Album review: Nexwomb – Exegesis of Nihility (Reissue 2020)

Nexwomb – Exegesis of Nihility

USA

Morbid Chapel Records (CD) / Nihilistic Noise Propaganda (Tape)

 

This is the first album from Oregon's Nexwomb, which embodies nothing and nothing less than pure Black/Death savagery spawned from the very depths of hell. The songs on this album can be characterized by its immensely cavernous production, complemented by a series of explosive and well-played riffs that keep you interested while constantly bombarding you with caveman violence from beginning to end. There is a hint of dissonance in the riffs that adds an extra layer of murk to the overall experience, while the drums constantly pound your skull with brute force. The vocals are so incredibly feral that you wonder if it's even a human and not some mutant cave beast behind the mic, though metal archives will confirm that it's a human who goes by the name Vardlokker and who is also behind killer projects like Witchbones and Conduit of Chaos. “Exegesis of Nihility” is an extremely ferocious pursuit of barbaric Black/Death that is both impossibly primal and viscerally enjoyable for those who dig this kind of stuff. Some idiots on the internet will attempt to sound lofty by calling this "caverncore", but you should never listen to them, because most of those who use these terms are usually self-absorbed hipsters who have nothing better to do than spout pseudo-intellectual nonsense on the internet all day. This is violent and bestial black/death metal. Simple as that. (HT)

Album review: Ordo Caper - Aphorism of Baneful Acts (2020)

Ordo Caper – Aphorism of Baneful Acts

Costa Rica

Dunkelheit Produktionen

Ordo Caper from Costa Rica is one of those bands that deserve more attention, especially taking into account the quality of their music. The music presented on Ordo Caper’s debut full-length “Aphorism of Baneful Acts” is some decidedly crude and blasphemous black/death metal that sounds like some totally strange, yet interesting fusion between bands like Incantation, Bestial Warlust, and Sadistik Exekution. The band also experiments with “noise” elements rendering to the overall chaos. I think it’s safe to say that Ordo Caper isn’t just another war metal band, as there are definitely some characteristic elements in their sound, and this can be heard on every track. Even the way they play the riffs are totally unique. This whole release radiates total insanity redolent of bands like Sadistik Exekution. The band did do a split with Rok, so I guess they must’ve been influenced by them. They play with various tempos, as the instruments constantly interplay with each other. It’s a pity that most people would overlook such a killer release, because Ordo Caper is the real deal and their music has an incredible amount of depth to it. There’s a lot of weird and discordant riffs that borders on prog, all the while maintaining a degree of minimalism. All in all, this is a very cool release, and I’ll probably listen to it again later, considering that there’s still some details that haven’t fully sunk into my brain yet. Fans of the bands mentioned earlier should check this out. There's a reason Rok recommended these guys! (HT)

Interview: Goatsmegma (2021)

GOATSMEGMA is the first of many Estonian bands to be interviewed for this webzine. Their music is the personification of pure and utter bestial FILTH, with a sound redolent of bands like MORBOSIDAD, BLASPHEMY, and BLACK WITCHERY.

Blasphemous hails! To begin this interview, can you tell us about the formation of Goatsmegma, and what the band is all about?

Wroth Desecrator: Goatsmegma is a nuclear goat kommando from Estonia. Total annihilation against humanity. Blasphemous hellblasting attacks, low-tuned cave-sounding guitars and vicious vocals, bestial vomits. We (the band) formed because we wanted to make this beast that was missing from our local scene.

Goathanger666: Goatsmegma is all about violent perversions.

Goatsmegma’s sound is crude, barbaric, and full of hatred. What is the inspiration behind conjuring such a violent sound, and what are some of your biggest influences?

Wroth Desecrator: For me it's themes of endless hate, sexual perversions, vengeance... These primal filthy monsterous fantasies and urges. Biggest influences come from Revenge, Black Witchery, Proclamation, Morbosidad, Blasphemy, Antichrist, Abysmal Lord.

Goathanger666: I'd personally say my biggest inspiration in life is the russian harsh noise wall scene and Muammar Gaddafi.

Your music gets categorized as War Metal – do you consider it as an actual genre, and in your opinion, which albums do you regard as some of the best examples of this style?

