INTERVIEW: CHURCH OF DISGUST (2016)

The following interview was done back in 2016 with Texas Death Metal act, CHURCH OF DISGUST. 

Hails! To get this interview started, can you please introduce yourselves and tell us what Church of Disgust is all about, your influences and how the band came together.

Dustin: Hails! Church of Disgust is now based out of Texas and Florida, and we play rotten death metal. We started in 2010 to write some filthy shit and it grew from there! Through several lineup changes, we have now arrived at our strongest lineup of Joshua Bokemeyer on lead guitar, Dwane Allen on drums, Travis Andrews on bass, and myself on guitar and vocals. We try to maintain a healthy mix of influences, without any being to heavy, we're definitely not looking to be another copycat, or a glorified cover band marketing themselves as paying "worship" or "tribute", there's enough of that already!  Some bands we love include Rottrevore, Morbid Angel, Slugathor, Cenotaph, Cianide, Bolt Thrower, etc.....

In the beginning and on your debut album you performed as a duo. What made you recruit extra members? Do you work better as a four-piece?

Joshua: I believe we work better as a four piece. With more members, more input. We are always into trying new things to expand our sound and to push us as musicians. 

Last year, you released "Dread Ritual" on cassette format under Headsplit Records. How did the collaboration came about and what are your thoughts on tape format?

D: I initially met that sick fukk Dylan from Headsplit as a fan of his label/band and the music he was releasing.  After some discussion he learned of my band after we released the Unworldly Summoning album and offered to do a release for us.  Headsplit is one of my favorite labels going!  From new underground bands to re-releases of lost gems from the 80s/90s for those who can't afford to shell out insane amounts of money for rare original pressings, they keep it sick!

As for the tape format, I myself am quite a big fan of it.  I'm not an audiophile with my nose up at anything that isn't vinyl, I grew up listening to tapes, they're convenient and relatively inexpensive to purchase and produce.  Of course, the counter-argument to that would be that digital files are much more convenient and that's fine, I just prefer owning physical copies of all my music.  Some collectors even look down on CDs, which I can't wrap my head around either....my collection is made up of tape, vinyl and CD, I'm not so picky!

Tell us a little bit about the tracks featured on "Dread Ritual." Are you satisfied with the final outcome?

J: I love the songs and the entire process. Mixing and mastering was a little messy. As far as the recording, it was fun and a learning experience, as always crunched on time and trouble shooting our asses off. 

D: The Dread Ritual tape features three tracks-"Dread Ritual", "The Pursuing Horrors" and "Staph Terrorist".  The first two songs are the first songs written as a four-piece band.  "Pursuing" is my personal favorite, I think it's the most dynamic and representative of where we want to go as a band.  "Staph Terrorist" is a cover of the legendary IMPETIGO.  We got the blessing to do it from Mark himself, and both he and Stevo said we did a killer job, so that was a huge honor for us!

https://churchofdisgust.bandcamp.com/album/dread-ritual-ep

As far as I can tell, your themes are heavily inspired by horror literature and movies. Given that, what would you cite as some of your all time favorite books / horror films?

D: Yes, I do draw heavy inspiration from books mainly, notably the writings of Brian Keene and H.P. Lovecraft.  Lovecraft of course needs no introduction, but for the uninitiated, Brian Keene is a modern horror writer, and my favorite current author.  He created his own universe/mythos of a race called The Thirteen, not unlike what Lovecraft did with his Cthulhu Mythos.  Our upcoming album draws heavy influence from this, and I highly recommend checking out his work if you enjoy sick horror.....Darkness on the Edge of Town, The Conqueror Worms, Dead Sea and Urban Gothic are all worth checking out.  

We do also draw some influence from horror films as well, favorite horror films would have to include I Drink Your Blood, Evil Dead 2, The Texas Chainsaw Massacre, Zombi 2, Blood Feast, Night of the Living Dead-1990(call it blasphemy, but this is a fucking great remake!  Hail Savini!), Halloween, City of the Living Dead, Tombs of the Blind Dead....

What are you listening to nowadays? Have you stumbled upon anything worthwhile as of late? What are your thoughts on the current state of the underground?

D-While the classicks are in constant rotation on my turntable, there's lots of outstanding death metal coming out today worthy of anyone's time and attention!  Off the top of my head, I've really enjoyed recent releases from Sewercide, Solothus, Denial, Steel Bearing Hand, Koroidia, Desecresy, Undergang, Expander, Cruciamentum, Blaspherian, Ectovoid, Cardiac Arrest, Druid Lord, Anatomia, Torture Rack, Cryptic Brood, Amputator, and so on!  

As for the underground itself, I'd say it's in a very good place, for the most part.  There's so many great bands releasing ripping shit, it's near impossible to keep up.  The internet has become a blessing and a curse.  It's great in that it's made it infinitely easier to find new bands, and correspond with like-minded individuals world-wide.   Because of the internet, I found out later in life about some lost gems from the 80s/90s that I never would have found otherwise growing up in a small north Texas town.  The shitty part is that as a result we now live in a disposable age where you can listen to(and write off) so many bands in the course of a day, the special feeling of hunting down and finding a great new band isn't the same, I'm sure.  It's also made it a lot easier for posers and "scene tourists" to infiltrate the underground and push their bullshit PC agendas.  

I'm sure plenty of the old guard may disagree with me since they grew up in the "glory days", which is fine.  I'm in my 30s, so I missed the days of tape trading, and the infancy of extreme music.  I'm sure those were truly special times that can never be replicated, but I'm here now, and that's what I'm interested in.  I've met some true die-hards that I'm still in contact with to this day, whether it be through email, phone, or exchanging letters and music from other countries....so the passion is still there, no doubt.  There are some not so great things happening, like PC crusaders getting bands kicked off shows and fests, shit-stirring clickbait "metal journalism" sites like MetalSucks spewing their bullshit, and some classick bands getting back together for the wrong reasons, when their heart and passion is no longer in it and putting out lackluster albums.....but there are also plenty of these legendary bands still doing it with passion and for the right reasons!  That was a long answer, but I'd say that 2016 is a good time to be a fan of extreme music, all things considered.

