For nearly twenty years Norway’s Aura Noir have reigned as overlords of blackened thrash metal. The band have just released their fifth full length, the filthy and lacerating Out to Die via Indie Recordings, proving that their patented black thrash attack is as ugly and vicious as ever. I spoke with multi-instrumentalist Apollyon, whom you might also be familiar with from bands such as Cadaver, DHG and more recently Immortal, regarding Aura Noir’s latest assault and subsequent plans for world domination.
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Tag Archives: Interviews
Interview: IPERYT
If you haven’t yet heard Iperyt’s No State of Grace, you’re missing out on one of the finest slabs of industrialized black metal to come along in years. The Polish quintet’s mix of eviscerating, blackened riffage and pummeling electronics pushes the intensity so far into the red that few if any can ever hope to match it. I spoke to programmer/vocalist Shocker via e-mail to get the lowdown on No State of Grace and the inner workings of Iperyt’s nihilistic musical assault.
Josh Haun: For our readers who might not be familiar, can you tell us about how Iperyt started and what your motivations were for forming the band?
Shocker: Hi! To make a long story short: it all started a long time ago when I met Hellhound (guitar). I was coming from a speedcore/hardcore techno world and he had been involved in black metal for a long time. We found a common ground on our views, music and world and we decided to experiment a bit and try to compose some music together. And that’s how the whole idea of Iperyt came to life. Later Black Messiah (guitar) joined and finally People Hater (vocals) and Abuser (bass). Our first EP Particular Hatred was released. Then some gigs, some problems, new releases and so on. Typical stuff for a band.
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Born (to grind) too Soon: the Maruta interviews
I first encountered Floridian grindcore lords Maruta back in 2008 while they were touring behind their debut album In Narcosis. I distinctly remember vocalist Mitchell Luna almost inadvertently whipping the beer out of my hand with his microphone chord, such was the manic energy he and the rest of the band were releasing on stage. I was totally blown away, and Maruta had clearly stolen the show. I briefly spoke with Luna afterwards, long enough to buy a copy of In Narcosis and requisite t-shirt + shill a bit for the website I was writing for at the time (Sonic Frontiers.net, don’t bother looking for it, it’s not there anymore) in the hopes of securing an interview. The interview happened a few months later and In Narcosis wound up taking the #7 slot on my best metal albums of 2008 list. Continue reading
Interview: FLESHGOD APOCALYPSE
With their second album Agony (read review here), Italy’s Fleshgod Apocalypse have upped death metal’s musical ante considerably by fully incorporating symphonic elements into their ultra-brutal assault, creating a sound that’s refined, raging and utterly unique in the process. I touched base with guitarist Cristiano Trionfera via e-mail while the band was in the midst of a North American tour with Decapitated in order to discuss the making of the new album and the thought process behind their intricate brand of classically-inspired carnage.
THKD: Previous Fleshgod Apocalypse albums had trace elements of orchestral music, but on Agony you’ve fully incorporated the orchestral arrangements into your music. Was this always the plan or did the music just naturally evolve in that direction?
Cristiano Trionfera: We have always thought that our sound would have been structured as a real symphonic classical ensemble and not only as a neoclassical death metal way of thinking about the music. Basically we always wanted to increase our sound and to make a step forward on our evolution and this is the result.
THKD: What can you tell us about the making of Agony? What challenges did the total integration of symphonic elements present when you were conceiving and recording the album?
CT: Well it has been hard for us to face the writing and the recording of Agony since we changed the writing process this time, no more based on the guitar riffs, but on the orchestra and then arranged with the whole thing. In the studio we’ve spent a lot of time to find a good balance between all the instruments and it has been a lot of hard work. In any case I think we have faced all these challenges in a good way and we’re pretty much satisfied with what came out of that.
THKD: What can you tell us about the lyrical themes of the album? Is there an over-arching theme that ties all of the songs together?
CT: Absolutely yes. Agony is a concept album, treating the theme of what mankind is all about. The evil part of every man is what brings us to oppress, to forsake, to betray, to violate and so on. These behaviors keep us trapped into a perpetual state of agony and the songs in the album represent all the evil behaviors men have to other men.
THKD: How would you describe your writing process for Agony? Did the death metal parts of the songs or the orchestral arrangements come first, or did both pieces of the puzzle evolve simultaneously?
CT: As I was saying, we started from the orchestra and the drums, then we arranged all with the guitars and the bass as they were part of the orchesta itself.
THKD: Some people assume that brutal death metal and orchestral music are totally incongruous, but Agony proves otherwise. When and how did you first come to the realization that these two genres could be successfully merged? What was the common ground?
CT: We based the band on this idea and it has come from our passions and inspirations. We all love Death Metal and Classical music and the challenge was to merge them in a personal and fitting way.
THKD: Did you get into metal or classical music first? What sparked your interest in classical/orchestral music? Are you classically trained?
CT: We all got into classical music first since when you start to approach music and an instrument, especially in our country, you need to get it from its very first beginning to its evolution. We all are classically trained, not in the sense we made academic studies, but meaning that we started with that background. The metal came when we were teenagers and discovered this incredible way of comunication.
THKD: Black metal has been incorporating symphonic elements for quite a while now. Did any of your inspiration to do this come from symphonic black metal bands such as Emperor?
CT: I wouldn’t say that our inspirations come from the Black Metal symphonic way, but for sure we know all that world and something must have been taken even if not counciously.
THKD: Are there any specific classical composers that inspire Fleshgod Apocalypse? What composers are the most “metal”?
CT: There are alot of composers that inspire us and I think that the romantics are always the ones who make us think about a connection between death metal and classical music since you can feel the passion in it, the aggression and so on. To me personally the most metal composers are Beethoven and Mahler.
THKD: Many metal bands incorporating symphonic elements have made the jump to working with full orchestras for their recordings. Do you forsee Fleshgod Apocalypse doing this in the future? Why or why not?
CT: Absolutely! We are working now in that way cosidering all this possible future steps. We have a specific shape of how the band should be in our minds and there are so many things in it. Of course to play with an orchestra not only is an incredible experience for the show but also it gives you as a musician something more.
THKD: You recently shot a video for “The Violation”. How would you describe the experience? What made you choose this particular song for the video?
CT: It has been fun to shoot the video, even if really hard. We’ve shot for almost 20 hours in a row and at the end of it we were really tired, but so excited! Salvatore Perrone, the director, has done a great job and the videoclip has been really helpful for the promotion of the band and the album. We have chosen The Violation because since the very first versions of it we knew it would have been a good single. In that song you have a bit of all you have in the album and the melodies are very representative I think.
THKD: Your first album and EP were released on Willowtip, but for Agony you made the switch to Nuclear Blast. What made you decide to switch labels and how did you get hooked up with Nuclear Blast?
CT: It has been really natural. After Mafia we felt like we needed something more. We are greatful to Willowtip for all they have done for us, but at a certain point you need to watch beyond just a few months and start seeing the project as a years lasting one. From this point of view Nuclear Blast is able to give you a great background and it’s a pleasure to work with such an experienced and solid label.
