Interview – Page 23 – Wonderbox Metal

Interview with Methedras

Methedras have recently finished their latest album System Subversion and are getting ready to unleash it on the world. This is a hard working band who clearly love and believe in what they do, so I decided to get a bit more information from them…

Give us a bit of background to Methedras

Quintessence of the most direct-in-your-face thrash-death style, Methedras sets among the leading underground Italian bands, a real war-machine which has been able to release a demo and three full-length albums during its 18-years old activity, as well as have performed hundreds of concerts throughout Europe, many of them in support of big names of the international metal scene (Testament, Dismember, Hatesphere, Destruction, The Haunted, Onslaught, Exodus, Overkill, Sepultura, Deicide, Hirax and many others), without ever losing an ounce of anger and energy. Quartet formed by Claudio (vocals), Eros (guitar), Andrea (bass) and Daniele (drums), originally near Milan in 1996 with a double-guitar line-up, the band has changed over the years various members preferring in the end a solid line-up with only one guitar, arriving to a proper own style with no compromise: a sort of derived thrash metal spiced with more typical death metal influences and a groove-hardcore approach concerning the vocals.

What are your influences?

I think our influences are everything rock and heavy, ‘cause our background is right that. We love thrash and death metal, of course, but we also do listen from hard rock to grind and brutal, we have no kind of musical prejudice, for example we’re actually attracted by the industrial side of some of the new stuff written…we are in “experimental mode on” right now, and cannot say at the moment where this will end up, for us it’s enough to be free to create, without mental chains. By the way let me say everything that comes from the american bay-area of the early ’80s, being inspired by such big bands like Metallica, Testament, Megadeth, Exodus, Slayer and many others, then we grew year by year opening our minds to a more specific North-European death metal attitude, trying to mix in our sound these two different and typical metal streams.

Methedras Band What are you listening to at the moment that you would like to recommend?

I’m currently in love with the killing productions of the German thrash metal heroes Kreator and Destruction, especially “Enemy Of God” and “Violent Revolution” for Kreator, and “The Antichrist” for Destruction. These cds are a brutal assault to the ears of each metalhead, with brilliant productions, and great riffs and solos.

From USA I recently listened a lot of Exodus, Machine Head, Nevermore and Overkill. Especially Machine Head are one of my favourite bands of the last decade, they started their career with an incredible album like “Burn My Eyes”, recently repeated by two CDs like “Through The Ashes Of Empire” and, of course, “The Blackening”, in my opinion the best Thrash Metal album of the latest years, with an incredible production, tons of killer riffs and solos, and a supreme singer like Rob is. I think that “The Blackening” broke with the actual returning of the 80’s thrash metal, it is a modern way to see this kind of music, with some new ideas that brings a breath of fresh air. The same that Nevermore has done until few years ago, with their personal vision.

However, I usually listen to a lot of other genres, in death metal I loved so much the reunion’s album of Carcass, all the recent production of Cynic (but it’s hard to define “Death Metal” their last albums, I think it’s better to say “Prog Metal”) and many other bands.

What are your opinions on the current state of the Thrash Metal in 2014?

In the latest years, Thrash Metal is having a new life, with numerous band that resurrected the glories of the 80’s, with modern sound and most of all brighter productions, in some case also new ideas which carried the genre into new territories.

For example the Italian scene is healthy and continuously growing, despite the very few occasions where to show up and the total lack of a more professional approach by the music system. There are tons of very good bands worthy to be discovered and listened to, but interests from media, promoters, venues and labels pretty always focus on the usual four old big names.

They’ll never get the chance to arrive to a bigger audience if this kind of situation keeps on going, we’d need the help from everyone involved in the underground in order to let these bands grow and become more-exposed, we all should finally act as a whole family, not only when it’s time to fest and hang out!

What did you want to achieve with your new release?

Ten years ago we imagined Methedras still on the road betting to gain a place on stage just a step behind heavy metal legends like Testament, Overkill, Exodus, Destruction, Entombed, Dismember, The Haunted, Onslaught and many others.. well, we won that bet ‘cause we really did it, and all of them teached us the real meaning of the music we love: blood, sweat and passion, ever! We learned that lesson (in violence ahahah) and we kept it as a way of life, everyday, on and off the stage…so, openly speaking, with the new release we’d love to imagine the same thing but at an even bigger level.

Are you happy with how it turned out?

Oh yes definitely satisfied man. We believe to have reached a milestone in our career with System Subversion, achieving the long-time target to build up a delicious platter full of tastes and well-balanced. We have to infinitely thank our dudes at Domination Studio (RSM) for this, in the persons of Simone Mularoni and Simone Bertozzi, who followed all the sound tuning, recording, engineering, mixing, mastering and producing processes leading to a final great outcome such the album you’ve listened to.

Methedras Band 2 Talk to us about the lyrics

The lyrics are all written by Claudio, the singer, and are mainly about experiences he directly lives on his own skin everyday. So we can consider ’em a kind of belief-extensions directly coming from his mind, outlining how he’s used to analyse such political, cultural and lifetime subjects, viewed through his eyes and deformed by his apparent pessimism and nihilism, which instead lead to, if focused to a deeper level, an unwavering and immovable faith in the humankind and his capacity to always resurrect from his foundation, no matter how bad have been his actions, like a phoenix who recursively arises from its own ashes after being dead.

Tell us about the themes behind the album

The new songs are literally more aggressive, faster and well-balanced, rather than our past stuff, offering to the listeners a varied mix of modern heavy thrash-core, spiced with the usual band-trademark death influences, which gave to the music something darker and groovier. Let me say we believe to have been able to put together ten real killer songs which are gonna blow out your mind!

How do you go about writing your songs?

Usually the songwriting process starts with the guitar player breaking through with a killer riff, then the drummer and bass player follow building under a bone-saw drumming and some harsh bass-lines and finally the singer finishing spitting over all the shit of the world, simply telling the truth, the best thing to do the most of the times.

How do you see your songs/direction developing in the future?

Well at the moment is too much early to analyse any kind of further development, the new album is still in a pre-release step, and has been kickstarted literally few days ago, so the time spent has been really too short in order to reply to this question…what I can say is that a couple of reviews already arrived and they seem to be very optimistic and enthusiastic. The most part, pretty everyone, of media and music biz related people in Italy who have had the possibility to listen to it, tell this is our best album, with killing, fast and very exciting songs in the name and spirit of the best thrash-death metal around…so let’s see what kind of feedback we’ll first receive with this one before to start thinking about a new path for the band 😉

What can we expect from the future of Methedras?