Do you have any interesting or crazy experiences to share with us regarding touring or any live gigs you've played?

D-My favorite story is still when we played Austin, TX in early 2015, we saw a guy get punched out during our set, for being a "fucking poser"(the guy's exact words, we found out after our set)........I'd like to see more of that going around! 

Aside from Death Metal, what other styles of music do you listen to? What about cult '90s Black Metal like Mortuary Drape, Varathron, Maniac Butcher, etc.?

J: Pretty much anything that inspires me to play or record. I'm a big fan of black metal especially raw bands that aren't afraid of stepping out of the norm. 

D: I worship death metal, but I listen to other stuff as well, you have to!  Inspiration can come from anything for me, not just death metal, as long as it has passion, and riffs, in most cases!  Coming up in small town Texas, I grew up with a family that listened to country music and classic rock, and I still enjoy both to this day.  I also enjoy jazz, blues/ragtime, classical, etc.  I do enjoy some black metal, as long as the riffs are there!  Interesting that you mentioned Varathron, they just played the Destroying Texas Fest in Houston this month, I wish I could have made that show, I heard they were savage!(along with MORTEM, arrrrrgh!)

Tell us a little bit about your recording equipment and whether you switch it up between releases? Are you specific with the type of tone you try to achieve? 

J: Our recordings have grown with our DIY studios. The first releases were very primitive but we have slowly acquired more studio gear and knowledge. These later releases and upcoming LP are a combination of me and Dwane's gear so we have a getting a good mic locker going. We run pretty lean on the digital side of things and experiment along the way. Dread Ritual was the first COD release where we mixed every drum and had it mastered. 

Would you consider death metal as a type of 'taboo' seeing as that many people outside the genre consider people in such type bands as negative or 'mentally-deranged'?

D: While some of those sentiments still linger in the USA, I'd say that extreme music doesn't quite have the same mystique surrounding it as it did 20 years ago.  We now live in an age where Hollywood makes films about the the black metal scene in Norway/Euronymous murder, and a popular cartoon about death metal musicians!  However, in areas of Texas and Florida you'll still get the bible-thumpers and people who hate (but actually fear) those going against the grain, so to speak.  Otherwise, I've given up trying to discuss or explain this type of music with outsiders, as their response is usually a blank stare or judgmental look.

What is your stance on bands with political themes? In your opinion, does politics have any place in metal?

J: I don't look too deep into it or personally care. Just don't try to force your views on me.

D: With the exception of some grindcore bands, I'm not so interested in bands that push political agendas.  

Give us a list of 10 albums you can't live without.

D: fuck!  Off the top of my head....

Morbid Angel - Blessed Are the Sick

Cenotaph - The Gloomy Reflections of Our Hidden Sorrows

Kiss - Destroyer

Impetigo - Horror of the Zombies

Waylon Jennings - I've Always Been Crazy

Demigod - Slumber of Sullen Eyes

Thin Lizzy - Jailbreak

Cianide - A Descent Into Hell

Black Sabbath - Master of Reality

and they're not quite albums, but work mentioning - Divine Eve - As the Angels Weep and Imprecation - Theurgia Goetia Summa (Hail Texas!)

Do you currently have any merchandise available for people to get hold of? How should people make contact if they have any inquiries? What are your future plans and when can we expect another attack of uncompromising Death Metal?

D: We have a VERY limited supply of shirts and tapes left, they can be ordered at http://churchofdisgust.bigcartel.com  Any inquiries/correspondence can go to marchthehorde@gmail.com or our shitty Facebook page.  

As for new material-we have completed recording of our second full-length album, entitled VENERATION OF FILTH.  It's gonna be a real monster, Putrid Matt will be doing the artwork, Memento Mori is releasing the CD, Headsplit Records is releasing the tape, and No Posers Please! is releasing the vinyl!  Expect it in late 2016/early 2017.  Also on the way, Dread Ritual 7" EP, and a split with Cryptic Brood from Germany.  

Thank you for your time! Any parting words to properly close this interview?

D: Eternal thanks for this interview, thanks to all the fiends who took the time to read it.  Veneration of Filth is coming, worship depravity!  Death metal or die!

J: Thank you! Support metal Everywhere!

EP REVIEW: Wargrinder - Ironclad Destroyer (2020)

Wargrinder – Ironclad Destoyer (2020)

Greece

Helter Skelter Productions

Wargrinder is a band I've been following ever since their debut album, “The Seal of Genocide.” Basically, they're one of those bands you either like or don't. I personally enjoy the kind of fast and merciless Black/Death style played by bands like Arkhon Infaustus, Angelcorpse, Perdition Temple, etc. Wargrinder falls in that category. The latest EP, “Ironclad Destroyer,” is a continuation of their style from “Tank Tread Doctrine.” The songs on this EP are crushing and blisteringly fast for the most part, but do occasionally plunge into more mid-pace territory that go well with the chugging guitar parts. There are no solos, although the music sounds good enough without them. The EP is also supported by a solid production job, which makes sense, since a good production is mandatory for this style. Brutality-wise – on a scale from 1 to 10 – Wargrinder gets a 11. Every song hits you harder than a Mike Tyson knockout. Everything on this release is exceptionally well-arranged with immaculately timed performances all around. If this is the first you read about Wargrinder, then I guess it's obligatory to point out that everything is played by one person named Terry Eleftheriou. Once again, he did an amazing job. I just republished an interview I did with Terry back in 2017, so maybe give it a read to understand what the band is all about. “Ironclad Destoyer” was released by Helter Skelter Productions on CD format. Buy or die. (HT)

https://regainrecords.bandcamp.com/album/ironclad-destroyer

INTERVIEW: WARGRINDER (2017)

The following interview was done with Terry Eleftheriou a.k.a. Warhead - the sole maniac behind WARGRINDER.

Hails Terry! To get this interview underway, please give us some info about your past and current musical activities.