THKD: Fleshgod Apocalypse has been doing a lot of touring this year. What does the rest of 2011 have in store for the band?
CT: In this moment we’re on tour in North America with Decapitated and Decrepit Birth. We’ll be on tour here until the end of october, then in November/December we’ll hit Europe back with Decapitated and Aborted. Then 2012 will be completely crazy. We’ll probably be touring the whole year. We’ll be in the UK and France with The Black Dahlia Murder and Skeletonwich in Jannuary/February, then a bunch of headlining shows, then South Africa in March and so on. It could be continuing like this for a long time.
THKD: What are you currently listening to? Do you have any recommendations for our readers?
CT: I personally love the last Enslaved album and the last Hate Eternal too.
THKD: Are there any final thoughts you’d like to add?
CT: Well thanx alot to all of you for reading my chats. Hope to see you all guys on the road! Cheers!!!
Interview: AVICHI
Avichi’s The Devil’s Fractal is a fierce yet seductive beast. The album is an exercise in scathing yet hypnotic orthodoxy, a musical dialogue between man and Satan. It is infused with a frightening level of conceptual complexity rarely seen in American black metal. With the help of Profound Lore’s Chris Bruni, I contacted Avichi mastermind Andrew Markuszewski in order to delve into his head full of hate.
THKD: What is The Devil’s Fractal? Where did the term come from and how does it fit into the overall concept of Avichi?
Andrew Markuszewski: The Devil’s Fractal is a reflection of my own innate understanding to and resonance with the dark. His fractal is an equation revealing his immaculate aspect in me and furthermore his manifestation here in the physical reality and beyond. The title came to me while I was observing fractal geometry and reflecting upon the whole world and my life in general. It describes how the will to fashion the world in one’s very own image (an inherently satanic attribute) is a continuous yearning and unavoidable effect of all things.
THKD: The album’s lyrics appear to be a dialogue between mankind and Satan. Can you elaborate on this and what inspired it? Is The Devil’s Fractal a concept album?
AM: It is very much a dialogue. I’ve always flirted with the idea of writing for the screen or even a play, so I set out to experiment with this desire while writing lyrics for the record. I remember seeing Homer’s Odyssey in a beautiful theater in downtown Chicago once when I was a young adult, and it’s interesting to notice how such an experience can invoke inspiration many years later. I’m sure the plays of Faust also had their influence. Writing in dialogue form has a different energy to it especially when focused on monumental and grandiose themes. Even now I have some ideas in mind for further continuing such writing.
As for The Devil’s Fractal being a concept album – it is and it isn’t. I’ve always admired and sympathized with the romantic Satan of writers such as John Milton and Charles Baudelaire, so I weaved my own tale with this character since I feel his own lines drawn upon my face. It isn’t so much a tale as it is a collection of short dialogues with different aspects of the same being. It is my tribute to the devil.
THKD: Is black metal an inherently Satanic form of music? What does Satan mean to you on a personal/spiritual level, and how does your concept of Satan inform your work in Avichi?
AM: Black metal is absolutely influenced by satanic themes, but it is in no way limited by them. Sometimes it may even find such themes completely unnecessary. That is all fine and ok. Whatever inspires to create something powerful ought to be used. Whatever stagnates should be discarded.
Satan on its highest level is a symbol foreboding by might and empowering to souls of elite temperament. As a deity Satan is limited by his own attributes – however strong they may be. To quote Milton, I feel more akin to the phrase “All deities reside in the human breast”. Yet in moving beyond this quote, I would like to see my spirit trample all deities towards establishing my own unequivocal radiance. If this is the essence of Satan, then call me Satanic. Avichi was born of this essence, but if the spirit of self-rediscovery dictates I am to draw inspiration elsewhere then elsewhere shall the music progress. Avichi is the projection of me, but maybe it’s the other way around.
THKD: What inspires you to create this music and what is it about black metal that you find appealing? Also, can you tell us a little about the genesis of Avichi and how the project has evolved?
AM: Hate. I am mostly inspired by just pure hatred. Sometimes I am able to move beyond it after a certain satisfaction of release, and I enter a state of tranquility and peace. Sometimes it is just the void itself which inspires, and I let myself go to give birth to free expression. This is felt by proficient composers of all mediums, and tapping into this stream is a very rewarding and beautiful feeling.
In many ways I’ve reached a stage where I am at peace in hate. I meditate in it, and I weave black rituals underneath Hate’s altar. Hate is my savior, and it is he who watches over me. He kept me from killing myself when I was younger. He was defiance in the face of despair and my strength against America’s system of social conditioning. Black Metal is Hate’s direct conduit; hence, as a musician, it’s in my blood.
Sex and the energies of the released serpent also inspire me, although I can be likened more to a sinister monk. I’m delving more into kundalini yoga now, but not just the version of white light ideology. Sexual energy is now used for more refined purposes taking precedence over your typical bang and shoot. Of course, as anyone who knows me personally would know, I am not without my instances of debauchery.
I would personally like to see Avichi move beyond just hate and see it become more passionate at every level. As a recording artist I don’t want to be limited and stagnate within one emotion although I probably have a lot to offer in that area and continue to do so. There will be an ever more defining and open sound with this band.
THKD: How did you hook up with Profound Lore for the release of The Devil’s Fractal? What is it about the label that makes it a good home for Avichi?
AM: I met Chris Bruni at a few shows while touring with Nachtmystium, and I gave him a copy of the unmixed Avichi record during one of those meetings. Things took off from there, and Chris gave me free reign to get things done as I so envisioned. Profound Lore cares about its releases and has a highly refined sense of aesthetics. It’s also a label able to stay ahead of what people want to hear. I think that’s what sets them apart from other indie labels and is putting them next to the more major players in the business.
THKD: What does Benjamin Vierling’s artwork bring to The Devil’s Fractal? What made you decide to enlist him to create the artwork and how important to you is the visual aspect of Avichi?
AM: It complements the album beautifully. I got in touch with Benjamin through Tyler at AJNA after inquiring about who was doing all the killer oil painting work for his front.
Benjamin has more than met my expectations. Not only did I get the artwork and everything that I asked for, but I also got a handwritten letter on parchment and a sketch of the interior meditative monk piece that’s in the layout. I mean, he’s a professional artist, and his pieces can be found in galleries on both continents.
(As a side note, the art that’s in the interior of the layout was actually commissioned for some songs I recorded for a 7” and for a compilation before I even started on The Devil’s Fractal. They never were released. I’m really critical of what is released, and I was almost at a point where I didn’t want The Devil’s Fractal released in its current recorded state. However, something had to be released. I plan on re-recording a track or two of the unreleased material when I’m back in the studio, but that won’t happen until I am confident in my drumming.)
Of course the visual aspect is important. Everything is. Most refined black metal bands would tell you this. This music is very personal to both the artist and listener. When I’m holding a release, I want to feel like I’m holding a Beksinski.
THKD: Does Avichi play live or are there plans for any live rituals in the future? What would the ideal live Avichi experience entail?
