interview with Landmine Marathon

Landmine Marathon (U.S.)
“Gallows,” their fourth album, continues the mission:
Landmine Marathon plays death metal.
Not “technical funky free-form death metal,” not “melodic death metal with clean vocals and a bit of hip hop” and not “death metal with a country twist and pinch of swing.”
No. Just death metal.
This band probably loves Bolt Thrower and Dismember a lot, who knows.
Some 29 minutes of raging death metal growling and in-your-face riffing and drum attack: 8 songs in which Grace Perry growls and screams like crazy.
For some stupid reason, people keep complaining about things this band does not do. Somehow, some people have gotten it in their heads that they should give “advice” to the band: That they should be more melodic, that should not be so “noisy” or that they should include more “variety” into their music.
Well, go listen to bands that do then! What the hell is wrong with people?!
Landmine Marathon plays death metal.
Put this music on and bang your head and growl along or air-drum or air-guitar along. www.landminemarathon.com
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Metal Bulletin zine inquired and Ryan Butler (guitars) responded.
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Congratulations on such a rocking album!! I have been enjoying it. What have y’all been doing? touring, making videos, interviews, street fighting, meditation?!
Haha, thanks! Since the record came out, we did a US/Canadian tour with Warbringer, Lazarus A.D. and Diamond Plate. After the tour, we had to deal with the daunting task of finding a new drummer, as Andy left the band.
After a month or two of searching and auditions, we decided to work with Raul Varela (Impaled, Ghoul, Morbosidad, etc.) and we just played our first show with him Monday night! The show went very well and we are all really excited to be working with him.

What level of success does Landmine Marathon have at this point? Are you able to tour and come out of the tour NOT owing money ? You have been at it since 2004, correct?
Landmine has been a band since the tail end of 2004 and I joined in September of 2006. We're generally at a nice break even point and usually come out of a tour not owing too much money, which is awesome. We all find ways to pay our bills and spend a decent amount of time on the road.

I have noticed that some people keep complaining about how your band is not melodic or “catchy.” Do these people think that you are part of the same trend as Trivium, Bullet for My Valentine and those bands on that magazine Revolver? Is there a misunderstanding there?
I don't know. I see this stuff a lot and it makes me laugh. I think part of it may be that we tend to get a lot of mainstream press and that's what most the kids involved with those mags/blogs/messageboards are exposed to. I, however was raised on a steady diet of Crust/Death Metal/Punk and actual metal and Landmine sounds exactly how I want it to sound. On the other end, we get crusty kids often saying that we sound too clean and polished. Can't win either way.

Did you use to be a hardcore band or something?!! Maybe you have gone on tour with those bands that have those “I-just-got-out-bed” haircuts?!
Um, not that kind of hardcore. No. I spent a lot of time in Grind bands, hardcore bands, and DM bands etc. I've done time in the likes of Unruh, Wellington, North Side Kings, Structure of Lies etc. But, no, my hair has never had the "windswept" look. I'm influenced by Disrupt and Entombed, not Asking Alexandria and The Devil Wears Prada. In fact, there's not really much music in the last 15 years that has even had an influence on anything I write.

You show some different skills on the longer track “Knife from my Sleeve”! Death metal, plus some really heavy moments of “death doom,” then uptempo speeds, a really nice guitar solo, and blasting!! Is that guitar solo your tribute to Entombed’s doom/guitar solo moment in the song “Left Hand Path”?!
We always try and have some Bolt Thrower parts in there, as early on the band was heavily influenced by them. We've come a long way and gotten a little crustier, but we try and keep some of that majestic doom feel they're notorious for. “Left Hand Path” pretty much plays through my head continuously on a daily basis. Man, every interview seems to be about our influences lately! haha. At least you get it.

Are the drums that we hear the real drums that were recorded or are they “enhanced” or “replaced” with a computer program? Metal drums in the 80s and early 90s seem to sound better? Do you decide on your drum sound or someone else, like a producer?
Well, I've produced everything Landmine has ever done. “Wounded” [the 2006 debut] has no sound replacement whatsoever. Just some automation. The kicks on “Gallows” are sound replaced with samples of real drums, but there's not really any Beat Detective work. What he played is what he played. The snare has a sample of Andy's actual snare blended in with his snare mic, but the mic is there. It just helps keep the dynamics steady for blasts, etc. Works better than compression/automation and is sometimes a little quicker and less intrusive than doing full automation. We're not going fully raw, but do like to keep a nod to the old school with our production. There was a lot of sound replacement going on in the 80's that people don't realize.

On your songs, have you done any looping [cut and paste] of the guitars, or are you actually playing the guitars all the way through the songs? Does Grace actually do the chorus every time or is that looped to “save” time and money?
There's no guitar looping unless we had to fix a mistake that we missed. Grace pretty much sang everything, but there were some times where she couldn't sing anymore where we may have pasted a line from a chorus. She spends about three hours on each song. So, it's the real deal.

“Cloaked in Red” is an example of the different vocals that Landmine Marathon uses: a higher, semi-black metal scream (the beginning of the song); and a lower growl (starting at about the 1 minute mark). Is that all Grace? By the way, I like the drum roll that Andy does in this song. The guitar “solo” is really short. Why?
That's actually the only song we wrote before we wrote the record and it was written for a split that never happened. Supposed to just be a short crusty rager. We weren't going to put a solo originally and decided to later.

“Morbidity” closes the album with a midtempo and uptempo pace, with some (maybe?) Bolt Thrower-inspired hooks! I feel like on this song, the double bass sounds weaker, more in the background. Have you noticed this? At any rate, it’s good album closer, before I go back to “Three Snake Leaves” and start it up again!
Hmmm. Should be the same levels on every song! I'd have to open up the sessions and look! I may have automated it down a hair due to there being so much double bass, but I don't think I did. This song is on our list of ones to learn and try live.

Thanks for the interview!!! THE END.