Of course releasing System Subversion worldwide, hopefully under some good label, trying to catch the more attention possible as we believe this new album deserve a serious hype around, it’s really well-done, aggressive and brutally melodic, if you’re a fan of thrash-death-speed metal, then you should definitely diggin into it…moreover we’ll be soon engaged in a couple of imminent summer fests to officially present the new songs, at Metal Crowd in Belarus on the 16th of August, headlined by Hate, and at Malta Death Fest in Malta on the 6th of September with our bros Hour Of Penance headlining…and finally during the next fall, we should take also part to the “Sentencing Europe Tour”, supposed to happen end of November and beginning of December, and directly supporting the mighty US thrash-death maniacs Solstice from Florida, for the first time appearing in Europe. So the imminent future seems to be great for us and we’ll try to our best as usual!

Thanks so much for this interview and your time to read it, we hope to see you all at our next live events truly supporting what is the most important thing: the real metal attitude.. we exist because of you, thank to all of you out there!!

Thanks!

Website: http://www.methedras.com
Facebook: http://www.facebook.com/methedrasthrash
Twitter: http://www.twitter.com/methedrasthrash
Youtube: http://www.youtube.com/user/methedrasthrash
Reverbnation: http://www.reverbnation.com/methedras
Myspace: http://www.myspace.com/methedrasthrash
LastFM: http://www.last.fm/music/methedras
Soundcloud: http://www.soundcloud.com/methedras
Deezer: http://www.deezer.com/profile/32232261
Spotify: http://play.spotify.com/artist/7gRx2htny4NtVY3JIEWQRr

Band email: contact@methedras.com
Management: jon@theflamingarts.eu

Interview with Giant of the Mountain

Having just released their impressive, diverse and very individual second album Moon Worship, I caught up with the band to find they’re only just getting started…

Give us a bit of background to Giant of the Mountain

Giant of the Mountain is a Dallas based metal band started by me and my wife Randi (the drummer) in 2008. We both started on guitar, went through member changes and Randi switched to drums. Since then, we’ve released a few recordings, and evolved into what we are today.

What are your influences?

I would say my main influences are Opeth, Emperor, and Death.

What are you listening to at the moment that you would like to recommend?

Right now, I’m listening to Mournful Congregation. I haven’t been able to put The June Frost and Concrescence of the Sophia down lately. They are incredible. I’ve also been jamming Laethora out quite a bit. They haven’t put anything new out recently, but it’s so dark, brutal, and a little crusty too. I also recommend the new Infestus, and the new Imogen Heap is really great too.

You have a wide range of styles in your sound – how would you describe your music?

Basically everything I write is me trying to make my own My Arms, Your Hearse (Opeth). We have a little death, a little black, and we also try to be progressive about it. We also welcome singing and acoustical passages. I guess I just have a song in my heart, and I can’t help but show it to the world, you know?

What did you want to achieve with your new album?

Well we are constantly growing and evolving as a band, and I wanted to fully capture our progression and growth on tape.

Are you happy with how it turned out?

Yes, most definitely. I think it’s the best thing we’ve done to date.

What lyrical themes/feelings have you covered on it?

Mostly it’s Lovecraftian lore. There are songs about Dagon, Yig, a Cthulhu/Shub-Niggurath spawn and one about the moons in The Elder Scrolls lore (Masser and Secunda).

What’s the meaning of the album title?

Mostly the songs are about the moon, and reverence to it. It’s about the moon calling its followers the depths to Dagon.

Your songs have a lot of variety and interest to them – how do you go about writing your songs?

It’s hard to say where exactly inspiration or that magical special riff that makes the song comes from. Once something that really strikes my fancy comes along I start building on that until I have a whole song. After that we start working on adding the drums and bass, and then I write the lyrics and working them into the songs. Then we practice them until we feel they are the best they can be.

How do you see your songs/direction developing in the future?

I definitely want more of everything. I want more complexity, brutality, and blackness. I want more acoustical passages and I want to top the vocal harmonies we did in moon worship. To me there is no limit, and we are at the beginning. I haven’t even begun to think of my best idea yet.

What can we expect from future releases?

Hopefully it’s something you wouldn’t expect. I want something to take you off guard and pull you in at the same time. Who knows what we’ll come up with!

What’s next for Giant of the Mountain?

Touring ! We want to play everywhere, and we want to meet more great people from around the world. Metal really does have the best fans. It seems like no matter where you go, and what city you’re in metal folks are always cool to be around.

Thanks! 🙂

You’re very welcome!

Interview with Unaussprechlichen Kulten

Unaussprechlichen Kulten have recently released their third album Baphomet Pan Shub-Niggurath and it’s a veritable feast of occult Death Metal. Between bouts of blasting it out at high volume I quizzed guitarist/vocalist Joseph Curwen about the album hoping he could shed some light on the dark depths within…

For those who are unfamiliar with your band – introduce yourself!

To the readers of Wonderbox! Of course all of you are unfamiliar with our band! We come from the end of the world: Chile, so the” third world” sends his curses to the “first world”!

Give us a bit of history to Unaussprechlichen Kulten

We start in early 2000 in Santiago, Chile with a couple of demos, inspired at Lovecraft’s “literary”. Our style: OCCULT DEATH METAL, taking inspiration from old and new metal.

Until now, we have 3 albums, some 7 inches and some splits, this year 2014 (September) we will do our second European tour.

Unaussprechlichen Kulten Band What are your influences?

The “Olds Ones” are our spiritual influences! About Metal influences, you know from classics like SLAYER (old), MERCYFUL FATE, INFERNAL MAJESTY until INCANTATION, MORTEM (Peru), NECRODEATH, INCUBUS (USA), GORGUTS, SHUB NIGGURATH, IMMOLATION, PENTAGRAM (Chile), MORTA SKULD, DISMEMBER, NOCTURNUS and of course The Almighty SADISTIC INTENT.

We have a foot in Swedish/Finnish, and the other in American and South American DEATH METAL (80-90s) and a bit of influence (guitars) from some new bands like Deathspell Omega.

What are you listening to at the moment that you would like to recommend?