AM: Avichi doesn’t play live and most assuredly never will. There was a moment a year after The Divine Tragedy where I almost had a full line-up, and it started to look and sound like a proper band. We almost even flew to Rotterdam to play some festival from what I remember. Things didn’t turn out that way. Devotion from others was lacking as was skill, and I was not about to put on a performance I was not completely confident in.
After that experience and all the wasted energy trying to play with others, I buried the idea and threw a rock over it. Right now I’ve been getting my live shits and kicks in Nachtmystium and Lord Mantis.
THKD: Avichi hails from the Chicago area. How do your surroundings, and specifically an urban environment influence Avichi?
AM: I live in Chicago, and I’ve seen most of its parts. I’ve seen everything from its immaculate and divine neighborhoods to its dilapidating infrastructure and depressed ghettos that look more like the set for a post apocalyptic horror movie. If you stick to its more admirable areas, it can be a great place to live and indulge in, but it can also be dangerous. There’s not a day that goes by where I am not astonished by a new level of human filth walking on the street, whether it’s some fat ugly American with diabetes spewing out of its pores, or a crackhead bum begging me to give him my hard earned money so he can stay a crackhead. I just saw this black prostitute the other day who looked like she was three years pregnant and about to shoot out some glassy-eyed maggot on my boot holding a crack rock, astroglide, and a welfare check. Sometimes it’s just the twilight zone of shit.
My daily life is mostly spent in a three mile radius around Wicker Park – hipster capital of the world. It’s where you’ll find the majority of artists and musicians in Chicago, and it’s generally pretty nice. I am here because here is where my current state of opportunity as a recording artist exists. I’d enjoy living in an unholy temple up in the mountains somewhere, but sometimes you just have to live where the action is. I can see my life slowly leaning towards the other direction though as I get older. That is if I do get older.
The world one experiences has a direct affect on who you are, but only to the extent that you let it. It never dictates how you must react and choose to live. Writing for Avichi is about writing for myself. No one and no world can tell me how I should write for it.
THKD: What do you think sets American black metal apart? What makes USBM unique amidst the international black metal scene?
AM: I don’t see anything as necessarily apart from one another. I also don’t consider Avichi a USBM band. Avichi doesn’t belong to any territory. These are labels from critics, and critics are just critics. Perhaps USBM bands tend to be a cunt-hair more rebellious and experimental, but I think you only hear people saying that because here you have hipsters, hippies, even probably a few hip hop people listening to bands you would only find black leather-clad thrashers in Europe listening to. I’m one of the black leather-clad guys. I don’t see us as anymore unique than what’s created internationally. Every country has their talented and dedicated musicians and their not so good weekend warrior musicians.
A lot of USBM probably sucks for sure, but a lot of it also sucks everywhere else. I don’t really care. I usually just come across a killer record or band and absorb it for a few months. Right now all I’ve been listening to is Necros Christos everyday, but Thorns has been making its way into the player recently along with some Skinny Puppy.
THKD: With that said, what do you personally want to add or contribute to black metal with Avichi? What are your aspirations for the work?
AM: I just want to make meaningful records – whatever musical state they make take. If my work is recognized and praised by anyone of the black metal community then I am honored for I am of the same army.
My personal aspiration is to be a complete and well-rounded musician able to go into a studio with just myself and an engineer and leave with a great record. I know I can write. I am confident in my ability to write and compose. I’m doing it constantly with all the bands I play in. I wrote more than half a record for Avichi in 24 hours when I got back from the last Nachtmystium tour. Right now my main focus is playing the drums whenever I can. The next time I go in to record for Avichi it will be alone. Expect something daring.
THKD: What is your take on the current state of black metal and how do you foresee the genre growing/evolving in the future?
AM: It’s fine. Breathes of fresh air continue to enter the scene and that’s all it needs. Plus you can never go wrong listening to the fundamental originators. There’s plenty out there and many classics that bear repeated listening ad infinitum. It’ll continue to grow and new beasts will take shape as long as some of us are here and we have our instruments. I plan on becoming one of those beasts.
THKD: You’re involved in several other projects, such as Nachtmystium and Lord Mantis. How does your work with these other bands inform what you do in Avichi? Is it an entirely separate entity, or do elements of one occasionally spill into another?
AM: Avichi is of course an entirely separate entity, but it’s true when you learn to write new rhythms and grow with another band, it does in turn spill its knowledge into whatever you do. Not a bad thing. I try to utilize my complete bag of arsenal yet keep things in with the spirit of the band I’m writing for or contributing to.
THKD: What is your take on the so-called “hipster” black metal phenomenon being spearheaded by the likes of Liturgy? Does it matter what other bands are doing?
AM: There is no “phenomenon”. What we have here is only music for the weak and non-threatening. I’m not a hipster. I’m a fucking warrior. Black Metal at the end of every day is a dangerous and uneasy art. It is hard on the spirit and requires an unwavering will. Even when not dangerous and hateful, these capabilities can still be sensed through the artist. Hipsters financed by people with money who see a temporary window of opportunity to capitalize on what these dregs see as ‘cool’ will never come close to the essence of the craft. Just because one has found a way to transcend something, even black metal, does not mean a pinnacle has been reached. Transcendence has been an important theme in Avichi as well, but I stand against the thought black metal has seen its end and its ‘theories’ have all been laid out capable of being taught to anyone wishing to enroll in its train of thought. Perhaps the hipsters are on to something which I am blind to; however, I can’t help but sense a smug piousness in their lofty attitudes which fills my abdomen with hate – the same hate I’ve always felt towards sheep and white light ideology. I myself have many refined tastes corresponding to my own vanity and could even be seen as hypocritical at times, but for fuck’s sake – burrow your roots deeper into hell before you attempt to dwell amongst the stars. As it was once said by a great band, “I transcend with blood on my hands”.
It only matters what other bands are doing if you let it matter. All things are empowered by attention. Remove your attention, and they cease to be relevant.
THKD: Are there any final thoughts you’d like to add?
AM: No. I’ve answered enough questions for now, but thank you.
The Lost Interview: EARTH (Dylan Carlson)
Earth circa 2005.
In 2005, I interviewed Dylan Carlson, guitarist/mastermind behind drone/doom pioneers Earth for a multi-band feature on experimental music that I had been working on for my college newspaper. The story fell through when several other bands flaked out, and the interview w/ Carlson languished on a digital recorder in the bowels of my mother’s basement, destined to go unpublished… until now.
THKD: This is the first Earth release in a while for you guys and I was wondering, why such a lengthy wait? [note: at the time of the interview, Earth were preparing to release Hex; Or Printing the Infernal Method, their first album in nearly a decade]
Dylan Carlson: After I did Pentastar, to be blunt, I had drug problems and legal problems to take care of and my relationship with Sub Pop ended, so I spent the next few years sort of getting my life back together and that’s why it took so long.
THKD: Did those hardships that you went through have an impact on the new material?
DC: As a musician, whatever happens in your life is sort of grist for the mill. For a long time I didn’t play guitar. I knew I was going to play music again, I just didn’t know if I was going to do it professionally again or whether I was going to do Earth again and I feel very fortunate, not many people go away for seven years and have anyone interested in their next phase. I definitely feel fortunate in that respect, that a lot of people seem to want to hear from Earth again and seem very happy about the fact that I’m doing it again.