Evil Hedgehog, Hatred, Leproso

Evil Hedgehog (Germany): Rising
Evil Hedgehog plays traditional heavy metal with a heavy-riff style and gruff heavy-metal singing.
This type of heavy metal—due to its heaviness and overall attitude—has the potential to be liked by all those into upfront, rocking heavy metal, but that do not want to hear all that happy-happy, keyboard-ish traditional metal with high singing. These vocals sound like clearly-enunciated semi-growl, but that does sound like singing. The vocals are different, but pretty biker/street metal or burning-throat style.
These six songs are pretty catchy since the guitar, though heavy, it’s not chug-chug, but has hooks or licks in a headbanging style. This guitar work practically demands headbanging or some kind of movement. It’s not look-at-my-flashy-guitar-playing style, but rather c’mon-and-bang-your-head-and-don’t-stand-there-with-your-arms-crossed-acting-like-you-are-too-cool-to-get-into-it style. It’s such a good vibe and one that comes straight out of the book of heavy metal!
All six songs go for uptempo songs that are meant to make a metal person feel good.
www.myspace.com/evilhedgehogrising

Hatred: Sweating the Sickness
Hatred plays thug growl chugging music where the thick-riff (Pantera, Machine Head, Fear Factory, Sepultura (Chaos/Roots) guitar sounds are plentiful, and midpaced drumming that’s meant to be heavy, rather than flashy.
Mosh, punch the wall, kick the curb and slam are the main things this band would probably like the listener to do: they go for a major chugging sound, where things are heavy and basic so that everyone who listens knows that the band wants them in the pit.
The band curses a lot, for the effect of “tough guy” music and so expletives are issued rather often, though maybe not as much as in some rap, etc.
This zine has no further information about this band. A person that this zine knows has said that this band is from Texas, maybe Houston, but we don’t remember for sure. And we can’t locate them on the internet, either, wtf.

Leproso (Illinois, U.S.): Demo 2008 Entre las nubes y la oscuridad
Six songs of “old school, brutal death metal” from this Champaign, Illinois band’s demo: basic-sound quality, guttural vocals, mosh-death riffs and drumming (midpaced) for the heaviness of “brutality.”
According to their myspace, their debut album will be released this year, so keep in mind that this is a demo from January 2008 and it gives only a rough idea of the music.
Leproso is not a blastbeat death metal band, but midptempo-uptempo, mosh-riff centered music. Of the six tracks, three are around the four-minute mark and three close to the eight-minute mark.
Leproso is a bit of a curious beast. Three songs stick to the death metal plan of action: “We play brutal death metal and that’s that.” The other, longer three are also that way, but there are other elements (doom, semi-melody, etc.) that make the songs different from each other.
From their myspace, one can conclude that they have new songs. You might be interested to know that the sound quality on those songs is much better and the songs come across in a clearer fashion. Actually, they have been improving their work and it definitely shows in the tight delivery. While keep it death metal, they have improved the musicianship and songwriting. www.myspace.com/leproso61820

Celestial Immunity, Christian Holocaust, Engaged in Mutilating

Celestial Immunity (Greece): Lost in Shades
Celestial Immunity is not loyal to any particular style, though there are influences and shades of thrash, death, heavy metal, etc. This is the type of band totally not interested in any discussions about staying “true” to this or that genre. Mostly, they practice their craft and if it will mostly sound different to different people: thrashy to some; closer to death, for others; still others will hear the very early Gothenburg rough combination of growling, thrashy riffing and melodic hooks.
At this point in the band’s history, the band uses only growling and no singing, though with this style, it is often the case that such bands begin to feel limited by having only growling. In some of their songs, they have moments where they show a different, more melodic.
“The Dream Fades,” the last song, is their most memorable song. This is where the guitar riffs and hooks go the furthest in creating for Celestial Immunity their sound. The very early days of Gothenburg will come to mind for some, and it’s probably not an accident that the band has channeled their music in such melodic and even semi-melancholic directions, with growling and with a brief spoken vocals moment.
But really, all their songs lean towards that general direction. For example, “Skin” has also those basic components and they like to work them out into a concoction of their own, on their way to taking their metal in directions that no ones knows where. Though the growling might turn off some people, the music itself, while still very energetic and thrashy, it’s not part of the death/black subgenre and can attract a broader interest.
Now, will you give the band a chance and check out their music? They are probably not going to be on U.S. television any time soon, being interviewed by three clueless men asking insipid questions to “stump a trunk” or discussing “all things hard rock and heavy metal” or something like that.
Plus, wouldn’t it be nice to hear an actual new band?
Five songs, 23 minutes.
www.myspace.com/celestialimmunityband

Christian Holocaust (Maine, U.S.): Christian Holocaust
Only those into the super lo-fi, necro, cave, total garage black metal attack will be interested in such a band.
The rest will say that they don’t even know how to play their instruments, that they can’t even keep a beat. Stop reading now, and make a note to self: “Avoid necro black metal band Christian Holocaust.”
OK, those into sloppy, badly recorded and devils-and-demons black metal, please step right through here, where the entrance to the cave of Christian Holocaust is located. This band rolls around in their own ugliness and biblical topics of devils, damnation and death so as to saturate every song their recording (which as already mentioned, has rough demo sound quality) with as much black metal elements so as to drive away those who don’t like black metal.
www.myspace.com/christianholocaust

Engaged In Mutilating (Texas, U.S.): Population: Zero
Whether it is the attraction to ridiculously aggressive, fast music, or the musician’s perspective of hearing dazzling drumming and fast solos; or the desire to hear chaos that in many ways goes against the basic rules of music by hearing anti-lead singer rock star vocals or anti-melodic guitar/drum work.
Whatever the reasons may be, the fact remains that technical, blasting guttural death metal as practiced by Engaged In Mutilating flies in the face of not only the rules of why most people like music (a melody, a chorus, something they remember, a lyric, a voice, etc.) in general, but also against the rules of why many death metallers like death metal itself.
Cannibal Corpse, Death, Obituary, Morbid Angel, etc. all have melodies, catchy riffs that attract people to headbanging, etc.

