This is a 20 minutes cassette, tem minutes a piece. Joshua Norton Cabal, I project I was unfamiliar with previous to this, fills theirs with two tracks. “The Digestive Tracts of Humans” combines harsh textures with a looping, rhythmic construction and incorporates some odd off kilter textures into the mix to give it a unique feel. It’s abrasive yet whimsical almost due to the swirling throb. The tone shifts from grinding to more ambient, loud to quiet and shows a lot of movement. “Learning The Art of Self Isolation Within The Science of Self Preservation” is next, harsh stumbling distortions, steady white noise sweeps, and a drunken mix of swelling noise, silence, ambient tones and rhythmic loops create a staggered flow that makes for a intriguing end result. The sounds here are potent in all their forms, but it’s the mix and movement that I think really makes what Joshua Norton Cabal is doing so interesting, very good stuff. Malpa gets 4 tracks on his side of the split beginning with “Bantu.” Crisp, saturating distortion lays an almost Death Industrial like foundation, were it not for its erratic pulsing and abrupt shifts. A piercing high feedback emerges above this along with flanged out squalls of noise. “Feline-ing” is a more aggressively mixed piece, heavy low end tones throb at the base with some nice mid and hi end accents moving through the mix that aren’t overly distorted and give a delightfully awkward quality to everything. “Why” features chipmunk style pitch shifted vocals/samples chattering away amid a disorderly flurry of noise, and feedback that fluctuates and wobbles in its intensity. “Outro” is the final piece a slow reverberating drone piece that builds into a cycling grind and diminishes. I think the thing I liked about this the most was the variation and use of different types of sounds and construction to create something more uncomfortable and odd than you might have expected. Really enjoyable all around. – Scott
DADA DRUMMING
Joshua Norton Cabal/Malpa – Split
•January 4, 2009 • Leave a CommentJohn Wiess/Die Yellow Swans – Split
•January 4, 2009 • Leave a Comment
Split 7″, one song each from these projects. Wiese assumes side A with a track called “Psychedelic Casualties.” It is a smattering of cut up found sounds and instruments with short bursts of electronics and deep rumbling distortions. It’s a disjointed ride recorded for your pleasure in Hawaii. Die Yellow Swans is a new one on me. The untitled DYS track begins with low ambient rumblings and then erupts into a loop of structured dramatic pseudo-dancey synths and drums, that quickly erodes into blipping fluid electronics and another plodding sort of beat rises to meet it. It’s a very fluid track with a driving edge to one side and a liquid flow of textures to the other. Through all of this various elements drift through the piece giving it a dense overall presentation as well. I’m not a huge cut up fan for the most part, but the Dead Yellow Swans track is quite interesting, and no doubt fans of Wiese will like his contribution more than I probably did. – Scott
JYRK
Japanische Kampforspiele – Fertigmensch
•January 4, 2009 • Leave a Comment
This is a 7 track MCD of tightly produced Death/Grind. The tempos are mixed up quite a bit, ranging from blast beats to slow breaks, speedy gallops and even a tinge of bluesy riffage gets mixed in. It stays longer in the speeding intensity range than any other though. The vocals mix between deep death growls and a strained shriek. The death growl is pretty generic, but the scream has its own character. There is an element of technicality to the writing, but it does linger in wankery. I don’t know how I feel about this, it’s well done. I love the screams, but aside from that there isn’t much about this that jumps out at me. It’s good, but it is not something that will surprise you or challenge you much as a listener. Not that it has to mind you, but in a world where so many bands of this nature exist, if you can bring something new to the table you are ahead of the game. J.K. doesn’t really do that, but they definitely have their ducks in a row. If you like polished, tight Death /Grind that mixes things up a little than I can see a lot of people digging this, I just wish they were doing something that would make them easier to pick out of a line up of similarly inspired bands. – Scott
BASTARDIZED RECORDINGS
He Who Corrupts – The Smell Of Money EP
•January 4, 2009 • 1 Comment
This is a 5 song EP with none of the tracks breaching the 2 minute mark. Spazzy, Screamo/Grind, that is played at a furious pace with witty song titles like “Whose Ball Bearings Need Greasin'” and “Pain In The Tight Pants.” The vocals switch between an unyielding screech and that sort of weird spoken/sung/whined style. There are a handful of samples thrown in and a disjointed sort of timing that is a bit like someone staring you in the eye screaming and then randomly smashing every piece of furniture in the room. “The Smell Of Money” is a savage listen, of discord and blasting fury that really doesn’t leave much of an impression when its done having its hissy fit. Aside from the final track “Grinding For Jesus” there aren’t a lot of sustained writing ideas here to stick in your craw. It is about the energy of the attack itself rather than the songs they are attacking with it seems. When someone smashes a roomful of furniture you don’t really remember what they looked like with the lamp in their hand just that you have an asshole and a big mess to deal with when they are done. There isn’t much breathing room here and the good ideas get lost in the hyperventilating I’m afraid. I think if some of the riffs and ideas were given some space to play out a bit and the tempo variations lasted more than a couple bars at a time this would have had a more dynamic sort of power to it rather than the sucker punch, smash and grab kind of power it does have. – Scott
EUGENICS RECORDS
Habeeb – Sega Vecchia
•January 4, 2009 • Leave a Comment
This is a 3 song, 3″ CDR, with nice but simplistic packaging that seems to be part of some kind of series from Pitch Phase records because I have a few here from them that are similarly designed. I really like the look of them, very nice. Habeeb is a side project of one half of Steel Hook Prostheses. “The Old Woman In The Tree Bark Mask” opens things up with sub bass Dark Ambient tones and faraway samples before giving away to a grinding cycle of distortion and garbled vocal processing backed by more tonal hums for body. The galloping pace of the loop falls away to a throbbing drift of shifting statics and distant reverberations through the mid section and then lurches forward again from the murky floor to close things down. “Sawn Into Planks” is the second piece mixing brutal arctic wind surges with humming generator tones. Despite the title, the sounds immediately make me think of some battered frozen outpost far from the eyes of the world. This is not serene, it is wind whipped and scared and barely hanging on. There is a low throbbing hum that works through the track giving it a deliberate pace and an anchor for the suggested screams and gusting tonal static to play off of. “Spoilsport” closes the disc out with strip mine machinations and biting higher frequency distortion sweeps. The play of ambience, rhythmic loops and cutting distortions throughout the release give each piece its own face and its own particular feeling of urgency and dread. It’s a well done play of textures and atmosphere that build into a formidable grind of Dark Noise. – Scott
PITCH PHASE
Darvulia – L’Alliance Des Venins
•January 4, 2009 • Leave a Comment
