have some easier songs. The title song (6:32) is a bit more straightforward, sort of “black metal/prog,” for this band. And actually, “Human Error?” (4:32) is an even more “normal” song with those shriek-growl vocals and proggy heavy parts. There are keyboards in the background of this song, for that big landscape feel. The band themselves likes to use astronomy pictures and images, which to them, we guess, is how they hear their own music: in terms of other worlds and other ways to write songs.
Listeners into long songs, proggy bands with a metal edge should have in this band a serious adventure that they need to investigate. If you like bands that think big-idea music. Good sound quality, too.
Ana Kefr (U.S.): Volume 1 (Dinky)
Ana Kefr goes for an eclectic, contemporary, hard/chuggy sound with chugga/breakdown/mosh guitar for the angry/growl/“brutal” and screamo sections; they have clean vocals, of the current rock/core sound; for melody they utilize some of those twin-guitar harmonies or melodic sounds. As if that weren’t enough, they also have keyboardy moments, like interludes, for mood.
Ana Kefr could also be described a salad mix of current rock sounds: they vary within each song and throughout the album. The transitions between songs are not too smooth, but they seem to be working that abrupt feel to their advantage, making it their thing. From the chugging/breakdown “brutal” parts to the mellow interludes, it’s what they do. It could give you some pleasure or a headache, it depends on your taste or masochistic tendencies.
Black Reign (Canada): Demo 2009; Demo 2007
The 2007 demo is pretty unintelligible. It sounds like a band recording something for themselves and their friends. It sounds like a thrash band doing their thing, but it’s difficult to hear what’s going.
The 2009 demo is a more growled, heavier, faster band. The sound quality is poor on these recordings.
Leave it at this: this is supposed to be fast and loud, energetic and “brutal.” However, what is not clear is how well these songs would sound with the correct sound quality. As it is, there is fast drumming, fast riffs, growling, shrieking: a band having fun attacking their instruments and probably annoying the neighbors.
Wednesday, June 9, 2010
Venomous Supremacy (Texas, U.S.)
In 2010 in Houston, Texas, Venomous Supremacy brings their metal for people to mosh and goat-fight until everyone is injured. They have a demo called Articles of Defilement that showcases its easily recognizable total death heaviness.
According to José (guitar/backing vocals), they are not nearly satisfied. This demo is just the beginning and they are already on the path to a debut album. And judging by the demo’s “brutal death metal” harsh guitar fight, the Houston metal moshing crowd will be going straight to the emergency room in a stretcher.
Hi! When and where was Articles of Defilement recorded and is it available? Will you have your debut out this year?
What’s going man, I'm José Vidal (lead guitar/backing vocals); the demo was recorded in Katy, Tx with Alen (Lano Productions). He has recorded my bass player Nick’s other band Vacillation (melodic death metal), and I thought his work with them was pretty professional and tight so I went to him. Yes, we are currently writing new material, four new tracks are in the already in the oven. The album will be recorded when all material is finalized, which Duane Timlin (ex-Dying Fetus, ex-Divine Empire) will be apart of.
Y’all emerged at 2009’s end and in 2010 have been active (shows, recording, more songs on myspace, etc). What’s driving all this activity?
It’s all about extreme metal, that’s what we enjoy and that’s what you’re going to receive from us. Nick also plays bass for local Houston, Tx band Vacillation, although they haven't been active as of late. Besides that, we were in a modern death metal project named "Engraved," but it didn't work out the end due to uncommitted members so I started Venomous Supremacy. We finally have a steady line-up of focused musicians, so we are able to put our music out and do this to the fullest extent and put our staple in the Texas local scene and beyond: getting more extreme in all of our regions.
What do you have in mind with the lyrics of “Removal of the Flesh”? And where did you get the lyrical ideas?
"Removal of the Flesh" is am abominable, forceful, and ominous lyrical themed song. I created all the lyrics for the songs on our demo; I tend to write a lot, I approach sort of a poetic method and put all the lyrical themes together in sync with the music. I recorded all guitar tracks on the recordings: leads, rhythms, solos, etc.
At 2:55 of “Transcending Divinity,” from 2:55 to 5:18, you do slow-heavy sounds, where Matt (vocals) sounds in pain. Do these slower parts, become the clarion call for moshers?