On the other hand, technical, blasting guttural death metal does not.
For example, listen to this band’s cover of Pestilence’s “Out of the Body” and hear the gulf that separates Pestilence from Engaged In Mutilating: Pestilence’s music sounds very traditional: chorus, melodies, catchy, etc.
Engaged In Mutilating’s own songs, however, are a whole different kind of entity: overwhelming heaviness and blasting speed; completely undecipherable gruff, guttural growling; not memorable guitar riffs because they just pile after another in ridiculously fast succession creating a barrage of complex noise. Nice, indeed!
www.myspace.com/engagedinmutilating

Abyssal Throne, Ancak, Antropofago, Arcanum Inferi

Abyssal Throne (Canada): Abyssal Throne
“Abyssal Permutation” (5:25) is certainly a strong start: a sharp-riff, blast attack death metal to cause an immediate circle pit and headbanging. The low, guttural vocals, the ridiculous blasting drumming and the overall vibe is good. “Sounding the Brazen Horns of War” (4:23) fundamentally settles it: that first song was no accident. There is a seriousness of musical purpose that’s obvious. “Godhead Abolished” (4:47) displays the three keys to their sound: intense, blasting drumming; good, speedy riffs/good soloing; and guttural vocals, with some black metal moments. Therefore, “Perfection Sought through Putrefaction” (5:25) is just further punishment and musical muscle. By this time, you know what to expect, and the band would be ashamed to disappoint give you anything other than what they do best: blasting death metal for those that like their metal fast, intense and aggressive.
This recording sounds pretty good: the band probably would like a bigger-budget recording, but the truth that on here you can already hear the diligence in their delivery. www.myspace.com/abyssalthrone

Ancak (Malaysia): M.A.H.A.
Black metal grind destruction race to the finish.
In the space of six songs (time), Ancak manages to infuse enough throat-abuse shrieking and screaming to satisfy the craving for really noisy, fast, blasting black/death/chaos metal:
Fifteen minutes of very annoying noisy, grindy black metal. It is so annoying you have to go back and play it over and over until you end up trying to scream in even more annoying ways than these psychos when you find yourself in the shower. Now, instead of doing your best S.O.B./Darkthrone/Napalm Death/Nasum/Repulsion/Bathory screaming, Ancak will occupy your brain for a while.
Ancak has achieved true unagi, the perfect state of chaos awareness, to be ready for any attack.
www.myspace.com/ancak

Antropofago (France): Antropofago
They have a song called “Barbecued Baby Back Human Legs.”
In about 12 minutes (four songs) of blasting, violent, savage aural attack Antropofago is universal: if you like straight-ahead brutal, blasting death metal.
Giving the listener an intense experience that is the musical equivalent of a pummeling or making the death metallers at their show feel the music so well in their bones, their brains, their bellies, that have to react in some sort of mosh, headbanging or some movement.
Yes, they have a bit of technical edge, preposterous drumming, a wingnut for a bassist, a mad butcher for a growler, etc., but mostly they do a good job of destroying their instruments until nothing is left but debris.
Sure, Antropofago is a band for blasting death metal enthusiasts. www.myspace.com/antropofagometal

Arcanum Inferi (Italy): V.I.T.R.I.O.L.
1. “Caput Mortuum” (3:25): There is no point in disguising their hunger for the transylvannian black metal: the guitar riffs, the vocals, the drumming, it all says, transylvannian or nothing at all. Forget good production, eclectic sounds. They have found a spot, they will stay there, rain or shine, and just play that lo-fi black metal in their cave.
2. “Obscura Nox ad Inferos” (4:44): The vocals sounds like two grim black metal twins are shrieking into my ears. Just nasty, nasty lo-fi sounds at high speed with circular riffs that seem to repeat over and over seeking the trance of speed.
3. “V.I.T.R.I.O.L.” (5: 28): This song sounds similar to the second song, which sounds similar to the first song: multidimensional this is not. There is only road they travel: the path of raw grimness and unfancy, dirty black metal.
The sound quality is good, but of course, this is no fancy proposition, but strictly corpsepaint-spikes-grimness-and-traditional black metal. For example, the drumming is very much in the transylvannian feel. At this point, Arcanum Inferi is strictly a proposition for the total lo-fi, raw, no-production black metallers.
Three songs, then it’s over. Go back to track one and listen to this demo again.
www.myspace.com/arcanuminferi

Nuclear Beast (Hungary), Siknis (Finland)

Nuclear Beast (Hungary): Promo 09
On the cover a giant monster, denim-jacket, baseball cap-flipped, torn jeans and high-tops shoes wearing thrasher/skater monster vomiting on little people running away from him.
When you hear this band, it is possible you will want to run away. One of the songs is called, “Drink, Fuck, Kill, Satan!” just by the title tells you what level of thinking is going on. It’s the band sort of admitting that their music stays at the loud and obscene area. It’s bunch of drunk people, messing around in the garage, having fun.
Whether it’s fun for other people, that’s not so clear. It’s difficult to figure out what’s going, besides just a “thrash!” garage sound. Anyway, it’s a rehearsal-style recording more than anything.
www.myspace.com/nuclearbeast



Siknis (Finland): Twisted Mind
Murder.
Evisceration,
and a name like this, you can imagine that these people are not right in the head for these three songs (total time of less than twelve minutes).
Just listen to “IQ Less than Zero” for proof.
This is midpaced and it’s not total nonstop blasting, rather they emphasize their songwriting: these three songs do not move at a frantic pace, but a rather midpaced for the “brutality.” The vocals sound like a couple of people screaming and growling at the same time. The growling is pretty low, often accompanied by a higher, shriek vocal style. This approach works for the band and gives them a bit of identity in that respect.
So, it might be a surprise to find out that they have some guitar work that suggest some melodic moments: here and there, you can certainly hear that the guitar work goes for more than just the chugging heaviness: while “melodic”
might give the wrong impression here, but they have created songs with some hooks or ear-friendly moments.
And this makes for a bit of a different combination. And that’s Siknis. This demo is no fancy-schmanzy recording, but you can hear what they are all about.
www.myspace.com/siknisband

Book of Sand (Minnesota, U.S.)