I can’t stop listening to this record. This is my first exposure to this French Black Metal entity, but they have additional release under their bullet belts. There is such a purity of emotion to the playing and the dynamics of the writing that I was immediately sucked into this. This two man project stitches bursts of raw speed, droning dirges and wonderfully dissonant melodies together into a sickly beast of passionate song writing. There are moments of fury, moments of despair, moments of isolation and claustrophobia. It just all flows so well and never sacrifices the whole for forced sentiment or an inappropriate riff. They use a lot of discordant chords and warped structures, but they use them tactfully and don’t exaggerate it or take the songs places they would go unnaturally. The dreary moments of the record remain firmly Black Metal sounding and don’t lapse into Doom or Dark Metal territories. The vocals come in the form of a scraped and snarled scream and stay well placed in the mix, never over powering or distracting, they are just another element in the din. The drums have an organic natural tone to them that works as a great backbone to the strong but ragged guitar tone. It has a primal feeling throughout but is well produced enough that the production quality isn’t an issue. I feel like I haven’t quite done this record justice here, but suffice to say it is a fantastic release that will have me seeking out the bands other work. Incensed melancholy, wonderfully executed. – Scott
BATTLESK’RS PROD
Origami Recyklika – Out of the Digital Wasteheap Come Gifts of Garbage
•January 4, 2009 • Leave a Comment
This is a single track CDR, lasting just over 28 minutes, the sole member of OR went on to become one half of Recant. The disc unfurls a tapestry of digital statics, squawks, blips and glitches battered about by grinding distortion textures that press toward and withdraw from the foreground and thus shift the abrasiveness of the track, it travels from quite noisy to more ambient spells throughout. The low-fi sonics of the heavy distortions is an interesting juxtaposition against the very crisp and precise nature of the digital elements. Most of the frequencies displayed are in the mid and hi ranges, there isn’t a really much low end to most of the first half, and I think that can lead to a little bit of sameness do to the reduced dynamic spectrum, even though the track does develop quite a bit over the span. The second half of the piece is more focused on the distortions than the electronics, though they still surface. The track winds down with some nice low end static and fried sounds. In the end there is some cool stuff, here, but might have been more effective if pared down by a few minutes, still a well developed track there with a nice diversity of elements. – Scott
Ond – For Influence Blooms Of The Subtle Wing
•January 4, 2009 • Leave a Comment
This 7 song CDR, comes packaged in a nice looking DVD case thanks once again to the folks at Somnambulant Corpses Recordings (now just called Somnambulant Records.) I have the Önd full length that was released previous to this and thought it was alright, but haven’t found myself returning to it often. With “For Influence…” their sound seems to have matured quite a bit, and thus makes this a more memorable project and release. Ominous tonal Dark Ambient with melodic accents is the quick and dirty description of what to expect here. However, there is a nice depth and character to the tracks, that is noteworthy, and the use of melody is quiet effective as it provides a nice foothold for the listeners attention amid the crumbling textures and cavernous drift. There isn’t a lot of layering in the tracks, or well defined evolution, but the subtlety and richness of the sounds used helps to keep it pretty engaging along with the melodic and sparse percussive elements. There is a nice warmth to “For Influence…” as well that makes it a slightly different kind of listen for the genre. This is a nice step forward for this project, and I’ll be curious to see where Önd goes from here. – Scott
SOMNAMBULANT CORPSE RECORDINGS
Omei – … A Single Sickened Cell
•January 4, 2009 • Leave a Comment
Omei is the more ambient leaning project of the man behind Harsh Noise juggernaut Sickness. “The Word And The Law” opens the disc with a mix of piercing high end tones and lower tonal frequencies swell as a staticy voice speaks out rather indecipherably from the middle of the mix. The title track is up next build from a foundation of watery pulses and subtle melody a thread of sizzled electronics begins to weave its way through the ambience. A sweeping gritty drone adds to the building sonics and what ends up being a nicely layered and really fluid track. “Trait” is next up, alternating ambient pulses and intermittent static like bursts while serial killer news samples play out. “For Mother” uses a deep throb and more of the degenerated electronics to build it’s core, in that there are looping female choral vocals that add a really nice presence. “Victim To Victimized” holds the 5th spot. It’s a dense and shifting track with a layered mix of looping ambience, samples, and grating, windswept textures that becomes fairly noisy. “Ten Minute Lifetime” and “Do You Feel Like Jesus?” finish up the disc, there is only one track here under the 9 minutes mark so even though there are just 7 tracks, there is a lot of music here. Omei do a nice job of mixing a hypnotic ambience with abrasive textures and higher frequency grit, and the sampling doesn’t overshadow the music but behaves as another layer rather than a focal point. Nicely done with my favorites being the title track and track 5. – Scott
BEAUTY AND PAIN
Old Bombs/Wolf Eyes – Split
•January 4, 2009 • Leave a Comment
This is my first exposure to both of these projects, but Wolf Eyes has gotten a ton of word of mouth, so I was excited to see this turn up. Each project has just one track, but both are quite long. Old Bombs begins the disc with a somewhat quirky piece of static threads, off kilter loops, squelching electronics, odd little organ snippets, brief rhythmic elements etc. The feel is almost one of falling into a hole where the entire world is different… something that would need to be animated to be truly accurate… a surrealist zoo. I don’t know. It’s an evocative track that utilizes some unique sounds and really transforms itself nicely into new developments while remaining fairly consistent in feel. Wolf Eyes track seems to suggest it was recorded live on the radio from the title, “WCBN 2/8/01” but doesn’t specifically say that. It begins as an ambient feeling track that builds to various chaotic crescendos and at times even becomes semi-structured. They utilize a lot of different elements… sporadic percussive bits, feedback, dissonant saxophone, chirping and buzzing electronics, reverberating drone, some cut up technique and loops, guitar experiments, vocals and so on. It is disjointed, seemingly improvised and random, but rooted in a uniform foundation. The two projects here are quite different, but work pretty well together, and I liked what they both were doing. It is perhaps for more adventurous ears but will no doubt please those ears. – Scott
PUBLIC EYESORE
Okha/Macronympha & Prurient – Split
•January 4, 2009 • Leave a Comment
This is a split 12″ on gold vinyl and one track per side. Okha came at you first with “Mute, Naked, Pure” a beast of active low end Harsh Noise. Deep saturated distortions that while the tone remains rather steady, are constantly shifting within that range. There are quick barbs of higher frequencies that act as detail to the charred rumble. There are vocals and samples that try push there way just to the surface of the roar, but never quite break it and it ads another dimension here that works well. Side two is a Macronympha, Prurient collaboration and they call it, “Perpetual Motion (Fucking and Sucking)”. The track moves from Harsh Noise spasm, to a more reserved sizzling hisses, broken low end tones, and fried out sizzles and shorts. The first couple minutes of this felt pretty straight forward, but the way the track develops it quite engaging. The textures and sounds evolve well, and it never really returns to the full clamor that opened the track. The sound on the whole LP is really good and there a nice bass response on the low end. Nice. – Scott
DADA DRUMMING
Okha – Land Of Dead Expectations
