Friday, January 17, 2020

EP Review: GRUESOME BODYPARTS AUTOPSY "Active Rotting Process In Decay" (Lymphatic Sexual Orgy Records) by Devin Joseph Meaney

Band: Gruesome Bodyparts Autopsy
Location: Talca
Country: Chile
Genre: Goregrind
EP: Active Rotting Process In Decay
Label: Lymphatic Sexual Orgy Records
Format: CD-R, Digital
Release date: September 2019
Released on a split with Human Atrocity July 8, 2019
Today was pretty mundane. You know those lazy days where you barely move from the couch? Those days where showering seems to be a chore and leaving the house to go out within the grasp of winter's chill is simply out of the question? Yeah. Today has been one of those days.
Thankfully, before the night was through, I managed to stumble upon "Active Rotting Process In Decay" by Gruesome Bodyparts Autopsy! Just like that, my boring day was transformed, amazing goregrind being a catalyst for my change of mood. The splatter-grind vibes are very strong with this release, and I was almost instantly put in the mindset for gurgles, gargles, ping snares, and short bursts of audio madness masquerading as music.
As mentioned just above, gurgles and gargles are a focal point of this EP, with watery, pitched vocals permeating a genuinely putrid soundscape. I am reminded of Last Days of Humanity, or other clone-style bands such as First Days of Humanity and Golem of Gore. The "music" may not be of an entirely original style, but for goregrind purists, the vocals on this EP would without question tickle you absolutely pink.
Again, the guitar style and drumming is very reminiscent of LDOH, but when it comes to the guitar work, there seems to be a bit more structure to the riffs, as they are less of a blur than the frenzied, spastic playing of Last Days. As for the drums, the very popular "trash can" sound shows up with a vengeance, absolutely pummeling anything and everything in its wake!
As stated on Youtube, Gruesome Bodyparts Autopsy is a "bulldozing goregrind one-man band by Robert Myiasis from Talca, Chile since 2009. This is his latest EP, that came out as a split with Human Atrocity." It was released September 2019 on Lymphatic Sexual Orgy Records. So, you know what to do now. Order a fucking copy!
This release was one of the best (if not THE best) goregrind releases I have heard this year. It is only January, so hopefully this keeps up and my ears will continue to be righteously violated (in a good way) over the coming months. Absolutely exquisite, Robert! -Devin Joseph Meaney

Robert Myiasis: All vocals and instruments

Track list:
1. Introduction to Cataleptic Reflexes and Human Decomposition
2. Necrotic Bodyparts Barbecue
3. Feast of Dead Dogs with Honey Mustard and Sauerkraut in the Trash
4. Loss of Cadaveric Material Available
5. From Bloated to Dry
6. Squashed Algor Mortis
7. Active Rotting Process in Decay
8. Collection of Hemorrhoids
9. Insertion in the Vagina and Anus of Roasted Chicken Tongs
10. Compulsive Engorgement and Cannibalistic Devourment (Remake)
11. Mother and Child Shredded on the Road
12. Removal or Resection of the Entire Limb (Autopsy II)

Thursday, January 16, 2020

Interview with Vide of VIDE by Kelly Tee

Interview with Vide of VIDE 

2019 saw an abundance of black metal releases in conjunction with what was a strong surge of new black metal artists and bands storming into the industry and scene. It is, without doubt, the black metal being created in America was among some of the darkest and confronting, and one of those US black metal warriors is Vide! Vide is black metal, black noise, depressive USBM solo project, hailing from Louisiana and he wasted no time releasing Demo II in 2019, on the back of his 2018 release Demo 1. It was obvious that people stood up and listened hard to his often manic, emotive, raw and chaotic black & roll black metal, which often feels cathartic, trance-like at times and most certainly dark and mesmerizing. I caught up with Vide, to discuss his latest releases, the inimitable USBM (the United States Black Metal) movement and what we can expect next from this inspiring artist.

Hey Vide, firstly, a big hail to you for doing this interview with me, as a fan of your work it means a lot. You are from Louisiana USA, and once upon a time this probably would not be a place that would pop in one's mind when thinking about black metal. What drove you to create your black metal solo project 'Vide'? How did it all start for you?
I've always struggled with finding a band of like-minded musicians to work with. During the summer of 2018, I was having real bad luck in my personal life. I already had a recording set up at home from my previous failed attempts at getting a band going. One random day during that summer, I decided to record some ideas that I had. This eventually became the first Vide demo.

These past two years have been big for Vide with people receiving your Demo I well in 2018 and then landing on many Top Album lists of 2019 with Demo II. How do you feel about how your success so far and how black metal appreciators are receiving you?
I feel honoured and grateful. I'm in a constant state of surprise with everything related to Vide. I was very close to deleting the tracks from the demo I before I decided to release it. The feedback I've received on my releases have been more than I could have ever asked for.

Let's focus on your latest demo, Demo II. This is such an incredible journey through raw and pained vocals, black & roll rhythms, harsh black noise guitars, and melancholy passages. What are the themes and stories behind Demo II?
The main theme is my past life. I've carried it over from demo I to demo II now. The artwork for both is from an old family photo. They are a brother-sister album. It is all a representation of where I've come from. I grew up in a very small town with not a lot to do. The stories are about feeling lost, alone and stuck in a place that you never expect to escape.

You are quite a mystery, you seem humble and solid in keeping your identity hidden on your social media and album imagery. Does this mean you aren't planning on playing live gigs? And if you are planning on live gigs, do you plan to maintain a hidden identity on the stage?
I'm not in a rush to bring Vide to the stage but I would love to one day. I've played live before in my previous bands so it is something I miss. My goal is to keep my anonymity for as long as I can, even if Vide plays live one day.

USBM is thriving, with a unique sound of complete devastation, lo-fi and distorted rawness, it is incredibly unique compared to the true kvlt style of black metal and well black metal anywhere at the moment. It is almost as if USBM is becoming a sub-sub-genre within the black metal genre. Where does this distinctive style to America derive from? And where do you see USBM heading?
It's hard to say where it comes from. There is an endless amount of music and influences out there so it's probably giving us these new results. I see it heading in a good direction. I feel like I'm seeing smaller bands in the scene get more recognition so hopefully, it keeps going that way.