From Chile: GODLESS (maybe the best Chilean band!), DEMONIC RAGE, FORCE OF DARKNESS, MAGNANIMVS, ATOMICIDE, HADES ARCHER, DIABOLICAL MESSIAH, ANCIENT CRYPTS, SLAUGHTBBATH, INVICIBLE FORCE, HORRIFYING, ATHANATOS… Pure feeling!

Foreign: POISONUS, DAEMONIC, ATARXYS (Arrrg the last album rulezzz), VOIDS OF VOMIT, ZOMBIFICATION, SWALLOWED, TOMBSTONE (Italy), IMPOSER,ABYSS (Canada), ECTOVOID, BLESSED OFAL, INCARCERATION, NECROHOLOCAUST, EVOKED TERROR, HATESPAWN, LATERN, AFTER DEATH, MASADA, ORDO INFERNUS SKELETHAL, SULPHUR AEON, GOREPHILIA, HAEMOPHAGUS among many others.

Tell us about your new album

The concept background of this new Chapter it is a consolidation of mythology in relation with the “Goat Worship”, the Eliphas Levi´s Baphomet, the God Pan and Lovecraft´s Shub Niggurath, mixed with universal mythology and even Chilean legends.

Was recorded in one month at DM6 studio, at home, this year 2014. We have recorded all of our albums there and also our rehearsal room is there. The owner of this studio (Pablo Clares) knows how Death Metal must be recording.

The cover art was painted by Daniel Corcuera in a fuckin awesome way!

Unaussprechlichen Kulten Band 2 Are you happy with how it turned out?

I’m pretty satisfied, until now the album have good promotion from both labels: IRON BONEHEAD and DARK DESCENT. Talking about music, to me is our better work, but the best, will come in the future.

What can you tell us about the lyrics/themes of the songs?

As you may know, mainly the Lovecraft’s myths and their relation with the “Mysteries of Death” are the core of our lyrics. The deities of Lovecraft represent archetypes present in different cultures and every culture has something that we called “The Memory of the Blood”, that’s what creates “worships”, myths and religions in relation with “common” monsters like Hydras or Sea Serpents, so we take the Lovecraft terminology to explain with “his words” spiritual concepts that otherwise we would be forced to use “christians” or “common” terms.

How do you go about writing your songs?

About Metal, first I do the riffs, arrangements and disharmonies of guitars, in accordance to what lyrics need, like faster, slower or thicker parts, thinking in the “concept” under the lyrics all the time. After “a-melodic” line are ok, I show guitars to Butcher, drum is 100% his responsibility. Then we adjust the structure and cuts, together in the rehearsal room.

How do you see your songs/direction developing in the future?

The most twisted, morbid and creepy that our capabilities allow. Special techniques or sound??? Who cares?…..

What’s next for Unaussprechlichen Kulten?

In September of this year 2014 we will be in Europe in our second tour with INCARCERATION and ZOMBIFICATION in Italy, Czech Republic, Poland, Germany, Denmark, Norway, Sweden, Holland and Belgium, and finally with DECAPITATED CHRIST! In Spain, France and Portugal.

Thanks!

Interview with Algebra

Feed the Ego is Algebra’s second album and a veritable delight for all fans of the harsher, darker side of Thrash Metal. Tony and Phil from the band filled me in with some insights into what makes them tick…

What are your influences?

Tony: So many things ! Regarding the effort put in Algebra I listen to a lot of not-so-easy-listening thrash, for example Forbidden’s “Distortion” record, “Time Does Not Heal” by Dark Angel or some Forced Entry. Personally, regarding my style of drumming, it’s quite easy to name: Lombardo, Hoglan, Benante and as a bonus I always put a Lars Ulrich drum fill in every record… it’s up to you to find it.

Phil: I think that every band that I intensely listen to inspires me, whether it’s conscious or not. I started listening to thrash and then thrash and then some more thrash. I think my first influences are Megadeth, Forbidden, Testament, etc. As time went along, I started listening to more and more extreme metal. And slowly some death metal parts started to appear in my songwriting.

What are you listening to at the moment that you would like to recommend?

Tony: Right now while I’m answering your interview, I’m updating my Accept compilation, which is a band I really love. Besides that, I really recommend Misery Index’s latest album “The Killing Gods” to any listener of extreme metal.

Phil: Not really new bands. I listen to a lot of bands like Dawn and God Dethroned right now

What were/are your aims with Feed the Ego?

Tony: To give the listener a real album, not just one or two songs that stand out, but a progression. Of course, it’s not a concept album, but you can listen to it in its entirety without being too disorientated. The lyrics, for us, are globally as important as the music, they also need a certain degree of coherence.

Phil: To make the best Swiss thrash record since Polymorph hahaha. I set multiple goals for this album. The first is a musical one. I think that after Polymorph, everything had to be redone regarding songwriting and searching for new ideas etc. I find it to be a difficult moment because you easily say to yourself: “damn, how will I find new ideas”. But slowly it all comes naturally and the songs started to spawn and then all your fears disappear. The second goal was to give the new album more exposure than Polymorph. When you do things DIY-style, your exposure tends to be quickly limited. We were lucky enough to have contact with Eric from UnspeakableAxe who offered us to release our next album.

Are you happy with how it turned out?

Tony: I’m the happiest guy on this damn earth. I’ve been fighting ever since the first time I sat down behind the drumkit and played songs from Kill Em All to make an album of this quality, even if it’s not related to Kill Em All. Right now, when listening to my own album, I can objectively say: Damn, this is not bad!

Phil: Oooohh yeeeeeesss. First off, I’m very happy with how the CD turned out, at all levels. Whether it’s the playing, the lyrics or the production. Furthermore, our expectations were fulfilled, like I said, by the fact that UnspeakableAxe released our record. The communication and exposure is already y so much bigger than it was for Polymorph, thanks to their job.

How do you feel about the recording/production of the album?

Tony: We are more than satisfied with the job Andy Classen did in only 4 days on our first record “Polymorph”. Because of that, we worked with him again and are very happy about it. The sound remains very natural compared to a lot of modern productions, and that was our main goal. Furthermore, having played with Holy Moses, he very easily understands our examples and comments.

Phil: I’m really happy with the way the album sounds. We all worked really hard for it to be as clean as tight and right as possible. Some songs needed more hours of work than others and at many times we were on the verge of kicking us in the nutsack but globally speaking, everything sounds like we wanted it to sound. Because we like our sound to be as natural as possible, we once again recruited Andy Classen, who already worked on Polymorph. His job is even better this time.