•January 4, 2009 • Leave a CommentThis is a 3″ CDR featuring a single 18 minutes track. The track begins with an ambient hum and what sounds like megaphone vocals (sample?) before the harsh textures come storming in. That tonal foundation remains as the flailing abrasions do battle overhead. The atmospheric texture gives the track a nice body and there is a room ambience to the whole recording that makes me wonder if this wasn’t a live track but there is no indication of that on the package. The sounds are strong and the production solid, but it has an airiness to the overall sound that gives the track a presence that is distinct and beneficial. The tone is chaotic in the details with lots of mid range and higher frequencies above the lower drone and there is a good energy. However the textures blend into each other well thanks to that airy quality, and it becomes a piece you can sink into rather than simply be confronted by. About 10 minutes in it all drops away and a sample plays out for a bit of someone talking about murder and his acceptance of jail from what I can tell, and then the noise and feedback bellows up once more. I am not sure why but this makes me think of someone’s arms clawing at the sky as they drown, that absolute panic amid the surrounding calm of the sea. There are no aquatic type tones or anything to suggest that, but the activity of the electronics in that dull hum and natural sounding reverb leaves me with that image. – Scott
HUMAN HOST
Panther Skull – Slothwave
•January 4, 2009 • Leave a Comment
This is a 4 track CDEP, with all of the tracks untitled. Panther Skull is a side project of Devillock, and operates in the sort of creepy Dark Noise realm. Not that really any of this is particularly noisy, it’s quite ambient really, but the types of sounds and the general lo-fi tone to the textures give it some common ground in feel with its noisier cousins. There isn’t anything overly complex or excessively layered here, they are simple atmospheres culled from organ tones, and tape and loop manipulations for the most part with some electronic elements mixed in. I really like this though, the simplicity has enough evolution that the pieces move and develop all the while carrying with them an eerie, dirt floor basement kind of feel. A frightened sadness almost. It feels like walking an abandoned building on a breezy night. That ambience of moving air and little things falling over in places out of sight. “Slothwave” is simply constructed but nicely composed and really draws a lot from the sounds and sources that are here. – Scott
SNSE
Richard Ramirez/Fire In The Head – Split
•January 4, 2009 • Leave a Comment
This is a 6 track split CDR, with each project offering 3 a piece. Richard Ramirez has been a pillar of the US Noise scene for well over a decade now and has remained consistently interesting in his output. His three tracks, all called “Legion” with each being a different version I-III. The first incarnation is a dense wall of jagged static like frequencies and underlying sub bass drift. It doesn’t really alter from that constant barrage, but at just over 3 minutes the intensity is maintained. Version II grows directly from this and pretty much stays the course for the first minute or so and then wells up into slowly shifting feedback yowls and electric hums. This slightly subdued passage gives way again to violent, scuttering noise and dense distortions with a constricted and choked quality to the ragged edges. The final version blends with the one preceding it alternating between the confined bite and a looser roar. The three movements total around 13 minutes, and showcase a great clarity to the sounds and steady shift in dynamic. Fire In The Head opens with “Sewn Shut” an ugly gurgling track of biting feedback and dense electronics with an off kilter but vibrant intensity. The vocals are delivered in a seething spoken style and held low in the mix. “Fear Becomes Complacency” is next and becomes in stark contrast to the previous track, with slow swelling synth tones as the sputtering electronics build to a spitting mass. The synth work remains intact throughout and provides a nice tonal bed for the chaos to rest upon. It’s a juxtaposition that works really well. “One Last Breath” ends the disc and fades into a heaving wall of heavy electronics and distant barked vocals. Really nice work from both here with a diversity of sound and style, and some really great sonics. Definitely a keeper. – Scott
AUDIO IMMOLATION INDUSTRIES
The Chasm – Interview
•January 4, 2009 • Leave a Comment
Metal is more than just a word or a style of music, to many of us, it is an all consuming way of life. It subconsciously molds the way we conduct ourselves, the clothing we wear, our attitude, hair… To those obsessed by the crushing beats and de-tuned, screaming guitar mayhem, it is a colorful extension of ones personality. No one realizes this fact more clearly than The Chasm’s own Daniel Corchado, as he also conducts his life under the flag of metal as one of its most decorated soldiers. His band isn’t just another hobbie, or means to vent off the days frustrations, The Chasm is a violent entity of death that explores the creative and emotional demons that dwell in a persons head… A living entity if you will that is more vital to its creators existence than his own life blood. Upon hearing the progression amassed by The Chasm on their latest effort, “Deathcult For Eternity: The Triumph”, and having several opportunities to meet the man behind this punishing music, very rarely have I come across someone so genuinely dedicated to the scene and the metal way. I wanted you all to learn more about this band, for it is a definite force that is growing more powerful and will someday claim a spot on death metal’s tarnished throne. The mail interview below transpired during the winter of `98/`99 and I hope you take the time to sit down, enjoy and understand. -Marty – (Taken from Worm Gear #8)
Daniel, we meet again! I hope the fires of metal still burn strong on your end of the postal service! Lets start off with some basics… Looking way back, what was the album or band that first made you decide to play guitar/create music? How has this band influenced your playing style today, if at all?
Looking back into the dark past, I’d have to say that it was definitely Black Sabbath. Iommi’s riffage is some of the most original, heavy and obscure I think. I still listen to Sabbath a lot these days and they’re always a good source of inspiration for my spirit. I still get the chills when I hear “Sabbath Bloody Sabbath” or “Technical Ecstasy” as I did a long time ago. They are the supreme masters of heavy metal in my ears.
Could you explain the Cenotaph years? How were your releases received worldwide and what made you decide to leave this ultra brutal band… Personal conflicts? Possibly the desire to create something new on your own?
When we reformed Cenotaph, everything was still so fresh and our restless creativity (which I still have of course) was at the top. We just wanted to play the heaviest/most brutal metal ever. In those days we were more influenced by bands like Incubus, old Sepultura, Immolation, old Napalm Death, Messiah, Grave and Carcass. Our releases had a great response in the underground realm and the band was doing great. But as usual, some problems started to show and at the end of 1992, after almost 5 years of being with Cenotaph, I decided to quit. Besides the inner conflicts, another reason that made me take this decision was the extreme urge to create something more personal and different. My creativity and hunger/passion for metal pushed me to start to work on The Chasm as soon as I quit Cenotaph, so The Chasm was officially procreated in December `92. After several hard days of rehearsal, we recorded our first and only demo “Awaiting The Day of Liberation” which has sold so far almost 2000 to this day. It was the first step in the definition of The Chasm’s style of death metal.
How did you discover the twisted sounds that became The Chasm? I find this band to be far more musical and focused on incorporating melody than your previous projects. Would you agree that The Chasm is more concerned with setting moods and instilling darkness than the full-on destructive attack of Cenotaph?