What is the mix of music that has influenced your particular sound?
I start with my main black metal influences first. For me, it is early Bathory, Darkthrone, and Burzum. I'm also a big fan of the 70s / 80s post-punk / darkwave music. Bands like Joy Division, The Cure, Misfits, Christian Death, and The Sound are also big influences on me when I write.

USBM bands & artists such as Aphelion, Valac, Witchbones to name a few all seem extremely supportive of your work and in general the black metal community in the US feels tight and encouraging. What else makes the USBM scene so good?
The support has been great. Witchbones, for example, has reshared posts of mine and has been very supportive. The variety in the scene also makes it good. There seems to be plenty of options when it comes to black metal bands.

Vide is signed with US label; Jems Label, who has some wickedly good black metal bands signed within his portfolio. Tell me about your relationship with this label; How the partnership came to be and, how important the relationship is for Vide with Jems Label.
It's been a great relationship. He reached out to me before Vide II was out. He's been a listener and supporter of Vide for a while. He's made it a goal to keep pushing Vide out there. I'm forever in his debt for the work he's done.

You have some very cool collaborations occurring this year, are you able to give me details? Who, what, when? And what does it mean for you to collaborate with other black metal artists?
The only thing official right now is a split with Witchbones. It will be a split 12'' with us both contributing a few songs each. It's a great feeling to collaborate with other artists. It is something I would like to do more in the future.

In October 2019, you released your latest single, Spectre on Bandcamp. Great single by the way! Is this a teaser for what is to come on your next Demo, EP, Split or Album from Vide this year, 2020? And if so, how will your new music differ from Demo's I and II?
Thank you. Yes, the current plan is for it to be included on the next release which is a Split with Witchbones. I have a couple of other tracks recorded in the same sessions. This will be different since it's not following Vide I or II theme-wise. The music will be a bit angrier and raw. Jems label and Red Door Records are co releasing it. I'll be announcing more details soon.

Spectre is highly atmospheric, and unnerving with manic screams and incoherent yelling, droned guitars and overall excellent chaos... What motivates a sound like this for Vide? And how do you feel after you exude this much energy to record what feels like rather cathartic and highly emotional black noise/metal?
The motivation comes from life. I take the bad moments, bottle them up and release them when I write for Vide. After, I always feel empty. That's actually where the name Vide comes from. Vide in French translates to empty.

How is the support for your art in your home of Louisiana? Is there much of a black metal community there, and if so what makes it so good, or not so good?
I don't have support in my home area. I don't advertise my work locally at all. I only have a couple of people in my personal life that even know I make music.

You are a busy man, with several other death, black and industrial/electronic projects separate to Vide. Can you please tell us about these and where we can take a listen?
I have four other main projects at the moment. I have a blackened post-punk/black n roll project called All Monsters. Some Dead Bodies is my old school death metal project. Anonymous Hands is my industrial/dark wave project. My last main project is Empty. Empty is a post-punk project and my sister project to Vide. Vide being the heavy harsh side while Empty is the not so heavy side. All projects can be heard at

Vide, thank you so much for your time, if there is anything else you'd like to say to people reading this interview, please do:
Thank you to anyone reading this and to anyone who listens to my work. I am extremely grateful for any support. I'll have a new noise in 2020. Thank you, Kelly, for this opportunity.

-Kelly Tee

Wednesday, January 15, 2020

Full Length Review: BEASTIAL PIGLORD “Pulling a Thread from the Fabric of the Universe” (Independent) by Dave Wolff

Location: Kinston, North Carolina
Country: USA
Genre: Extreme metal
Label: Independent
Format: Digital
Release date: December 31, 2019
Imagine, if you will, if members of Venom, Blasphemy and Abruptum met and collaborated on a musical project, and what resulted from their collaboration sounded something like Beastial Piglord. This is an apt enough description of the latest full length from Hudson’s one-man band, entitled “Pulling a Thread from the Fabric of the Universe.” Last August I reviewed their full length release “Sunder” and made comparisons to Controlled Bleeding, also comparing it to a great beast bellowing its welcome from a distance. On this album the beast is at your doorstep. While proclaimed an experimental extreme metal album, this is one where the Abruptum inspiration is most obtrusive, albeit with less (supposed) physical torture and more excessive brutality. Whether Hudson has earned having his solo project described as death metal’s answer to Abruptum, but inasmuch as there are no other bands I’m familiar with approaching this summit, Beastial Piglord is a certain aspirant for the title. If anything else, “Pulling a Thread” is one more barefaced example that brutal and extreme music can divaricate from recognized specifications, in any manner the musicians prefer according to what speaks to them, what they wish to express and what fits their music. The term “no rules” as it applies to underground bands searching the known and unknown to distinguish themselves from resemblance to other bands applies here. Hudson presents his material with a wall of sound that should be played with as much volume as you’re personally comfortable with to take pleasure in its thoroughgoing mania. Doing so will reveal multiple layers of pure sonic chaos coming together to create a Dante-an personification of hell. Hudson’s use of sepulchral echo to enhance his glottal vocals and mask the disturbing sound effects and feedback, turbulent solos and substratal drumming has an effect that’s more subjective than intellectual and grows on you until it reaches a place that’s not even human. Until it literally sounds like actual demons are playing these songs rather than humans. While past albums tottered on the edge of insanity, “Pulling a Thread” leaps right off of it, taking you along for whatever is waiting for you. -Dave Wolff

Hudson: All vocals and instruments

Track list:
1. Cloister
2. Filtver
3. Lithern
4. Aversion Sapien
5. Mesmerism
6. Resonator
7. Generativecreativeorganizingforce
8. Mysterium Cosmographicumembrane
9. Botfly