I'm an extreme metal drummer/composer. I've played in a large number of bands and I have recorded numerous albums and demos in my carreer. I also run my personal project Wargrinder where I do everything by myself. I am currently in : Wargrinder and Hate Manifesto. There are many propositions for drums recording for other bands and being as busy as I am I try to keep up with everything. I am sponsored by Silverfox drumsticks, Saluda cymbals and Axis pedals.

Tell us a little about Wargrinder's last album, "In Suicidal Triumph," including details about the recording /reception / formats, etc.

In Suicidal Triumph was composed in about a week's time in December of 2011. It was recorded in the spring of 2014 in 3 days.

It is a concept album and the songs are arranged by title and lyrical order. It was released summer of 2016 by Nykta Records on CD and it will be released on tape by Von Frost Records around September '17. We're also shooting for a vinyl release end of this year by Fist Bang Records once more.

What are some of the themes that you explore in your music?

War. Hate. Revenge, self preservation, self respect. I always go back to the U.S. civil war for some inspiration, I read blogs and diaries from people who fought in the trenches. And of course my own imagination, I create battle scenes and build stories of my own. I want the person who grabs my release to be nailed to the floor throughout the entire duration. I don't believe in fluctuations. I believe in total annihilation.

Can you tell us a little about your musical influences?

I was always into the German thrash metal scene, although the U.S. has probably the best trash metal history. As a fan I'm divided, as a musician I'm leaning towards Germany and its untamed raw 80s sound. That's how it started for me, as for influences : Order from Chaos, Angelcorpse, Morbid Angel, early Krisiun, Abhorrence (Brazil), early Sodom, Incantation, Bestial Warlust, early Kreator, Possessed and many others.

Your debut album, "The Seal of Genocide," was released back in 2012, although I seem to recall reading that the material was composed much earlier than that - care to give some details?

The Seal of Genocide was composed in its most part in 2004. I actually was writing the lyrics while I was still in the army early 2003. The first time I recorded the debut was in 2005 but I wasn't satisfied with the overall sound and the drummer at the time, so I never released it. I practiced for a few years on the guitar so I could bring my skills up to where my drumming skills were and in December of 2009 I re-recorded the whole album which at that point included a few newer tracks, composed in '08-'09. The sound was deliberately raw and I used a double pedal that wasn't mine so I would not be able to play as well as I usually can. The material is so raw and barbaric that the drums had to be the same.

What can you tell us about the 7" with Hate Manifesto and the song 'Spawn of Insidious Malevolence'? How did you end up using that track for the split?

The track I offered for the split is included In Suicidal Triumph which was ready for release since spring of '14 and Fistbang Records and old friends Hate Manifesto contacted me for a collaboration in the summer of '15. And I agreed. Its a great release and I enjoy how such relentless material sounds on vinyl. Both bands delivered, that's for sure.

Having relocated from Greece to Iceland, I suppose there's a bit of contrast in the climate and anthropological spectrum of things? 

I personally am not a summer person. Always avoided the sun in Greece. I'm not complaining at all up here. What's difficult is distributing my music from here to the rest of the world, especially being a one man band. But I try to keep up, I hope. I also enjoy the solitude. People tend to leave you alone here, they're more private for sure. 

Do you have any specific influences as a drummer? How would you describe your drumming style?

Sandoval, Asheim and Laureano are definitely my biggest influences. My style is definitely old school with pretty good dynamics. I love blast beats. At the same time I'm a musical drummer, I listen to the music and play accordingly. Everything is based on the riff. No riff, no structure. I also hit pretty hard, although I trigger my kick drums I still hit hard.

Besides drums, you also play guitar and do vocals. What prompted you to take up these roles and how regularly do you play guitar as opposed to drumming?

Well, I started playing bass in 1997, inspired by Lemmy, Cronos, Angelripper and Helmkamp. That's how it started for me. What made me start playing bass and guitar was the fact that nobody around me played that style of music which I refer to as the furious style. Fuck fillers, every riff needs to be as good as possible. Shoa was the embryonic state of Wargrinder back in 1999. And summer of 2000 Wargrinder was born. I try not to play too much guitar because I start coming up with new riffs quite fast. I usually play once per month or so. The drumming definitely needs more maintenance since it's technical but requires a lot of conditioning as well.

Do you have something to say about the current economical situation Greece is facing? Have you felt that this situation has affected the scene in any way?

Yeah, of course it has affected it, people can't just go buy merch as much as they used to, you have to set priorities. As for me, I work very hard so I try to support and buy CDs and Tapes from underground labels. It was never a problem for me to decide. Just don't go out and save to buy merch. You get to blast it till the day you die anyway. A great investment. 

What are you listening to these days? Have you discovered any killer bands lately? 

Yes I have. Its so hard to keep up, but having connections with labels and other bands kinda keeps me up to date, currently listening to : Nuclear Hammer, Gravehill, Satanik Goat Ritual, Nausea, Cult of Eibon, Trenchgrinder, Hexensabbat, Napalm Raid, Fetid Zombie, Black Blood Invocation, Trench Warfare, most are on tape via Von Frost Recs, which is by the way sending me another package with tapes, including Hate Manifesto's debut 'To Those Who Glorified Death'. I also can't wait to get my hands on Naer Mataron's new album Lucitherion.

Looking back, what have been some of the highlights throughout your musical course and what are some things you might have done differently?

Naer Mataron was my first big break, I owe a lot to them and I will never stop supporting them. Angelcorpse was also a good thing to happen, although it never materialized. The fact alone that they picked me was a great honor, as they are my favorite extreme metal band. I don't think that I'd change anything simply because at the time it seemed the proper thing to do. Even if some decisions were wrong, it definitely has made me smarter, therefore I wouldn't change a thing.

Some of your recordings have been released on vinyl - what is your opinion on this particular format and the revival it has seen lately?

I love vinyl and the sound that it offers, it is the first and truest format of a band's effort, along with tapes. It's cool that people are buying vinyl again, although in our genre these things don't die, they just dissipate and fluctuate.