I agree 100%. I have always felt the immense anxiety and necessity to incorporate the darkest and most grotesque landscapes/visions/sounds into our music. Even if on stage, we are and unstoppable force, you can feel the weird and bizarre atmospheres that are part of our style. All this can be created with the motivation of my gray and wild spirit… It’s just a reflection of my personality, the paintings of my cosmos within our cult of metal and death.
I understand Cenotaph is still together and has relocated to Chicago as well… Are you still in contact with them or possibly involved with them musically these days?
Well, they came here with the idea of doing more for the band, but things got fucked up so a few months ago, they split! The band exists no more. On one hand… This is good (for several reasons), but on the other it is really sad. They were the main death metal act in Mexico, but things happen. So now Julio (lead guitar) is part of The Chasm permanently, as well as Roberto (bass). They are both totally dedicated and extremely talented, so our line-up feels like it is the best ever… Hopefully it will last a long time. Everything is working really good so far.
I’ve heard on many occasions that Mexico’s metal fans are among the most rabid/maniacal upholders of the underground the world has ever witnessed. Could you tell us about the metal scene in Mexico along with everyday life, the fans and some other notable bands we should keep an eye on in the future?
Mexican fans are fucking crazy, but sometimes all the support goes to American/European bands. One of the reasons we moved the band here was the lack of interest and understanding for The Chasm. But whatever, that’s the past. The scene is really good there and there is some true metal warriors down there. Some bands I really appreciate and support are Disgorge and Zephyr. Both are totally committed and dedicated to do their own will and fight for real metal.
What made you decide to move The Chasm out of his metal hotspot to a less enthusiastic American market? Was it the chance for new opportunities/better quality of living? Have you found what you are looking for in the U.S.? Why Chicago of all places?
Mexico is totally screwed. Economics are really bad and that’s why the quality of life there is low. We as a band were in a situation where we couldn’t go any further, we were trapped in the misery of our country. I needed to find something better for The Chasm where we can grow and improve more than in Mexico. Living in the USA is boring and the scene is not the best, but for us, every time we play live, the response has been great. We are still pretty unknown here, but I’m sure that will change in the near future. We came here to conquer the States… It’s gonna be hard, but we are hard workers. We miss a lot of stuff from Mexico, but in order to improve our life (personal and for the band), we had to make some sacrifices. We chose Chicago `coz we have several friends here and the scene is really good. Also we come from a big city, so we needed a big city to live and not feel the sudden change… We can’t live in a hillbilly town! Ha!
Do you see other bands possibly following suit and crossing over to take their chances in the U.S.? Why do you think this is beneficial?
Maybe some bands will do it… I don’t know. It’s a hard step to take, I know it personally. You have to give up a life in your country in order to take your band and music to a greater level… I left a lot of shit in Mexico. A lot of stuff that cost me a lot of money and sacrifice through the years, but if The Chasm is going to be in a better place to have the recognition that we deserve, I don’t give a fuck. Music is the motivation of my existence and if I don’t play metal loud and proud, I’ll die for sure. I think we are doing the right thing and the future will show it. We are not a garage/hobby band, we are a full destructive force of heavy metal of death!!
I’ve noticed that The Chasm’s past works were far more dark metal influenced… Being slower, exploring more bizarre melodies and vocal dynamics. “Deathcult For Eternity: The Triumph” still utilizes these characteristics, but you have worked in more of a heavier/fast death metal presence. Has perhaps your time spent with Incantation influenced you a bit, or is this growing medium of aggression a natural progression for the band?
First of all, I have to say that “Deathcult…” was recorded before I joined Incantation, so there is no Incantation influence for sure! Every time we have recorded something, my personal life and mood is in a different stage than before, so it reflects in our releases. Even before I was asked to join Incantation, I had plans in mind to move here. I was so sick of living in Mexico, going nowhere and being surrounded by crap, that it made me create extremely aggressive music. I had to release my anger, fury and hatred and you can hear it on “Deathcult…”, even if there’s a couple of songs that have The Chasm’s traditional sound, like “Apocalypse” and “A Portal To Nowhere…” real pieces of heavy, dark and depressive metal.
How did you become involved with Incantation and are you pleased with the music you guys created together?
I have been friends with John McEntee for several years and back in `95 I helped `em to finish an American tour (with Enslaved and Absu). At the end of `96, he asked me again to help them with some tours, so in March `97 I left Mexico to join the band. Almost all the music for “Diabolical Conquest” was already composed, so I just did a few things here and there. I think the CD came out pretty good. I definitely gave Incantation a slightly different sound than they had before. It was a good time when I was with them.
Did you plan at one point to stay with this band as a permanent member? What changed your decision to remain a part of Incantation after being a large part of the amazing “Diabolical Conquest”?
The idea was to stay with them for a longer time, but as usual, in every band some problems started to show. I wasn’t happy with some situations, and if your not happy in any circumstance or place, you just have to get out of there. I quit in the middle of the Morbid Angel tour, so you can realize how unhappy I was. Even if I had done a lot for the band, it was time for me to get out. Also I had this anxiety of doing what I enjoy more than anything… To play in The Chasm. It was the right time to quit… I had a good time with `em and it was great to tour and meet some cool people. Hopefully they will have a steady line-up soon and lasting.
Even during this time, did The Chasm take precedence over all you side work with other bands? Are there any other avenues of music you feel you need to explore or new bands you’d like to create?
In my mind and soul, the main band is always The Chasm. Sometimes I feel the need to create slower music, sometimes faster, etc., but I just can’t do it all. My concentration and focus goes to The Chasm and I try to channel all my ideas and feelings into this band. My mind is so fucked up, that I think that’s the reason why we have a totally unique style… Our personality as a band is totally defined. I give all my time and dedication to The Chasm.
“Deathcult…” seems to be tied together lyrically by vengeance, revenge and death. Would you consider this CD to be a concept album and I was wondering who has inspired your thirst for vengeance?
To live in this misery, in this traitor earth makes me write such lyrics full of anger, hatred and revenge. Life is so miserable and empty sometimes, and existence meaningless, all the lyrical concepts of The Chasm are based in personal experience, feelings and ideas that I emanate from deep within. All our releases are conceptual in a way and all are tied together. I wait for better times to come, but the wait is endless… The chaos that rages in my inner self is the core of all my depressions, bitterness and sadness. To balance this endless war, I conjure the strongest feelings of hatred, power and victory… I claim for the revenge of my ancestors and to revenge all the lost years that I have lived in endless pain, to crush the false ones, the mediocre ones and the stupid low-lifes out there. I want to reach the point of no return and every day that passes by is a battle won… A new lesson in my preparation for the final destiny when I’ll reach the portal.
Once again, the fascination with death is a strong part of your lyrics… Would you agree that those whom become obsessed with death, never truly live life to the fullest? Maybe since they are more aware/respectful of their eventual end, maybe life in turn sheds more meaning? Where do you stand on such topics and how has the “great unknown” influenced your character?