Book of Sand (Minnesota, U.S.)
The album How Beautiful to Walk Free (HBTWF) presents raw, minimalist black metal with its own peculiar vibe through lo-fi, raging sounds. The creativity of the music is the most appealing aspect: if you enjoy raw, personal raw black metal with a certain tinge of the x factor. As you will read here, there’s a certain type of left thinking that drives Book of Sand. Should be interesting, especially if you are tired of macho posturing, homophobic ignorance.
This interview gives a bit more information about the music and Daniel, who answers the questions here.
www.myspace.com/bookofsandmusic
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How have people reacted to How Beautiful…? How to get a copy?
I've received some positive and some negative reactions, but mostly apathy. Aquarius Records in San Francisco has some copies left, or people can contact me to get a copy. I have a myspace page, and I give an email address. I've also put it up as a pay-what-you-want download. A lot of people seem to have pirated it; I don't mind, but it'd be nice of them to give me a few dollars for my work.

Are the lyrics available?
For now, I'm not going to publish lyrics. I make my beliefs and subject matter clear: opposition to hierarchy and oppression, in all forms. So, most of my lyrics revolve around veganism, anti-fascism/anti-racism, radical feminism, anarchism, etc. I also support voluntary human extinction, and some of my tracks deal with this. A few of my tracks are about non-political topics, but I'd prefer to keep those private. Rather than make my lyrics public, I would like to encourage anyone interested in the ideas to do a little research. These are problems too complex to be usefully addressed in a five minute black metal song, and I have no illusion that I'm a brilliant political thinker.

Who are the people playing the instruments?
On the first album I played guitars, bass and did the vocals. I was fortunate that a friend was willing to record the drum parts. I'm not a drummer and I don't like, for my own work, the perfectly precise drum machine sound. HBTWF had only guitar, bass, and drums, but used many layers for each track. Some of the songs have 12+ different guitar parts. For the material I'm working on now I'm adding other instruments: cello, nylon-string guitar, toy piano, flutes, unusual percussion...I play all the instruments except for drum kit.

Is a band like Immortal or Marduk too polished for your black metal?
I don't mind a more polished production if the music is engaging, which I don't find to be the case for Immortal or Marduk. I think polished and raw approaches can both be appropriate. For Blut Aus Nord or Sigh the clean, bombastic sound makes sense; for Dead Raven Choir or Bone Awl the totally blown out and harsh sound is great. HBTWF had a very raw production intentionally, and some of my new material will have a clearer sound. The sound of the recording should be chosen to fit the musical material, not to fit some nostalgic idea of authenticity.
I'm a reasonably competent audio engineer, and so I do my own recording. It doesn't take much money nowadays to get the equipment to make a decent sounding album, and I have so many layers to record for each song that studio time would be prohibitively expensive.

Tell us about “hidegen fújnak a szelek.” Is English your native language?
“Hidegen Fújnak a Szelek” is a well-known Hungarian folk song, and the title means "cold winds are blowing." The song is about a yearning to be free; I heard a recording that I thought was very nice, and I wanted to do a version. Some Eastern European folk songs have such strange and wonderful harmonies. English is my native and, unfortunately, only language. For my recording of Hidegen Fújnak a Szelek, I learned the lyrics phonetically.

“When We Are Gone, the World Will Be Awash with Light” is a 13-minute-plus song. What is it that you envisioned for this song?
To make the track as complex as I wanted, I needed the time to let the ideas develop. The first half is based around the permutations of a tone row and a separate rhythmic row, and the second half applies a simple procedure to a short melody. As with most of my music, I wanted the song to be a peek into a strange, unfamiliar world with its own alien logic.
Lyrically, the song is about human extinction. It took maybe a week, doing a few passes each day, to record. In my opinion, it's the best track on the album.

“No Flags” is your expression of disgust with imperialist nationalism?!
“No Flags” is in opposition to ethnonationalist pride, particularly regarding cultures of European origin. Expressing pride in one's standing as a member of a socially dominant group necessarily entails marginalizing minorities and oppressed peoples. This is, of course, an inextricable part of imperialism and all the atrocities that follow.
There is no white pride without racism, and there is no national pride without xenophobia. Unfortunately, America has so much of both.

Is “Destruction, Not Reformation” a statement of your music’s “anarchist, feminist, vegan, anti-racist and anti-nationalist” views?
Destruction, Not Reformation is in response to the idea of "reforming" the meat industry, the government, the wage system, gender roles, etc. If a system is based upon oppression, no significant reform is possible.

Is “No Excuses for Fascist Sympathy” a new song? Is “extreme metal” to some people, something linked to fascism, to the “true,” “cult,” macho, homophobic, sexist, racist, nationalist image?
“No Excuses for Fascist Sympathy” is from my second album, which I hope will be released sometime later this year. Fascist-fetishism seems to be a common element in extreme music, generally, in America and Europe–not just black metal, but also power electronics, avant-folk, industrial, so on.
Black metal frequently caters to white, disaffected young men who feel powerless and want to feel powerful. I think both fascism and satanism/occultism speak to this desire. The lure of satanism is that one could become a strong and powerful individual through the rejection of one's community, and the lure of fascism is that one could become part of a strong and powerful community through the rejection of one's individuality. Opposite approaches, but the same urge. To me, both are idiotic and suicidal.

The above song is not on this album, so will it be in your next one?
Yes, that song will be on my next release. I'm also working on a split with Seth Ryan (power electronics), an ep of adaptations of folk songs, and the beginnings of a third full-length. I'd like to do some more splits in the near future. Working quickly seems best to me, right now, and I plan to be productive this next year.
Thanks again for taking the time to do this interview! THE END.