Tuesday, January 14, 2020

EP Review: HUMAN PANCAKE "Untitled 2020" (Independent) by Devin Joseph Meaney

Band: Human Pancake
Location: Southeast Pennsylvania
Country: USA
Genre: Goregrind
EP: Untitled 2020
Label: Independent
Format: Digital
Release date: January 5, 2020
I have really been neglecting my usual music reviews. Since mid-December, I have been on a roller coaster of cheap beer and home grown cannabis, but I think now is the time to finally buckle down and get some reviewing done.
During my usual (well, not so usual over the holidays) Youtube search, I scrolled upon a handful of bands that peaked my interest. One release I came to was the 2020 ''Untitled'' EP by Human Pancake. I have heard Human Pancake before (and enjoyed it) so I decided the first thing on my to-do list would be to give this quick offering some words.
I need to mention that ''tight'' would not be a proper word to describe the tracks held within. The drums and riffs are played with mild ''sloppy'' overtones, but in honesty, this adds to the gruesome ''grossness'' that the EP presents.
The vocals are heavily pitched and distorted to near perfection, adding the ''goregrind spark'' to the music. Another thing worth mentioning is the production quality. It is very much on the rough/raw side, but again... this is fucking goregrind, so that is ok!
All in all this EP was a pleasure to listen to. It is not the best goregrind I have heard in recent months, but it is without question well done and would be a nice addition to the collections of grind and gore fans everywhere. Clocking in at under seven minutes, this is well worth at least one listen. Old school goregrind, homie! -Devin Joseph Meaney

Dr. Dank: All vocals and instruments

Track list:
1. Esophageal Distress
2. Burst Hernia
3. Kidney Failure
4. Inflamed Appendix
5. Gangrene

Sunday, January 12, 2020

Full Length Review: WITCHER "A gyertyák csonkig égnek" (Filosofem Records) by Dave Wolff

Band: WitcheR
Location: Szombathely, Vas
Country: Hungary
Genre: Atmospheric Black Metal
Label: Filosofem Records
Format: CD, digital
Release date: November 1, 2019
WitcheR is an atmospheric black metal band from Hungary comprised of members of Vrag and Trollheimen (also from Hungary). “A gyertyák csonkig égnek” (roughly translated as “candles burn to the stump”) is bereaved, doleful black metal replete with keyboards, piano, and atmosphere, conceiving harmony between the organic and elemental, between rawness and texture. As their third full length (after 2015’s “Csendes Domb” and 2012’s “Néma gyász”) it illustrates great capability for a band consisting of two musicians who are just starting to grow accustomed to each other as musicians (Roland Neubauer and Karola Gere). It doesn’t take much effort to realize they committed infinite consideration into what they were writing for this album. It’s depressive but nevertheless authentically graceful and resplendent in its execution. So abundant with passion, sadness and vehemence it shows these two have potential to compose orchestral albums if they decided to work with additional musicians in the future. Or something like the black metal equivalent of chamber music if they remained consolidated to a handful of musicians. This statement can be substantiated by their moving cover of Pyotr Ilyich Tchaikovsky’s “A hattyúk tava.” The guitars by Neubaure exist as a foundation for Gere’s keyboards, not pushed so far into the background that they sound secondary to everything else here. Neubaure’s schematic playing contrasted with Gere’s grounds the material firmly in its black metal roots while heightening its byzantine, expressive side. The percussion sounds slightly concealed behind this, but it’s a minor setback that can be easily corrected on the next full length. The lyrics are penned in Hungarian but another rough translation on the net led me to discover they’re as profound as the musicianship. They represent a deeply personal struggle between transgression and deliverance. It sort of struck me as an entreaty from somewhere in the beyond to disappear within oneself and find innocence that was buried inside long ago, buried and forgotten but not completely forgotten. This gives the album optimism that is unexpected for such a funereal album but nonetheless fits. -Dave Wolff

Roland Neubauer: Vocals, guitars, drum programming
Karola Gere: Keyboards

Track list:
1. A gyertyák csonkig égnek
2. Feloldozás
3. Az én csendemben
4. Az utolsó utamon
5. A hattyúk tava Op. 20. 1. Jelenet (Pyotr Ilyich Tchaikovsky cover)

Interview with G.D. Fangs of HIDEOUS MONSTER by Dave Wolff

Interview with G.D. Fangs of HIDEOUS MONSTER

Hideous Monster is described as four talented musicians creating something bigger than the sum of its parts, combining old school Misfits with Vincent Price’s filmography. Explain how the band formed.
I decided to get back into the music scene again after taking a break from being in different bands. The Quintessentials was the last band I had played guitar in. So I wanted to write music about Horror/Paranormal topics. It's a cool topic for music, because there are not a lot of rules for Ghosts, Monsters, Vampires, Zombies etc., so you can get as imaginary with lyrics and music as you want without anyone questioning it. I actually found most of my band by recommendations from mutual friends, except our singer Jamie Warlocks who I met online. He stepped right in and fit the shoes for lead vocals. The material is unique in the sense that this band can fit in with rock bands, rockabilly bands and even some metal bands. We have opened up for bands from The Legendary Shack Shakers to members of The Misfits and LA Guns just to name a few. So it’s original enough to fit different genres.

Why did you decide to spend time apart from the local scene after your involvement, and what eventually rekindled your interest in being a musician?
I took time from the music scene because I thought it was stagnant and oversaturated with bands; it still is to this day. It’s hard to get off the ground no matter how good you are. People do not have the attention span they used to have, and everything is so quick and disposable with today’s technology. I think what really got me back in the music scene was really my love to play music. I love writing music and I still love playing guitar. So I will keep going.

What bands besides The Quintessentials were you and the other members involved in before Hideous Monster? Did those bands release any material while they were active?
Our drummer Jack T. Ripper played in a progressive style band for a while. Our bass player Miss Tenderloin has played in many different kinds of bands. She is a very talented musician. Our singer Jamie did the Seattle music scene back in the day. I played in a Motley Crue tribute band for a few years called “Live Wire.” We even ended up suing each other and had our court case on “The Judge Mathis TV Show.” If you Google it, it still comes up as one of the most liked episodes of all time. I believe Motley Crue’s people had it pulled down for unknown reasons, haha. Hideous Monster as a band is a makeup of four different people for sure.