What is your opinion on the current surge of social justice with journalists calling out musicians for their political leanings? Right or wrong?

A bunch of degenerates who never achieved anything therefore they find suitable to start crying about other people's opinions and actions. When I buy an album, I don't give a fuck who said what and who did this and that. That's fucking weak. Mind your own fucking business, if you don't like a band or musician for whatever reason your retarded brain came up with, just move on to the next one. It's like those fucking trolls who go on sites to comment that they don't like this band or whatever. Here's an idea : instead of being a degenerate sad piece of shit who was told somehow that their opinion matters, why don't you consume more time and energy on something constructive? Like a fucking hobby, or better yet, suicide. We could do with a few billion less degenerates anyway. 

List 10 albums you can't live without.

Very hard to pick

1.Venom - Black Metal

2.Sodom - Persecution Mania (or in the Sign)

3.Kreator - Pleasure to Kill

4.Slayer - Hell Awaits

5.Deicide - Legion (or Once, or debut)

6.Angelcorpse - fucking everything (no debate)

7.Morbid Angel - Altars of Madness (also Blessed, Covenant, Formulas and Gateways are very close)

8.Incantation - Onward (impossible to pick just one though)

9.Judas Priest - Painkiller 

10.Iron Maiden - Powerslave (first metal band and album I ever heard, around 7-8 years old)

If anyone reading this would like to get in touch, how should they do this? Also, tell us about your future plans and where people can get your merchandise. Thanks for your time.

Future plans include my third album 'Tank Tread Doctrine' coming out in the end of this summer by Fistbang Records. At about the same time, Von Frost Records will release In Suicidal Triumph on tape. My merchandize can be found in several labels in the U.S. and of course Greece, which distributes to Europe. People can also contact me for merch, provided that I still have stuff. Thank you for the interview.

wargrinder2000@yahoo.gr

search for Wargrinder on FB.

Hails from the Wargrinder front.

INTERVIEW: SATANS CARRION (2021)

The following interview was done with L. Amodi from USBM band, SATANS CARRION. 

Ave! Amidst all this global turmoil and uncertainty, how do you find yourself at the moment? Do you think things will get worse before they get better, or are we heading straight for the abyss? Furthermore, were there any albums from 2020 that made an impression on you?

Hails! In all of this kaos that's been going on globally, I've actually found myself doing rather well during this whole "pandemic" aside from catching Covid myself. (Which didn't stop me from doing anything.) So much for it being "deadly"... Hard to say, but the US really seems to head straight into that abyss itself. As for albums in 2020: well, I haven't had the time to check out most 2020 releases; unless I was told by a few people like Alexandros from Macabre Omen telling me in person during my travels to the UK in early 2020 about his new release coming out called "Anamneses."

Can you tell me how Satans Carrion came into being and what the band represents musically and lyrically?

Satans Carrion was kaos manifested in the early years of 2011 from within Mortis Circulus. Musically and lyrically represents the filth, the kaos, the hatred and his return in which I spilled my guts out on every recording and still continue to do so. The band started as a solo-project to the point where I wanted to take things further. Funeral Curse from Vatican and ex-Warmoon asked to join as a drummer for Satans Carrion back in late 2013, but things didn't really work out, so I recruited Belhor from ex-Baalzabub on drums for that rehearsal release.

Can you give us a background on your discography and each releases' respected format?

As far as the discography go, everything was all-self released on tape and CDr.

The releases so far including re-releases:

Demo I -2012 & re-release - 2015

Split with Malibuas - In Maleficarum Scriptor Cantus - 2014

Rehearsal MMXVII -2017

How and when did you first get into Black Metal? What is it about the genre that resonates with you enough to inspire you to compose your own music?

You know, I have been asked this many times over the years and considering that Black Metal was almost non-existent in my city at the time when I first got into the genre. Vatican, Warmoon, and Nosvrolok were the only ones I knew at the time growing up here. Anyway, I was actually introduced to Black Metal when I was 15 by an old friend and his wife who used to briefly live around here. He used to show me many old flyers, letters, demos, etc. What resonated with me was that it was real then compared to the pussification of what's been going on in today's scene but then again who am I to say since I never lived in that era, but only learned how it should be. Every now and then I come across people who do carry that spirit. To me, Black Metal was always more than just music.

Which bands influenced the sound of Satans Carrion? Also, if I'm not mistaken, your moniker was inspired by a Mutiilation title? Are you abig fan of their music, including the Les Legions Noires?

Not sure, I usually compose as I go every time I record. I've always heard many people compare Satans Carrion to several bands over the years. Indeed, as in the lyrics reads "I'm a puppet of Satan". Yes, I have listened to music from Les Legions Noire and have briefly spoken with Vordb Na r.iidr of Belketre back in late 2015, but to me especially when writing music in Satans Carrion, it's more then just music which I've already explained in the last question.

Can you tell us a bit about the recording circumstances regarding your debut demo from 2012? What memories do you harbour from that period?

I clearly remember that time during the recording of the first demo and the start of the band, truly fucked up times! The drugs, the crimes, the madness that went on.. I'm more surprised I'm still here because at the time I was truly hellbent on ending it all! In regards to the recording, everything was done by myself in 2011, including the drum machine which was the first devil's mark on this hellish journey. I only had a very limited release at the time due to the problems that was going on for me and even short on money. Hell, I even had to steal some blank tapes in the past haha. Later, I decided to properly self re-release the first demo in early 2015.

Satans Carrion is quite an unknown act. Do you have any aspirations to evolve this project to a more “illustrious” status or are you content with how things are? Furthermore, what's your opinion on musicians from Black Metal bands that inhabit a kind of rockstar temperament?

Indeed, Satans Carrion has been an unknown act for quite some time now and after 5 years of silence, many thoughts and questions arose during that time. I have decided to bring Satans Carrion out from the shadows and into the unholy light to spit at those who betrayed its true essence. At the moment, I'm unsure about "live shows" as finding the right people around here can be a challenge. I truly despise those with a "Rockstar attitude" within Black Metal. Especially the newcomers who secretly seek fame which I've seen a lot over the years but almost always end up in flames. Is there that "black flame" that continues to burn within them anymore? Some still do.