Wroth Desecrator: Actually we call our style Violent Black/Death Metal or Bestial Black Metal and sometimes Militant Goat Metal. You can call it what you want.

Best examples for me are: Nether Tombs of Abaddon by Proclamation, Fallen Angel of Doom by Blasphemy, Cojete A Dios Por El Culo by Morbosidad, Vengeance War Till Death by Bestial Warlust, Victory.Intolerance.Mastery by Revenge and ofcourse War Cult Supremacy by Conqueror.

Goathanger666: War Metal is something that takes speed and primitiveness from Black Metal and the raw brutality from Death Metal.

What can you tell us about some of your other bands such as Baalsebub and Sungehel? Are those your priority bands or is every musical endeavour equally important?

Wroth Desecrator: Süngehel was formed in 2012 as a Black/Death Metal band. Me and Sadistic Hellblast Impaler (ex-Süngehel) played together in Süngehel for 7 years. I'm still active in Süngehel, as an original member and writing all the riffs and lyrical material with them. For me both bands are equally important. Baalsebub was formed in 2013 and they are still active, with a new album coming this year.

Do you consider Goatsmegma and Sungehel as the first War Metal bands from Estonia, or were there any bands with similar aesthetics before you?

Wroth Desecrator: Süngehel was a War Metal influenced band from Estonia first, but Goatsmegma is a straight up War Metal band here.

Goathanger666: I'd say Süngehel is a multi-layered form of evil. Yes in some terms we are similar but Goatsmegma is just a primitive force.

The production on your debut album is very raw and unpolished. What kind of sound were you going for exactly, and are you satisfied with the result?

Wroth Desecrator: Yeah, we are fucking satisfied with the result. Raw, old school, brutal cave sound, nasty harsh bestial production.

Goathanger666: Yes, Definitely! This sound is supposed to be really abrasive and claustrophobic at times. I think that was the sound that we wanted at the time... Yes now i think that we could have tweaked some things but its our first strong pillar to build upon.

“Demonic Goat Smegma Eating Ritual” clocks in at 20 minutes. Do you consider it as an actual full-length? Most releases of such duration are considered an EP.

Wroth Desecrator: Demonic Goat Smegma Eating Ritual is full-length, but yes it's only 21 minutes. It feels like a full-length, the actual time is irrelevant.

Goathanger666: Yes, it's a full-length.

What can you tell us about the split with the Canadian desecrators Antichrist and how it came about?

Wroth Desecrator: Like I said before that Antichrist is also one of our influences. Their drummer happened to be in Tallinn one time and from then we started talking about doing a split maybe. Everybody (from both bands) approved the idea and soon we started working on it.

The artwork for “Demonic Goat Smegma Eating Ritual” is totally profane and sick in the truest underground sense. What prompted such an artwork, and have you encountered any issues with censorship yet?

Wroth Desecrator: We wanted that album cover artwork to be total fucking sickness and cruel perversions. Yes, some labels have censored the art on their websites. It was drawn by Hella (HLAdarkart).

Goathanger666: I'm really happy with how the artwork turned out. The idea was put forward by our drummer and the artwork was done by our vocalist's fiance who is an incredible artist. Definitely an eye catching piece of art.

What albums have you been into lately?

Wroth Desecrator: Eggs of Gomorrh - Outpregnate (EP), Revenge - Strike.Smother.Dehumanize, Abysmal Lord - Exaltation of the Infernal Cabal, Caveman Cult - Blood and Extinction, Gravesend - Methods of Human Disposal, Diocletian - Amongst the Flames of a Bvrning God.

Goathanger666: Hank III - Rising Outlaw, GG Allin's country album, earlier Abruptum and Rubber Witch - Masturbations Malveillantes.

Thank you for answering my questions. Please feel free to launch verbal weapons here as an afterthought.

Goathanger666: We are working on a new album and merch so keep an eye on our propaganda pages.

Wroth Desecrator: Thanks for the interview! Eternal hails and respect to maniacs who have been supporting Goatsmegma. Underground filth will exterminate all!