What is the story of your Motley Crue tribute band suing one another on Judge Mathis? Also, what do you think of tribute bands as a whole?
Well basically it was a control issue. I created the band “Live Wire” and as soon as we gained popularity getting decent offers for shows, certain band members got greedy and wanted to control the band by kicking me out. That started the lawsuit. Judge Mathis gave us a call when they saw the lawsuit on the docket to be on the show. As far as what I think of tribute bands as a whole, I guess if you want to make a fast dollar playing other people’s music, go for it. I personally do not care for it, but that's just my opinion.

How does your experience in other bands help the band’s sound?
We all met through mutual friends. I approach Hideous Monster’s sound just by love for Horror movies and life. Life can be very scary, strange and weird, so there is no shortage of content for scary stuff haha.

Is there an approach to your writing horror based and paranormal lyrics that differs from other bands you’ve heard?
My approach is usually based on life experiences, or emotions. Anxiety, depression, happiness, and sadness, childhood memories, my spin on a horror movie or a fear, or whatever vibe I can bring to the table that makes people think about life or the paranormal. A lot of times songs can write themselves, depending on what I am feeling when I am in the mood to write music. There are no rules in music. That’s what makes it great.

Which horror movies, television programs, or magazines do you draw inspiration from?
There really is not a particular movie or show I write about, but just the vibe or my spin on what horror rock should be. Hideous Monster has definitely found its own sound. I really love late 70’s early 80’s Horror; I think it’s the best era for that genre. As far as magazines go, when I was a kid I read Fangoria and Starlog. Those were some cool magazines and I still collect them. If I had to pick an all-time favorite horror movie, Dawn Of The Dead is incredible, I saw it in the theatre in 1979. It really made an impression on me; no one had seen a zombie movie like that. The Exorcist is a close runner up.

What about Dawn Of The Dead made an impact on you when it was released? Was it’s intended message about corporate greed and consumerism still relevant in 2019?
I really didn’t get the message back then. It just scared me because it was pretty graphic, lots of blood and guts. There is always greed in the world; it’s human nature to always want more.

What fascinates you about Vincent Price’s work as a character actor and performer? Do you see he still has a certain amount of influence on today’s actors?
Vincent Price was just a great actor. His amazing voice held people’s ears captive; he knew how to play the part and draw you in. They do not make them like that anymore. I am not sure about seeing his influence on today’s horror actors, although I am sure they would have to have a great appreciation for him.

How extensive are your collections of Fangoria and Starlog? Why do you think those publications managed to remain relevant for so many years?
I have a small collection of both. It was entertainment back when there was no internet. So you really only found out about horror and sci-fi through magazines like that. I believe it was the quality and love that went into those magazines that kept it relevant and in demand for so many years.

Were you reading classic horror comics around the time you discovered horror, such as Eerie or Creepy, or others? If so, what stories left a lasting impression and why?
Actually, my sister always took me to the movies I five years old. She was fifteen so I get to see horror movies at a very young age. When we went food shopping with my mom, I was allowed to purchase a comic book and I always picked out “Tomb of Dracula.” “Werewolf by Night,” “Dark Shadows;” pretty much anything that looked scary. Monster toys were super popular in the 70’s so it was easy to find a monster model kit to put together. They had Monster figures to collect and cereals like Count Chocula, Boo Berry and Frankenberry. I still eat them for breakfast sometimes to this very day. That’s pretty much where I discovered and fell in love with monsters and horror.

Do you look toward any classic or modern horror literature for thinking up song lyrics?
I actually look back. There is a ton of stuff out there that is interesting from the 70’s and 80’s. It was such an optimistic time back then, so there is a lot of cool literature and artwork movies. Monsters from that time period that really cannot be replicated today. The late 70’s/early 80’s were my favorite eras for sure. I do not think we will see a time like that again.

Name some of the authors you read and describe what speaks to you about them.
I like to read about religion of all kinds. There is a lot of messed up and crazy things have taken place in the name of religion. There are also a lot of fascinating and wonderful events that have taken place. I read The Bible, I have read The Satanic Bible, amongst a lot of witchcraft, and Pagan books. All these books have some sort of truth to them; it really makes me wonder. There is a lot of inspiration for song content and music from Religion.

What other movies from the 60s, 70s and 80s had the most profound impact on horror cinema?
Here would be my top five: 1. The Exorcist, 2. Jaws, 3. Night of the Living Dead, 4. Friday the 13th, 5. Halloween. I think those are the big ones; there are definitely more.

How much free reign did the band have when composing the songs that appeared on “Sounds That Make You Shiver”?
I pretty much write the music on guitar, I put lyrics to it, and then I have our singer go over and make adjustments and look at it with a different set of eyes. Then it gets hashed out at practice until we get a complete song.

How long does it usually take for a song to be completed? Do the other band members go over the song structure during this process?
It can take one band practice or many practices. We try to work on material all the time. It's always an adventure writing music because there is no rule book for it. Everyone has a say in the process; we just keep bantering it out till it sounds good,

Describe the recording process of “Sounds That Make You Shiver” when the band went to the recording studio. Did you produce it independently or did you search for a producer you felt could make the material sound the way you wanted it?
I produced it at Falcon Studios here in Portland. Or Dennis is a great studio producer that recorded us. He has worked with acts like “Curtis Salgado” and “Pink Martini.”

List the songs appearing on the EP and how your lyrical influences impacted them. Did the lyrics come out the way you envisioned them before they were penned?
Sounds that make you Shiver, Over and Over, Night Warning, Phantasm, Dead of Night, Sounds Familiar. I wrote all of these songs Lyrics and Music, all were influenced by Horror movies and Old TV shows. Very happy with the outcome, but you always want to go back and change things to make it better.

Is the EP exclusively available on streaming/digital format, or is it also out on CD? Which format do you think will provide the most publicity for the band?
The Music is on all the main social outlets, we are a DIY Band so if anyone wants to purchase Cd’s you can email us on Facebook to purchase a copy of “Sounds That Make you Shiver” I really think that the most publicity will come from people discovering us the old fashioned way, Word of mouth.