What can you tell us about your latest release, “Rehearsal MMXVII,”and the mood you tried to capture on these recordings?

The rehearsal was recorded in early 2015 with a good friend/drummer, Belhor from Baalazbub, and at the time there where many frustrations and anger when it came down to recording & sound. Initially, this rehearsal was meant to be a mini-album release in 2016, but personal problems occurred at the time which postponed the release for later 2021, thus having Satans Carrion enter a small 5 year break for the time being in which I've decided to release what was captured in that live rehearsal in 2017. Two of the three rehearsal tracks on that release will feature on the new mini-album end of the year.

https://satanscarrion616.bandcamp.com/album/rehearsal-mmxvii

Can you please elaborate on the theme behind the song “Ego Sum Papa” and what inspired it? There's a sample in this track about a new pope being elected. Where's it taken from? Also, what's your opinion about the Pope and the Vatican? Are they really as “holy” as they portray themselves to be?

There have been many talks in history about the Devil taking seat within the Vatican, so I took a recorded sample of a pope being elected some years ago as a mockery to the holy faith with the Devil being elected. I don't know, I've set foot there earlier in 2020 as a black shadow within the holy see. The mass was canceled during that time due to Covid barely hitting Italy ( mostly up north ) even before hitting the rest of the world. I guess virus fear is stronger than faith.

What's 10 albums you can't live without?

Well, I have way more than 10 albums I can't live without haha but I'll list a few...

1. Hell Militia - Canonisation on the Foul Spirit / Last Station On The Road To Death

2. Uranium 235 - Total Extermination

3. Mysticum - In The Streams Of Inferno

4. Sepultura - Bestial Devastation

5. Zyklon-B - Blood Must be Shed

6. Incursus - Eternal Funeral Trance

7. Darkthrone - Soulside Journey to Panzerfaust

8. Sodom - Witching Metal / In the Sign of Evil

9. Mayhem - De Mysteriis Dom Sathanas

10. Sadistic Intent - Resurrection

Lastly, how do you foresee the future of Satans Carrion? The last blasphemous words are yours.

At the moment, things are slowly returning. Rehearsing tracks again and Darkest Hails to Dirk Verbeuren who agreed to help with session drums for the up-coming mini-album which should be released at the end of 2021. Despite all the struggles, the hospital visits, and even the few times I came close to death over the years...Satans Carrion still returns! This is only the beginning of the end, Halle-fucking-lujah, mother fuckers.

INTERVIEW: VASSAFOR (2016)

The Kiwi cult known as VASSAFOR has forged a sound that would place them among the most influential hordes in the current wave of Black/Death/Doom, and also define them based on their geographical bearings, proudly branding themselves as "NZBM." (New Zealand Black Metal.) The following interview was done in 2016. 

Hails VK. Vassafor has been around for more than twenty years, what has kept the flame burning after all these years? And what would you regard as one of the definitive highlights throughout its journey?

Hello Jim. The fuel for the fire is in plentiful supply it seems, cause we are burning stronger than ever. There's no question the most important highlight of the journey so far was Ben joining during the period after self titled release came out. That was the turning point for us to become what we are now….all things now have come from that piece of the puzzle falling into place

Musically, which bands would you cite as influences regarding the fundamental development of Vassafor's sound? Has the influences changed much over time or remained the same?

I was teaching myself to play guitar the same time as I was writing the first Vassafor songs in that period and listening to a lot of Necromantia, Blasphemy, Master’s Hammer and Beherit (among many, many others) of the contemporary bands, but still obsessed with Mercyful Fate, Sodom, Frost, Voivod & Candlemass records of the 80s. The first band I played bass in was a fairly tech Death Metal band in the early 90s so I could play much more complex material but I wanted to regress to a more primitive style as many of the records I went back to listening too were things like Bathory the Return or Obsessed by Cruelty rather than the shitty life metal Swedish and Finnish “DM” bands which were all selling out and being boring clean rock music, but not even good at that! That's when I really became possessed by the real underground and started digging properly and I guess I still am 20 plus years later

How would you describe the music of Vassafor?

Dark Satanic music, i.e.- Black Metal. I don’t consider Black Metal to be a production aesthetic or guitar sound or vocal style. Its content based, that is the only requirement. For us it is venerable music of worship to our Patron, Vassafor

You've had various members come and go - is the current incarnation a stable one or more like a session collaboration? Is it hard for you to find suitable recruitments to follow your vision exactly as you wish convey it?

It certainly has been the hardest part of Vassafor’s history, but I think the first era of the band with my original partner in crime Dan Lomas which gave birth to the band and the modern era that started when Ben joined the fold are essentially the same. Both are less me only contributing and writing. Ben and Dan both are creative and contribute plenty to all aspects of the band. It has been a challenge over the years to find people, especially here in New Zealand, that appreciate the nuances of the style and aesthetic. But we have been fortunate to have some incredible musicians help us with our live aspects. The touring lineup we were able to take through the European tour in Feb MMIV was perfect. Ben and I were joined by Vince and Kevin from NW bands Weregoat, Ritual Necromancy, Anhedonist, among many others. Back here in NZ and Australia we are still looking for the final member to join us for live shows. We plan to have NZ and Aus dates around April MMIVII. Well, I certainly am a tyrant about how it has to be…but Ben is probably worse! So yeah, we are fussy, but that's because when we play live we are attempting to open the gateway….and that takes the right people. There's no short-cut!

The sonic darkness of Vassafor sounds most potent during the slow, mid-tempo alterations, with an oppressively dark, doomy feeling. Would you say that the slower tempos present a difference when it comes to playing these parts in comparison to the more standard fast tempo?  