Actually, those vocal parts you’re talking about was done by me. It’s the black metal influenced part, me and Nick both rejoice in these type of style of playing and feeling. We are not afraid to play slow or anything like that. We try to give the listener something different, something with power. That’s a great thing about it: interbreeding heavy brutal death metal with black metal and our organic, calculated, musical nightmares! As far as moshing goes, they can do whatever they want at any part of the song as long as it goes down.
What kind of support are you getting from your parents?
I'm getting great support from my mother, we have a close relationship. She'll support as long as I'm working hard on the subject. The other guys have a good mutual understanding with their people, but there not always fond of the live appearances ha ha!!
Who wrote the lyrics to “Prophetic Inversion”? Is it Matt and/or José? What type of collaboration do you currently have?
Yea, I came up with all the lyrics with Matt and reviewed them with him. Next, we arrange the vocal parts together into the song. Nick and I usually compose all the music together before anything else. He picks up extremely fast, we both have a lot of ideas menacing our minds. We try to play as parallel as possible, being that’s it, only us two playing guitar.
Have you decided if you want two guitar players live?
We have been searching for a rhythm guitarist since the beginning, but no one has yet to put enough time to move forward with us. So, if it remains like that, we'll just stick to this current set-up.
Artistic creation’s no easy task, moving beyond imitation/tribute or beyond profanity and shock value. As you fight your way forward, what are you aiming for?
What we are aiming for is to be recognized by the scene and for them to know we are here, and here to stay. We are a young band, but full of fresh conception with influence from all types of extreme metal. Musically, the style of playing is only going to get darker, faster, and reaching new levels of complexity to our theory. The lyrics are focused on dark revelations, will power, abhorrence, strong and obscure anti religious views. We are focused individuals looking to infect the scene.
What else should we know?!
The full length album "The Divine Principle Of Ruin" tentative release date is scheduled for fall, but might be pushed further till early 2011 depending on how quickly all the new material is mastered. Duane Timlin drummer will be handling session drums for the album. A new song should be posted by the end of May, a preview of what’s to come. Support The abomination that is Venomous Supremacy. THE END.
War Master (Texas, U.S.)
The War Master “Demo 2009” three-song tape is traditional death with a heavy-crunch guitar tone; and deep, guttural growling that resonates with the no-nonsense metal crowds of Texas, such as in the band’s April tour of the state.
War Master is: Daniel (vocals); Neal and Ben (guitars); Tom (bass) and Stephen (drums). They now have a 7” recording as they prepare to make their debut. Will 2010 be the year of War Master?
What’s shaking in your neck of the Texas woods?
Hey, Mauricio! Not much man, just work and WAR MASTER and more work! Thanks for sending these questions!
What’s the latest information on your upcoming debut?
Yes, we just finished with the release of the Thrones of Tyranny 7" single which is now available and now we are working on the full length at the moment. We are about half way through the writing process; we are taking our time to make sure it’s what we want. We are shooting to record sometime in the summer possibly late summer. As far as a release date, hopefully by December. The name of the Lp right now is "Pyramid of the Necropolis" It’s subject to change. I guess it's a working title, but more than likely that is what it will be called. Expect CRUSHING DEATH METAL!!!!
How was your Texas tour? Was it positive or did you lose your shirt?! Any more tours?!
The tour was fucking AMAZING!!! The crowd response was excellent and we all had a great time!! San Antonio especially raged pretty hard!!! Not sure I understand your second question though. As far as any other tours, after the release of the album were going to let it sink into people's heads for a couple of months then by around this time next year I would like to do a full Texas tour and then tour the West coast. By the time we are done with that it should be time to do some stuff in Europe hopefully.
How are your guitarists channeling the power of the buzzsaw? How do you understand the idea of “heavy riff”/“heaviness”?
Ha! Ha! Ha! Man, I don’t know, you’re going to have to ask Ben and Neal that question! I'm definitely not a gear head or a musician. I guess, the "channeling of the power of the buzzsaw" as you say would have something to do with the kind of pedals they use and the tuning of their guitars, which I think we tune to B. Not sure, you'll have to ask them, not my department. Understanding the idea of a "heavy riff" or "heaviness"?? Well, that is what we are striving for I think, to crush some fucking skulls!!