Earth2: A monument unto itself
JH: So, was there pressure because of that when you were working on the new album?
DC: There’s always pressure when you’re doing a new album, especially it seems with Earth since Earth2 has become this kind of monument unto itself and anytime a musician does something that people view as their best work, there’s always going to be that pressure to try and better it or do something of the same caliber. I definitely think with this album we were able to spend the time and the budget to do things right, and I had time to work on the songs and make it the strongest album we could.
THKD: I’ve seen a lot of awesome reviews of [Hex], are you happy with the reaction it’s gotten and how it is being received?
DC: Oh definitely, as a musician it’s always kind of frustrating that you yourself don’t really determine your finest moment, it’s sort of up to everyone else. There’s always the case where someone thinks they’ve done a great album but the critics hate it and the public doesn’t want to buy it, so it’s nice when something that you feel strongly about is also well received.
THKD: You took Earth in a different direction than what had been on previous albums, what made you decide to steer it in that direction?
DC: To me Earth has always been the sum of my interests and the last few years have been sort of a rediscovery of musical roots with the country playing, and also I’ve been really interested in the older forms of instrumental music, like Duane Eddy. Back then it was like instrumental music was popular and it hit the charts, which is unheard of nowadays. Also, I’ve been reading a lot of books about the American frontier and the Cormac McCarthy books and it was just sort of my obsessions at the time and they came out in the music.
THKD: Do you think that instrumental music is starting to become more prominent again? You guys are back, Pelican is getting big now and a few other bands, do you think it’s making a comeback at all?
DC: I don’t know if it’s ever going to be as big as it was, but it definitely seems like it’s ok now to do it. I mean like Kinski and like you said Pelican, I haven’t heard them but I see them everywhere in magazines and whatnot, so yeah it definitely seems like it’s becoming acceptable to do it again, which is cool, I think. I think the last instrumental hit was a Joe Satriani song back in the eighties, before that I think the Ventures were the last, so I don’t know whether it’s ever going to be a chart trend.
THKD: On this album you played some additional instruments, such as the banjo. Did you already know how to play them beforehand?
DC: No, there just happened to be a banjo in the studio and I actually tuned it to guitar tuning. Although I’ve been learning banjo techniques like banjo rolls on the guitar, I’m not a banjo player. It was more like a color to use on the album.
THKD: What’s the recording process like for you? Do you take the same experimental approach to recording that you do to composition?
DC: For this album, we cut the basic tracks, like the guitar and drums, we did one take as the basic track and then just overdubbed the additional instruments, so I guess it was a fairly traditional method of recording. The songs were more nebulous and when we got to the studio, since in the live situation we’d been doing a lot improvising, in the studio we arranged the songs and decided ok we’re gonna do the definitive versions, and so we wrote up arrangements and whatnot. We knew we wanted the other instrumentation, so there’d need to be some charts for the other musicians to deal with.
THKD: Are your live shows completely improvised?
DC: They’re kind of semi [improvised] now, they used to be improvised, now we’re actually playing material off the album. It’s not like exact copies off the record, some of them are longer, some of them are shorter and there’s a couple newer pieces that are more improvisatory. Before when Earth recorded something, I would never play it live, it would sort of get left behind, but now we’re being more conventional and playing stuff off the album.
THKD: I know you’ve performed as a duo and and you’ve also done some things that are just you playing guitar solo, so what is the ideal live setup for you?
DC: I don’t really have an ideal one I guess. Right now we’re touring as three piece, we’ve got a new member Jonas Haskins playing baritone guitar. Part of what I like about the live situation is that it’s like a roller coaster ride and I like trying different combinations to see how they work and see what serves the music best.
THKD: On this album you’ve experimented with some different tones and layed off the super-distorted stuff. Did you have to change your equipment or setup?
DC: I don’t lug around all the huge speaker cabinets and whatnot anymore, I’m too old for that. I’ve sort of become a Telecaster freak and I have a couple tube combo amps, so 1x12s and 2x12s and then this last tour because we had to fly in for the shows, I was using one of those new Crate powerblock little solid state heads which seemed to work pretty good. I’m all about smaller amps now.
THKD: So, the sheer volume isn’t as important to you anymore?
DC: No, no… I mean we’re still pretty crankin’, especially now with the baritone guitar on board. We have the low end covered again so it frees me up to do my new thing.
THKD: Is it harder for a band to convey emotions without the use of lyrics and vocals? Or since you’ve been doing it for so long does it come naturally to you?
DC: I’m fortunate that since I’ve always tried to do that it seems to work. Even before we did the album, when we were playing the new songs live, people would talk to us about how it gave them the image of a ghost town or a desert, so it seems like somehow by obsessing on stuff it comes out in the music. I don’t know if it’s just purely accidental or not but I definitely think that’s the challenge of instrumental music and what makes playing instrumental music exciting. Plus I like it because it allows the listener a more active roll in the music process. When there’s lyrics it’s like the band is telling people what they should feel and what they should think about the song and with instrumental music I like the interactivity of it.
THKD: When someone comes up to you and tells you what they thought of when they heard the music, do you ever feel like it is being misinterpreted?
DC: No one’s ever told me they wanted to rape children or anthing like that. It seems like people get it or respond to it in a pretty similar manner.
THKD: What emotions do you go through when you’re playing or composing the material?
DC: I know the emotion comes out but it’s nothing definite, like “oh this part sad” it’s more like you’re offering the totality of your being. To me a lot of music exists in it’s own realm and you’re channeling it. It’s like if music was water and you’re a vessel and everything you’re obsessed with or feeling shapes that vessel and then music has now come through it and so that’s the shape it takes. Everything that you go through during the day seems to be wrapped up in it. I know that some people have commented that this album seems more hopeful than previous Earth records and I’d think it would have to be, because I’ve become a much more hopeful person and I have better balance and sense of priorities now, so I think it can’t help but come out in the music.
THKD: I was looking at the album art while listening to it yesterday and it is beautifully put together. How do you feel the album art ties in with the music? Does it help tell a story?
DC: I don’t know if it tells a story, but I think it definitely helps, especially since this is music that is fairly visual in its impact I think it’s one more thing that helps the music convey its meaning. Steve O’Malley was telling me basically what he did is spent a few weeks listening to the rough mixes and that’s where he started getting ideas and then looking for pictures. He definitely made the album cover while listening to it, so that’s why that’s such a seamless work, why they work together so well.
THKD: A more general question, how do you think your talents have evolved from say, Earth2 up to now?
DC: I’ve become a better guitar player, I definitely think I have a stronger sense of melody, a stronger sense of direction. My work ethic is stronger. Part of it is when I did Earth2 we were trying to make an extreme statement, we only had less than a week to do it. I think I’ve always tried to do the best album to the best of my abilities with what I’ve been given and I was fortunate with Hex to have a budget that allowed us to explore some options and gave us time to really work our asses off and then also gave us time to sit back and digest it and decide what we wanted to do, and when we decided to add instrumentation to be able to secure the services of some amazing musicians. I was able to devote more time and effort to the music than previously.