What can you tell us about the lyrics?

Tony: The lyrics are strong and in accordance with my opinions and thoughts. I will never talk about something I don’t believe in or that has no interest. I like to study human relationships, the current state of the world, and many other subjects. It seems like it’s too well thought of for thrash, but I’m not so sure of that!

Give us a bit of information on the songwriting process.

Tony: Two words: Guitar Pro (version 3.0. haha). It’s actually very easy for us to write songs. Phil and myself are the biggest input of raw ideas. After that, I sit down and think about not putting 52 riffs per song, but to develop a single idea in many different ways. And that’s what’s funny in Algebra’s music, many people here think that we spend a thousand hours to arrange our songs, but in general, the same idea will be used for the main riff, the arpeggios, the clean bits, etc… It’s a question of arranging and that makes all the difference when you listen to it, believe me.

Overall you work in the heavier/darker side of Thrash Metal I’d say – was this a conscious decision or something that developed naturally?

Tony: Both. Like everybody, we started by playing Slayer and Sepultura covers among many others, but it didn’t totally complete all of our wishes and ambitions, albeit the genius of these bands and the undeniable contribution to metal music, they lack of musical elements that we keep close to our hearts. Slayer, for example, did it really well on a record like “Divine Intervention”, with a wide range of riffs, vocals, great arrangements, without losing the aggressive and fast side that defines Slayer. I listen to a lot of things with great care, Voivod, Coroner, Pestilence, Atheist, thus when I write songs, I want to add as much variation in the music as possible.

Phil: I’d say that’s something that developed itself through time. Regarding myself, I don’t write songs saying to myself “ah shit, this needs to sound more evil”. I roll with sensations in music and it’s that part that I like the most. When I write songs, I will not propose something that doesn’t touch me, even if the riff is cool.

Your song My Shelf is a little different to the rest of the album – it works really well and adds a bit of variety. Tell us about this song.

Tony: Simple (as usual): Reviews. We listen carefully to positive and negative reviews that listeners make about our music, that’s what allows us to move forward. I can very well recall the day when I read the next comment, on Youtube I believe: “Never slow down and never play ballads, it’s for pussies.” That’s when I was forced to show that we also like that and that it can rightfully be put on a thrash record. For example, Testament’s ballads are musical pearls that shouldn’t be ignored.

How do you see your position in the wider Thrash Metal musical framework/genre?

Tony: I’m really happy we can spread albums on a worldwide scale like we did with “Polymorph” and now thanks to UnspeakableAxe Records, this is going beyond our expectations. We reach a lot of listeners that are very demanding and genuine connoisseurs, that are satisfied with our records. And I won’t hide to you that not reaching the 15-year-old thrash revival fans isn’t important to us, because that style doesn’t affect us, we think it’s empty, musically speaking, and redundant.

Phil: We’re not that bad at all hahaha. All jokes aside, I think it’s hard to find your place in a scene satiated with “revival” bands that nag all the people that like real thrash. I believe that thrash isn’t just about having Ed Repka artwork, tight pants and Converse Weapons.

How do you see your songs/direction developing in the future?

Tony: We are going to continue in the same direction by keeping ultra solid foundations of old school thrash while adding all the other musical elements that influence us.

Phil: Regarding myself, I never know which direction I’m taking whenever I write new riffs or new song ideas. But I think that over time, I’d like to have songs with more complicated structures. Having more technical songs will come naturally with time but I don’t want to leave the “in your face” side.

What’s next for Algebra?

Tony: Gigs! Gigs! Gigs! We really love to play live and to share our music with fans and listeners.

Phil: Since the departure of our vocalist/guitarist, the main priority is to find new members. A lot of work is ahead for us!

Thanks!

Interview with The Wolves of Avalon

Recently released; The Wolves of Avalon’s second album Boudicca’s Last Stand is an hour of interesting, captivating and unique Metal that everyone should ideally have the privilege of hearing. A strong contender for the album of the year slot, it uses history as its muse to create something powerful and compelling. I wanted to find out more about this special band, and got to ask Metatron a few pertinent questions…

For those who are unfamiliar with your band – introduce yourself!

I am Metatron of UK band , The Meads of Asphodel, and also the pagan folk metal band, Wolves of Avalon. With the Wolves, new album, Boudicca’s Last Stand, I have attempted to create the last days of the great British war Queen. She is a proud image of my land’s ancient past, a lost symbol of freedom and hope before a great oppressive power.

Give us a bit of history to The Wolves of Avalon

The band was formed many moons ago with myself and James Marinos who is the master song-smith. The first album, Carrion Crows over Camlan, is about the Celtic Arthurian legends that tell of a Romano-Celtic war leader who fought against the onslaught of the Germanic Saxon invaders. On this album we had Rob Darken [Graveland] on guest vocals and this gave us some shit in Germany due to the NSBM label we were branded with. Just because we are proud of the past and speak of forsaken family values and cultural bonds, this does not make us racist. I get frustrated with ignorance in this scene.

The Wolves of Avalon Band 1 What are your influences?

James tries not to aspire to any of the bands he likes to listen to but to enjoy what they do independently of anything creatively he works on. For my part, I have many from Bathory, Sabbat, Hawkwind, Venom and the list goes on and on.

What are you listening to at the moment that you would like to recommend?

I just listen to all forms of black pagan metal and some good ones at the moment are: I am playing a polish band called, Wedrujacy Wiatr, which is very much like the great Russian bands, Walknut, and Forest. The new Finsterforst album is also one of the best Viking related albums I have ever heard.

James was recently listening to ‘Ceremonials’ by Florence and the Machine maybe some Alcest, Gary Numan or Killing Joke. Depends on his mood.
How would you compare your experience with The Wolves of Avalon to that of The Meads of Asphodel?

I find both bands similar in the way I work with the song-smiths J.D Tait [Meads] and James Marinos [Wolves]. Both bands exist in similar working mechanisms where guests appear and add their own dynamics to the basic structures of the songs. Lyrically the bands are different, as the Meads concentrates on world religious insanity and genocide, whereas the Wolves, is centralized on British ancient history.

