Thursday, November 22, 2018

Flight (review by MMB)

A Leap Through Matter
release date: November 23rd, 2018
label: High Roller Records
Lieutenant Colonel Kristoffer Bråthen in command of Flight, a Norwegian battalion, has considerable field experience in leading his troops through the perilous territory of modern classic-rock heavy metal, an area sieged on the left by hipster mercenaries and other hostiles whose allegiance is under suspicion, while encircled on the right by the chaotic forces of stoner bandits. The Norwegian battalion was first organized in 2012, and this is their second battle. On their second tour of duty these troops perform exceptionally well under direction of Lt. Col. Bråthen. From the beginning of this battle named A Leap Through Matter, they hit the ground running and ready to take on the targets, showing that their long hours of training are paying off.
The first target is called “Arrival” and it is an instrumental. They set the tone immediately. The cannons sound like real cannons, as they did back in the 1970s. The cymbals are loud and lively, and the sound strong, under the orders of Major Kickan. This assessment must not neglect the skillful work by Major Jonas Bye, whose low-frequency string artillery is a source of strong and steady rhythms in conjunction with Major Kickan. The high-frequency string artillery (under the orders of both the Lt. Col.; and Captain Kristian Ingvaldsen) deploy melodies and the good vibes, and the style of classic-rock heavy metal in a most genuine manner of conduct. If these troops can withstand the duration of the fire, then this will be a successful campaign.
After “Arrival” the question at hand is, what will Lt. Col. Bråthen’s command voice sound like? Will it be appropriate for the battle or will it wither under the stress of the fighting? The first answer is “One with the Sun.” The command voice is melodic singing and the Lt. Col. demonstrates a subtle control of his powers. Not a bark, not an air raid siren, the voice manages to be melodic while sounding human and real, and not too polished nor processed. It sounds remarkably appropriate for this 1970s-inspired engagement. The other highlight of “One with the Sun” is the expert deployment of the string artillery. Big, convincing riffs launched in abundance, and they make contact on the ground easily.
Does the battalion succeed at all times or does it face defeat in some places? Surprisingly, there are no defeats, no surrenders nor any low points at any time during the nine targets in question. The battalion’s movements tend to be uptempo and efficient, in compact swaths of territory conquered, but when the situation calls for different formations the troops are able to adapt very well in order to advance on their line of march. To be perfectly clear on the assessment, this directive takes into account all of the eight targets that comprise this battle, with a duration of 42 minutes and 02 seconds.
Surveying the battle as an overall plan of action, the Lt. Col. and his men have achieved a victory for themselves. They have served their homeland with distinction, and their families should know how these men have acted under the fire of the terrible trends of mercenary-minded and unscrupulous tactics of the retro and hipster rock that is currently a plague on our proud homeland of heavy metal music. How they have survived without succumbing to the pressures of the hipster mercenaries is a mystery, but thrived they have, and we thank them for their service.
Gentlemen of Flight, as you were.

Wednesday, November 21, 2018

the return of Blood Etchings (by MMB)

William Stoughton
In the Empire of Our Majesties William and Mary we have the pestilential threat of deceitful liars pretending to uphold the Faith in public while celebrating their Heresy in private. We must provide a solution to this plague.
The case in front of us is named Blood Etchings. The witchery magicians of Blood Etchings do not disguise their blasphemy. This is not Music that pleases Our Majesties, but a cacophony that reeks of the powers of evil and darkness.
Their new spell is self-titled and it was cast on the 13th of November of 2018. Truly the work of the Devil, they have the audacity to call their songs the most heinous and blasphemous names that anyone could ever imagine and that we shall not print here. Their work glorifies all forms of evil and will result in the people of the lands of Seattle to engage in evil like drunkenness, driving drunk, engaging in pistol fighting in bars, fornication, adultery, obscenities in abundance, violence of many forms, witchcraft, devil worshipping, crimes, pyromania, piracy, pillaging, pedophilia, kidnapping, animal sacrifice, witchery, and the celebration of legal murder in the streets of Seattle.
Our Majesties William and Mary will not tolerate this manifestation of black metal evil to corrupt the souls of Seattle.
By Order of this Court I command the authorities to drown this horrendous blasphemy. The wages of sin is death and the evil men of Blood Etchings and all of their unholy disciples must know that our sword will meet their heads at their neck. Our guillotines will quench their thirst with the blood of Blood Etchings.
Now that we have these men captured and under our power we must execute them swiftly in front of the whole city of Seattle so that every single soul can see how the Province of Massachusetts Bay upholds the Law of the Empire.
Take these men and whip them 666 times. Then impale them and then have them hung, drawn and quartered, and finally burn their corpses in a glorious fire, and let the fire remain for seven days continuously in honor of Our King and Queen.
After that, proceed to find any supporter of this blasphemy and have them suffer the same fate as their idols. Never let anyone find out how to procure the evil cacophony of the black metal of Blood Etchings.
This, I order in the name Our Majesties William and Mary.
William Stoughton
Chief Magistrate of the Special Court of Oyer and Terminer
Chief Justice of the Superior Court of Judicature
Lieutenant Governor of the Province of Massachusetts Bay