Bands don’t make much money from the sales of the releases. So, from what is it that you get a little money?
I don't know, we did pretty well on our tour. We made enough money to finance the recording for the LP. I mean, yeah, your band gets money from both merch sales and sometimes from the door, it just depends.
War Master is oldschool! Weren’t y’all in diapers in the 80s?!!!
Well, the rest of the guys were either in diapers or not even born yet. I just turned 35 this month. So I would be the only one in the band to remember metal in the 80's.
Are the lyrics for the song “Thrones of Tyranny” from an event or from general observations? Will you publish your lyrics?
The lyrics to "Thrones of Tyranny" mainly come from general observations and not a specific event. The "Thrones of Tyranny" lyrics are in the 7" release and will also be released on a re-release of the 2009 tape.
If I’m 15-18 years old, in a band, and some man says he has connections for my band to “make it”; that I just need to pay hundreds/thousands of dollars to play shows, record with a “famous producer,” etc. What I should know?!
Well, first of all, I think when you go into something like creating a band to be involved in the scene you don’t go into it to "make it". I think most of the major record companies are bullshit and I would personally like to stay on a D.I.Y. level for as long as I can. That would be my recommendation to anybody is just to stay true to yourself and rely on a network of friends and fans and not the weasels in suits! It has work for us so far!
Do Neal and Ben write songs together, and with Tom present, bringing the “Tom-ness” to the chapel of War Master?
Yes, Neal, Ben and Tom all help in the song writing duties. So yes Tom would be present. In fact, Tom does a lot of writing. Both Tom and Ben wrote Chapel and War Plague. So Tom always brings his " Tom-ness" as you say, to the chapel of War Master.
When will you allow Stephen to use more cowbell in your songs?! He has repeatedly told you, “Fellows, I’ve got a fever and the only prescription is more cowbell!”
Wow! hahahha! Gee, Mauricio, that's a silly question! First of all, we have never nor will we ever have a cowbell in our songs, we are not Guns N roses! So I don’t know who told you that but it’s incorrect.
Into what other lawless battles and chaotic realms will you be crusading-worldeating during 2010 and 2011?!
Well, expect more heavy DEATH METAL in the old tradition. The new LP later this year more shows more heaviness!!!! Thanks again for the interview. THE END.
Züül (Illinois, U.S.): Out of Time (Planet Metal)
Züül plays uptempo, rocking, gritty street heavy metal.
It appears that this band has a bit of an unusual attitude about their traditional, no-nonsense rocking music:
1. Unlike the vast majority of heavy metal bands, Züül has opted to do no midtempo or slow songs, nor anything like a ballad, certainly no “power ballads.” It’s all uptempo all the time.
2. Then there is the fact that the band sounds like nothing that this zine has heard this year. They seem oblivious to pleasing any expectations of sounding “contemporary” or “keeping up with the times.” There is no thrash, growling, blastbeats, nor any emo, core, breakdowns; no keyboards or no “brutality,” nor anything like that.
Of the nine songs, try the first song “Out of Time,” or the last one “Return to Yagi” or the middle track “Warhammer,” or the second one “Warriors” or the penultimate track “Ride Ride” or the antepenultimate song “Darkness on the Ice”—it’s all rocking heavy metal, no midtempo and no ballads.
How’s that for a concept?
The sound shows no attempts to be supermelodic with keyboards or ear-candy sounds, no fancy-slick studio trickery, no funny-effects: it’s just human beings plugging in their instruments and rocking.
The vocals are not air raid siren, but a midrange tone that does not steal the thunder of the other instruments, but rather fits in. That’s a bit different, too.
By the way, this is no demo-sounding stuff, either. It’s a good, solid-sound full album.
Someone in this band likes the second wave of heavy metal of the late 70s-early 80s?!
Raw black metal is Ritos’ medium to chronicle the “Pagan Tales” of indigenous-themed songs. Relatos Pagãos carries raw black metal into concepts of history about Brazil and its historically ignored indigenous cultures.
Of course, Ritos is classic-black-metal influenced: blasting, speedy drumming; THAT guitar tone; and those vocals, it’s all here. It won’t take but a moment of their music to hear that. However, there is another side to Ritos, which is what bassist Incredulous and her cohorts in Ritos explicate here.