For James Marinos, who writes the music for the Wolves, This time round he was extremely thorough and rather than just working on one song at a time, he wrote perhaps thirty tracks of varying stages. Some were just too weak and others ended up being split in half to become a whole. He wanted the album to be far more ethereal and yet more driving in its approach, while also not trying too hard to set a precedent.

What did you want to achieve with your new album?

An album that will be remembered and to sit alongside the great British pagan metal band, Sabbat. To have your music touch others in a positive way is all anyone who is in a band can hope for. We have strived to create something that cannot be made any better, so it is the best result we can achieve.

Are you happy with how it turned out?

I am very proud of this album, as is James. We spent many, many months crafting the music and the lyrics, and everything about the release is just how we wanted it to be. I hope others will enjoy the album.

The Wolves of Avalon Band 2 What can you tell us about the themes/story of the album?

They are all woven around the British tribal quoin Boudicca who lived around 2000 years ago and this land was under Roman domination. It was a time when the great druid sanctuary of Anglesey was destroyed, and also when Boudicca fought back with other tribes of Britain by her side. This is a very tragic tale of a woman and her people who fought against the mighty war machine of Rome and was defeated completely, but not before burning to the ground many Roman settlements and slaughtering the inhabitants. Blood, violence and sorrow is what this album is all about.

Give us a bit of information on the song-writing process.

James spent over a year piecing together the music that would work within the confines of the lyrical themes.

It sounds like a lot of time, care and attention went into these songs – was that the case?

It most certainly was, James will appreciate you alluding to that. For James personally there wasn’t a point where he thought ‘That will do’, He really wanted the album to be what was conceived in his mind before he could move on. We are very happy with the album as a whole and can only hope that others enjoy it as much as we do.

How do you see your songs/direction developing in the future?

We wonder that too, but it’s too early to say but we will tailor the feel of the album to the core subject of the story at hand i.e. Boudicca, Arthur, next time… I don’t know!

What’s next for you?

To wait and see what happens with this release cast into the sea of uncertainty that is this new digital age that I loathe. If I could go back to the tape trading days I would, but we must walk with progress or be left in its merciless wake. I hope we will do another album, but only time will tell.

Watch this space.

Interview with Johnny Touch

Johnny Touch have recently unleashed their stunning début album to the world. Inner City Wolves is the kind of throwback to a bygone era in Metal that has no business being as good as it is. It has the timeless appeal of pure, original Metal, however; that and the fact that it’s just a great collection of songs mean that this is an album that everyone should be getting their grubby mitts on. Determined to find out a bit more about this seeming anachronism, I grilled Denimal about the wonder that is Johnny Touch…

For those of you unfamiliar with your band – introduce yourself!

There’s 4 heavy metal maniacs in JT; Ramrod Hodgson on vocals, Jamie Whyte on guitars, Inphiltrator on bass guitar and Denimal (me) on drums/cowbells.

Give us a bit of history to Johnny Touch…

I started JT sometime during 2009, effectively a mere project at that point. I had collated enough material of the heavy rock/metal ilk since the late 90’s, to warrant some form of project at the very least. Along with a couple of session members, I recorded a demo called ‘Fight For It’, which was released on pro-cassette by Abysmal Sounds Productions.

It was soon thereafter that the primary band members wove their wicked ways towards JT! From that point on we became a focussed and deadly laser beam, having wrought 2 more split 7 inch records released and more recently the début album.

Where did the name of the band come from?

I think I construed this name on a whim, it kind of stuck! It is inspired by 80’s street gangs, the leader of such bearing the name, Johnny Touch.

What are your influences?

Rock, metal, martial arts, classic action films, big haired ladies.

What are you listening to at the moment that you would like to recommend?

Rainbow – ‘Long Live Rock n’ Roll’
Realmbuilder – ‘Blue Flame Cavalry’
Pariah – ‘Blaze Of Obscurity’

That’s what I’ve been listening to this week, and heck, I’d recommend them all!

So, a bunch of Australians manage to faithfully recreate the glory days of the NWOBHM in style and with quality. How did that happen?

Hahahaaaa jesus man! They were the ‘glory days’ for a reason. We aspire and work hard! Simple. Whether that be in relation to our skill level, performances or song writing.

In my review I also state that if this album had actually been released back in said NWOBHM glory days, you’d probably be very big indeed and famous to most Metal fans. Discuss.

Maybe, it’s hard to know, but I appreciate the sentiment nonetheless mate. It seems to me, the biggest ‘metal’ bands worldwide are still the traditional heavy metal bands. The music appeals to a broader range of music lovers due to it’s quality, catchiness, conviction, and less extreme nature. Though I remember hearing Twisted Sister’s track ‘I Wanna Rock’ when I was a kid, and seriously believed that to be the heaviest song in existence! There’s a more extreme perspective nowadays, but that song is still really fucking powerful, no doubt. If you doubt, watch them play it live!

Unfortunately many of the great metal bands are disbanded so there may be necessary voids to fill in the near future!

What did you want to achieve with Inner City Wolves?

We wrote and recorded what we would want to hear from a new heavy metal band. There’s no good reason why traditional heavy metal should be dead. So we took our own high expectations and forged something that vintage metal and rock fans would froth at the mouth for. Interestingly we also have a large cross section of extreme metal fans into JT. Especially when we play live, is the power of classic heavy metal most apparent.

And that album cover! Tell us about that…

A fantastic artist called Andrei Bouzikow painted that up for us. It’s a vista of earth in post nuclear/war ruin. Fallout having altered the local flora and fauna, huge wolves are abound. The scantily clad warrior-ess has claimed this one from a pup, riding down men for mating and food.

Are you happy with how the album turned out?

Pleased enough. It’s a snapshot of that time I doubt we could really improve on without destroying the feel of it. Everyone whom we have spun it too has thought it was an album from the late 80’s…mission accomplished.

Give us a bit of information on the songwriting process.

Jamie and I write about 50/50. So either he or I will demo the tune, give it to every member to get acquainted with, then we work on that sucker until everyone has made it their bitch! I think songs should age a little bit too. Nothing like Father Time to weigh in on the formation and depth of a song.

How do you see your songs/direction developing in the future?

In all ways one could respectfully imagine. We’ll produce speed metal songs, some 60’s/70’s sounding rock ballads, some overtly technical tunes. It really comes down to what the album needs to keep it interesting from start to finish.

What’s next for Johnny Touch?