-Dave Wolff

Saturday, January 11, 2020

Article: 'Neil Peart Remembered' by Marc Del Cielo

Neil Peart Remembered
Article by Marc Del Cielo

On January 7, 2020, legendary rock drummer Neil Peart passed away at the age of 67 from brain cancer, glioblastoma to be exact. To call him an influential drummer would be a gross understatement to the overall influence he had on music. What Neil Peart did for drumming speaks for itself. His extreme reserves of stamina combined with his almost effortless rolls and fills, became the design for prog rock drumming. Yet not willing to rest on his laurels, Peart sought the tutelage of Freddy Gruber, a renowned jazz instructor, after what he felt was a lackluster performance at a Buddy Rich memorial concert.
But what was always overshadowed by his incredible drumming was his being the primary lyricist for Rush. Since 1975’s Fly By Night, his first album with Rush, Neil penned the bands best known songs including Limelight, The Spirit of Radio and Tom Sawyer. An avid reader, he wrote of fantasy science fiction and mythology, but later shifted towards a social aspect and personal issues. The opinions of his lyrical work have always been split between praise and pan. Since 1980, Neil Peart received numerous awards and accolades for his drumming. 7 consecutive “Best Rock Drummer” awards from Modern Drummer Magazine, but for his lyrics he was named the second worst lyricist in a 2007 Blender Magazine list, behind Sting. Regardless, Peart along with Geddy Lee and Alex Lifeson were inducted into the Canadian Songwriters Hall of Fame and The Rock and Roll Hall of Fame.
But his writing abilities went beyond lyrics. Neil wrote 7 books about his travels around the world and his life and career and with Kevin J. Anderson, the science fiction novel Clockwork Angels and its sequel Clockwork Lives. His 2002 Ghost Rider: Travels on the Healing Road, chronicles his motorcycle trip that took him from Quebec through Canada to Alaska, the United States and finally Mexico and Central America, as a means to cope with the deaths of his daughter Selena in 1997 and wife Jackie in 1998.
Neil Peart announced his retirement in 2015 due to chronic tendinitis. His bandmates were still hopeful that this was just a brief period of rest for Peart, but in 2018 Rush made it official, and disbanded permanently. Rush’s impact on music is undeniable, and largely on behave of Neil Peart. Quiet, humble and private, he’s influenced multitudes of musicians and songwriters. In death he will be known as he was in life: the greatest rock drummer ever. Rest in peace Neil, and thank you.

Friday, January 10, 2020

Full Length Review: GURTHANG "Ascension" (Immortal Frost Productions) by Dave Wolff

Location: Lublin, Lubelskie
Country: Poland
Genre: Black metal
Full Length: Ascension
Format: CD (limited to 500 copies), digital
Release date: August 23, 2019
Not to be confused with the Belgian band of the same name, Poland’s Gurthang have been active since 2010 and released six albums in all, and a host of demos, singles, EPs and compilations. Their latest comp, “Decade Of Solitude”, was released independently early in January and features tracks collected from their past efforts. “Ascension” is their second release on Immortal Frost Productions and is also available from Plastichead and Season Of Mist. I’m writing this on one of the coldest nights of the year, a paradigmatic time to listen to black metal at its most glacial, stygian and cloistered. Gurthang consider themselves black metal with touches of doom metal and death metal; those touches are ambiguous and you’ll have to listen close to recognize them. A broader description of their music, from their Facebook community page, is that it depicts a journey from the stars to the depths of one’s inner self. Whether this means calling the infinite reaches of space into your being or finding a personal connection, “Ascension” represents a profound journey that makes a lasting impression. From the beginning of this journey you get a feeling of wandering into an icebound moor where all that’s around you is snow reflecting moonlight while all else is calignosity. From there you are gradually taken into the endless void, possibly with no return trip. Satyricon’s “Dark Medieval Times” and Immortal’s “Diabolical Fullmoon Mysticism” in their frigidness are challenging albums to emulate, but “Ascension” comes close as Gurthang channel their energy from the timeless emptiness that animated those underground classics. One contributing factor is that the distortion in the guitars is often substantially toned down, making for a sound that’s somewhat cleaner, but moribund and somehow still abrasive and scathing. The guitars also alternate between being rough and atmospheric. The resulting effect suggests almost immeasurable decay and putridity, like a soul trapped in a body that hasn’t passed on for millennia. Subtle, tenuous keyboards and fastidious, echo-loaded percussion cutting through the darkness like knives generate trenchant, striking ambience. As far as the album’s doom and death metal characteristics, I guess you could liken the keyboards and many of the guitar progressions to early Paradise Lost or perhaps My Dying Bride. If you like the bands I made comparisons with, you would do well to support Gurthang’s efforts to keep the black metal flame alive. -Dave Wolff

A.Z.V.: Vocals, guitars, effects
Stormalv: Bass
G.H.: Effects
Vojfrost: Keyboards
Turenn: Drums

Track list:
1. In Void Again
2. The Great Silence
3. Mirrors
4. This Mortal Shell
5. Under The Dome
6. Wither
7. Solace

Wednesday, January 8, 2020

Interview with Silvio Novelletto of NAILED NAZARENE INDUSTRIES by Dave Wolff

Interview with Silvio Novelletto of NAILED NAZARENE INDUSTRIES

Nailed Nazarene Industries is an indie label supporting Harsh Noise Wall, Dark Ambient and Extreme Anti Music, that had over three hundred releases this past year. How do you account for the level of dedication that fuels your label?
I believe that when you do something from the heart with no behind intentions and deliver what you promise, creating a link of friendship with every artist, never looking if it is one new project or an big name on the scene, everyone has the same promotion and dedication from us. We dig like miners every day, looking for somebody with potential but locked in just one space. We contact bands personally asking for their work. This simple action made some artists we work with try to reach something greater and believe in themselves. That’s what we are looking for. If we lost this we can be sure we will be out of the game. Underground labels start every day and close every day. And we know that noisers tend to be introspective people. I fight every day to show bands they can trust us and will be part of a noisy nailed family!