the return of Blood and Thunder (by MMB)

The bearland lords Blood and Thunder have now added a new chapter to their magnificent book of sagas. For those who have not heard the tidings, the bearland lords dwell in the hidden houses high in the treetops of the faraway lands of Arlington, and are rumored to possess the secret powers to transform into eagles, bears and squirrels. In countless battles in the course of many years, fighting against the armies of hipster confusion of the Northwestern realms, sometimes bruised, often fatigued, but never surrendered nor defeated, the forest lords have The Necromancer's Cantos as the new chapter in the sagas of their mighty steel. Confronted with the arduous challenge of trailing a new road to hail the masses on the other side of the woods of apathy and ignorance, these shapeshifting lords of the smelting furnaces have devised a new vision for the eyes of the people of the sword.
The new vision is named “The Deadly One” and it is now obtainable at the mercantile station YouTube. The people of the sword shall not find a better illustration of the sorcery at the hands of Blood and Thunder in the year 2018.
Better yet, procure the entire new chapter at the link below and inquire into the melodic death metal of Blood and Thunder. Hail, hail, Blood and Thunder, conquer the armies of Northwestern hipster confusion!
Blood And Thunder "The Deadly One" (OFFICIAL VIDEO)

Saturday, November 10, 2018

western Washington state concert calendar, updated November 10, 2018

western Washington state concert calendar, updated November 10, 2018
November 12 Raven, others at The Pin, Spokane, WA
November 12 As I Lay Dying, others at Chop Suey, Seattle, WA
November 13 Korpliklaani, Arkona, Siren’s Rain at El Corazón, Seattle, WA
November 13 Goatwhore, others at Tony V’s, Everett, WA
November 13 Dark Castle, Cult of Occult, Cloven, Old Iron at Black Lodge at Seattle, WA
November 14 Eyehategod, Cro-Mags, Philip H. Anselmo and The Ilegals, Child Bite, Theories at El Corazón, Seattle, WA
November 16 Ulthar, Hissing, Blood Atonement at Highline, Seattle, WA
November 16 Underoath at Knitting Factory, Spokane, WA
November 16 Noisem, Blame God, Bruceexcampbell, Gün, Pustulous at The Plaid Pig, Tacoma, WA
November 17 Neck of the Woods, Darkness Stole the Sky, others at McCoy’s Tavern, Olympia, WA
November 17 Opropos, Oxygen Destroyer, Overwrought at Make.Shift, Bellingham, WA
November 17 Headbang on the Harbor 2 at Raymond Theatre, Raymond, WA
November 18 Noisem, Blame God, World Peace, Impulse Noise at Highline, Seattle, WA
November 20 Behemoth, At the Gates, Wolves in the Throne Room at Showbox, Seattle, WA
November 21 Municipal Waste, High on Fire, Toxic Holocaust, Haunt at Showbox, Seattle, WA
November 21 Fister, Ilsa, Heiress, Foul at Highline, Seattle, WA
November 23 Skull Master, Renasentia, Devil Asylum at The Heavy Metal Brewing Co., Vancouver, WA
November 24 Blood and Thunder, Kill Closet, Massacre at the Opera, Darklight at Tony V’s, Everett, WA
November 25 Castle, Holy Grove at The Shakedown, Bellingham, WA
November 26 Uada, Dead in the Manger, others at Highline, Seattle, WA
November 26 Unearth, Fit for an Autopsy at El Corazón, Seattle, WA
November 27 Castle, Kings of Cavalier, Kömmand at Highline, Seattle, WA
November 28 Whitechapel, Chelsea Grin, Oceano, Slaughter to Prevail at The Pin, Spokane, WA
November 29 Whitechapel, Chelsea Grin, Oceano, Slaughter to Prevail at Showbox, Seattle, WA