I’m obsessed with death in every possible form `coz that’s the last goal to reach in this utter simple life on earth. It is the gate that will give me liberation, and I can’t wait to finally reach it, but I’m not ready yet… My preparation is not completed yet. So meanwhile, I try to survive in this rotten land and live my existence like a human being to the max. Being trapped in this cell made of flesh has given me an ulterior motive to cry for the freedom of my spirit. The merciless reaper is an idol that we all have to respect and await with immense happiness. There’s some losers out there who don’t understand this and that’s the reason why we live surrounded by stupidity and mediocrity in these days… Fuck!
With a crushing performance at this years Milwaukee Metalfest, quite an ambitious promotional campaign from Oz Productions and your involvement with Incantation, it seems like more people are finally beginning to take notice of The Chasm. Have you noticed an increase of mail and interest in the band this year? What’s the next step? A tour or possibly a new album on a bigger U.S. label?
The interest is slowly increasing, but there is still a lot of work to do. We are trying really hard in getting a tour for `99 and of course we are looking for a better record deal. Anyway, the most important thing is to procreate our most obscure and destructive songs to date in order to fulfill our gray spirits.
Knowing how much a part of your life metal is Daniel, I was wondering your thoughts on the current status of the underground? Do you think the music today holds up to the excellent sounds of our forefathers such as Mercyful Fate (the fucking masters of all things metal and creepy), Frost, Slayer, Maiden, Destruction and Kreator?
To put it simple… I breath, eat and bleed metal. This music has given me a lot and now I am a part of the creation of this extreme art. The scene these days is so full of shit. There is a lot of things that are wrong that misconceive the true meaning of metal and underground. In a personal view, the past years, the lost years were 100% better than now. That’s why we have the masters and creators of such amazing and unforgettable albums/styles. A lot of bands don’t have the personality and the guts to create something that comes straight from the heart and are disrespectful to the laws of heavy metal. Anyway, I have learned to not care for those losers… My devotion and dedication to metal and The Chasm is beyond any words and people that know me, know what I’m talking about. I just care for the ones with pride, force and respect for the authentic and pure. The elite is getting smaller, but it’s getting stronger.
How has the massive popularity of black metal along with its previous criminal activities effected or changed (for better or worse) the way people perceive metal music? Are there any bands in this genre that you fully enjoy?
The situation with black metal was something new for the masses and the kids who still don’t have enough brains and personality, get hooked on black metal. Of course it got out of hand and suddenly it became something pretty lame and cheesy. It’s unbelievable how many bands out there don’t realize how stupid and un-original they are. Of course there’s a few exceptions and there are leaders (like us) that don’t follow any stupid trend or anything. Some bands I really enjoy for their musical qualities are: Mayhem, Dissection, Keep of Kalessin, Old Man’s Child, Thornspawn, Dark Throne, Ancient Wisdom, Absu and a few more.
Well Daniel, I guess we are nearing the end… What lurks on the horizon for The Chasm? (Be sure to plug any and all merchandise!)
If everything goes as we’ve planned, in January we are going to hit the studios to record a 3 song promo tape. This promo will be sent to several labels and see if we can get a good record deal. We already have 7 new songs completed and hopefully in the middle of 1999, our new album will see the dark light. We’ll keep trying to book a tour soon and definitely we’ll keep the flame of metal and death burning high. To anybody interested… We have a limited edition T-shirt for Deathcult… ($15) and we still have the CD for sale ($12). Again, the most important thing is to procreate the darkest, extreme metal of death to fulfill our souls… That’s our main priority.
I’d like to wish you continued success and I hope you are getting settled into the Chicago rat race. Best of luck with everything. Take care and stay metal till death! Last rites, comments or shout outs…
I just wanted to say that we really appreciate your support and understanding of our musical concept Marty. Hail to you! The interview was really good. Good luck in the future, spit in your dreams, kill the false ones and hail metal eternally!!
The Church Of Satan – Interview
•January 4, 2009 • 8 Comments
I have long been interested in The Church Of Satan, both as a reaction to the idiocy of Christianity and because of the controversy that surrounds the organization. Many would have us believe that the members of The Church Of Satan are lunatics, casting spells, abusing drugs and breeding babies for sacrifice. These lies and many others are endlessly perpetuated by frightened Christians and seemingly intelligent individuals alike. Upon closer inspection you’ll find that the beliefs and practices of The Church Of Satan are far more rooted in rational thinking than any other religious organization in existence.
The Church Of Satan’s on-line representative and Magistra, Peggy Nadramia, was kind enough to honor us with an interview which was conducted via email. It is my hope that the information below will clear up many of the misconceptions that surround this fascinating organization. If you’d like even more information about The Church Of Satan, either pick up one of the publications that Peggy suggests reading, such as Anton LaVey’s The Satanic Bible, or access their World Wide Web page through Hell – The On-Line Guide To Satanism (the site’s address can be found on our link page). Here you’ll find a wealth of information such as the nine Satanic statements, their five point program which explains the current thrust of Satanic advocacy, the nine Satanic sins, links to other Satanic and anti-Christian websites, and more. -Bob – (Taken from Worm Gear #2)
Firstly, do you consider The Church of Satan to be a religion? If not, how would you describe it?
The Church of Satan is an organization, a cabal, a fraternal order, a church founded for the practice of Satanism. Satanism is a religion, and may be practiced by those within and without the Church of Satan.
When did you join The Church of Satan and what were your own personal reasons for joining?
I joined the Church of Satan in 1982 to ally myself with Anton LaVey, the fountainhead of Satanism, and with other Satanists.
What duties/responsibilities does your position of Magistra entail?
Dr. LaVey awards titles like “Magistra” with very few strings attached, ostensibly; my only responsibility is to myself and the fulfillment of my own desires and ambitions. Dr. LaVey occasionally asks me to perform official duties such as interceding with other members and communicating information about Satanism to the outside world. Our membership functions like a fraternal order and we tend to network to get personal projects in motion; there are few “official activities” but we are a “mutual admiration society” and enjoy helping each other and working together on creative projects.
You’ve also mentioned that you’ve served as administrator for the Order of the Trapezoid, which is the administrative body of The Church of Satan. Could you explain this position as well?
The Order of the Trapezoid is integral to the structure of the Church of Satan; what functions we do carry out officially are seen to by the OTr. Any more information is given out to members only on a need-to-know basis.
Do you have a spouse or family? If so, are they involved in the church?
My husband is Magister Peter H. Gilmore, editor and publisher of The Black Flame, the international forum of the Church of Satan.
Many religions encourage the indoctrination of children. Are children allowed to become members of The Church of Satan?
No, but Satanic parents may involve their children in Satanic activity in their own home, as they see fit. Most Satanists I know don’t involve their children at an early age, because they feel religious indoctrination is hypocritical and more suited to the Christians who do it as a matter of course. However, Satanic kids are intelligent and curious and fascinated by magic, so they tend to get involved at a level they can understand. But again: this is always at home and by parental consent only.