Yeah, I want the feeling to be oozing from each note coming out of the speaker. Dynamic range gives you that opportunity to ensnare that way. Almost lull someone into the folds of the music, and then squeeze tight and crush them with the next part. At times soothing, at times oppressive…a great example of a band doing that with slow shifts of gear is Esoteric. They really are the masters of that.

There seems to be a lot of divided opinions regarding nowadays black metal, with some veterans stating that black metal is dead and that the quantity has exceeded the quality. Do you agree with this?

I really can’t understand people who’s ears have obviously stopped listening. There is so many interesting and worthwhile bands infesting the underground in most corners of the globe. Sure, there/s plenty of shit bands, but there always has been since I’ve starting listening. That's never going to change. But there are some really incredible young bands absolutely hammering it out right now. Qrixkuor for a start. I’m really looking forward to that band’s debut album…

As a sound engineer and producer, how integral is the process of achieving the desired effect sound-wise and still sound organic? Have you had any encounters with people who have misunderstood your vision? What do you think of a lot of modern bands over compressing their instruments to the point of sterility?

Well, it doesn’t even have to sound organic as such, just that the band sounds like its on the same page as each other. My biggest issue with separately recorded, click tracked perfectionism in recordings is that it is the enemy of spontaneity or feeling or dynamics generally. It sounds machine like, which is fine for technicians but is incredibly boring to listen too. I don’t want an album of mine to have identical rhythm guitar sounds for 45 minutes, that's an incredibly boring way to make a record. I like to write songs as individual pieces, and record them as individual pieces, then once I’m finished on that one, I move onto the next. There fore, on our records its perfectly obvious when the next song starts because they all have a sound specific to the song. So doom tracks have heavier and denser guitar tones because its not as much trem picking perhaps, where as a violent, chaotic song needs a different kind of production aesthetic to bring out the mood and spirit of the song.

My style definitely isn’t for everyone, and plenty of bands I have been in may not have liked it even and run towards mainstream thinking and conventional productions. But fuck all of them, I’m doing this cause its how I like to listen to music on my stereo, and if people are into working with me its because they have similar thoughts. So its really satisfying when great bands hit me up to mix a record for them as well. Recently finished the Bestial Raids new record and that was a brilliant experience to work with guys that know exactly what they want and recorded a punishing onslaught that I could sink my teeth into. They wanted it even harsher than I was going towards haha, brilliant! I always try to give bands like that exactly what they are after because its the vision of the band. I respect those kinds of bands a lot.

Can you comment on the mic stand with goat skulls and barbed wire which you employ for the live setting?

The mic stand itself is a welded piece with the sigil in the design done by a flat mate the night after we supported Mayhem some years back. He was possessed after our gig to go loose at his workshop for the rest of the night! And we have always had tons of skulls around us since the beginning, so it seemed appropriate to construct the proper pulpit of invocation in a more solid form. I track all my vocals through the mic stand as well, so its not just for stage. It’s the appropriate tool for communicating our message

As a musician, how mandatory is the process of coming up with new ideas, as opposed to staying within the style you are known for or most familiar with?

I don’t think it's very important at all actually. Much more important to be sincere and passionate than redefine the guitar or whatever instrument it is. They are just tools, but the music is communication. If the song takes us down a pathway we haven’t been on before then great, but if its just to try and show off our “musicianship” then its worthless ego driven garbage. And I’m trying to get rid of those things in my music. I can’t really see us straying too far from our formulae and spells. We are trying only to get darker and more pure, not become more popular of standardized. I guess once people hear the next record they can decide for themselves whether we were/are successful or not at that

Most people would figure metal musicians generally listen to the 'truest' of extreme metal only, or are closed to outside genres. However, I have learned from various people in bands that many musicians don't listen to just metal. Where do you stand on this? Do you let outside genres influence your musical output or do you prefer to stay strictly within the confines of the genre as is?

I’m probably atypical in that I used to have a much wider range of influences in my teens and 20's, but since my 30's I have become far more narrow minded and focused on what in metal it is that I like. I still listen to martial/industrial music, (just listened to a Nordvagr project yesterday that was superb) and still have a segment of classical music in my collection as well that gets listened to, but its mainly metal. Especially the ugly shit!

With "Obsidian Codex" it felt like you were expanding your sound to the next level. The compositions are darker, more evolved and dynamic. How long were you working on the material and what inspired the idea to write a double LP? How much of a challenge was the overall process?

Obsidian Codex did spiral out of control a bit. I knew it was going to be a lot of music, and it was designed from before the songs were written (in most cases anyway) to be 4 sides of vinyl. So each side had to be enough as a piece of music on its own terms, and then make sense to each other in context. Nemesis and Makutu were the last 2 songs completed and by far the hardest to track. The mixing of both was difficult as well as the subject matter has a lot of power and resonance, esp. with the lyrics reflecting reality rather than conceptual possibilities. The mix in Nemesis was grueling. I have no idea about how many little guitar overdubs and layers there is on that final mix…but there's a lot of buried horror within it. Finishing the master and sending it off was a pretty satisfying day…now its 4 years later and I’m nearly at the same stage with out 2nd full length. At least this one is only a single LP!!

Tell us a bit about the themes addressed on "Obsidian Codex," particularly the Māori reference on tracks like 'makutu.' You are one of the first bands I can think of that makes reference to Māori mythology. Were you doing a lot of research in regards to the themes? It's quite refreshing to see a New Zealand band acknowledging their country's culture.

Each song has a united concept but (hopefully) its own individual character. The ones most obviously born from NZ soil would be Makutu and Nemesis as each reference actual events in their own way. Nemesis from the perspective of a vengeful warrior whose Utu (sworn revenge) transcends death, Makutu from the perspective of a Magician’s curse that destroys its intended target over a brief period of time. But the other tracks are all birthed from NZ blood and dirt as well. Craft of Dissolution was conceived in a rural area of NZ during a period of almost total isolation with only a guitar and shitty practice amp and pen and paper to write with. There's all kinds of spirits and taniwha out in the wilds of this country, if you can switch off and have the eyes to see & ears to hear. Some write about middle eastern or Vedic spiritualism, but that has no relevance to me. This has relevance, and this is where our gods live…

Lastly, if anyone has any inquiries and would like to get in touch, how should they do this? Furthermore, what does the future hold for Vassafor?