THKD: How did you hook up with Southern Lord for the release?
DC: In 2003, Greg [Anderson] invited us down to play at the Southern Lord showcase at South By Southwest. I had met Greg when I was living in LA and he had talked about reissuing some older stuff and it never quite came about but we had maintained contact over the years and then he invited us down for that and then he came to see us a few times after that. He was confident in our abilites and wanted to invest in the future of Earth, so it worked out.
THKD: I’ve seen a lot of interviews where Greg [Anderson] and Stephen [O'Malley] say they formed SunnO))) as an Earth tribute band, and it certainly isn’t just them that consider you influential. How does it feel to be so highly regarded?
DC: It’s very flattering. There’s so many musicians that aren’t fortunate enough to receive the opportunities that I did and I’ve been fortunate to have my music heard by people and have people enjoy it and get into it. I’m grateful for that interest and it’s pretty cool. Obviously, the kind of music I do, success is measured in different ways and being influential is one of those rewards.
THKD: My last question for you is kind of off subject. Have you ever been approached to do any soundtrack work or is that something that would interest you at all?
DC: Yeah, I would love to do that and unfortunately I haven’t been approached to do any! [laughs]
Interview: AUTOPSY
Let me keep this short and sweet. Autopsy is my favorite death metal band. I got in touch with drummer/vocalist Chris Reifert via e-mail to discuss Macabre Eternal, their first album since 1995′s Shit Fun and quite possibly the best death metal album of 2011.
THKD: When did you first realize that it was time for Autopsy to be resurrected? Was it when Abscess decided to call it a day, or was there more to it than that?
Chris Reifert: When we first realized we wanted to, to be exact. Wanting to had a massive part to do with it. The whole thing really started when we made an agreement with the MDF folks for the first Autopsy gig since 1994. We were feeling really excited about things and this triggered more gigs and an onslaught of ideas for new songs. Also at this time, Abscess split up due to Clint Bower leaving the band. We really didn’t want him to leave but we respected his decision and Abscess had to fold as a result. This however opened the door for Autopsy to continue full time and this just may be the last time I explain all that. Haha!
[note: you can read THKD's first interview w/ Reifert, which took place just as Abscess was dissolving and Autopsy's resurrection was falling into place HERE]
THKD: Was it difficult getting back into “Autopsy mode” after not doing the band for so long? Is Autopsy always a part of you?
CR: Not a problem at all, and that’s because it is indeed in our very blood. It’s not forced, contrived or canned!
THKD: Is there anything you’re looking to achieve with Autopsy this time around that you might have been able to do during the band’s original run? Any unfinished business?
CR: We’re simply here to make sick and heavy death metal. The kind we always wanted to hear but never existed. The kind that will singe your toe hairs. You get the picture, eh?
THKD: How does Autopsy 2011 compare to Autopsy compare to mid-1990s Autopsy? How has your conception of the band changed over the years?
CR: We pretty much feel and play the same way when it comes to Autopsy. It’s essential to feel like always, that way we know we’re tapping into that indefinable thing that makes us do what we do. I don’t think any of us really thinks of 1990 vs. 2011 or anything like that, we just want to horrify your ears and minds and ours as well!
THKD: Where does the inspiration to keep doing death metal come from after 20 years? Do the same things inspire Autopsy now that did back then?
CR: Hell, I really don’t know. Must be in the blood, bowels or brains. Maybe some sort of weird combination of the three. Plus the fact that it just sounds damn good to us. Hmmm. As far as inspiration goes, we have to inspire ourselves for the most part.
THKD: Were you at all surprised by the “legendary” status the band had achieved in the years following its demise? What are your thoughts on the legacy of Autopsy?
CR: Hmmm, it’s always nice to hear things like that of course. Ultimately though I don’t think about stuff like that very much since I’m usually busy with whatever’s going on at the moment. What folks think about the band is up to them and I want to high five everyone who says nice things about us. Unless they have poop on their hands or something. I hope no one is disappoined to hear that.
THKD: Let’s talk a little about the new album, Macabre Eternal. How do you think this album compares to Autopsy’s classic recordings, such as Severed Survival and Mental Funeral?
CR: It goes with the other albums like peas and carrots, peanut butter and jelly or blood and guts. All of those are great pairings.
THKD: Macabre Eternal was recorded at Fantasy Studios in Berkley, CA. How did you choose this location to record and what can you tell us about the sessions?
CR: We usually go where our engineer Adam is working at the time and he’s now a full time engineer at Fantasy so it seemed to be the right place to go. It’s a very nice studio and everyone there is really cool to us. No one expects us to behave either, so it’s a great place to record. Haha! The sessions went really smooth this time. No equipment problems, car wrecks or other assorted catastrophies.
THKD: How were the songs on Macabre Eternal conceived? Does Autopsy compose material as a group or individually?
CR: We pretty much write individually when it comes to the music, but everyone can throw what they want into a song if it makes it better. Sometimes I will write lyrics to someone else’s music. Whatever it takes to get the song finished, you know?
THKD: Where does your lyrical inspiration come from? Are any of the songs based on real life horrific events, or are they all pure fantasy?
CR: They are all 100% true of course!
THKD: What are your favorite songs on Macabre Eternal? Are there any specific moments on the album that you’re particularly proud of?
CR: I love the whole damn album from start to finish, just like it should be. Although Sadistic Gratification is epic as hell. I wish I’d written that one. Damn you, Eric! Haha!
THKD: What can you tell us about the song Sadistic Gratification? A longer composition is a bit of a departure for Autopsy.
CR: Yeah, but we can write short songs, fast songs, slow songs, whatever. As long as the song is good, that’s the main thing.
THKD: The artwork for Macabre Eternal is one of the year’s best metal album covers. Who came up with the concept for the cover and what made you decide to work with Wes Benscotter?
CR: Thanks much! Yeah, Wes really kicked ass with that cover. It was totally his idea. I just gave him the album title and maybe a few other song titles to work with and he ran with it. As far as why we ended up working with him, I looked through my cd collection trolling for covers that stood out. I saw several that Wes had done that looked killer and I found his contact and hit him up. Wes was totally cool and easy to work with and I definitely recommend him.
THKD: Prior to the album you released an EP, The Tomb Within. What made you decide to do an EP first? Was this something of a warm-up in preparation for an Autopsy full length?
CR: It was sort of that, though mostly we just had too much material to fit on one album so we broke off a chunk to record as an ep.
THKD: Another recent Autopsy release is the Awakened By Gore collection of demos. How did this release come about? What made you decide to make these demos available again?
CR: Nuclear War Now was interested in putting those out and I had recently found the original reel to reel tapes so it seemed like a good thing to do. The tapes were actually intact still which was amazing since they were over 20 years old and not properly stored. The release sounds really killer and now the tapes are preserved digitally for the ages which is nice too.
THKD: Will you be doing any touring/festivals in support of Macabre Eternal? Do you still enjoy playing live after all these years?