Exile (Jordan)

Exile (Jordan)
With their four-song recording called Dead Thrashers Rising the band Exile are furthering their metal campaign in the Middle East. As Nader (vocals/guitars) describes here, it takes dedication to walk this path in particular.
“Ignorant Is What You Are” is a very bang-bang total thrashing number: it’s all about putting the right energy to work. Next, “Dead Thrashers Rising” speeds up a bit, sounding mean, with more intense drumming. This song goes for power. Wait, “Killing Storm” is another scorcher! Guitar solo, energetic drumming, catchy, and just what the doctor of moshing orders. Next, “Living Hell” is the last one: also an uptempo, street-metal energy number.
The sound quality on here is certainly adequate for this style of music. Now thrashers, hear this band; they are doing their best to win people over. Who argue with that?!
www.myspace.com/exilethrashers
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Hello! How long have you existed as a band?!
Hi, first of all we'd like to thank you for this interview and for your hard work :)
We, Exile formed back in 2008 when I (Nader) and Hassan started to think about playing thrash covers, but we never did that hehehe because I already had a couple of songs ready to be played as a band so we met Tayyem (the drummer ) and the band was formed :)
As for the recording, we recorded half of the songs in Tayyem's basement and the other half in his balcony, and we have a friend who knows about sound editing and stuff, so he recorded the songs, his name is Ala'a Hamdan (Symphoqueen Productions). It was hard because we used simple equipment; however, we gained a lot of experience and we hope to make a better quality in the next album that we are working on.

How did “Ignorant Is What You Are” originate?
Well, I used to watch T.V., and I realized that everything is a lie from the news to the cartoons hehe, really!!!! And what inspired me the most were the news and the silly American series and shows that flow on your screen at home everyday (I prefer not to mention names).

Is “Dead Thrashers Rising” your metal declaration? What of “Killing Storm” and “Living Hell”!!
Heheheh.... actually it’s a funny story, you know when you live in a normal society you will see many different personalities, but here in Jordan, 99% of the society are the same... uffff. So when I was at class in college, I can’t remember what happened exactly, but what I remember that I was mad at the idea that I am kinda strange among my classmates and they were looking at me like I was a barbarian or a caveman. So I started to write the lyrics hehehehehehehe, and no.... I don’t see metal like that, metal music is something that I can’t describe, it gives you strength, and makes you think about what's going on around you, in short words, it makes you free :)
“Killing Storm,” it’s about a part of the war in Gaza (Palestine), when Israeli Army attacked Gaza with phosphorus bombs which are internationally illegal.
“About Living Hell.” It's about pollution in general in the whole world and how we get out of control because of the massive destructive industries and how it ruined our lives and the generations after.

How long has Tayyem been drumming? And Hassan, bass? Does Nader write the songs with Tayyem and Hassan?
Tayyem has been playing drums for 5 years now. He is a skillful drummer, and he's doing very well in the band. Hassan has been playing bass for three years now, but he left the band due to his work in Kuwait, and we found a good replacement (Ibrahim) who fits the band greatly. Well, mainly I write and make the riffs, but when we are in the rehearsal room we compose the songs together as a band. Everyone has his own influences and his own touch, and we all know that Exile's songs have to be fast, aggressive and thrash :)

Are all your lyrics in English. Will you ever have lyrics in Arabic?
Yes, of course they are all in English, because metal music is a global culture, and we want our songs to be heard and spread, and I don’t think we will make a song in Arabic, I never thought about that, but I don’t think so.

How is the metal scene in Amman and in Jordan in general?
I feel sad when someone asks me this question, the metal scene is FUCKED UP in Jordan, there is no live shows because it is prohibited by the government, they still think that metal music is a devilish, outer and weird music. So we rarely play live shows (once a year if we were lucky!!), as for Exile, we have never played a gig in Jordan!!

What are some other metal bands in Amman and Jordan?
As I mentioned above there are no shows :- ( ; and here in Jordan there are bands, most of them they call themselves bands, but actually they are not, and a few bands are really good such as Dragonrider (heavy/power) and Tyrant Throne (death metal).

What do your parents think of your music?
Well, they don’t consider it music they think it’s all about screaming and devil worshiping because we live in a reserved closed (in his own way) society that have their own culture and traditions, they don't accept anything bizarre.

Were there metal bands in the 1990s in Jordan? in the 1980s?
There were a band called Mega Power in the 80's and Virgin Killer and X in the 90's.

What are your goals for the long term?
Yeaaaaaaaaaaaaaaaaaaaaaaaa we will not stop!! We will keep thrashing your asses out, fast speed aggressive old school riffs songs will never die! Back to sanity hehehehe, well I hope that we will continue. In fact, we are working on a full-length album, contains 9 tracks, 4 songs are all ready done and five left :). We don’t know what the future holds. All I can say that we will stay true and metal;
and we'd like to thank you again for this interview and your interest, and we thank all our fans and who support us. Cheers and beers.
Exile THE END.

R.C.E. [Rotten Cadaveric Execration] (Brazil)

R.C.E. [Rotten Cadaveric Execration] (Brazil)
What is RCE?
Answer: Of the fastest possible human-made drumming, with a drummer that is a total spazzoid monster; ridiculous zombie vocals and the guitar sound for a rude awakening; short songs, total energy, single-purpose, blast! 1, 2, 3, go!
It’s impossible not to like this! The sound quality is solid and the tunes are perfect for when you check yourself into the institution where the evil people wear the white coats and force you to take medication that you know you don’t need because you are doing alright and it’s everyone else that needs help, not you.
RCE, there is an institution for you!
“Execrate” is the name of one of their recordings. They have also done a split album, but that’s what this interview is about anyway. And look out for crazy Brazilians playing grind: they will be revenged!
RCE is: Renato (drummering), Diego (guitarring) and the grind freak named Caio (growlering and screamering). This Caio fellow is the low-life answering these stupid questions.
www.myspace.com/rcegrind

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I have been listening to your disgustingly gross music and you sickos need some therapy. What more degenerate grind will you be vomiting?
What's up! It's a pleasure to answer this interview for the Metal Bulletin! Ha ha! We need therapy! Well, for the rest of 2010 we have a couple of plans, maybe another split and we intent to release a live recording, too!