JT had a quiet year in 2013 due to Inphiltrator being in hospital, so there were no live shows we could play. With the album fresh out we are now playing select live shows nationally and booked some shows outside of Australia. Hopefully ‘Inner City Wolves’ will earn us some invites to any of the myriad traditional metal festivals the world over. New material is currently being put together, we have a title and album cover concepts for this album, but who knows when we’ll be ready to record. Why rush?

Why indeed.

Interview with De Profundis

De Profundis have recently released their latest EP Frequencies, which has been receiving a lot of praise from every quarter with the band even being involved in a promotional tie-in with fabled UK Extreme Metal magazine Terrorizer. I asked Shoi Sen some questions and here’s what he had to say…

Give us a bit of background to De Profundis

De Profundis started life in 2005 when Craig (Vocals) and our ex guitarist Roman met in a pub to discuss how to take over the metal world, the meeting was interrupted by Roman’s father who wasn’t happy that his underage son was in a pub with a older man, maybe he thought his son would be ‘followed home then killed’! The band released its first album Beyond Redemption in 2007 followed by 2 more albums and more recently our first EP ‘Frequencies’. The band evolved from playing some form of Progressive doom and now is firmly entrenched in delivering bone crushing progressive Death Metal.

What are your influences?

This is always the difficult question because our influences are so diverse. On the metal side the usual suspects like Death, Morbid Angel, Maiden, King Diamond etc. But also our schizophrenic side would come from early Queen and Zappa so you see difficult to really pin down. Its fair to say De Profundis operates like the Borg, we are a collective of musicians, with well assimilated influences and once you hear us all resistance will be futile 🙂

What are you listening to at the moment that you would like to recommend?

We’ve just toured with Demonic Resurrection from India, they are very good and an awesome bunch of guys. Otherwise if I was to recommend you stuff it would more old school music, I don’t tend to listen to current stuff much to be honest, nothing really grabs me. I can tell you what I wouldn’t recommend though, that one string wankery called Tech Metal/Djent with shit autotuned pop vocals.
What did you want to achieve with your new EP?

We have a number of goals for this EP. Musically showcase our new ethos of going for the throat earlier. Commercially although this EP is free we wanted a maximum of people to hear it share it and create a buzz around us, which is actually happening. Generally the reviews so far have been very positive but a few have questioned our more direct approach. What I can say is that the album which is also ready covers the wider range of De Profundis’ music, with this EP we wanted to showcase our more direct songs.

Your style has changed over time; how do you feel this release has progressed your sound since your previous work?

As mentioned previously our songs are more about going to the point earlier in general, that’s the major shift or progression from the previous album. Also with the arrival of Paul (Guitar) last September we had a new toy to play with (I am referring to his musical talents), his riffs were even more crazy than what I came up with so the sound of the EP has a lot to do with the way this new line up just gelled instantly.

Are you happy with how it turned out?

Yes once we got rid of Roman and Paul joined the writing went really quick and it was an awesome creative period. In previous writing sessions I always felt drained with all the infighting caused by one person in the band, and basically couldn’t get myself back in a writing mode for over a year. Now I can’t wait to start writing again.

De Profundis Band What can you tell us about the lyrics?

Craig our vocalist is the man to talk to about lyrics but unfortunately he is currently away on holiday so won’t be able to contribute and I don’t want to interpret his lyrics for him.

Give us a bit of information on your songwriting process.

We write as a band. Either Paul or myself will bring some riffs to rehearsal and then we jam the ideas we have and looks at what would work together. We spend a lot of time thinking about transitions, we have a real fear of writing songs where parts don’t transition into each other smoothly, which some prog metal bands tend to do.

How did the link with the Terrorizer promotion come about?

Miranda Yardley the owner of Terrorizer is a fan of De Profundis so when I approached her about using Terrorizer’s distribution to release the EP she was very receptive so it worked out great.

How do you see your position in the wider Death Metal musical framework/genre?

We are here to become a major player in the death metal scene. I think there are too many bands our there playing Death Metal forgetting about writing songs, so we are there for people who want their death metal to be brutal, melodic and technical with full of hooks which makes them come back to our music over and over again.

I hear you’re planning a new album – what can you tell us about this?

The EP and album were actually written and recording during the same session so the album is also ready. We are now trying to sort out a label to release it. Hopefully we will be in a position to get the album late this year early 2015.

How do you see your songs/direction developing in the future?

At the moment its too early to say as we’ve just finished writing this album a few months ago, but I think we will carry evolving into the death metal genre whilst maintaining our progressive elements. I imagine in the future we will come back to longer song structures but at the moment we are enjoying playing shorter punchier songs. And it’s a lot easier to build a set list with shorter songs.

What’s next for De Profundis?

Well we are playing Bloodstock in 2 weeks time which we are very excited about. Its been 6 years since we last played that fest and we have done so much in that time. After that we are currently in negotiations about a tour with a pretty big name in Death Metal so if that happens it would be a great opportunity for De Profundis. When we are planning this EP and Album cycle we had one word in our mind and that’s touring, touring and touring. So our agents Nazgul are working on a whole bunch of potential tours for us so expect to see us everywhere over the next 18 months!

Thanks!

Interview with Deus Otiosus

Deus Otiosus have recently unleashed the monster that is Rise on the world. After getting my fill of this very enjoyable album I asked Jesper Holst, bassist of the band, some pertinent questions to find out a bit more about it…

Give us a bit of history to Deus Otiosus

The band started off as a studio project by Henrik Engkjær (guitars) and Anders Bo Rasmussen (vocals) back in 2005. They recorded a demo called Death Lives Again in 2007 and 2009 saw them gathering a full line-up with Peter Engkjær (guitars), Søren Bentsen (drums) and Jens Nepper (bass guitars) and start performing live. Shortly before I replaced Nepper on bass in 2010 the first album Murderer was released in South America and later world wide. Then, for the recording of the second album we brought in a dedicated drummer in Jesper Olsen as our ambitions grew and the band became a more serious and time-consuming project for all involved. As an old friend of some of us, Jesper was quickly integrated and we recorded and released our second album Godless in 2012. With the same constellation we recorded the third album Rise in January 2014 and released it world wide just last month.
What are your influences?

We are influenced by classic metal acts such as Death, Morbid Angel, Deicide, Pestilence and so on. However, while maintaining an old school approach to song writing, we are not just copying what the forerunners of the genre created. We use the elements and the creativity of classic death metal song writing and produce our own, original and potent songs.