CR: Yep, we’re doing a few live dates. Not too many, just a select few. And yeah, we’ve been having a blast doing the shows. The only thing that’s rough is the long flights, but it’s definitlely worth it. The crowds have been absolutely amazing and we love playing for them.
THKD: What are you currently listening to? Do you have any recommendations for THKD readers?
CR: Right now I’m listening to the sound of the washing machine which is right next to me rattling the house. Not recommendable for caual listening though it’s great when the laundry needs to be done!
THKD: Are there any final thoughts you’d like to add?
CR: Nah, I think you covered things pretty well. Thanks much and see you around, eh…
Interview: LOSS
I’m not a fan of long, drawn out intros to interviews, so I’ll just say this: Despond, the debut full length from Nashville Tennessee’s Loss, is the best doom album of 2011. I spoke with bassist John Anderson and guitarist Tim Lewis via e-mail about this masterpiece of monolithic misery, which is available now from our friends at Profound Lore.
THKD: First of all, why doom? What is it about the genre that you find inspiring? What is it about doom that you identify with on a personal or even a spiritual level? What does doom mean to you?
John Anderson: For us, I believe we were all drawn to the scale and the range of Doom, and we’re grateful to those who have identified so well with what we’ve done so far, because that validates our take on the style, which is somewhat unconventional. For every variety of doom that’s out there now, there is another way of looking at what it can mean to people. That’s an inspiration in itself, because it means many different things to us. Doom is not just heavy, it’s burdensome. That burden, in turn, reflects our lyrical content, which takes something that might have been just angry or dark and pushes it over to bleak and mournful, by personalizing it. Outside of doom, though, such emotion is represented more commonly by quiet, subtle music – and while that is part of what we do, we don’t feel that consistent subtlety would be realistic. Feelings like these are huge, present, and terrible, even as they crawl.
THKD: Nashville, Tennessee isn’t the first place most people think of when they think metal. How (if at all) have your surroundings helped or hindered Loss’ music? Do you receive much local support?
JA: Nashville isn’t the place that most people assume it would be. From the outside, thanks to the media and the industry here, we’re thought of as a country music bastion filled with rednecks and shoeless yokels. Those people are here, for sure, but every town has their share. They just have different accents. What’s not really said of Nashville is that we also have our share of everything else, including just about any style you might like – just on a smaller scale. People think it’s a bigger city than it is, and that’s where the frustration kicks in on both sides. Everybody plays something, but there’s a lot of apathy. I’m sure that sense of apathy has driven us as a band to some degree, and this can certainly be a depressing pace to live at times. We do have local support, though. I suppose some of the people here, at least, share our outlook.
THKD: Your debut album, Despond was just released by Profound Lore. What were the circumstances surrounding its creation? What frame of mind were you in while creating these songs?
JA: There were as many frames of mind in the writing process as there are changes within the course of each song, really. The process was long and very much tied to the emotional states that each of us went through – good and bad, and often at different times than the other members, which created a rough terrain for getting things done. It also created a lot of challenges for us as artists, though, and I think both the album and band are stronger because of all of the struggling. Had this album been completed and released a few years ago – as it could very well have been — it would not be the complete thought or the manifestation of four minds that it is today. Growth can be painful, and growth within the context of such emotionally raw music even more so, but I will always be glad that we pushed through and didn’t settle on anything less than what is on that disc right now.
THKD: How would you describe your writing process for Loss? Is creating this music a sort of catharsis for you? A way of coping, perhaps?
Tim Lewis: The writing process always seems to begin with a skeletal idea that seems to make the rounds to each member and each one of us will write, scratch, and re-write until we feel the song is full bodied. Sounds like we’re brewing beer huh? Seriously though, this is what took so long in the creation of Despond. We scrapped complete songs and various movements in songs that are on the record until it was to our liking. If we didn’t feel it was right, we started over. Try to imagine the tension in the room while giving the axe to a part either one of us or all of us created and starting from scratch. It wasn’t a fun place to be if you were an outsider. If you are one us, you get over it and realize this is for the greater good. This band is absolutely our therapy, so it is most definitely a coping agent for each of us. When we listen to a completed song and it makes the hairs on our arms stand up, (as an outsider looking in) we know we have written something special that was worth all the effort.
THKD: Tell us a little about the recording sessions for Despond. How would you describe your experiences while committing these songs to tape?
JA: There is definitely a ritualistic aspect to capturing what we do. Aside from all of the technical concerns in getting the sounds right, we had to leave a lot of things off the tape – metaphorically speaking – in order to capture what is important: The real essence of the song, as it will be preserved forever. To meet us on the street, or even in the hallway of a studio, you wouldn’t guess that we make the kind of music that we make. People cannot live the way our music is at all times. They wouldn’t survive it. So, there is a place each of us has to go when the tape begins to roll, or the whole thing simply won’t work. And if you over-think it, it won’t work. It has to be natural. You have to go those places described in the songs, and swim in those waters again, so to speak. Not lose yourself, but gain yourself, I would say.
THKD: Themes of death and suicide are prevalent in Despond’s lyrics. Are your lyrics based on personal experiences? Are themes of life and death an integral part of doom metal?
TL: This record was composed and finally conveyed to tape through 100% personal empiricism. The misfortunes and tragedies we experienced trying to complete this record were overwhelming in many cases. Adversity definitely presented guidance throughout the process until we reached its finality. As far as themes, life and death are a very important part of all art forms. The doom genre goes without saying. The theme of most doom falls under death, disease, shortcomings, the weather, dark contemplation, grandiose philosophy and so on. All the aforementioned themes still ultimately are categorized under life or death. So our answer to your “theme” question after all this is, “yes”.
THKD: Obviously, Despond is a very dark, heavy, oppressive/depressive album. Is there any hope at all to be found within its confines? Any light at the end of the tunnel? Why or why not?
TL: It is quite a depressing record to us. As far as hope is concerned, it was not written with hope being the champion in the end. Beautiful moments are quite present in movements throughout the record, only to have it crushed when the waves of (musical) depression move in. A calm before the storm, so to speak. Ultimately, this is a record to be experienced by the individual listener and to be decided by them what they find within.
THKD: In listening to Loss one can hear doom, but also traces of death metal, black metal and even noise/ambient. What/who are your biggest musical inspirations, and how do they play into the music you create with Loss?
TL: I think every artist or band we have ever heard (great or horrible) has played some kind of inadvertent influence upon our creative style. I think it’s that way with most artists, whether they care to admit it or not. Even something horrible will steer you to NOT PLAY A CERTAIN STYLE and in that, there is influence.
THKD: Brett Campbell of Pallbearer appears on the song “Silent and Completely Overcome”. What lead you collaborate with him?
JA: Mike (Meacham, vocalist/guitarist) actually came up with this idea while working out how the vocals would be placed. He heard a clean voice in his head for that part, but not his own, and since he’d been very impressed with Pallbearer’s demo already, he sent the song to Brett to lay a vocal track over it, without telling the rest of us. He was afraid we’d all shoot down the idea of having any sort of guest vocalist, and he was probably right. But, when we heard the demo, we were all beside ourselves with how perfect it was. Even the rough demo was amazing. It was sealed from that point, and we all became huge fans of Pallbearer, needless to say.