Album review: Putrid - Antichrist Above (2020)

 

Putrid – Antichrist Above

Peruvian

Godz of War Productions

This is my first introduction to Putrid from Peru and by the sounds of it, these guys are all about glorifying the Devil and the supreme reign of the Antichrist. The music contained herein sounds like a hellish mix of bands like Angelcorpse, Impiety and Altars era Morbid Angel. It’s a totally blasphemous and chaotic sound that will penetrate your skull from beginning to end. Riffs are sharp and acute with solos in abundance, coupled with the over-the-top maniacal screams of the vocalist and the war-like percussion that sounds like bullets being fired.

How the fuck can you go wrong when the music sounds this possessed? Putrid sums up everything black/death is all about by delivering a high-octane dose of audio violence that will make the beast nod his head in approval. The band creates an atmosphere that is both captivating and wholly apocalyptic, which conjures images of a world in flames. Everything about this release is put together pretty well, even the production is decent in the sense that it perfectly straddles the line between raw and comprehensible. I can definitely hear a bit of that idiomatic Peruvian bestial sound reminiscent of bands like Anal Vomit and Goat Semen. These guys rip and their music speaks for itself. If you’re looking for some truly hard-hitting, merciless, and morbid black/death imbued with the wrath of Satan, then look no further. (HT)

Interview: Death Worship (2021)

Rising from the ashes of the almighty CONQUEROR, the members have resurrected themselves through the vitriolic, anti-human campaign known as DEATH WORSHIP. I conducted this interview with Mr. Ryan Förster, the man of the hour, a serious individual that gives articulate and insightful answers relating to his violent art and passion for the music.

Infernal hails! What sparked the flame that led to the crude formation of Death Worship, and how does it differ compared to the apocalyptic hellnoise of Conqueror?

I started to have the idea to do my own band since about 2003ce, but I set the bar very high for myself. I notice that a lot of people will shit out something sub par in order to just have something/anything released. My view on the other hand is that I would rather NEVER release music again unless it is something that meets my personal strict standards.

I was satisfied with being in Blasphemy and also contributing guitar parts and ideas to bands that I had contact and respect for. You can see me appear on releases from Revenge, Black Witchery, Diocletian, etc. And I also put energy into my Ross Bay Cult label in support of some other bands that I am into. But the urge to put my own ideas on tape was always on my mind. Finally in about 2012ce/2013ce I was speaking with J Read (ex-Conqueror) and he was telling me that he had some time freed up if I wanted to get something going with him! That was the key! J Read is probably the best drummer in this style of music. I knew that with J Read I would be able to unleash music at that high level that I wanted to achieve!

The mission of Conqueror was what I call ‘Total Attack’! With Death Worship I also wanted to introduce a strong presence of evil! Of course Conqueror had evil intent as well, but there was not as much of a focus on that aspect as I have with Death Worship.

Prior to Death Worship, you mostly performed live with Blasphemy, and haven’t really done much studio-wise since the Conqueror days. Did the recording process for “Extermination Mass” come naturally? Were there any expectations that you felt were mandatory in regards to what you aspired to achieve?

We went to Fiasco Bros Studios in the Vancouver, Canada area because it was the studio that some of the bands that influenced me the most recorded at! Len from Fiasco Bros recorded all of the Blasphemy studio material as well as Procreation and Witches Hammer, etc! All of the legends from the Ross Bay region! So I knew that he would be familiar with what we were going for with Death Worship. Recording was really easy going there. The songs were already written prior to us entering the studio, so it was just a matter of getting a devastating drum sound and a crushing guitar sound. After that it was no problem. It is much easier to record with today’s technology than it was in 1996ce when we recorded ‘War.Cult.Supremacy’.

When you and James previously played together in Conqueror he was the one performing the vocals, now it’s the other way around. What prompted the shift, and how did that affect the experience?

At first it was planned that J Read would only do drums on the Death Worship recordings and I would do just the guitars and then we were thinking of getting Black Winds of Blasphemy on lead vocals. But then I decided that I wanted to keep Death Worship more separate from the overall Blasphemy sound, and also it would sound way too much like Revenge if James was on vocals. So this prompted me to take over the lead vocal duties as well. Black Winds adds some apocalyptic backing vocals though! It never ceases to amaze me watching that guy bark! Imagine a rabid grizzly bear defending his territory! Incredible power!!