Are women oppressed as in most religions or do males and females share equality in The Church of Satan?
In the Church of Satan, the sexes are seen as equal but delightfully different. Our High Priest is a raving heterosexual who dotes on his witches and tends to let them get away with more than the men do. However, some women come to the Church of Satan for the express purpose of finding a strong, masculine figure to “oppress” them, so it’s a matter of personal choice.
The name of your organization seems to lead many to believe your members actually worship the Christian deity, Satan. Is this the most common misconception about The Church of Satan?
Probably, along with the usual crappola about baby breeding and animal sacrifice. Most sheeple also immediately assume that a Church of Satan member is “out to get them.” For example: “Oh! You’re a Satanist? Please don’t put a curse on me!” Duh-uh. Or they assume that we’re looking for members, saying primly, “I just want to let you know that I agree with a lot of what you say but that I’m not joining your group.” Like we care.
Why is traditional religious ceremony and symbolism used if not intended for a specific deity? Does your organization believe in the supernatural?
That’s two questions! I think Dr. LaVey explains it pretty well in The Satanic Bible: many humans need ceremony and ritual in their lives. We perform rituals every day; it’s psychologically necessary. If you light a cigarette every time you get on the phone, you are performing a ritual. All we do with Satanic magic is direct those rituals toward a specific goal, using imagery and words that we find inspiring. It’s not for everyone; I know Satanists who have never performed a Satanic ritual. But they make “magic” every time they sit down at a keyboard or a drawing easel.
We believe in the supernormal, in aspects of reality that science may have not nailed down yet. We know that our magic can work because we’ve seen it happen. We see the tendency to believe in gods or devils or anything else “out there” as a Christian one, a need to take the responsibility for one’s life off of oneself by putting it onto some supernatural being who is actually running things. We recognize a dark force in nature and we call it Satan, but it is part of us and part of everything. Like entropy, it creates and destroys; it isn’t good or evil.
Why do you feel that the general public is frightened of The Church of Satan?
Because most of them are Christians and Christians are indoctrinated to believe that Satan is the bad guy. The Church of Satan would ergo be his cheerleading squad and general Li’l Helpers.
Does the church have any particular political standpoint?
No; we take a pragmatic approach to politics. We think Satanists should back whatever party or candidate promises specific improvements that will help Satanists individually. However, “responsibility to the responsible” does bear certain theoretical implications, so Satanists may vote pragmatically but their political ideals may be in another direction altogether.
What does The Church of Satan offer an individual?
The opportunity to ally himself with the founding organization for an idea whose time has come. Members may contact local Grotto Masters or network individually. The organization is “modular” in the sense that a member may avail himself of the literature, the networking, or not, as he sees fit.
How does one become a member of The Church of Satan?
By writing to P. O. Box 210666, San Francisco, CA 94121, and asking for application information. Include a self-addressed, stamped envelope or 4 IRC’s if you’re overseas.
Who won’t the church accept as a member?
Those under the age of 18, and those whose answers to application questions and correspondence clearly demonstrate unsuitability. This last is up to the administrators at Central.
How would you suggest that someone who’s interested in The Church of Satan obtain more information about your organization?
The best way to start is by reading Anton LaVey’s books: The Satanic Bible and The Satanic Rituals (Avon), and The Satanic Witch and The Devil’s Notebook (Feral House). He may also read Blanche Barton’s The Secret Life of a Satanist (Feral House) and The Church of Satan (Hell’s Kitchen Productions, Inc.). The Cloven Hoof, the Church of Satan’s newsletter, is now available to non-members via the address above, and The Black Flame, the international forum of the Church of Satan, is available for $6.00 per issue from us at Hell’s Kitchen Productions, Inc, P. O. Box 499, New York, NY 10101-0499.
How many members does The Church of Satan currently have?
We don’t release that information.
How many locations?
See above.
How does the church finance it’s activities?
Through application fees and donations.
What does the future hold for the church? How do you feel that Satanism has evolved and what will it become?
Interest in the Church of Satan and Satanism is growing all the time, if our mailboxes, answering and fax machines, and e-mail is any indication. It is my hope that more widespread personal acceptance of Satanism as a religion or philosophy will induce positive change in the products we can buy, the laws that govern us, and in the behavior of those with whom we must share the planet. I don’t see Satanism as something that has evolved; rather, the generations who embrace it now have been brought up under less rigorous religious indoctrination and their reaction to Satanism is very different from that of the rebellious iconoclasts of the Sixties. What the children of these present-day Satanists will do with the lifestyle will be very interesting.
Can you envision Satanism becoming a “mainstream” religion?
No. But I can see it as a more high-profile “third choice” in the future.
Do you have any closing statements?
I’d like everyone to read The Satanic Bible before they go around making pronouncements about Satanism. Ignorant Christians are one thing, but when you hear stupid misconceptions about the philosophy and the organization coming out of the mouths of those otherwise “in the scene,” such as band members, artists, writers, it’s really irritating. With the flood of Satanic ‘zines out there and the easy availability of LaVey’s books, there’s no reason for intelligent people to be repeating the lies.
The Cold Beyond – Interview
•January 4, 2009 • Leave a Comment
U.S. Black Metal is finally starting to get some of the recognition it deserves in the Metal underground, and one of the bands ready to make their name known is The Cold Beyond from Milwaukee, Wisconsin. Already known for their impressive live shows, the band are looking to punctuate their presence with some recorded material for everyone to consume. Bassist/vocalist Sithicus was kind enough to answer a few questions about the band. – Mike Bushur
Worm Gear: Hails Sithicus! First of all, why don’t you tell us the reason for the name change from Dead By Morning to The Cold Beyond. You have also trimmed down the lineup from a five piece to a three piece. Any specific reasons? What is the current situation in The Cold Beyond horde?
Sithicus: We changed the name because we felt that we needed a darker, more unique, and mysterious name. We feel that The Cold Beyond is more fitting with our style and concept, thus helping to create a more complete picture of our dark art. Concerning our lineup, there are now only 2 of us left. The others left for various reasons which are unimportant, and personal, therefore we feel that it is not open for discussion to the general public. As for the current events happening within the realms of The Cold Beyond. Asylum and myself are currently writing songs for our forthcoming debut mini CD, which we desire to unleash before the death of this year.
As of now, you have a four track rehearsal tape available. Of course the sound isn’t the best, but the quality of the songs really shine through. How many copies have you sent out now? Which way do you think was the best way of getting them out? What else looms on the horizon for The Cold Beyond?