What if you screamed “woof, ugh, aaargh!” for every song and not say any real lyrics?
Actually, someone has asked me to SPEAK the lyrics of the songs once, but that simply goes against the idea behind the band which is being the most gruesome and sick thing we can manage to. Many bands do not use lyrics in their songs, and that's ok with me, but I have some ideas and concepts and like to write about those. Maybe when I run out of inspiration I'll just growl senseless noises, which would also be fine with us. We actually have a couple of lyricless songs. “Cock Splatter Roach Fuck,” “SxExPxExTx” and “Extreme Cancerous Manifestations” are just screams, squeals and grunts!

Where does a grind band like yourselves record your music?
We recorded both the demo and our side of the split with the same guy. His name is Sidinei and he is an old timer in metal and the underground scene and also works as a sound engineer for local concerts and a couple of recordings. We found out about him when my former band, Escarnium, recorded it's demo there. I thought the quality of it was damn fine and we decided to tag with him. I think the result was great! we did it all in just one day. Recording and mixing. Starting early in the morning and after litters of black coffee we had it done by the end of the day. We recorded the demo in November and the split was similar, but in the end of December.

What is “Demented Violent Reprisal”?
Funny you should ask. This is my favorite song and it was written by Diego. The lyrics are a story apart. I was inspired to write it when an experience I had with LSD went terribly wrong because of a whore decided she wouldn’t give me peace. So the lyrics are about me fantasizing brutally killing her while under the effects of the hallucinogen.

What’s “Extreme Cancerous Manifestations”?! It’s 23 seconds!
That song is one of my favorites. It starts out with a shout that punched me in the face when I first heard the final mix. After that is just a few seconds of relentless violence. No lyrics, straight forward drumming and simple riffing! Grind as fuck!

“Among Dead Bodies I Lay” is your “epic” song of 2 minutes and 36 seconds. Is this one of your more recent, longer songs?
Actually, quite the contrary, it was the first song ever written by the band! but it was written by a former member along with “Trauma Induced Amputation,” less influenced by grindcore and with a more noticeable death metal/slam approach. All the songs after he left the band have some extra grind and a pinch of slam!

What do you think about writing a song that is ten minutes of nothing but blasting grind, like your song “Moans, Retch and Disgust,” BUT for ten minutes, as a plan to kill your drummer?! Then it wouldn’t be murder, it’d art. Genius!
I think Renato would simply implode, although, the one concert we played lasted exactly 21 minutes with no breaks! He was dripping with sweat but he resisted! hahaha! I don't think that we would ever write any song much longer than the ones we have already, we like our stuff simple and short, (and now I quote Dave Rotten from mighty Avulsed when referring to their song Sick, Sick Sex) "no guitar solos, no melody, only brutal shit!" and I think brutal is fast and it comes without notice and goes the same way!

Do you foresee that in the future you would do different style of lyrics, like Nasum or Napalm Death?
Well, I'm neither saying we will change the concept of the band, nor denying the possibility. Who knows what might happen to us in the future. Of course, Nasum and Napalm Death are great influences to us, lyricwise and songwise too, but there are many people in Brazil and abroad talking about the shit that's going on: the financial crisis, the economic breakdown of European countries, the injustices in Brazil and throughout South America, political and religious corruption...I don't thing they need three more assholes like us to spread the news! But if the ones who listen to our shit do not know about what's going on in this shithole, then I won't be the one to give the bad news! they wouldn't understand the political contents of the lyrics I'd sing anyway! hahahahaha!

What is the cover for the Execrate ep? Is that a real picture of a cadaver?
Well, in fact I do not know, since the artwork was made by Nestor, Escarnium's drummer and designer. What I wanted was something simple, nothing TOO graphic, no guts, no bodily fluids... just a rotting dead body abandoned, execrated. I do not want to shock people with a picture, but with our music! And what I think when I see that image, is that someone who does not know the band, will listen to it unaware of what's to come... and hopefully be blasted away by our shit!

Did Brazil get eliminated from the soccer world cup because they wore blue instead of yellow jerseys in the game against Holland?
Some people have talked about a curse surrounding the blue or secondary shirt, because apparently some of the favorites to the championship have been eliminated while wearing it... Of course this is just a joke, and everybody in Brazil knew we would not get the title, cause the selection of players was shitty, the tactics were shitty and the once great Brazilian soccer selection was playing poor, uninspired, boring and lazy matches. So we deserved to be disqualified! hopefully the administration of the team will learn to hire good coaches that actually trains the team to ATTACK and DEFEND! That's a worthy lesson!

What is your favorite Brazilian movie for the year 2010?
Since I have been living in the US for a while now, I haven't heard about any Brazilian movies made in 2010. Of course, some were made, but we don't get to know about them in the US, unless they are of great impact and somewhat successful. I don't have a 2010 favorite, in fact the kind of movie I like, is rarely made in Brazil. I like movies from the European continent, intelligent dramas and tragicomedies. Not much into action movies, disgusted by chick flicks and teenage romances (death to Twilight!)... Since I study psychology and my schedule is tight (at least when I'm in Brazil), I don't have much time to watch blockbusters, so I stick to movies with real dialogs that actually have some meaning and can be used in my studies and assignments.