Easiest way for people to contact is via our email vassafor@gmail.com. The future holds nothing but Death….and as its inevitably creeps closer we will continue to create a soundtrack for it…to the Death

INTERVIEW: HORDES OF THE BLACK CROSS (2017)

Aussie maniacs Hordes of the Black Cross specialize in lethal Black/Thrash that goes straight for the throat. The following interview was conducted with Halla (vocalist) and Korpse Horde (bassist) in June, 2017.

Greetings! Firstly, thanks for agreeing to do this interview. How's it going? I suppose the heat is killing you guys over there at the moment?

Halla: Yes indeed! Thanks indeed for having us on board with Death By Hammer. 

I have since relocated from Melbourne, Victoria to another state call New South Wales. Where my area is; it’s known as far North Coast, Northern NSW or Northern Rivers. So it’s warmer and humid here but more of a subtropical climate. I live deep in the national forest on an off grid house. It makes you realise that in the deep scheme of things, your life is minute as compared to the chaos of the jungle system. In addition, I have seen a lot of snakes slithering in my area.

Melbourne does get the heat - dry scorching heat. I can’t stand the heat but if you’re playing hell’s music, then you have to be in the fire! I’m not a huge  fan of Melbourne’s winter either as it’s an urban, concrete winter. We don’t get frostbitten landscape and snow unless you’re up in the alpine region. All we get are overcast days, rain, wind and dankness. It’s quite boring and dull in winter but cold and grim nonetheless. My other bandmates are still currently living in Melbourne. However I have murderous desires to live in Tasmania. It’s really far down south with wild landscapes and equally wild weather. Only the strong survive.

Could you give us some basic info about the current line-up, history, and what you've released so far?

H: The black flame was initially lit with just myself, Korpse Horde and Thormentor and we started practicing and jamming since September/October late 2010 - drums, bass and vocals. It was challenging to find the right guitarist but fortunately we have Hate Blaze to partake in it a few months into it. Everything fell into place quickly with songwriting and band practices but it was only sometime in April 2011 that we’ve committed ourselves to exhume our black arts. And the rest is history.

Our releases so far had been

Self Titled Tape - 2011

Split 7” with Terra Australis - 2012

‘Dawn of War, Nights of Chaos’ 12” and CD album - 2016

Split 10” with Funeral Moon - 2017

Thus after 7 years and 46 shows of live flesh corruption, we are taking a hiatus from live performances to pursue a sabbatical and other personal commitments.

Can you give us some details about each member's input as far as the writing process goes?

H: 

Thormentor - drums

Korpse Horde - bass

Hate Blaze - guitar

Halla - vocals

Everyone except for me is involve in the songwriting process.

What led to the choosing of the moniker and what does it represent?

H: Moniker as in the band name? It was rather difficult to find a band name that will suit us in all forms. I remember it being a process and so many names were thought of but when ‘Hordes of the Black Cross’ came along, we knew that was the one. I also believe the pressure of having an impending first live ritual made us deciding on that one! My personal take on it is this - it conjures and inspires an image of a huge horde riding wild across the bleak tundra with massive broadswords. I know this might not be a very unique or original imagery but that idea is always stuck in my head. I myself am a huge fan of deserts, remote areas, void spaces and hostile environment. In Australia, we have plenty of that. I have travelled in some of them but I desire more.

Your debut album, "Dawn of War, Nights of Chaos," is a great slab of thrash-infused black metal. I'm surprised over the fact that it was self-released, since I believe that material of such depth could easily gain the support from a credible label. Care to shine some light?

H: Thanks for acknowledging that. I think that where we are at the moment, we are capable of taking the band to a higher level. We would like to have our materials distributed internationally and ourselves playing in South America, Japan, North America, Asia, Europe and Scandinavia in the next few years. We even have desires to actually live it rough in Europe for a few months and just tour. However it can be a very arduous process of networking as we rose up as relatively unknown in the black metal community in late 2010. And we still are. We are not the most proficient in regards to promoting ourselves except just through word of mouth, live shows and with a zine like yours to be heard. I myself spend very little time online. I do know it’s a huge task to be out on a certain level.  And it’s challenging of course amongst a sea of bands out there to really stick your neck out. However from all of our past live assaults, we have been raising hell with some of the best Australian black and death metal bands and supports for international bands. Of course at this peak, we have decided to be on a hiatus. However that is fine as outside the band, we all have our personal lives to lead and pursue other commitments. The band itself has been a huge part of our lives as we have played in amazing venues alongside killer bands alongside our rabid comrades and maniacs that headbang to our set. When the time and space is right to work in alliance with a label, that opportunity will reveal itself.

How integral is the whole "DIY" ethic? Surely, it must have cost a fortune to release it on both CD and LP yourselves? How many copies of each format did you make?

H: Like what I’ve mentioned above, we are relatively unknown when we first formed as a band. And being in that state has made us very fiercely independent. Somehow it just falls into place as we want to work according to the pace that suits us well. The tape was from memory 100 copies, the split with Terra Australis was 300 for the 12” album and 500 for the CD and lastly 300 for the split 10.”

In regards to the DIY ethic it just fell into place with no intention of claiming we are one. We just worked with what we got. That somehow got sown into the way we operate. We have our own chamber for band practices and all of the releases have been recorded by us.

We have our connections and black hearts with playing alongside hardcore punk bands in your non traditional metal venues such as squat and abandoned warehouse spaces. Some of our best and deadly shows have been at hardcore punk shows. The audience have been known to crashed into us alongside busted pedals, crashing cymbals, mic stands and utter chaos. It was gutter!