There are 600+ in circulation currently. We have been poisoning the scene through the mail and at shows thus far. Both methods have proven to be extremely effective in spreading our disease throughout the underground very quickly. However, I can announce that once the MCD is unleashed, the demo shall be out of print, so get it while you can! Currently we are set to make an appearance on the forthcoming Lost Disciple Recs. comp. Visionaries of the Macabre 2. Also, as stated before, we are just working very hard on the mini CD, so that we shall be able to get it out this year. So far we have been very satisfied with how the songs are turning out. Once the MCD is out, we shall then begin the search for a new drummer for either session or full-time live work. As we have extremely high standards, and demands concerning the drums, this may prove to be a most difficult task to accomplish. Only time shall tell.
There is a slight death metal influence on the tape. Is this something that will continue? Besides that, the music is full of intense drumming, frozen atmospheres, melancholy, and pure darkness. Who or what has inspired such a concoction?
One may never know what to expect from us, for we shall create music that inspires and moves us. The only limitations are that our music shall always be possessed of a grim spirit, there shall be no light to be found within the realms of The Cold Beyond! The inspiration for our dark art is from ourselves. Our souls crave to create the darkest music possible in our ears. Obviously we are influenced by dark music, and the grim side of life in general, but to name any specific influences would be impossible as they are far too numerous to mention.
Since I don’t have lyrics, maybe you could let us in on your lyrical vision? Is there a certain theme you wish to spit forth?
My lyrics deal with many dark themes. Some of them are very personal to me, and some are just very hateful, but all are extremely [bleak] and apocalyptic. This is very cliché to say, but I do prefer for the listener to draw their own conclusion as to the actual meanings of my lyrical art. I feel that it helps to summon a stronger bond between the listener and the music if they can relate to the lyrics in their own way.
What do you wish to achieve with The Cold Beyond?
I cannot speak for Asylum, but my desire for TCB is to create music that moves me, and possesses me with a release for all of my negative energy and feelings. It is my way of expressing the hatred and darkness that dwells within my soul. The concept of TCB is very personal in my eyes. It is very deep and completely a part of my soul. Every aspect of the band has meaning and relates back to myself and Asylum as a part of ourselves. That is the best way I can describe TCB in words.
To back up the songs, The Cold Beyond (and also as Dead By Morning) has always put on quite an intense live show! Spectators at the Milwaukee Metalfest and March Metal Meltdown have been laid to waste witnessing the onslaught that is The Cold Beyond. Do you enjoy playing live and is it something you wish to continue?
Yes, we love to perform in the live arena. Considering that with all aspects of the band, we have extremely high standards, one may always expect a very intense and powerful live performance from us! I can tell you that what you have witnessed thus far is only the beginning.
Do you feel part of the US Black Metal scene? What are some of the bands you like from the US, black metal or whatever? It seems the US scene is up and coming.
There is so much I could say concerning the U.S. Black Metal scene, that I could write a book about it. In my opinion the majority of the scene is pure shit!! I feel that most of the bands are second rate versions of the European masters and have no identity of their own. Then you have bands that are being called black metal that have absolutely none of the grim spirit burning within them. For you see, in my opinion, black metal is a certain grim spirit. A dark hateful feeling. Not just a sound, look, or style, it is an atmosphere that possesses the music. This grim spirit is something that I feel most of the so called U.S. BM bands sorely lack. However, some of the U.S. BM bands I do support are Absu, Grand Belial’s Key, Thornspawn, and Azazel to name a few. I do believe that the scene has potential to be quite devastating, but there are still far too many worthless bands plaguing it right now.
As far as the whole cause of metal goes, what do you think must be done to restore its past glory? Can it even be done these days of media brainwashing? Why do you think metal is attacked like it is by the media?
I think that in order for the scene to grow strong again, there are certain things that need to happen. 1: New bands need to work at creating a style of their own. This can be achieved by summoning a focus and building from that. By pushing yourself further and further to expand on that initial focus, and by following the desires burning within your soul, no matter what they may be, then your own identity shall eventually begin to develop. For as we are all individuals, so then is our art when it comes purely from the heart. 2: Fans need to develop a much higher standard and demand more out of the bands in the scene. If it is harder to gain respect and support from the fans of the scene, then the bands shall be forced to be more creative in order to survive. Thus summoning a better, stronger, and much more interesting scene can be spawned. 3: We as a whole need to put an end to all of these genre wars. People just need to accept each others tastes and styles and keep a more open mind. I was always under the impression that the metal way of life was about being yourself, and not conforming to the ways of the herd. That we existed free of the foolish homogenized realms of the commercial world. However, it seems to me that a new herd has been born. Now in order to be considered true, one must look or act a certain way, like only certain styles of music, etc. I find this to be completely pathetic, and want nothing to do with this poisonous way of thinking. As for the media. They fear what they don’t understand and use us as a scapegoat to mask their own dark secrets, their fear of the chaos that is born from nonconformity and free thought (they wouldn’t want to lose control of us now would they!), failings in their social systems, and personal insecurities. It is really quite sad when you think about it.
Now that you are a rock star and have been on Mtv, has your life changed much haha?! (On a feature for the band In Extremo at the March Metal Meltdown, Sithicus was shown briefly giving the horns whilst being decked out in spikes etc!) Were you surprised to see that? I was when a friend showed me and I think others were too.
No my life has not changed at all. I would definitely not consider my self a rock star in any way. I was completely surprised when I heard about it for sure. I would have never even seen it had not our ex-drummer’s girlfriend caught it on tape by accident. My grim appearance must have given those trend worshipping robots a good case of explosive diarrhea to say the least! Haha!
Well that’s it. It is always a pleasure and I hope to meet up face to face again sometime! Any last words?
Yes, thanks for the excellent interview, and I do look forward to the next time that we shall meet face to face as well. I would also like to send hails to all who have supported us from the beginning, and to all of our fellow warriors out there. Check out the comp, and the MCD when they are unleashed. Keep the grim and hateful flames forever burning cold and black! -Sithicus
The Kids of Widney High – Interview
•January 4, 2009 • Leave a Comment
The Kids Of Widney High have been raising more than a few eyebrows since the release of their sophomore album “Let’s Get Busy” for Ipecac last year. The band has supported such acts as Mr. Bungle and Fantomas, and played such illustrious venues as The Knitting Factory, and yet, all of them are in High School. To get a better understanding of the band, and the way it works, I interviewed Michael Monagan, founder and teacher of The Kids Of Widney High. -Jason Walton
The Kids of Widney High, as a musical group, has been around since 1988. How did you first decide to start the group, and typically, how are the songs written?I started the group as a song writing class writing songs for Widney’s drama productions that I thought should be musicals. We wrote original songs for “Snow White”, “The Nightingale”, “Robin Hood”. But we also had time to write songs about things that were on the kids minds. As the year progressed we had a bunch of songs that I thought should be recorded for the kids if nothing else. My brother-in-law John McCutcheon is a folk artist on Rounder and he sent them a tape after he heard it. The signed us to a one record deal. John also recorded two songs on one of his albums. The inspiration for the songs either come from the kids or as some sort of an assignment, the musicals, etc. I will make notes of what the kids say to a particular idea and then try to organize them into a song. They will offer some notes on the piano (or just sing them) and I will flesh it out into a melody. None of the kids are musicians although there is a student currently who sits at the piano every day and will try and pick out melodies. As with any song writing we try and come up with a slant on a particular topic or idea. Thus our newest song “Life Without the Cow”.