What are you listening to at the moment that you would like to recommend?

Right now, my playlist is varied. I have got Unleashed, Dark Funeral and Iced Earth on at the moment. I especially enjoy and recommend Unleashed.

Deus Otiosus Band 1 What did you want to achieve with your new album?

Every time we release an album we strive to take a step forward and upward. Up the quality since the last album so to speak. And this pertains to all aspects of the album; the song writing, the riffs, the drum patterns and fills, solos etc. The overall goal is to create a coherent album packed with memorable songs that make up a whole yet retain their own identity. I believe this goal is achieved with Rise and it stands out clearly in our discography. This is the best Deus Otiosus to date and truthfully will be hard to top in the future.

Are you happy with how it turned out?

I grow increasingly fond of this album by the day – even now, several months after I first heard the mastered version. From the drum recordings that were perfected by Rasmus Toftlund at Fast Beat Studio to the mastering by Tore Stjerna at Necromorbus Studio, this album has surpassed all of our expectations. I also gather from the reviews that I have read so far that Rise seems to grow on people from a good first impression to something that they really appreciate. Moreover, it seems that people really grasp what we want to achieve with this album and it feels great to not just reach out to your audience, but to actually reach them. So yes, the entire band is more than thrilled by the outcome.

What can you tell us about the lyrics?

The lyrics, like the songs play in to a greater whole that binds the album together. We cover sinister and dark concepts using philosophy, mythology, history and prose (e.g. Poe, Lovecraft) and put them on edge do describe a guide-less, godforsaken world, as the band name also implies.

Tell us about the album cover

The cover artwork was created by artist Claude Witt who is a friend of Anders. He created the entirety of it over a few weeks and we were completely thrown aback by it. The level of detail is really jaw dropping. Our idea was to show a monster rising from the abyss as an analogy for the band and the album title. Claude did an awesome job depicting just that.

Deus Otiosus Band 2 Give us a bit of information on the songwriting process.

The main composer is Henrik Engkjær who co-founded the band with Anders Bo Rasmussen. The way we go about song writing is that Henrik writes the main framework for each song, the riffs, the drum patters and the lyrics. Then we arrange the songs in rehearsal and the drums are refined. I will add bass to the riffs at this stage. We keep adding improving details to the songs, even at the studio stage when we are recording. Other than that, on Rise, I have partly written the lyrics for the song Vultures.
How do you see your songs/direction developing in the future?

We are still rising and we are already now working full steam with new material. As said, we always strive to top our last release and this will not change. We use the descriptor outlaw death metal because we refute genre-talk and we stick to this. So people can expect original, boundless yet coherent death metal.

What’s next for Deus Otiosus?

As of now, in conjunction with the release of Rise, we have already been on a Danish tour and played at a Copenhell Festival Warm Up event as well as at Metal Magic Festival, all in Denmark. We aim to take our presence abroad as we have done in the past. In particular, Germany and Scandinavia should look out for Deus Otiosus, but our ambitions go beyond as well. Meanwhile, we are hard at work with new material and we promise great deeds in the future!

Hails,

Jesper Holst
Bass guitars
Deus Otiosus

Interview with Monumentomb

Monumentomb have recently released their début EP Ritual Exhumation. This is a glorious Old-School Death Metal release that manages to seriously impress, especially for such a new band. I decided to get a bit more info on this rough gem…

Tell us about Monumentomb and where you came from?

We’re based in Kent in the south east of England. We formed less than a year ago, to start from the beginning: I was drinking at a metal pub in my local town of Maidstone. The Beherit shirt I was wearing prompted conversation very quickly when Alex noticed it, and we’ve been good mates since. Then after a long time later, years in fact we met again and decided to form a band with our strong agreement in musical tastes. At the same place a little later, I met Gaius while drinking at a mutual friends birthday, we got totally hammered and stayed in touch. Since Alex left the band earlier this month to concentrate on Infected Dead, Gaius has now moved over to guitar duties. I met Lee at a local gig that Alex was playing with his band Infected Dead. He heard that Lee was a decent and freed-up drummer and introduced us that night, we’ve been doing Monumentomb ever since.

What are your influences?

The primary influence is old-school death metal, I listen to a lot of 80’s metal ranging from Yngwie Malmsteen to Cacophony, Razor, Racer X, Infernal Majesty, Sacrifice etc. Bands specifically that we take a lot of influence from are Bolt Thrower, Autopsy, Grave, Dismember, Morbid Angel, Carcass, early Entombed/Obituary/Death to name a few. Our influences always have a bearing on our development as players. Lee is ever aiming to reach the same ability level as George Kollias and Gaius listens to a lot of technical metal too, which constantly fuels improvement individually, as well as overall as a band.

What are you listening to at the moment that you would like to recommend?

Recently I’ve been listening to a lot of Vinnie Moore, Tony MacApline and Paul Gilbert Racer X era. Also been listening to ‘The Cleansing’ by Nominon which I highly recommend, it has a great atmosphere and production. Morbid and filthy sounding release and has to be one of their best to date. And have been re-visiting Beneath the Remains, simply, it’s an album that never leaves my CD rotation.

How did you decide on the style of Death Metal that you wanted to play – what appeals about the Death Metal sound?

I’ve always had a leaning toward the Old-School sounding bands for as long as I can remember. The feeling and readiness of the style always screamed out to me and stood out over the extremely clean sounding releases, the style always deserves preservation in my opinion. We’re not aiming to be an overly technical band, as the fundamental idea at inception was to maintain the essential feeling and simplicity of most of the old-school death metal bands. The paramount appeal to me is the sheer aggression, the riffs, imagery and relative versatility of the genre.

Non-standard for Death Metal but judged perfectly – tell us about the clean vocals in Perpetual Execution Torment

They were performed by a good mate of mine – Chris Simmons who plays in a well-known band from our area called Wretched Soul, and exceeded the intentions of that section for the track. It was an idea that formed while watching the film Reanimator, not a direct attempt to sound like a revived corpse, but to bring a bit of humanity into the lyrical content of being reanimated as slave for the sole purpose to kill, to live and die constantly in complete agony forever.

Do you have any goals for Ritual Exhumation?