Can you share any memorable anecdotes with us from shows you’ve played with Blasphemy over the years, particularly those in Brazil? How was the overall experience, and what were the reactions like from the South American audiences?

With Blasphemy we were fortunate enough to go to South America on 2 occasions! The first time was a killer show in Sao Paulo, Brazil, and then the 2nd time was a mini tour of 5 cities in both Chile and again Brazil! Both times we went there were made possible by the hard work of Brazilian Ritual Records! And for the Chilean shows they had a team of great guys there that put their resources together to get us over.

The audiences at all of those shows were amazing! There is a certain die hard attitude down there that I have not experienced anywhere else (except for in Thailand). We hung out with the audiences every night before and after the show and made some good contacts that we still keep to this day!

Not to put down any of the other shows, but the one we did in Belo Horizonte was particularly memorable with some legendary bands on the bill with us! The bill feature alongside Blasphemy: Goatpenis, Holocausto and SexTrash!! That to me was a line up that could only be in a dream! I did not think that could ever happen until Brazilian Ritual made it come true!

Some cool things were the restaurants in Brazil serving us perfectly cooked meat off of swords, and visiting Cogumelo Records! And then of course we hit the Bonfim Cemetery where Sarcofago did the photo shoot that appeared on one of my favourite LPs of all time: ‘INRI’!!!

In Chile we went a little crazy and almost got stranded in desolation in the Andes Mountains!! We were lucky to make it back to civilization! We went exploring on an off day and got a little reckless and got our vehicle stuck in deep mud caused by a flash flood! The only thing that we could do was make the 40 kilometer walk back to the nearest town. Luckily a construction crew happened to be passing by and was able to use their machines to lift our vehicle out of the mud that it was stuck in!

Of course I don’t have to mention that the ‘indulgences’ down there are all top quality! These ‘indulgences’ definitely had the Blasphemy name written all over them if you know what I mean!

What is it about playing vile black/death/war metal that you find so appealing and do you still have that same burning, morbid passion for this music compared to 25 years ago?

I suppose that everyone can’t relate to the fact that I am still listening to this type of music for over 30 years now. Most people get bored of things or say that they have ‘outgrown’ this music. I have seen so many people come and go over the decades. Not many of them have remained alongside us over the years. For me, this is what I have always been looking for since I could remember. As a child I was always into the fastest and darkest sounding music that I could find in my world at the time. Then I discovered that an underground scene was creating the exact music that I was looking for! To this day I am searching around looking for those bands that are pushing the limits of brutality and evil, and it still gives me that spike in the deepest parts of my brain when I find these bands! And these last few songs that I have written over the course of the lockdowns are still unrelenting annihilation! So, yes! That burning, morbid passion is still there and probably won’t ever subside.

What’s your opinion on the current state of the underground, especially with the rise of cancel culture and the abundance of virtue signalling idiots plaguing metal today?

I think that this ‘scene policing’ has backfired on these self-proclaimed ‘do-gooders’. The backlash seems to be commencing now. I see people online are just making fun of these ‘social justice warriors’ and their shit disturbing. And promoters have found ways to avoid the often unjustified and sometimes even mistaken cancellations of their events. And I think that the results of all of this commotion just brought a lot of attention (ie: sales) to all of these bands that were on the cancel culture blacklists. So in the end it is all just a joke. There is a lot more that I can type about this subject, but why waste time on these confused, brainwashed people that have no business poking their noses where they don’t belong?

What would you say are 10 essential demos?

Hmmm…. I could probably list 50! Even 100! I come from the time where the demo days often seemed to be the best efforts from the bands that I was into. Let me try to cut it down to 10. No particular order:

- Blasphemy ‘Blood Upon the Altar’

- Beherit ‘Demonomancy’

- The Lord Diabolus ‘Down There….’

- Abruptum ‘The Satanist Tunes’

- Necrovore ‘Divus de Mortuus’

- Order From Chaos ‘Crushed Infamy’

- Von ‘Satanic Blood’

- Procreation ‘Coming of Hate’

- Morbid Angel ‘Thy Kingdom Come’

- Poison ‘Into the Abyss’

What do you think it is about Canada that allows it to spawn such menacing and hateful sounding bands? Does the environment contribute to this phenomenon?