November 29 Noceur, others at Le Voyeur, Olympia, WA
November 30 Crowskull, Fallen Kings at The Royal Bear, Algona, WA
November 30 URDR, Deathbed Confessions, Noceur at Hi-Fidelity Lounge, Bremerton, WA
December 1 The Faceless, Rings of Saturn, The Last Ten Seconds of Life, Vale of Pnath, Interloper at El Corazón, Seattle, WA
December 1 Sausage Slapper, Soul Shiver, Hated Neighbor, DTI & Ludivco at Getaway Tavern, Mountlake Terrace, WA
December 1 Wingfest 4: Odyssian, Casualty of God, Unhailoed, American Wrecking Company, Chaotic Shadows, Method 13, Maiden Voyage (Iron Maiden tribute) at Tony V’s, Everett, WA
December 3 Disease, others at house show, Seattle, WA
December 5 Yob, Thrones, Un at Neumos, Seattle, WA
December 7 Zepparella (Led Zeppelin tribute) at Tractor Tavern, Seattle, WA
December 7 Heartbreaker at Rocko’s, Everett, WA
December 7 Across 300 Seas, Morbid Fascination, Nihilist Nation at The Heavy Metal Brewing Co., Vancouver, WA
December 7 American Wrecking Company, Casualty of God, Cryptamnesia, Anchor Point at Jazzbones, Tacoma, WA
December 7 Morta Skuld, Petrification, Xoth, Aethereus, Dullahan, Kömmand at Highline, Seattle, WA
December 7&8 Hail Santa metal fest at The Highline, Seattle, WA
December 8 Harrah’s Void, Six Gun Quota, SWIL at The Heavy Metal Brewing Co., Vancouver, WA
December 8 Yob, others at The Shakedown, Bellingham, WA
December 8 Devastation in December: Infernal Legion, Oxygen Destroyer, Nocturnal Slaughter, Orator, Violent Hallucinations, Beyond Theory, Something with Teeth, Trojan Swamp Monster at Erebus, Kelso, WA
December 8 Judas Rising (Judas Priest tribute), others at Tony V’s, Everett, WA
December 8 Versus, Dead Crown, I Am Infamy, Designer Disguise, Vesuvian, No Home, Method 13 at El Corazón, Seattle, WA
December 9 Tengger Cavalry at El Corazón, Seattle, WA
December 12 Dilapidation, Noceur at The Valley, Tacoma, WA
December 14 Skelator, Weaponlord, Drägorhast at The Kraken, Seattle, WA
December 15 Dilapidation, Noceur at Black Zia Cantina, Burien, WA
December 18 Winds of Plague, The Zenith Passage, Entheos, others at Corazón, Seattle, WA
December 28 Zoso (Led Zeppelin tribute) at Knitting Factory, Spokane, WA
December 29 Bloodsoaked, Black Queen, Greyhawk at Highline, Seattle, WA
January 4 Chemical Annihilation, At the Seams, Trojan Swamp Monster at The Heavy Metal Brewing Co., Vancouver, WA
January 12 FÓRN, Worm Ouroboros, Isenordal, others at Substation, Seattle, WA
January 17 Ensiferum, Septicflesh at El Corazón, Seattle, WA
January 25 Hell’s Belles (AC/DC tribute) at Snoqualmie Casino, Snoqualmie, WA
January 25 Hell’s Belles (AC/DC tribute) at Knitting Factory, Spokane, WA
February 1 The Obsessed at Neumos, Seattle, WA
February 16 Keep Metal Alive Fest IV: Xoth, Witch Ripper, Gravewitch, Vile Effigy, Nocturnal Mayhem, others at The Charleston, Bremerton, WA
February 23 Soulfly, Kataklysm, Incite, Skinflint, others at Club Sur, Seattle, WA
March 22 Y&T at Club Sur, Seattle, WA
March 31 Uli Jon Roth at El Corazón, Seattle, WA
April 3 Fates Warning, Queensrÿche at Neptune Theatre, Seattle, WA
April 19 Washington Deathfest IV at Erebus, Kelso, WA
May 30-June 1 Northwest Terrorfest at Neumos/Highline/Barboza, Seattle, WA
June 9 Flotsam and Jetsam at El Corazón, Seattle, WA
October 2 Kamelot, Sonata Arctica, Battle Beast at Neptune Theatre, Seattle, WA
October 6 Delain, Amorphis, Anneke van Giersbergen at El Corazón, Seattle, WA
Metal Bulletin Zine
P.O. Box 1339
Lake Stevens WA 98258 USA