A memorable live set was us playing in an abandoned warehouse with other hardcore punk bands. The police got news of the “illegal” assembly. From memory, halfway through our set, there was already a gathering of the police outside. Someone threw a glass bottle in the warehouse and they stormed in. Everything got shutdown. For the longest time ever as we slowly get our gear out with a sense of confusion, impending chaos and tension brewing, civil disobedience was the order of the night. Trouble erupted on the streets with the police clashing with the crowd.

How long were you working on the material? It's been well over a year since its release - how has the reception been?

K: We spent a long time on the album, Some songs on the album were quite old, around since the demo tape was recorded in 2011 and some were written during the end of the recording process and had never been unveiled live before. We have always recorded everything ourselves which is great that you can spend as much time as needed and without requiring any external influence, but this can be a double edged sword, as it’s easy to obsess over mixes and simply waste time, but we are very happy with the end result and it has been well received on Australian soil.

What kind of themes do you explore in your lyrics? Also, who did the artwork and what does it depict? It has a really cool medieval feel to it and suites the aura of your music.

H: In the broadest of sense - the chaos of the worlds above, below and the spirit that traverse in between. Through the turmoil and war of our nightskies and infinite worlds beyond, it serves as a conduit in relation to our mortality. Death, dreams, nightmares and the everlasting search for knowledge…...

Bartłomiej Kurzok from Poland has been our artist since the first 7” and shirt design. We initially had a draft concept of what we would like for the album cover - war, death, chaos, feasting and fire. We also gave him our lyrics to take in as further ideas. Bartłomiej took that in and from there, he worked his black magic.

Tell us about your live performance and what one ought to expect when attending your shows? Is playing live an integral part of your act? Do you prefer the studio or stage?

H: Pure black metal chaos in every sense of the word. Live performances are crucial to exhumed all the hours spent on practicing and writing the music. It also gives us the chance to connect with the audience. At the end of the day, we are giving it back to our comrades, brethren and those who have given us the platform to exist. Without them, I feel our existence as a band is futile. In regards to studio or stage, it has to be a balance of both. The studio gives us the chance to truly focus and capture inwardly on our black arts whereas as a live unit, we released that dark energy out.

As I understand it, you've shared the stage with bands like Inquisition, Abominator, Denouncement Pyre, etc. - what can you tell us about the overall turnout/experience? Did you manage to win over some fans?

H: It is without a doubt one of the many highlights for us as a band to be playing alongside these bands. The turnout of course are huge as they have been around for awhile and very much established in Australia and overseas. We had the opportunity to play interstate shows which allowed those who have not witnessed us execute our chaos.

I have many good words to say about Inquisition - bold onstage and down-to-earth off stage. However, I must say being on the same bill for a metal festival ‘Evil Invaders’ with Sadistic Intent has to be a crucial moment in time for me. Such honest passion and true essence of what it takes to play extreme music. It was a deadly, hellish set! True possession in every sense of the word.

I suppose you are quite picky when it comes to the type of riffs and parts you use in your compositions? Do you rehearse much? If not, do you spend many hours per day practicing your instrument?

Korpse Horde: We do find it hard to all get together these days with daily life and all, But yes we tend to record as we write and rework riffs as needed if it doesn't feel right, sometimes we can do this to excess which can have a negative impact. These days we are trying to simply our song writing and structures.

What are some of your biggest influences? I think it should be obvious to anyone who listens to your music, that you are not influenced by disco or jazz.

K: That question could open up a can of worms..We often enjoy getting drunk having sing alongs and end up serenading each other to Barbara Streisand and Barry Gibb, however I would say as a collective Dissection, Carpathian Forest, Aura Noir, Destroyer 666 and Kreator would have to cover most bases. Fuckin’ Metallica rules too eh..

What is your thoughts on the current state of Australia's underground scene and which bands do you support/recommend (local and abroad)?

K: Personally I think Australia has a quite unique and interesting music scene, but it does seem to fluctuate every few years in activity. Lately there doesn't seem to be many new bands popping up, rather a resurgence of golden oldies that had been lying dormant for some years. Something which is equally exciting since we have quite a few heroes of yesteryear such as Abominator, Vomitor and Destruktor. Nocturnal Graves and Denouncement Pyre are also infamous amongst the Aussie metal scene, but I get more excited these days of the lesser known underdogs. Of course Nocturnes Mist have been at it for years but I think this is a highly underrated band - pure black metal chaos leaks out of southern hell!!

H: The usual suspects are always there. If you have not heard of them, then you have no business in the game. Here are my personal favourite and brethren of Australian black and death metal bands - Terra Australis, Elysian Blaze, Ignis Gehenna, Sanguinary Misanthropia, Abraxxas, Diabolical Demon Director, Funeral Moon, Decrepit Soul, Christ Dismembered, Deathripper, Stormbane, Eskhaton, Contaminated, Mongrel’s Cross, Wolfe, Encircling Sea, Vaiya, Oligarch, Bastardizer, Golgothan Remains, Dead River Runs Dry. And two bands that have recently emerged are Reaper and Evoker. Keep your ears peeled for them!

10 albums you can't live without.

H: In no particular order:

Nightbringer - Apocalypse Sun

Impiety - Skullfucking Armageddon

State of Fear - Discography

Carpathian Forest - Black Shining Leather

Bathory - Blood Fire Death

Dawn - Slaughtersun (Crown of the Triachy)

Dissection - Storm of the Light’s Bane

Inepsy - Rock and Roll Babylon

Discharge - Hear Nothing, See Nothing, Say. Nothing

Diamanda Galas - The Divine Punishment

K: 

Kiss - Self Titled

Motorhead - No Sleep til Hammersmith

Bathory - Nordland

Carcass - Heartwork

Marduk - Panzer Division Marduk

Craft - Void

Impaled Nazarene- Suomi Finland Perkele

Vinterland - Welcome My last Chapter

Thin Lizzy - Renegade

ZZ Top - Eliminator

Lastly, what does the future hold for Hordes of the Black Cross? Thanks for your time!

H: The future has already happened. We are living in a world towards nothingness. Exist in chaos! Hails to you Jim and Death By Hammer. Keep the black flame alive!