I thought about this before. In Canada we have it quite good. There is no reason to struggle there. If you are in good mental health and physical form and are still struggling, then it is no one’s fault but your own. And I think that these easy times cause a feeling of emptiness in a lot of us that have the warrior/barbarian spirit within. Men are evolved to hunt, fight, protect and provide. In Canada, none of that is necessary. So maybe all of this is the pent up aggression and physicality that the establishment has tried to tame finally being unleashed?? Who knows?? It is just a thought that I had. Otherwise I think it’s great that Canada is known for this savagery! Better than being known for the most hipster and weak sounding bands like other countries are.

I understand you are currently situated in Germany. If I may ask, what prompted the decision to migrate there, and how do you perceive the German/European scenes compared to Canada? What are some of your favourite German bands?

I am never someone that can sit still. I have been moving around since I was a child and this lifestyle extended into my adulthood. I have dual citizenship between Canada and Germany. It was always a plan of mine to come to Germany. Only the fact that Blasphemy was going strong again since 2009ce kept me in Canada. But as time went on, the itching to move just became too strong to resist. I then realized that I could still join Blasphemy for any scheduled show just as the other guys in the band that aren’t based in Canada do. Moving to new surroundings keeps the mind stimulated!

When I moved here I planned to immerse myself in the live music scene! There was an interesting show within a 2 hour drive from where I am living every weekend! Unfortunately that came to a stop for the last 15 months. Just my luck! I move to the middle of the most frequented country on every metal band’s tour schedule, and everything gets shut down!

The one difference that I notice between the Canadian and German scenes is that they are spoiled here. A killer band from a faraway country could come here on a tour and no one will care. They saw everything already and so they don’t have much motivation to get off of their couch and to the venues. Hopefully this attitude changes when things open up again.

Lastly, what does the future hold for Death Worship? Thanks for your time. Long live Ross Bay Cult!!!!

The next plans for Death Worship are live shows and an LP in the future. For now I have a couple of other things going. There will be some new music unleashed by me in a few different projects! Beware!!

EP review: Ordo Caper - Haspu (2012)

 

Ordo Caper – Haspu

Costa Rica

Nyarlathotep Records / Nightfall Distro / Hell Productions / Viceral Vomit Records

Initially, I wrote a review for this EP some years ago, but somehow the 'zine I submitted the review to never got published. Well, better later than never as they say, so here I am about to write some words about Ordo Caper’s 2012 release, entitled “Haspu.”

Speaking of the band, Ordo Caper is an outfit hailing from Costa Rica (Central America) playing a style of blasphemous black/death that is totally obscure and underground. The 7 tracks that comprise this release run at a total of 35 minutes, which is quite lengthy for an “EP.” The band’s sound evokes the filthy spirit of bands such as Blasphemy, Goatpenis, and Sadistik Exekution. It’s not outright fast all the time, and I think that’s what sets them apart from most war metal acts. There’s a lot of mid-pace and slower parts in their sound, and somehow it still retains a thoroughly chaotic element structurally due to heavy dissonance of the guitars. The songs exude a profoundly dense and nightmarish atmosphere so thick, you can feel the evil hanging in the air. Profane and otherworldly vocals are spewed all over the mic, which really contribute to the sinister ambience and chaotic sound overall. The production has a natural essence to it, which makes the music all the more authentic. There's even a killer cover of Goatpenis' "Eht Tsrow Sdrow" (RIP Sabboath). 

All in all, “Haspu” is an absolutely crude and vile release from beginning to end, and will open the portals to hell once you play it. (HT)

EP review: Bestial Entity - Treason Of The Dead (2021)

 

Bestial Entity - Treason Of The Dead

Greece

Fistbang Records 

Bestial Entity, a duo from Greece, unleash their monstrous and crushing four-track EP called “Treason Of The Dead” via Fistbang Records.

These maniacs are adept at playing dark and sepulchral black/death that sounds like a mix between bands like Pseudogod, Resurgency and Hate Manifesto. The atmosphere on this release is purely blasphemous and will chill you to the bone. The guitar tone is deliciously filthy, with riffs that sound like they emanate from the abyss, paired with a thunderous and cohesive percussion that is able to switch from mid-tempo to blasts with absolute ease. Deep and menacing growls are perfectly integrated into the mix, not too loud, nor too soft, and really add depth to the overall assault. The production is also very good and gives clarity to the performance.