Thursday, November 1, 2018

interview: Lost Tribes of the Moon

Earlier this year the Wisconsin, U.S. band Lost Tribes of the Moon issued its self-titled, independent debut album, which came out on September 18th, 2018. You could say that they are a doom band, and that is factually accurate, but this band focuses on interesting compositions and they are very serious about the music that it is worthwhile to look into this as much more than a curiosity. The album is organized as follows:
1.Intro / The Rise and Fall of Midian 03:34
2.Wych Elm 10:09
3.Revenant 08:06
4.Ka-tet 01:36
5.Lost Tribes of the Moon 13:22
6.Outro / In Search of a New Midian 01:27
total time 38:14
As you can see, the songs are on the longer side of the spectrum. The music varies in mood, as the band rejects the monotonous slow one-dimensional approach so popular in doom in 2018 and recent years. The guitar work offers good riffs and melodies that are attractive to the ear; and in case it matters to you, the guitar tone is not stoner/sludge/drone, but more in line with classic Candlemass, Trouble or 1980s Black Sabbath, more or less, but updated, heavier for 2018. In other words, there is a heavy metal heritage at work, even though the music is firmly rooted in super duper doom heaviness. The guitar melodies sometimes point towards that bluesy style of classic doom, and the melancholic vibes are an important part of the music, too. Expect the band to surprise you by picking up the tempo to a nice, steady doom headbanging pace. Another crucial element to be mentioned is the fact the Wisconsin band prefers to have melodic, traditional, strong heavy metal singing that features a powerful set of lungs that carry a tune big time. You can try to sing along, of course, but you might find that you are embarrassing yourself by trying to keep up, but that is ok because you are alone anyway so there’s no one there to judge you. This is between Lost Tribes of the Moon and you, and no one else. Anyway, find out for yourself about the band in this interview. The band is Jeremiah Messner (drums), Jon Liedtke (guitars), Janine Rhode (vocals), and Ben Wright (bass).
Greetings! Who is answering this interview?
Jon: guitar
Janine - singer
The debut album is a good, quality recording. This is an independent album, right? It was recorded at Howl Street Recordings. Is this a studio in Milwaukee, and how did you manage to make it sound so good?
Janine - Howl Street is in Milwaukee and is our friend Shane Hochstettler. He’s a great engineer, a great drummer, and a great guy. Shane’s great to work with in that you can bounce ideas off him and he’ll have ideas of his own and it’s fine to try stuff to see how it sounds. He’s very relaxed and easy to work with on that front but he also is aware of time constraints and how to set everything up and keep things moving at a good clip. We paid for it ourselves.
Jon is also a great “master-planner” and he had the intro and outro mapped out with many different instruments. I ad libbed my violin and vocal parts in an hour or two, mostly after everything had been done already so I did have an idea of what was already there and what might stand out or blend in musically. So between Jon and Shane I think we were able to layer things really nicely.
Jon – Most of us have worked with Shane in our previous bands and he is the best person to work with around here for all the aforementioned reasons and more. He has had lots of experience working with heavy metal bands of all different genres but also has recorded a lot of music that isn't at all metal related. We value that almost as equally, because there's elements to our music (particularly the supplemental tracks on our album) that don't sound like metal, which makes it ideal to have someone behind the controls who understands music in multiple genres and not just within metal itself. It helps that we can call him a friend, because he allows for us to feel very comfortable while working with him. He has an excellent balance of professionalism and personable approach.
How long was the album in the making? Did it take a long time to find the right singer?
Jon: I started writing the music for what became the material for our debut album in late 2015. Once I had the compositions ready to share with a group, I started seeking out proper bandmates. By the time we became a live unit, we went though a couple of drummers until we got Jeremiah, our current drummer. Jacob who was the original bassist and recorded on the album, was around from the beginning of the process and left after the album to focus on his personal life. We had another singer originally, for whom we only did one show with. She didn't work out too well, and left shortly thereafter. We had a gig that we did as an instrumental 3 piece while still figuring out our future and after the show I realized that if we were going to continue with this material, that I needed to find someone who could do the music justice, or just abandon the material and try to move on in a different direction. I knew Janine from a couple bands she had been in around town, and I always really admired her range and powerful vocals. To me, she was the perfect fit. Coincidentally, she came to the show that night and while I didn't necessarily look at it as a “sign” I didn't hesitate to ask her right then and there to join the band. She really added a lot more focus and attention to the vocals for this band, and upgraded it from it's previous version. She stepped in pretty quickly and completely rewrote 2 of our 3 songs' lyrics and performed 2 big shows with us only after being in the band for 2 months! We recorded the music a little ahead of Janine just to get it out of the way and give her time to work up final versions of her lyrics and vocal patterns. From the time we started recording til the time we finished mixing and mastering was about 6 months so it really wasn't too long considering the time it took to secure a proper lineup and work up the material. It was all worth the wait though because we are pleased with how the album turned out.