What are your plans for the rest of 2010 and 2011? Caio, how has your experience of living in the U.S. for some months in 2010?
As said before, we have a 3-way split planed with Into the Corpse and PNH from São Paulo, hopefully that will be ready this year, and maybe a live recording, since I'm a fan of raw, unmixed bootlegs! As for 2011, we just might record another demo/ep or maybe even something bigger, depending of what comes to us, so we will remain promoting our stuff (our EP can be downloaded in our MySpace profile), playing gigs and recording whenever we can afford it. Well, living in Houston surely influenced me. I got to actually see some nice bands that I heard about when I was in Brazil. Some big bands and some underground, old school, one-two-three grindcore and punk shit, it made me appreciate even more this shit that I'm knee deep in! Thanks for the interest in our stuff and the opportunity to talk about it! that's true underground thinking! Cheers from Salvador/Houston! THE END.

Wan (Sweden)

Wan (Sweden)
Their album Wolves of the North is black metal allegiance: vocals entrenched in grimness, razor guitar tone and austerity of sound.
It’s red corpsepaint, spikes, bulletbelts, tattooes and winter obsessions. And lots of wolves.
Wan’s is no acolyte praxis, either. In more than 35 minutes of music, the album blasts the tank division black metal frequently, so there’s plenty of speed; there are variations within the overall structures, some midpaced moments where riffs go for more than speed, such as mood, a certain feel, giving the song (and listener) some room to absorb; there are some moments of memorability, as opposed to sounding like one big blur.
The wolves of the north are: Aganaroth (guitars), Isengrim (bass), and Tsjud (vocals), who answers the questions here.
www.myspace.com/theunloywan

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Hello, what is going on with Wolves of the North?
Hello! Well, our album was released a couple months ago so we’re doing our best to promote it in every possible way. We hope and believe that black metalers all over the world will enjoy our filthy tunes.

Do you all three live in Eskilstuna? Is there a scene?
Only Isengrim lives in Eskilstuna now. However, we’ve all lived there once upon a time and I will most likely return soon. The city is rather dead when it comes to live possibilities and radio time and such things. But the scene is quite big anyway. We hang out with a bunch of friends that are involved in bands such as Tyrant, The Black, Arcana, Shining, Crypt of Kerberos, and more...

Aganaroth, are you the only person who plays guitar in Wan?
Well, I’ll have to speak on behalf of Aganaroth here. He’s the only one who plays guitar in Wan. We want to keep all things old school and therefore we reject the thought of twin guitars. We all go way back as friends and band mates. In Wan it’s Aganaroth and Isengrim who compose all the music. Personally I just contribute with suggestions, ideas and smart remarks.
Aganaroth have earlier been involved in Exanthema, Tears of Grief and today also have Inside Scars, Sapfhier and Angellust besides Wan. Isengrim have been involved in Exanthema, Tears of Grief, Atra Filia and today have Misery MMIX, Fornborg and The True Badours besides Wan. I have been in Ara Sepulcri, Satans Penguins, Atra Filia and today have The True Badours on the side. I also write lyrics for the last one mentioned, Fornborg, Inside Scars and guest lyrics for some other bands every now and then.

Do you remember how the music for “Rise of the Antichrist” was written? What is the story behind “13 Sons of the Devil”? And “Wargoat”?! !
Musically all songs on the album were spontaneously written and composed as we recorded the shit in the studio. "13 sons of the Devil" was originally called just "Sons of the Devil" but since it actually was the 13th song we made Aganaroth suggested we’d change the title. "Wargoat" is simply a song of praise to Baphomet.

Are lyrics written before the music?! Do you drink when you write?
I write all the lyrics and they are all written before the music is made. At very few occasions there will be a minor change to make the words fit to the music. But generally Aganaroth and Isengrim manage to create riffs that just fit my words like a condom! I write lyrics whenever the inspiration strikes and the words starts bubbling in my head. This can be on the subway, in the sofa, in the forest, at work, on the crapper or basically anywhere. I never write when I drink. That always ends up with some really shitty words. Besides, when I drink I like to enjoy it with friends.

You have lyrics in Swedish and English. Can you say what the following song titles mean? “Med Stormsteg Mot Döden,” “Hädanfärd,” and “Ulvhäll”? Is aggression and antireligion the main feelings? Do your lyrics avoid political positions?I
You’re quite right. The overall expression in our music and lyrics is about aggression, hate, antichristianity and death. I fucking detest politics as well as every politician so that´s a subject that never will be brought into Wan. "Med stormsteg mot döden" means ‘by leaps and bounds towards death’ and of course it’s the christians I’m singing about. "Hädanfärd" means ‘passing/demise’ and "Ulvhäll" is more or less impossible to translate so I just say that it includes wolves. Some other of our swedish titles translates into ‘dead christian man’ and ‘cravings of the rage’.

Did you use a drum machine? A
Yes, we used drum machine on the album. Every living bastard have an opinion about that, and so do we, so keep your opinion to yourselves and fuck off!! We use it for the convenience since we don’t have a breathing drummer. Of course, this is not our optimal choice and on our next release I assure you all that it will be real drums recorded. Our old (very old! haha..) friend Immansuetus (previously in Loss, Mental Crypt, Xul) is intended for the job. And we actually recorded a Shining cover recently, on which we recorded live drums. This masterpiece will appear on a future Shining tribute album that will be released by Avantgarde Music.

For the record, what does WAN mean? What is Abyss Records?
I’m surprised that so much people ask what our band name means? It’s just a regular word in the English language and it means pale/gloomy, which fits perfectly to our concept, our minds and our appearance. Abyss Records is an American label located in Indianapolis and the label have been around for quite a few years and possesses a handful of hard releases from great bands.

Do you go to the Vilsta naturreservat? What is it like in the winter?
How do you know about Vilsta?? In fact, a young woman was murdered there not long ago. Regardless it’s a nice forest area and we go out there occasionally and make a camp fire, drink beer and enjoy ourselves in the darkened landscapes.

Stay in contact!
Thanks a lot for giving a fuck about Wan! I suggest that whoever read this go buy our album and get their minds raped by our devastating old school metal! Cheers!! THE END.