How long has Nailed Nazarene existed, and how many independent labels have come and gone since you started?
Nailed Nazarene started in January of 2019 as a DIY label. We were blessed with the support of the former label KV & GR / RECS and our first release from Tim Noiseguy, who is now the owner of Imploding Sounds, and who had already been in the scene for a while. He kind of adopted NNI, sent material of his project, TAB IN/TAB OUT and helped us get in contact with Protomit from Russia. We also released a split.
That support showed us we were going in the right direction. We started contacting some projects in the very beginning and suddenly were releasing artists we were fans of, like I’Eternal & Specimen by Eric Jovet and Hana Haruna by Ken Jamison (co-owner of KV&GR, now Basement Corner Emission).
The scene has its own hierarchy. Many labels are able to release physical releases by prestigious artists like Vomir, Richard Ramirez and great Italian artists. But most labels work hard to get free downloads, using Bandcamp or to promote their artists. All of them basically work for free for the passion of it. Sometimes it takes much more time than we have available.
It is natural that some of them stay behind or decide to stop. It becomes daily work to research new artists, looking all over for material to release and places to promote. Facebook is breaking lots of labels by blocking material as spam, so we have to find other ways to promote.

Why was the name Nailed Nazarene chosen for your label? Does it stem from your personal views on religion or is it for shock value?
I think the name was chosen for two simple reasons. First, if a person is offended by it, he is not the type of person we would be interested in having his work released. So it provides a free environment to release projects of any kind of genre.
The second reason is how contradictory the name is. Because the only thing that make Jesus act with rage was when he saw how the temple was turned into a market of offerings and greed. Sometimes we need to put anger away. In a world where every single word is distorted and everybody is offended so easily, my label would be the place to people find a safe place to release his internal demons. Of course, even here we avoid three themes: Nazism, pedophilia and animal abuse. Why? Because considering publicity, Facebook would block it anyway. I don’t take political sides, I am a father and I love animals, so there are other labels that accept this kind of material. 

Where is your label based? What is the current state of the underground and what subgenres are most popular there?
Nailed Nazarene is based in Brazil. But I must admit I am completely out of the local scene since I am the kind of person who is a hermit. As I have a regular 8 to 17 job, I use all my free time to dig, make new friends and discover some lost pearls. After a while, when the label started to come out with regular releases (mostly two per day), I felt confident to offer space to local projects.
I came from the local Black Metal scene. Metal and punk were always strong in Brazil, but the noise scene is long-standing with artists such as Rot and New York against the Belzebu. I just started listening to noise thanks to Gnaw Their Tongues (Maurice de Jong is GOD), that opened my mind for a more incredible world of insanity and filthy noise aesthetics. The first HNW I loved was Hana Haruna, which possibly gave me fresh ears to the genre. Now we release local artists and help promote them with the labels we are friends with. Interzona, Bushido and the side projects of Vitimas do Crack like Me Desculpa and Te amo Porra are some examples. Today I have my own projects which I prefer to release on other labels so they don’t take the space of a new project that I can help to spread to the labels we are friends with. The only one of my projects I still release on NNI is FERRA-RETO because I make splits between it and other artists who I can and later release on albums.

With all the bands you are supporting worldwide, do you have a staff helping you out?
Not as label employees. I use the term “we” because Nailed Nazarene was able to reach so many artists thanks to other label mates, artists and groups that accepted our support. They became what I call the Nailed Family. This also included the very first projects who believed in and supported the label in the beginning, like Llur, Istochie, Mokeru, Goth Girl and others, but they unfortunately stopped activities.

How would you describe Harsh Noise Wall and Extreme Anti Music? In what ways do these genres differ from more familiar genres like black, death and doom metal?
Harsh Noise Wall and Anti-Music are more experimental, with no preoccupation with a melodic aesthetic. Harsh noise works straight with pedals, effects, modular filters and overdubbed loops. The theme is just a direction to some painful feeling, a way to transform internal demons into a senseless mass of noise, but it’s a creative redemption from anxiety and depression by finding the perfect release. Anti-Music can be free improvisation, musique concrete, in a dark sense, dense and sophomoric, sometimes bizarre or cacophonic and not so light as free-jazz or ambient. Or it can be noise genres, like noisecore, shitcore or grind. We also release some black metal, dungeon synth and dark ambient, like Enbilulugugal, Nothingness, Verminking and Pessimista. We are open to these styles as well. The problem is that metal is a step above in underground music. Bands are always looking for physical releases and that is not what we have to offer.

Is it easy for you to balance your married life with your support of underground music? Is your wife supportive of your work?
I already had a radio show, crust/hardcore punk and black metal bands and blogs. Since we started dating in the end of the eighties I was involved with music, so we have been together thirty years. On my regular job I always have to travel or work late at my home office, so weekends and holidays are the time we have to disconnect from everything.

How long were you doing a radio show before you started the label? Were any of those shows taped and uploaded where people can listen to them?
This radio show happened when the internet started to have mp3 pages. I don’t do it anymore. I've been in the underground scene for over 34 years, so I always was involved with underground music, as well as having done djing, radio, zines, blogs, reviews and playing so I decide to work with the label. In 2020 we are introducing a new label Herd Of Swine that will release one album per month at my choice.
We got a manufacturer deal to sell physical CDs (Jacket cover only) for US $2 (shipment not included) & NO PROFIT INVOLVED For releases in 2020.
If an artist wants physical copies and approve the label no profit deal policy, he just needs to ask me to upload his release to CD. If not, we release it in digital format.
I deal to no profit, so the artist can sell it at his site: 1) with the lowest price straight from the link I will send you or 2) at the price he wants, buying straight for the link at the lower price possible.

How soon will you start signing bands to Herd Of Swine? What genres will you intend to support through this label?
Herd Of Swine’s first release will be available on January 17. I choose to start with a new and brutal Harsh Noise Wall project named Gnawing the Flayed – Militant Nihilism. This label will release projects that are impressive at first listen, and can be considered above average The genres it supports will be Harsh Noise Wall, Black Metal, Power-violence, Dark Ambient, Industrial and Power Electronics. We already contacted the project KHMER for a February release. It is exceptional visual-art and amazing harsh drone noise.