At the moment, it’s a case of getting the name around and networking as much as possible. We currently have ongoing dealings with a label to release it on CD and other formats, but that’s yet to be confirmed officially. Hopefully soon!

How did the recording process go?

The EP was recorded in 5 days, so bearing that in mind it was a very focussed effort, and fortunately with a very minimal amount of set-backs. As with most sessions the drums were recorded first within 2 10 hour days, then the guitars, bass and vocals were tracked. I was overseeing and present every day of the recording process , myself and the Engineer (Graham Waller) were totally wiped-out after that one week of little sleep and relentless concentration. We took a few moments to kick-back and chill with some music, food and some funny youtube stuff. The whole thing was a learning curve, and am very pleased with the results that were achieved within the time constraints.

Is there anything on the release you’re not satisfied with?

I think anyone who says they wouldn’t change anything in hindsight is kidding themselves, to be honest. You are your own worst critic, thus naturally there will be tiny changes you would make personally, for example a particular note on a solo, or a vocal or drum pattern you think could have been performed better. Unnoticeable to anyone else who listens to it but only picked-out by yourself really. So in essence, there are one or two things I would change but fortunately we can live with them!

Do you want to discuss any of the lyrics on the album and any themes/hidden meanings/etc. that might be there?

Yeah, sure. The lyrics are very straightforward, no hidden or subliminal meanings behind them as such. They’re simply inspired by morbid horror stories/movies and matching the visual themes for us. The themes are essentially all based around necromancy and death rituals/rites with an apocalyptic goal, with narratives and side-stories in between. A lot of inspiration comes from the Necronomicon by Lovecraft and related grimoires in terms of direct literary inspiration. I’m an avid fan of 80′s horror and splatter films and comics, it’s usually easy enough to write lyrics to these themes but it’s tough to attempt a new angle when a lot of the subject matter has been broached upon before. So just sticking to familiar territory lyrically just fits and suits the sound we’re trying to achieve.

What’s your songwriting process?

Majority of the writing in the early days started as just me and Alex bouncing ideas off each other and listening to a ton of music. The writing process sped-up dramatically when Lee joined, which then transpired into just the two of us meeting-up every weekend and continually getting a better sense of how the structures should form. The latter part of the writing process is still the same to this day, and we are currently writing new material too.

How do you see your songs/direction developing in the future?

In the near future, the direction intends to remain on the same plateau as the EP in terms of style, atmosphere and riffs. Still taking huge influence from classic releases and present releases too.

What does the future hold for Monumentomb?

At present, we are playing our first festival in August in the UK with Onslaught. After that, we have 2 London dates in September with Krow and October with Gravecrusher. And after that, we’re focussing on getting a full-length released and alongside that, we’re looking to and hoping to get onto a tour in the future as well. We intend to remain as an active live band as much as possible, so, touring is always at the forefront of our minds!

Thanks!

Interview with Frozen Ocean

Frozen Ocean have recently released the impressive album The Dyson Swarm. It’s a surprisingly effective release that mixes Black Metal with Electronica/Industrial sounds. Finding out a bit more was the next order of business…

Give us a bit of history to Frozen Ocean.

I am afraid this history won’t be very epic. Frozen Ocean was founded in 2005 in Moscow, Russia, as a solo project of me and was intended to play black metal related stuff. After recording of the first demo “Snow is the Ash” I decided to make something different and dug into dark and drone ambient fields, in which the very first official release, “Depths of Subconscious” was produced. Later the project returned to black metal related music, but next started to bounce from style to style (or a mix of ones) from one release to next.

What are your influences?

Too hard to distinguish, because for every release they are different. In general I have always admired Ulver, how they had their versatility through artistic evolution and simultaneously kept the highest level they achieved. In particular, the musician who inspired me to start making my own works is Mikael “Vaalkoth” Baiyusik from Tearstained, Night Conquers Day, Into The Sunless Meridian and Shadowcaster.

What are you listening to at the moment that you would like to recommend?

The album that could become “release-of-the-year” in my personal charts – “Existence” by Australian progressive death metal band Aeon of Horus. Also I would like to recommend to everyone the last work of Russian industrial brutal death metal band 7 H.Target called “0.00 Apocalypse”; this album will crush you to dust.

What did you want to achieve with your new album?

At least to have a wider reception and recognition for the project worldwide. I had a hope that this kind of experiment would be something relatively fresh and original (as far as is possible nowadays) and thus attractive to a listener.

Are you happy with how it turned out?

As always, the reception and feedback could be wider, but I am quite happy with the existing one. In the modern music world nobody can predict the audience’s answer for your musical proposal. And of course things get more complicated when you present some stuff that lies outside of trends. So that is great that some people have found this album attractive and listened to it more than one time; I think that is the best approval for the musician.

What can you tell us about the concept behind the album?

“The Dyson Swarm” is devoted to close and outer space, and the place of humanity in it. It is built like a journey through the cosmos beginning on the Earth orbit and Solar system and longing to the known edge of Universe and further beyond, and each track describes some phenomenon or object you could face during that journey. Album’s title is describing one of the variant of Dyson sphere – a gigantic hypothetical astro-engineering construction the purpose of which is to utilize the radiated energy of the central star in a star system in the most efficient way. Humanity’s future, on the certain stage of its development and raising level of energy consumption, is hardly imaginable without stuff of that kind.

Give us a bit of information on the songwriting process

The whole thing begins from the conception of release, and when I have the whole picture and structure of album in my head, I start making songs for it. When all the songs are recorded, at least in some scaffold state (without some parts or instruments), I take a listen to the whole yet incomplete release, and decide what and where should be added or changed to fulfill the requirements of the general idea. Thus I get the release united under one concept, but with the distinctive songs. Speaking about the production, all the steps of the production are performed by me in my home studio.

How do you see your songs/direction developing in the future?

It will be something new, as usual, at least it will be different from things Frozen Ocean presented earlier. I will continue to shift shapes and styles, continue to experiment with merging of musical directions for the best representation of release concepts and emotional colouring of them. For instance, I will develop the usage of folk instruments started earlier (when I played mandolin on “Autumn Bridges”) and try to add them to electronics and metal in equal ratio.

What’s next for Frozen Ocean?

Soon Italian label Bylec-Tum productions will release the whole “Norse” Trilogy on one tape for true underground activists. Next plans are too loose to reveal, but they include the very first Frozen Ocean vinyl release.

Thanks!