Setherial (Sweden)

Setherial (Sweden): Ekpyrosis (Regain Records)
Their plan of action is:
1. Maintain the grim black metal vocals necro, raw and painful.
2. Maintain the guitar tone, sound and style as traditional black metal.
3. Maintain the overall sound of the band in the black metal totality.
4. Now that the foundation has been established, use that base for songs in different directions, moods and speeds, without such rules as, “All the songs have to be 100 percent blasting all the time,” “There will be no guitar solos,” “There will be no melody,” etc.

The first listen will give the feeling that more than a few spings are necessary to figure out the twists and turns. Basically, the first listen shows this is black metal with the values of raw/necro but with an upfront production. Later on, the songs will make more sense.
Firebreathing necro black metal with a good sound, prog, technical, guitar solos, tremolo riffing like there’s no tomorrow, blasting, throat-killing vocals, catchiness, headbangingness; midpaced and frenzied and ridiculously aggressive, fist-in-the-air, air guitar moments, and a little of bit of melody: it’s all here. All the songs are strong and there is never anything like filler moments; any one of these eight songs (some 44 minutes of music) is an example of this album. Just don’t expect a one-dimensional work in which each song sounds the same as the previous one because they are trying to prove how “fast” they are or how “true” they are or whatever. They know what they are doing and do it well: good songwriting.
www.myspace.com/setherialsweden

High on Fire (U.S.): Snakes for the Divine

High on Fire (U.S.): Snakes for the Divine (E1 Music)“Snakes for the Divine,” “Holy Flames of the Fire Spitter,” “Frost Hammer,” “Fire, Flood & Plague,” and “Ghost Neck” all have an energetic, rocking, (frequent) double-bass drumming and big-heavy 70s iommisque riffing, accompanied by a whiskey-throat kilmisteresque vocal vibe. The overall sound is raucous enough for the metal crowds and traditional enough for the heavy/hard rock people. They have a pretty good groove, hence easy to get into, but also have enough mosh/banging moments.
“Bastard Sumarai,” on the other hand, sounds quite a bit doomier, where the 70s sabbathesque riffs and the slower feel contrast with the tempo of the other songs, for the most part. “The Path” is a short, 80-second interlude.
“How Dark We Pray” is a midtempo rumble, with some active, double-bass drumming in some segments. There’s a nice, melodic guitar solo that complements this piece pretty well. During the solo, you hear the simplicity of the band’s sound: the bass guitar and drums work their magic audibly while the solo is on.
The sum: two songs are a bit more midtempo, one is a very brief track and the rest are uptempo, combining a motorheadish feel/speed/vocals with a 70s sabbathy guitar sound. In general, this is more groove than, say, melody/shredding; more uptempo than doom; more meat/potatoes than flashy musicianship; more old school metal/rock/stoner than really aggressive/fast metal.
www.myspace.com/highonfire

Grave (Sweden): Burial Ground

Grave (Sweden): Burial Ground (Regain Records)“Liberation” (3:41) with its upfront (but not blasting; Grave is not a blasting band) illustrates the traditional death metal sound where heaviness matters. “Semblance in Black” (4:22) concentrates, after an uptempo start, on a midpaced doom feel, with substantially slowed down buzzsaw riffs. “Dismembered Mind” (6:11) shows that doom aspect, and some melody, then the energy level picks up for the “old school death metal brutality.” With “Ridden with Belief” (4:20), it’s clear it’s the midpaced, simple, guttural heaviness that’s Grave’s focus. Then, they speed up to the simple, to-the-point sound. “Conquerer” (4:46): Grave’s “brutality” is very moshable, and coincidentally, sounds perfect for the “breakdown-brutality” people who love heaviness with a groove. This song is total midpaced heaviness. “Outcast” (3:41) brings up the pace back up, and the buzzsaw guitar tone crackles with heaviness and the vocals remain total low-gruff. There is no attempt to vary the guttural vocals for one second. “Sexual Mutilation” (4:04) shows a similar aggressive-uptempo energy as “Outcast” and “Bloodtrail” (4:05) has some guitar solo work that stands out. “Burial Ground” (7:30) is a total doom death exercise, where the riff goes slow, the drums go slow (with faster-paced double bass), the growling takes its time with the enunciation of the words. Slow motion are the sounds of this track.
Unpolished, just loaded down with death, and often, slow death that’s all about the heaviness of Grave.


www.myspace.com/gravespace
www.regainrecords.com

Omnihility (Oregon, U.S.): Omnihility

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.
www.myspace.com/omnihility

Ravenclaw (Slovakia): Welcome to the Ravenland

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.
Understand?
www.myspace.com/ravenclawmetalband

Rienaus (Finland): Beneath the Black Wings

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.
www.myspace.com/rienaus

Until Extinction (Missouri, U.S.): Lament

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.
www.myspace.com/untilextinction

Mormânt De Snagov (Finland): Rise from the Void

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.
www.myspace.com/mormantdesnagov

Of Raven and Ruins (Texas, U.S.): Bound to Prophecy

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

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.
www.myspace.com/jormundgand666

Martriden; Ana Kefr; Black Reign

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.
www.myspace.com/martriden


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.
www.myspace.com/anakefr


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.
www.myspace.com/blackreign6

Venomous Supremacy (Texas, U.S.)

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.
www.myspace.com/venomoussupremacy1

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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.)

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?
www.myspace.com/warmaster89

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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

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?!
www.myspace.com/zuulcontact

Ritos (Brazil)

Ritos (Brazil)
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.
www.myspace.com/ritoshorda
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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.

death metal guitarist Susan Gerl (Holland)

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.



www.myspace.com/susangerl


www.myspace.com/murdersyndicatemetal

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Band history
1994 – 2001 Catafalque
2001 – 2008 Desensitised
2007- 2008 Cliteater
2008 – 2010 God Dethroned
2008 – present Murder Syndicate
Discography:
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)
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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.