Janine: I joined the band after the first singer left. I knew Jon from around and knew that he was a killer guitar player and nice guy. One night I wandered into our “home base” bar, Frank’s, to see a band. Jon came up and asked if I wanted to be in the band and I immediately said yes. So that was it, no auditions or demos or whatever. The songs and lyrics were already written, bur my singing style was very different from what she had done. For the title track, I mostly left what she had in place.
Are there plans to get a label involved with this album at this point? Would there be an advantage in getting a label involved?
Janine - No plans yet, but sure, that would be awesome to get label support, but we’re not psychos about it [laughs]. All of us know different people whose obsession to “make it” has made them more of a cautionary tale than anything. We do our music because we love it and people seem to like listening to us and we all have lives, families, careers, and interests outside of the band. That’s not to say we don’t give it our all on stage or even at practice, but we’re rooted in reality. And that’s actually a good place to be working from, in my opinion. We’re all mature enough to read the fine print and wait for something that will work for everyone and not allow what we do to be compromised.
Jon – As Janine said, we are realistic about our goals and expectations. We do however dream big, as any serious band should do, but fortunately most of us have been around the band merry go round more than once or twice before and thanks to those experiences (both good and bad) we are mature enough to not jump at the first sign of any label support unless it's something that makes sense and will benefit our goals. Proper label support is something we aspire to have and we know in order for that to happen, we need to establish our name. We figured that putting the album out ourselves and promoting it in our various grassroots forms would be a good way to start as opposed to recording an album and shopping it around until someone agreed to put it out. We probably wouldn't be doing this interview right now if we went that route! Speaking of which, we are currently working with Clawhammer PR to help promote our debut album past our own abilities. I've worked with them in the past, and they do great work helping a band get their name out to reviewers and various forms of press.
Speaking of the future, this is not a studio project, right? What are your plans for the rest of 2018 and for 2019?
Jon: We are all pretty heavily involved in this band as our main musical focus, and we've been making a conscious effort to get our name out there and make people aware that we exist. Our plans for the next year is to promote our debut album as best as possible and get out and away more from our hometown and play in some cities we have yet to visit. We've shared the stage already with a lot of awesome bands and it would be nice to go play with them in their own neck of the woods. It is also our goal to work together with this current lineup and develop the next bulk of compositions.
How would you describe the inspiration behind Lost Tribes of the Moon? What type of emotional connection might your music offer to people reading this interview?
Jon – My inspiration for this band musically was to take a sound that for lack of a better description had a doom rooted style but to mix it up with various other forms of metal from classic late 70's and early 80's stuff as well as some black metal and then add more progressive style song structures and formats. Theme wise, the band was initially inspired by the Nightbreed comic book series based on the movie and concept by Clive Barker. We're all big comic book fans, and to me it seemed to serve as a good theme to start with songs based on mythological creatures and dark tales. It seemed to fit the sound of the music quite well to me. I think the music we have currently represents feelings of loss as well as gain but at a cost along with a sense of wanderlust and deep-rooted feelings of uncertainty and wonder.
What can you tell us about the lyrics on the album? Lost Tribes of the Moon certainly sounds like a cool title, but is there an overall concept at work on the album? Are the lyrics the work of several people or just one person in the band?
Janine – The songs were written when I joined. I had a very different singing style than the last singer so I wanted to write them how I sang naturally. I also didn’t like the idea of just using what was there already. The title track I left alone save some additions and edits, but on the other songs, those lyrics are all me. Lost Tribes of the Moon is actually from the Nightbreed comic series. The very general overarching theme that we work with is from the Nightbreed universe. We were actually lucky enough to get artwork from Martin Mercer who worked on that series. However, I like to put layers of different meanings in each song. Being a big ol nerdy Maiden fan, I gravitate towards historical and mythological themes.