Hello! What’s the latest with Ritos from Aracaju, Brazil?!
Hello, Mauricio! We would like to thank for the opportunity to participate in this edition! We are currently working on spreading the demo Relatos Pagãos and the compilation Manifesto Negro - A Arte do Black Metal, where we are participating with more than seven Brazilian bands.
Is Aracaju a big city? Is there a good scene? What kind of jobs do you have? Tell us about Aracaju.
Aracaju is the capital of Sergipe, the smallest state in northeastern Brazil. It is a small city, compared to the other from Brazil, but as the city with better quality of life in the region. The metal scene is small here. We have a few shows, few bands, especially in business, few spaces for events open to metal concerts. Currently, we are all just students.
We're not doing shows for a while. Currently we have few spaces for concerts and this is one reason for the shortage of concerts here. Aeternus Actus Ater Corpus [drums] is a member of the [black metal band] Litany Ater. Into Black Metal, we can cite Ad Aeternum, Imperious Symphonic Noise, Mahanvhantara, among others.
Incredulous, tell us about yourself!
I play bass for nearly two years and had a greater identification with the instrument when I attended a black metal project called “Desdenha do Norte”. I appreciate the weight and fill the bottom gives the music. I joined Ritos in 2009. For nearly six years I hear metal and think one of the first bands that I enjoyed was Obituary.
Who writes the lyrics for Ritos? Did the same person write the lyrics for the songs “Yará” and “Guariní Caá”?
We work together through the music at home and then move into the studio. It is a very good experience! I very much appreciate the sound and the lyrics reflect the feeling of everyone in the band: exalt the pride of our ancestors.
Yeah, who wrote the lyrics of the demo "Relatos Pagãos" was Guarini Una [guitar], but Aeternus Actus Ater Corpus also had involvement of the composition. He also participated in the final review of the letters, along with Incredulus.
Aeternus Actus Ater Corpus, what is your view on your music?
I like to hear many things like heavy metal, black, thrash, death, a bit of doom, punk, grind, crossover and love blastbeats, but Ritos I seek other influences such as Indian music, African-Brazilian and folk to put them in my compositions that, going forward, mingle more and more extreme metal with these other types of music. Guarini Una generally brings the melodies. Sometimes I give a suggestion and then I imagine the battery and when we go to the studio put the ideas into practice.
Guarini Una, have you taken guitar lessons?
Initially I had guitar lessons, but just enough for some chords and gradually I discovered metal. I was at home studying the riffs and melodies of metal, but I intend to return to study at a music school to diversify my work.
Guarini Una, did you form this band? Are you and Aeternus Actus Ater Corpus friends from school?
Yes, I was the founder of the band, along with Aeternus Actus Ater Corpus and former vocalist Chaos Verin. Although Aeternus Actus Ater Corpus and I studying at the same school, we are not just friends, we are brothers. I do not have a band in particular that made me play Black Metal, but the fact that the strand of metal which had greater identification.
Are you history students? Do you speak any indigenous languages? Why are the lyrics not available with the cd?
We do not make school history, but we all like a lot of history and we are always researching various topics, especially those addressed in Ritos. We don’t speak indigenous languages, but tried to learn more those dialects, because the letters have small parts in Tupi [indigenous language]. The lyrics are not available on CD for financial reasons, because it would increase the cost of reproduction of copies, but all are available on the internet.
Where is the forest that you have pictured on the album?
On the cover we used an image of the Amazon forest; in the background we also believe it is the same forest, but we can’t say for sure. The only certainty is that it is Brazilian.
In school, do Brazilian students learn English and Spanish?
Yes, English and Spanish are taught in Brazilian schools, along with the other disciplines. We have knowledge of languages, but very little. We know the basic things to deal with the day-to-day. If the Brazilians want to deepen the knowledge in these languages, we need to look for specific courses.
What are your future plans for Ritos in 2010 and 2011?
We will continue to release the demo Relatos Pagãos. We are making new music and lyrics for the next material that will be more focused (sonically and lyrically), in Brazilian cultural roots. The material has no release date. THE END.