THKD: Let’s talk a little about Richard Friend’s artwork for the album. How did you come to collaborate with him? Was the artwork created specifically for the album or were these already existing pieces? What does his artwork add to the total experience of Despond?
JA: I stumbled across Richard’s artwork while searching through the DeviantArt website for possibilities. It was actually the piece we used for the back cover of the CD that caught my attention, as it was part of a larger series that he called his “Black Drawings.” Ironically, when we contacted him about those pieces, to see if he might be interested in doing some more work like that for us, he was surprised. Apparently, nobody else really talked about that particular series, so he figured nobody really “got” what he was going for. We all loved them, though, so we took a series of concepts that Mike and I had created, based around the lyrics for the songs, and sent them over. Needless to say, the results were amazing. Not only did he create some amazing art, but he was an incredibly cool guy to work with. He went above and beyond to make those pieces turn out as we had envisioned them. Given that they are all custom pieces, save for the back cover that already existed, they are worth more to the album experience than any sentence I can come up with here. We can’t say enough nice things about Richard.
THKD: Will you be doing any touring or playing any shows in support of Despond? How would you describe the Loss live experience to someone who hasn’t had the opportunity to see you play live?
JA: It’s hard to objectively describe what we’re like on stage. I’d love to know what it’s like to stand in the audience and not know the material, or to know the songs as anyone but the four of us would, but that’s not possible. I’ll let the reviews speak on that one. We do have some shows planned for the rest of the year — like the Rites of Darkness III festival in Texas, more shows in Nashville, and a few other shows in cities around the country that have not yet been finalized – but we stick with particular appearances rather than full tours. If any promoters are looking to book us, we can be reached at lossdoom (at) gmail (dot) com.
THKD: What are you currently listening to? Do you have any recommendations for THKD readers? What are some recordings you consider essential?
TL: Over the past few days I have been listening to 40 Watt Sun, Necros Christos, Beherit (as always), Lycus, Anhedonist, Ealdath, Pallbearer, Diocletian, and at the moment of this interview, Witchchrist.
THKD: Are there any final thoughts you’d like to add?
We’d like to thank everyone who has written a review of the album so far. They have all been great, and it’s good to know that people get what we’re doing.
Fatum Vestri Vita…Doom Your Life.
Interview: AOSOTH
If you need proof that black metal isn’t dead in 2011, look no further than Aosoth’s III. The French trio have released a queasy, droning, suffocating beast of an album that easily tops their already impressive body of work. I spoke with guitarist BST via e-mail to gain some insight into one of the year’s best black metal albums.
THKD: III is much heavier than prior Aosoth albums. Was this intentional or merely a natural part of the band’s evolution?
B.S.T. : It does sound heavier and I’m guessing there are several reasons for that : the tuning we used is lower, which gives this really muddy effect, I thought it would be interesting to experiment in that area in a black metal context. Also the gear we used (amplifiers and instruments) and the recording process was different, as we were aiming for a very organic sound. But I’d say the main reason for this heavier aspect is that we have opened our compositions to new influences, outside of black metal, some bands like Amenra for example…
THKD: When and where was III recorded? What were the circumstances surrounding the conception of the new album? What were you looking to achieve?
B.S.T. : Like the two previous full length, it was recorded at the Bst Studios. Under the influence of alcohol, drugs, and depression. I consider that we did achieve something, and that’s producing something nasty, oppressing, difficult to listen to, but a true experience in darkness and death through art.
THKD: My review copy of III does not include lyrics. Can you discuss what sorts of lyrical themes are being explored on the new album?
B.S.T. : Mkm’s lyrics on this album were pretty introspective and could be compared to his work on Antaeus’s “Blood libels”. They do appear on the CD and the LP, so people can make their own interpretation .
THKD: There is an eerie, droning quality to parts of III that is quite unique when compared to most modern black metal. How was this achieved and was it intentional? Are you at all influenced by drone music?
B.S.T. : I wouldn’t say we are, but we did use the talents of an industrial/ambient artist named HostiS for all the interludes and some samples within the songs, which may give that effect.
THKD: Is Aosoth a Satanic band? Is black metal an inherently Satanic form of music? What does Satan mean to you on a personal/spiritual level?
B.S.T. : Aosoth is satanic, and yes black metal is by definition satanic as well. All three members have their own conception of what Satan represents, and we do not share or even talk about it that much. Even though we are different individuals, we do complete each other in more than one way, and that’s what unites us. As far as I’m concerned, I see Satan, and the whole notion of evil, as something linked to human interpretation. I am a believer, but I therefore deny the idea of an absolute form of good and evil. I do believe in higher powers amongst us, and above us. However each person sees a demon or an angel into them according to what his own soul contains. Like said earlier, the two other people involved in Aosoth most certainly have a different perspective on that issue.
THKD: The name Aosoth comes from The Order of Nine Angles. Can you elaborate on the significance of the name and what importance it holds for you personally?
B.S.T. : The link between this band and the O.N.A. is our singer. I am in no position to speak of it. From the readings that were made available to me, though, I must say I felt a connection to quite a few principles of their philosophy.
THKD: Aosoth works as a trio. Your new/third album is called simply III. Does the number three hold any special significance for Aosoth or is this merely coincidental?
B.S.T. : It just happened to be the time when we decided to include a third member. Was is a mere coincidence? I wouldn’t know. It probably was meant to be, and probably has a meaning.
THKD: What does each member of Aosoth bring to the band? Would you ever consider adding more members?
B.S.T. : The way the band works is quite simple. Mkm is in charge of the lyrics, the visual aspect, the ideology. He is linked to the band as he is the image of the band, the spokesman. I write all the music, and produce the albums, I also recruit the mercenaries who play with us on stage. Inr, our newest member has been involved in the arrangements of the songs. Although his role seems lesser than ours, he has been involved in the project for a long time now, first as a session musician, and his dedication did inject a lot of new blood into Aosoth. If we do find the right person, I’m guessing we might hire a full time drummer some day, but they are quite hard to come by. And we’ll have a second guitar player for concerts, but that person will remain a session member.
THKD: How would you compare your current work with Aosoth to your past with Antaeus? Are the two bands opposite sides of the same coin?
B.S.T. : I will answer for Mkm from what I know of that matter. Aosoth has a very different musical approach. As far as the ideology goes their is a certain link between the too, but saying they are opposite sides to the same coin is stretching it, in my opinion.
THKD: France seems to have a very strong and diverse black metal scene. What is it about life there that is conducive to this music? Are you in any way influenced/inspired by your surroundings?
B.S.T. : This country is grey, bitter, and our cultural heritage is falling apart. We have lost faith in our nation and feel betrayed. There is no unity in our community. I’m guessing that would be a cause…
THKD: What are your thoughts on the current state of French black metal? Who do you consider to be your peers? Are there any other French BM hordes we should be listening to?