Jon: While The Nightbreed theme served as a main inspiration and catalyst for the themes of this band, we don't feel it necessary to stick to just that, rather to open the window further into other themes of mythology and dark tales. Janine has really helped stretch our lyrical universe since joining the band and helped add more layers to our themes.
How much live work has the band done in Milwaukee at this point?
Jon: We've been playing out as a live band since Sept. of 2017, but we've played 15 shows already in that time, so we do like to get out and play. We've all been in a number of bands in the past, but I started writing the material for this group in late 2015, and after some lineup changes, was able to achieve the lineup that currently exists, which I believe is the best suited one to progress and move forward as a unit. A few shows have already been out of town and moving forward we will make that our primary focus for playing out.
How did your singer discover that she could sing?
Janine – In grade school they lined everyone up and told us we had to pick a music class to be in – choir, band, or orchestra. I tried to get into choir since that’s what my friends were doing but the teacher told me I couldn’t sing because I’d never had a choir class before and I got put into orchestra. I did alright playing violin and actually got a scholarship to music school but the competitiveness of that scene was a real bummer to me and I got more involved in sculpture and visual arts. Meanwhile, I grew up singing along to the radio and my parent’s record collection. It’s just something I always did. Later on I jammed with a handful of people but nothing that ever made it out of the basement. I used to do karaoke with some friends in the basement of a VFW hall and I realized “I don’t suck at this”. I didn’t have any luck finding any heavier bands to play with and needed a part time job during school so I joined a 70’s cover band and did Heart, Joplin, Carole King, Pat Benetar, that sort of thing. After that, I started being able to find bands that I could work with and here we are.
Your guitarist Jon Liedtke has several music degrees? Could you tell us about what music Jon has studied? Is Jon currently involved a bunch of other music projects?
Jon: I took private lessons when I was younger and learned scale shapes and chords and how to play solos. When I was 14 I got a subscription to Guitar World Magazine and it helped me learn a lot of different guitar skills from some of my favorite guitarists. I started off when I was younger progressing through more extreme forms of heavy metal and playing in various types of metal bands.. Later on I took a 90 degree turn and got really into blues and old rock, especially prog rock and psychedelic. I've also always had an interest and involvement in experimental/noise music as a different way to exercise my musical brain. In my later 20's I went to college for music, and it really helped me fill the gaps of things I didn't understand or care to know, and it opened up a lot of newer avenues to approach music. I studied a lot of jazz and classical and learned a lot of new methods. Lost Tribes Of The Moon is my main musical priority. Even though I've played in a lot of metal bands over the years, I was never able to start my own and create a sound from scratch. I wanted to do a band like this, because I felt like it allowed for me to use a wide range of influences and writing techniques. In prior bands, I sometimes was only able to use certain specific types of influences and writing methods because that's what suited best, but in this band I can use more palettes of style than any band I've ever been. It took a lot of work to get the band to this point and I realize how lucky and grateful I am to have gotten this far and to have this amount of talent in our lineup, I don't want to take that for granted. I'm pretty excited for new material, because it will be approached at as a group effort from earlier stages in the writing process.
Now that the album is finished, what does it feel like to finally have it all done? Do you worry about whether enough people will get to hear it? If you could tell a new listener some words of advice or preparation for listening to Lost Tribes of the Moon, what would you tell them?
Jon: There was definitely a feeling of relief when we finished putting the album together, because even though it's our debut album, I've been with this process since I started writing the material 3 years ago, and it felt like a very important end to the first chapter in this band. I think it also set the tables for an exciting start to the next chapter for us. I think we've made some good decisions on getting the word out about the album so far, so I know if we keep doing what we're doing, and continue to play out more, that we will get our name out there and hopefully the music will do the talking for us. If I were to give any advice to a new listener, I would tell them that this music may sound like a lot of things that might sound familiar to you if you've ever dabbled in late 70's and early 80's metal, but there is also some black metal and progressive influences in the mix. Our music is a culmination of influences that go beyond those sounds as well so expect to hear a doom style sound of metal but upon intent listening the layers of multiple influences will unfold to show our uniqueness.
How can fans support your music?
Jon: We currently have our debut album out now on CD and digital download. You can listen to our music for free on our Bandcamp page, and if you like what you hear, you can purchase a digital download or CD from there. Here's the link.
Thank you for your time!
Jon: Thank you, it was fun answering your well-thought questions!