Who are some of the bands you have contacted recently?
For 2020 we contacted Falalisté, Resist Concept, Toothkicker, Com-Formed, Om Ra, (2), Cop Stench, {AN} EeL, Mexican Noise, Gnawing the Flayed, ᴛʀᴀɴsᴏʀɢᴀɴɪᴄ ᴛᴇʀʀᴀғᴏʀᴍᴀᴛɪᴏɴ, Spacial Absence that was their first time with us. We keep supporting projects we released last year and have new material, Like Solypsis, Three Moon (a new Project from a great friend from Serbia), Narcotic4 , Noize Thing and Sound Wave Attacking Nothing

How well do you hope this manufacturer deal will benefit Herd Of Swine and the bands you will be working with?
It will benefit everyone mostly because artists will have access to quality physical material without expenses of most manufacturers that is too high for underground labels and artists.

At what point after Nailed Nazarene was founded did you start supporting bands from other countries?
I can say Nailed Nazarene is a label of phases, because we first looked for American artists, then we had a strong European response. This led us to a strong Italian phase, we are ending a huge Russian phase, and next year we want to reach the South East Asia and Japan. Brazil is already part of our cast so we are open and confident to offer a higher level of exposition. That is how we grow, like that WAR board game, going for specific areas till we reach world domination. Also discovering new ways to promote our artists.

Who were the American bands you began promoting through your label?
Vger (Colorado), suffer永遠に (Pennsylvania), Temporalhaze (Michigan), DropWeapon & A.R.C.∞ (Massachusetts) and Z23 (Arizona) to name some of them. We promote every project through social media and invite them to be released by other labels with whom we are friends. I believe it is another difference for Nailed Nazarene. We network to help band with more labels, different audiences and more promotion.

Who are the bands from Italy and Russia you have most consistently supported through the label? Where else in Europe have you sought bands to promote?
From Italy we released I Corpi Presentano Tracce di Violenza Carnale, Attualità Nera, Paure, Vuoto Parciale, Sexy Crocodile For Dinner, fragile, Maria, Bug Catcher, tormentor of limbs, to name a few. From Russia we released Istochie, XVII.III.MM, Obscure Heaven, Шумоизоляция, Deddom, Rådiövölnå and much more. We also released bands from Spain, Finland, Serbia, Greece, Belgium, England, France, Netherlands Romania and Switzerland. From South America, from Central America, North America, Asia and Japan. So from everywhere a nice project was promoted by us.

Name some of the labels you are corresponding with and where they are based. Do you do any cross promotion with those labels?
From Russia, we support and are supported by Broken Teeth Records and Noise Jihad. We made splits with the Russian label Monolithic Discipline Recordings, E.S.O.D. Production. From the UK, Shrouded Recordings, from Canada, Mapawi, from USA, Imploding Sounds, Wound Botulism, Basement Corner Emission, from Brazil Sattvaland, Plataforma Records, in Italy, Sputo Records, Purewoolgarden, Formalhyde Production, Malaysia, So Fuckin Noise, Kalamine Records from France, and we send material to be included in compilations.

Are all your releases on social media/streaming sites, or are they also available in physical format (CDs, cassettes)? Have you released or would you release any of your bands on vinyl?
Nailed Nazarene Industries releases are all on digital format. This year I will begin to release compact discs on my experimental/electronic/ambient label Maaninen Henki Records. The price will be the costs of No profit involved. Unless the artists ask to raise the price, for now it would be US $7.00.
Horror Italiani will be released in physical format by other labels and our double debut release will be self-released in physical format by Horror Italiani Records, that will be a label focusing on horror soundtrack releases.
The other two projects will be released in physical format, but I prefer to keep people in suspense until they’re released. 

Name some of the compilations your bands have been featured on, and indicate where people can order them online?
They’re on Ferra-Reto: from Tides That Grind: Vol. I (Cancer Island), 4 Way Split Vol.5 (Brain Ticket Death), Soundscapes Throughout The Global Consciousness: Volume 7 (So Fuckin Noise), Harm Reduction Saves Lives (Wound Botulism Records) to name some.
Santa on Vaara are on I Love Cows (Throne of Bael), Storm Area 51, They Can't Stop All of Us Compilation (Muteant Sounds)
Fumetti Per Adulti are on For All Saints (The Noise Syndicate), Memory to Jessica (Pötögiikräz & Prospekt Borschevikov & Fumetti Per Adulti & Agonizing Bodies & Coprohammer).

Describe Ferra-Reto. How much material has this project released, and what bands have splits been released with?
FERRA-RETO is a project in which I try more harsh tones and pedal effects. It was my first attempt to have an HNW project. By watching pedal configuration videos I learned about digital effects and that opened the door for several projects be released. We made over fifty splits; 45 in two months, so every day there was a new split with FERRA-RETO. Then I settled down and could make splits with artists I was a fan of, like Hana Haruna, Begraved, Monolithic Torment, TAB IN/TAB OUT and Extreme Kindness for example, and discover some great artists that maybe wouldn’t be possible without the project, like Mowlawner, Snuff Reel Projectionist, Nightmare Park, XVII.III.MM and BRTHRM. BRTHRM was such an enjoyable pleasure to work with that Bianchi and I now have a project creating dark soundtracks for classic Italian horror movies, named Horror Italiani. 

How long has Horror Italiani been active? Can you name and describe some of the independent horror movies you have contributed soundtracks to?
We started working together in September and have three deals to release our material on three different labels. We create new soundtracks for Italian movies we like. “Torso” will be released on December 31, “5 Tombe Per Um Médium” in February/March and “La Casa Dalle Finestre Che Ridono” in June/July. Every step is being made to learn more about the movie scene. We are contacting directors and screenplayers, getting their blessings for our projects. This is just the beginning of our entrance into the independent movie industry.