It’s a fairly short EP, yet an utterly convincing representation of what the group is all about. If you enjoy the amalgamation of styles between black, death and war metal, then this will no doubt tickle your fancy. “Treason Of The Dead” features 9 minutes of pure unholy black/death terror. Hopefully a full-length will manifest at some point. Recommended. (HT)

Split review: Nameless Tomb / Sadomortuary - Nameless Mortuary (2020)

 

Nameless Tomb / Sadomortuary – Nameless Mortuary

Germany / Italy

Goatmarch Distro

The aptly titled “Nameless Mortuary” is a split release between Nameless Tomb (Ger) and Sadomortuary (Ita) released under Goatmarch Distro from Greece. Both of these bands embody the true essence of the underground and transmit a veritably evil atmosphere that many bands lack nowadays.

Inaugurating the madness is Nameless Tomb from Berlin, Germany, offering five tracks of vicious and vociferous Black/Death Metal that could potentially drive your neighbours insane. Their side of the split starts with an audio sample of Armin Meiwes, which is quite fitting considering the band is from Germany. The music is characterized by sinister and buzzy guitars, unintelligible growls, primitive, yet well-executed drums, and an unabashedly raw production. Their style conforms to the formula of old-school, raw and bestial Black/Death Metal that gives nods to bands like Corpse Molestation, Havohej and Abhorer. In other words, this is some killer fucking shit. 

The next attack comes from Sadomortuary from Mantua, Italy – and just like Nameless Tomb – they offer more or less the same palette of aural sickness, albeit even more primitive, with a sound sonically on par with bands like Beherit, Weregoat, and Sadomator. The music is – as mentioned above – utterly primitive, ugly and raucous. Their songs aren’t particularly short either and succeed in inducing a profoundly devilish atmosphere, pulling you into the darkest corridors of the bottomless pit with their brand of ritualistic Black/Death. 

All in all, both bands deliver. In fact, this is one of my favourite split releases of late. I definitely recommend it to those into the more bestial and crude sounding stuff. (HT)

Interview: The Incursion (2021)

 

Not only do they have a badass logo, but their music slays on all fronts. The following interview was conducted with US Black/Death aggressor, THE INCURSION.

Godhammering hails! Tell us about the formation of The Incursion and what the band is all about musically and lyrically.

The Incursion formed circa 2018 in San Jose CA. Alex and Nick were previously in the group Plague Phalanx, and coordinated with Gabe of Slege/Thangorodrim.

What kind of mental images do you wish to depict with your music?

In general, we tend to aim for imagery that embodies the feeling of impending death or ultimate triumph in battle. Things like the barrage of a Katyusha rocket onslaught, or the raining of artillery come to mind.

Do you feel like The Incursion has its own sound? What sets you apart? Can Black and Death Metal be reinvented or not?

I think The Incursion does execute a short list of elements shared by few others which do set us apart somewhat, but in my experience which I am sure is similar to most, all music is usually and unfortunately described by using other bands as an analogy. So with that in mind I would say our sound and energy is similar to that of Black Witchery or Caveman Cult, however we do get into more dissonant textures you would find more in a Death Metal/Black Metal atmosphere in the vein of Blut Aus Nord. As far as Death Metal/Black Metal being reinvented, I supposed that is subjective to each one’s perception. My short answer would be no, it can’t be reinvented, but we can all do our best effort to add newer and more evil sounding elements to it. What’s the need for all the melodic shit?

Are there any bands that you feel The Incursion share a musical kinship with? If so, who are they?

There are a bunch of bands that we feel a connection to in the form of shared influence and mutual understanding of the music itself. Especially out here on the west of the US we appreciate the shit out of Blood Omen from Santa Cruz, Ritual Genocide from Reno, and Putrid Temple from Seattle. That’s just to name a tiny handful, but those bands are all sick as fuck.

Have you ever had any trouble with rats in the underground who misunderstood your art or who tried to censor you in some form or another?