I first became aware of The Kids of Widney High when Mike Patton listed The Kids on a playlist in Metal Maniacs Magazine in the early 90’s. How did you become affiliated with Mr. Patton?
I have absolutely no idea. But he’s been a great supporter and I’m eternally indebted to him.
The Kids seem to have gained more national recognition since the release of “Let’s Get Busy” on Ipecac last year. Has touring and album sales helped the band continue to make music, or is it simply an added bonus?
Actually our first CD “Special Music from Special Kids” on Rounder has outsold “Let’s Get Busy” over the last six months. We may get a cameo in a new Fox movie and that might make a difference but who knows. We just keep plugging along at school. That’s where the real satisfaction is anyway.
I’ve heard many people question the motives behind Patton wanting to release The Kids, claiming it seems as though he wanted to release a novelty act, rather than a fine album. I’ve read Patton feels The Kids are the most honest and sincere band he’s heard, and has no ill intentions. Have you encountered these same detractors as well?
Sometimes. But it seems that when people actually see the act they can’t help but fall in love with the Kids. Any real art is based on honesty and the Kids have that in spades.
“Let’s Get Busy” on Ipecac is actually a re-release of the album, is it not?
It’s one of those things. Some people call it syncronicity. I was determined to make a record and with the generosity of Jackson Browne (a friend of a friend) we got into the studio and recorded some songs. I was just going to do the whole thing myself but right at the same time Mike was coming to LA on tour with Mr. Bungle. A good friend and fan of the Kids John Pantle books the House of Blues and when he got wind of Mr. Bungle coming he set up the match. Patton was so excited that we were available he asked if we would come to San Fran and open the first three shows of the tour, two in SF and one in LA. We did the shows and after the third night Mike asked if we’d like to be on Ipecac. I had already finished the CD so all we had to do was put the Ipecac logo on it and bingo we had a home for the CD.
The Kids are a group of mentally and physically handicapped children who attend Widney High School in California. What do you find rewarding in directing these kids in such a huge endeavor?
Well, I love teaching, I love music and song writing so it’s a match made in heaven for me. I just wish it weren’t so hard to raise a family on a teachers salary.
How did you start teaching, and what is your background in music?
I came to LA from Boston in 1980 looking for a career in music. But without much success I fell back on teaching. Substitute teaching at high schools in south-central LA was pure hell but then one day I got sent to a special-ed school and it was like an oasis in the desert. The kids were great the staff was great and I’ve been there ever since. My background in music aside from a few years of violin as a kid is self taught. I started playing guitar in high school (like everybody else) and have played in bands ever since. I’ve had original band of my own time and again.
How do you feel about The Kids of Widney High being lumped musically with bands like The Shaggs, Wesley Willis and Especially Likely Sloth?
I don’t know those bands. But I do know that the band is an unusual idea and most wonderful things are unusual. And it’s something that just happened on it’s own so as long as everyone is having fun it’s ok with me.
Can you give me a brief overview of the two albums?
The first album was written over the first year of the class and was done very quickly in the studio. We didn’t have a band so I sequenced all the songs on my Mac. I was really just a present for the kids in the class. Most of the songs are things that the kids wanted to write songs about; new cars, insects, girlfriends, and then some were assignments. “Trash” was written for a school beautification project. “Mirror” and “Ride Away” were songs written for Widney musicals. The second album was basically made in two three day sessions (courtesy of Jackson Browne). I didn’t have a band for the first session so a friend got me in touch with “World Tribe” a great local ska/punk band. By the time we got the chance to go back in the studio we had a regular band and they appear on the second half of the record. Again all the songs are original ideas from the kids except our reworking of “Respect”.
What are the future plans for The Kids? Any upcoming shows?
We play on average about twice a month. The shows are listed on the web site www.kidsofwidneyhigh.com
I’ve heard that the members of Mr. Bungle sometimes perform with The Kids on stage. Can you elaborate?
Untrue.
Cult Of Luna – The Beyond
•January 4, 2009 • Leave a Comment
I absolutely worship this bands first album, mean and heavy, somewhat akin to a more apocalyptic Isis. Body jarring hooks, cataclysmic dynamics and a potent use of melody and dissonance all came together to create something profoundly emotional and moving. “The Beyond” picks up and expands on the crushing girth of the self titled release, but tones down the savagery a little bit. It works very much in the same realm as the first record, giving just a bit more prominence to melodic breakdowns and longer passages of calm, but all of the intensity and blistering passion is still very much intact. The production is a bit cleaner as well, but the dynamics of the writing weren’t sacrificed in the least. This band goes from quiet to fucking loud as well as anyone I’ve heard. I’ve seen them compared to Neurosis and Isis for that element of their sound and I guess I even did it a bit, but ultimately this band is no clone, they have their own identity, and while it is that general approach that Cult Of Luna embraces, their execution is their own, and is certainly powerful enough to rival either of those bands. Trudging, epic and morose with a gargantuan presence, that is evocative in its solitary melodies as well as its dense walls of distortion. This is just such a visceral band for me, one of those that seems to almost transcend music and stir something in your guts. I can’t recommend them enough, and if you missed out on the self titled release when it came out it appears that Earache is re-issuing it. – Scott
EARACHE
Cryptic Slaughter – Money Talks
•January 4, 2009 • Leave a Comment
As with the “Convicted” re-issue the “Money Talks” re-issue has many of the same bells and whistles on that, re-mastered production, a continuation of the history stated in “Convicted”, lyrics for the album proper, and bonus tracks. This time the bonus material includes five tracks from the demos for their third album “Stream of Consciousness” including one track that was never released. There is one track from their final live performance as the original line up in Detroit “Just Went Black” also off “Stream…” and three more tracks from the show in Houston that the live material on “Convicted” is culled from. Two from “Stream…” and one from “Money Talks.” So even though “Stream of Consciousness” hasn’t been re-issued you still get some of the great songs from that release as well. And the album didn’t sound much better than a demo production originally, so hearing them in demo form or live, doesn’t lose anything really. “Money Talks” shows a maturation over “Convicted” but the direction is the same, blistering speed off set with catchy slower breaks, the pained yells and thinking man’s lyrics, the prominent rhythm section and a delicious mix of Speedcore and Punk. This band was so important to me, and has remained a favorite to this day, that in itself should give the uninitiated reason to brush up on their history and give Cryptic Slaughter a chance, and for those that knew and loved them then, there are lots of valuable extras. If “Speak Your Peace” is the only Cryptic Slaughter you have heard, then you haven’t heard Cryptic Slaughter. This is Cryptic Slaughter. – Scott
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