Susan Gerl (Holland)
Death metal guitarist Susan Gerl has executed axes for squads God Dethroned, Murder Syndicate, Cliteater, Desensitised and Catafalque. Considering that, recently this zine caught up with her, and as it turns out, there is a new flame on the horizon. In the meantime, here’s death metal to investigate!
Also, here is a list of the albums in which she has participated.
1994 – 2001 Catafalque
2001 – 2008 Desensitised
2007- 2008 Cliteater
2008 – 2010 God Dethroned
2008 – present Murder Syndicate
Catafalque - Your final ride (demo 1995)
Desensitised - Thriving on carnage (MCD 2001)
Desensitised - Bought Beauty (split CD 2003)
Desensitised - Virus of violence (CD 2006)
Cliteater - Scream bloody clit (CD 2008)
Murder Syndicate - Rage and Retribution (unreleased yet)
Hello, how are you? What are the plans for Murder Syndicate’s Rage and Retribution? Do you play only death?
Hi, Mauricio. Life over here is good and calm at the moment. The band I’m playing in at the moment is called Murder Syndicate. Wilbert (former singer of Desensitised) and I formed Murder Syndicate in March 2008 and recorded our debut CD Rage and Retribution in September of that same year.
However, when we recorded the CD we knew that our drummer Herman wouldn’t stay, so after the recordings our line-up wasn’t complete anymore which consequently put the whole band on hold.
In December 2008 I joined God Dethroned and my fellow Murder Syndicate bandmates understood perfectly well that that band was to be my priority. So in 2009 I focused full-time on God Dethroned, but when that came to an involuntary end early 2010 I recently met up with the Murder Syndicate guys again and we came to the conclusion that simply none of us were motivated enough to continue this band, because we had all done different things in the meantime. However, we are all 100% positive about the CD we recorded that we are promoting it again now and try to have it released soon, which is not an easy thing to do, especially these days, but we’re looking into more different possibilities at the moment.
I personally can’t imagine my life without (making) music so I started a new project a week ago J. I can’t really say that much about it yet, since it’s simply too early for that right now. At home I don‘t only play or listen to death metal. I also love Satriani’s music for example and practise music like that or try to play a bit of acoustic guitar (which I’m still rubbish at, ha ha!)
When did you begin playing guitar? How did that happen?
I started playing the guitar in ’93. My main reason for wanting to play the guitar was that I loved metal so much and wanted to be able to do the same as I saw all these other guitarists doing. Especially Carcass and Bill Steer have always been a huge influence to me. At school there was this group of metalheads I became friends with and of course me and my sister always went to gigs together (still do). One morning she told me that she had discovered a metal radio show the night before and I should have a listen. I did and was hooked to metal ever since.
Do you also do vocals, play bass and/or drums?
That’s a nice question, because I don’t think that many people know that I also used to do vocals when we just started our first bands. I did additional vocals and guitars in Catafalque and Desensitised. In Catafalque together with our bassist and in Desensitised together with our singer. I also play a little bit of bass guitar every now and then, but definitely prefer playing the guitar. And of course, I always try to become a better guitarist.
What guitar equipment do you use?
I have used pretty much the same equipment for the last decade: Boss pedals (Metalzone, Delay, Noise surpressor, tuner), a Bad Horsie wah pedal and my modified Marshall head and ENGL cab. I have 7 guitars: three 7-strings, three 6-strings and one acoustic.
Are you currently working at a day job? What do you do?
Yep, I am. I teach English at a secondary school for higher education.
What type of lyrics do you like? Cliteater had typical gore, horror/shock value lyrics. What are your own ideas?
I have written most of the lyrics for both Desensitised and Murder Syndicate. I usually write about everyday life situations, things I see around me or things that bother me.
Ha ha, the Cliteater lyrics are all meant tongue in cheek and therefore should not be taken too seriously. The line–up the band had when I played with them was really cool. These guys were very nice and kind and not sexist at all. This whole porn concept just fits the band well and is obviously liked by a certain group of people, but shouldn’t be taken too seriously.
What else do you have going on in 2010 and 2011?
I have a number of things in the works, but can’t really say much about them yet since these are all brand new ideas, but this year will be a year of redirecting my goals which will hopefully be realised in 2011J. THE END.