B.S.T. : I have a lot of respect for bands such as Hell Militia, Vorkreist, Blacklodge, DSO (obviously), Spektr, Ritualization, Temple of Baal, Haemoth… And a few others… Those bands are those I consider to be my peers and I would advise you to listen to.
THKD: Will you be playing live in support of III? What would the ultimate live Aosoth experience entail?
B.S.T. : We will play shows according to what we are offered. A live performance is not something we need or seek. Releasing albums is satisfactory enough to us.
THKD: Are you or any of the other members of Aosoth currently involved in other bands/projects that we should be aware of? What can you tell us about them?
B.S.T. : Mkm is still in Antaeus, the band is still a bit active as they are to play a couple shows. Can’t really say if a new album is meant to happen or not, not my place to say anyway… Inr plays in VI, which is supposed to release its first full length by the end of the year I guess, he also will be appearing as a session live bass player in Antaeus. I play in The Order of Apollyon, black death metal band which released its first album “The Flesh” on Listenable records last year. I also will be joining Antaeus as a session guitar player for the few shows to come.
THKD: Are there any final thoughts you’d like to add?
B.S.T. : Thanks for the interview. 616
Interview: FIENDS AT FEAST
California-based quintet Fiends at Feast came out of nowhere and impressed the hell out of me with their debut EP, Shadows of Extinction (see review). It remains one of the best metal releases I’ve heard so far in 2011 and the band’s attention to craftsmanship and willingness to work hard to accomplish their goals make them a band to watch. I spoke with vocalist/lyricist Loki about the making of Shadows of Extinction and Fiends at Feast’s plans for black/death metal domination.
THKD: For our readers who may not be familiar, can you give us a little background on how Fiends at Feast got started?
Loki: Fiends started sometime in the spring/summer of 2008 when David and Sammer met and started jamming some cover songs, then not long after that they met with Nathan and the original drummer (a girl who got replaced by impalor few months after). I was in another band, but I got an offer to audition for the band and I got asked to do vocals. From there Fiends have played some good shows and others not so good, but always with big visions of getting noticed locally and nationally.
THKD: Fiends at Feast’s music strikes a good balance between black and death metal styles. Was this intentional or just a natural part of the band’s evolution?
Loki: I think it comes naturally to us, we have diverse taste in music and what we do is just use some of the influences. We do try to keep the old school death metal, but I think black metal is a huge influence on us (especially for me) and what you hear on our EP is the result of everyone’s creativity and obsession with music.
THKD: You recently released your debut EP, Shadows of Extinction. What were you looking to accomplish with this release and are you pleased with the results?
Loki: We are pleased with the results, definitely after having some experiences with other engineers I think this is so far the best. What we are trying to accomplish with this recording, I guess, just like a lot of bands, is to get signed to a record label and expose what we do and enjoy doing. Touring is one of Fiends’ goals as well.
THKD: Let’s talk a little about your lyrics. What are some of the themes you’re singing about on Shadows of Extinction? What inspires you to come up with lyrics? Are the lyrics a collaborative effort?
Loki: I come up with lyrics at very random hours, sometimes when I’m waking up (hahaha). My inspiration comes from people forcing others to believe their crap. I have a very low tolerance for stupidity, ignorance and poor behavior, I think you can say a bit of a sociopath. Look around and you’ll know what I mean, especially the ones who copy other bands to make a name for themselves and that is just one example. I also like to use metaphors to describe certain things which some people don’t get and I don’t care if they do or not.
THKD: What is your personal favorite song on Shadows of Extinction and why?
Loki: I think “pariah” is one of my favorite ones I guess because it has a piece of my life in it. It has the obsession with death, depression, hate, obscurity and hate for organized religion, although “scars in my soul” has a big attachment as well.
THKD: What can you tell us about your vocal technique? How do you prepare yourself to record vocals or perform in a live setting?
Loki: I don’t like to think I use any special technique, all I do is try to sing from the stomach rather than with the throat. My inspiration started in the late 80′s but it wasn’t ’till I heard Chris Barnes that I said to myself “fuck I wanna do that shit like him” and make use of the vocals as another instrument. At this moment my inspiration has been black metal way more than any death metal singer and as always I try not to copy anyone but learn from them and do my own thing. I do warm up for the recording but when performing live I just let my demons take over (haha).
THKD: How were the songs for Shadows of Extinction written? Do you work on songs as a group?
Loki: All songs were and are written as a group (band), most of the time Sammer and David work on riffs in their spare time, then we all work with whatever they have and everyone gets involved to shape the songs.
THKD: The EP cover is very striking. What can you tell us about the artwork and how does it tie in with your music?
Loki: We had a hard time coming up with the artwork and at the end we came up with the idea of having a drawing of a landscape that represented the area where we live and gave some feeling of obscurity with the raven and the dead corpse in the fox hole. It doesn’t have as much of a connection to the lyrics as we were hoping for but, I guess you can link it with the endless obsession with death in the lyrics.
THKD: Fiends at Feast hails from Santa Cruz, CA. What is the metal scene like there? Do you get much local support?
Loki: The metal scene is not so great but I guess it is just like any other place, and to be expected when you play this kind of music in an area where hip-hop, reggae and other genres are more predominant. We do appreciate the support from the handful of metal maniacs that come to our shows. As I say many times on stage “you fucking maniacs”.
THKD: How does your environment/surroundings inspire Fiends at Feast? What is it about California that inspires dark and heavy music?
Loki: I don’t think any climate gets us inspired, but we do get some sort of motivation when we see bands playing the same old shit that other bands have done or playing some commercial sound, a thing that Fiends is always trying to stay away from. We are trying to write a new blueprint with our style and our own way.
THKD: You recently played a record release show for Shadows of Extinction. How did it go? Do you enjoy playing live?
Loki: We had a good time and we would like to think that it was a success. We had people who came from San Francisco, Hayward, San Jose, Salinas, Sacramento and Alameda and it seemed like everyone got involved with our performance. I do enjoy performing live most of the time, sometimes I don’t feel the energy I need to get in my zone although a lot of the times I wish to bite the head off.
THKD: What is the best way for fans to get a hold of Shadows of Extinction?
Loki: Our merchandise can be purchased at our gigs for now, we are currently working on setting up a Paypal account or indiemerchandise account, any suggestions? (hahaha). We have our EP in our local record store Streetlight and we hope Rasputin’s agrees to sell our EP as well.
THKD: What are you listening to right now? What bands do you find inspiring/influential as far as what you do with Fiends at Feast?
Loki: At this moment the only genre I listen to is black metal. I think it has a lot more to offer on many levels and ways to be performed compared to death metal. On my list right now are Orcustus, Impiety, Sadistic Intent, Black Witchery and Endstille. I feel influenced by this and other bands in the way I perform with Fiends but I think my twist evolves from bands like Behexen, Immolation and Shining.
THKD: What does the rest of 2011 have in store for Fiends at Feast?
Loki: We are working on new material to possibly record as soon as we are ready, but for now a tour in California/Nevada is in our minds and exposing what we have worked so hard to accomplish.
THKD: Are there any final thoughts you’d like to add?
Loki: Stay dark and away from friends.