We have not faced any type of censorship with The Incursion, but we definitely had our fair share of it with our old band Plague Phalanx. People had some misconceptions about the imagery we used, etc., but it definitely hasn’t given us pause or made us not want to make this kind of music anymore.

Shine some background on your discography and what you've released so far. Do you have any merchandise available for maniacs to get hold of?

We released a self titled demo about two years ago, then a single called Trudging Through Artillery which also later featured on another EP called Pandemonium, which included all of our early material that we’d been playing at shows etc. The latest release, available via Nihilistic Noise Propaganda, is called STURMSIEGE. We also have logo shirts, pins, and patches which people can hit us up for on our social media as of now.

How has the reception been for your releases so far? Are you getting much support?

People like our shit as far as the demos and EPs, but we haven’t truly started to promote heavily yet. When we begin work on our full length we’ll make some more noise.

Personally, I've enjoyed everything I've heard from The Incursion. The music hits you like a MGM-51 Shillelagh Missile and destroys everything in its path. How important is the extremity factor in regards to the type of music you play?

The extremity factor in the music is the peak of importance. We mainly try to execute that through speed and choice of notes is extremely important in the string section. Overall our goal is to push ourselves with each album to find different avenues to achieve the same type of feeling but not producing the exact same material over and over.

I understand that some people seem to be under the deluded impression that your drums are programmed. Can you please clarify?

I perform, record and mix the drums, so here’s the deal. I use a Roland TD6 Module and trigger for the kick drum, the rest are acoustic drums, and not very many of them. I use a very small kit. Kick, Snare, Floor Tom, Hi Hat, Crash and Ride. Emphasis is always on the Snare. As far as the mix, I use compression and EQ to enhance and boost the frequencies. At this point there is little to no editing at all, virtually nonexistent except for the kick drum on some parts just to keep things consistent and together in the mix. I push myself very hard to get solid genuine takes when recording. Generally we play between 190-200BPM and 250-260BPM. For the next material I will be utilizing more lo fi and minimal techniques to give us more raw sound then the somewhat polished Death Metal type sound we have produced. 

How many times do you guys get together to rehearse? Do you practice a lot? Also, what are some of the most important aspects for you as far as being a musician? Do you ever look for inspiration outside the confines of metal?

We used to jam every week, but since the plague hit and our jam space got shut down we haven’t been able to. There’s been talk of us all moving in together so we can jam in a living room or something but hasn’t happened yet. So for now it’s all individual practicing to the new material and preparations for the next release.

What are 10 albums you can't live without? 

No particular order:

Black Witchery - Inferno of Sacred Destruction

Black Sabbath - Paranoid

Venom - Black Metal

Gorgoroth - Pentagram

Conqueror - War.Cult.Supremacy

Judas Priest - Sad Wings of Destiny

Diocletian - Doom Cult

Inquisition - Nepharious Dismal Orations

Cannibal Corpse - Vile

Celtic Frost - Morbid Tales

What's some of your favourite releases from 2020?

There’s a bunch of 2020 releases I really fuck with. Just to name a few the Totenwache album Kriegswesen, the Goathex/Goatcorpse (US) split Order of the Plutonium Trident, Hinterkaifeck’s (Australia) demo Kak, and Nirriti’s EP Asuryasparsha all made an impression.

What's your opinion about self-proclaimed metal maniacs who look like disco monkeys? Would you take such a person's opinion about metal seriously?

We don’t really care how people dress. What we don’t like is people who act as if they’ve been listening to this music since day one but don’t have the slightest appreciation or respect for the classic sound and its roots. Fuck that shit. 

Other than metal, are there any other activities that interest you? What about history, the occult, sports, movies, art, serial killers, literature, etc.?

I’m really into ancient and dark ages history, especially pagan Europe around the years 400-800 AD. That was a savage time. Occult practices and ancient religions are a massive interest too. I’m also very into philosophy, which I have a bachelor’s degree in and study on my own time

This bring an end to our interview. Tell us about your plans for The Incursion and when we can expect to hear a full-length. Lastly, do you have a message for your enemies?

We are currently working on more material which will be out in 2021, not sure if it will be an EP, split, or full length album. As far as our enemies, The Incursion is coming for your fucking skulls!

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.