What are the storylines of those movies? Will any of them be released in the U.S.?
All these movies are classic Italian horror movies from the 60’s and 70’s. They are called Giallo Movies, and mix horror and sensuality. They are all available on DVD/Blu-Ray and some are available on streaming channels, like Amazon Prime or Netflix.
What we intend to do is change that funky, psychedelic soundtrack which is peculiar and dated to a darker vision, thrilling the audience through the whole movie.
Torso is a slasher movie with beautiful women being killed by a masked man. La Casa Delle Finestre Che Ridono is a masterpiece of Pupi Avati and real insane. You just understand what is happening through the whole movie. Very horrifying deaths, but an intense turn around ending. 5 Tombe Per Um Médium is a tribute to the amazing actress and gothic diva Barbara Steele. It is about a cursed house that was a leprousarium, a dead doctor and corpses returning from the grave.

How did you hook up with the producers of those three films? When you and Bianchi were composing them, did you look for a certain tone based on the atmosphere of those movies?
I did research on the movie and the director or screenplayer. In the case of Pupi Avati I got his e-mail through his son and then I asked Bianchi, who speak Italian as first language, to contact him. I found Ernesto Gastaldi on Facebook and checked with his book editor. So it is with a little luck and a lot of lack of shame.
Bianchi is a much better musician than I, so I made the base layer, made some experiments with orchestral music and he improved it mixing, mastering and including layers on the track. I watch the movie while preparing the base on it. For all the scenes we make a flowing track, and Bianchi makes the cuts and divides it into single tracks.

Are you seeking other movies to compose soundtracks for after “Torso”, “5 Tombe Per Um Médium” and “La Casa Dalle Finestre Che Ridono” are released?
We will start working in mid-2020 on a movie that is over its time (1970). It is about a disturbed family and the deaths they are involved in and keeping a secret. It’s mind-blowing and full of unexpected turns, a real psychological thriller. Incest, decapitations and cyanide baths, concentration camp flashbacks. The critic was shocked by so much bizarre behavior. I think it is one of the best movies I watched while doing my research. I already had watched more than thirty movies. When I saw this one I stopped looking for the next Horror Italiani release. Sergio Bergonzelli in the director and this is his first thriller movie.

Besides your labels and musical projects, do you have more plans for the future you want to share here?
I just got a deal with a publicity video maker site to create simple videos and vignettes. It will be another way to promote our artists. Depending on how Herd of Swine grows, we think we’ll make limited vinyl editions.
Also, I will try to restart a project I started last year named The Noise Syndicate, a joint venture with selected labels to create a safe place to expose artists in one place. One Facebook group to publish without being blocked. Before I had a hacking problem and people didn’t know while I was out making choices that didn’t serve for what I had in mind. So I will come in with another name and am already looking for some sites, exploring the material we will be able to promote.
We would like to thank you, Autoeroticasphyxium Zine, because our new priority is to be known outside the labels circle and have our label spread by mates like you that work hard with zines and also your readers. I thank you for your time and space you allowed me to explain our goals and missions. We can with hard work change a scene and achieve higher levels for artists and labels.

Where on the internet and social media can Nailed Nazarene be found? Do you offer information about the bands on your roster?
On Bandcamp: On Youtube: On Facebook: and On Soundcloud: I try to add information on our Bandcamp page. People in the noise scene normally don’t mind sending info.

-Dave Wolff

Monday, January 6, 2020

Full Length Review: MARA "RÖK" (Immortal Frost Productions) by Dave Wolff

Band: Mara
Location: Gävleborgs län
Country: Sweden
Genre: Pagan black metal
Full length: RÖK
Format: CD (limited to 1000 copies), digital
Release date: November 29, 2019
Mara is a one-man black metal project from the darkest, coldest depths of Sweden that came along exactly when it was most needed. In 2020 there haven’t been enough ancient crypts opened, and there is still more to reveal from long-forgotten times. Vindsval became the creative force of this project after a lengthy and frustrating search for musicians on similar wavelengths. He finally decided to abandon his search and went solo, which is to be expected from a subgenre that is so fiercely individualistic. Picking up instruments and learning from scratch how to express his personal vision, he at first expected to record just one limited edition demo. Released in 2010, ‘Dark Forces’ was extremely raw and primitive, but Vindsval was since inspired to continue as he recorded a second demo and three full lengths. Listening to his latest full length ‘RÖK’ which was released last November, I see all the advancements made in recording technology since 1993/94 can be beneficial for Vindsval’s desired sound if done appropriately. Adding enough layers, rawness and atmosphere creates something that resonates in your soul and shows the clear importance of achieving it in a professional or home studio. ‘RÖK’ is emotive to such an extent that comes across as ghastly, harrowing and near unspeakable. You perceive this so intensely it’s almost dehumanizing, which shows how well Vindsval captures the essence of Scandinavian black metal as bands like Mayhem, Abruptum gave us. From the solitary, desolate introduction and the following technical precision of “Bloodbound” Vindsval’s songwriting and delivery commands your attention. This album bristles with ire and contempt, with biting guitars, primal drumming, tortured vocals, a profound wall of sound and stunning visuals comparable to the (anti) heroic overtones of Bathory’s “Blood Fire Death” and the coarse barbarism of Marduk’s “Heaven Shall Burn When We Are Gathered.” As I said earlier, Vindsval has an uncanny way of making the listener fully feel and experience his pagan visions through his work. To elaborate on this point, his promotional video for the title cut is a welcome visual interpretation of what he’s conveying here. At first it appears to be a typical sacrificial ritual in an isolated forest, but as you watch you’ll see other happenings unfolding before your eyes. The video is generally ambiguous as to whether said ritual is actually happening or if it’s all in the mind of the artiste presenting us with this imagery. In the end it’s for you to decide. Recommended reading is an interview Vindsval did for The Metal Gamer Blog where he explains his concept and the making of this album and video. -Dave Wolff

Vindsval: All vocals and instruments

Track list:
1. Bloodbound
2. RÖK
3. The Path
4. Eitr
5. Burial Mound