Friday, July 12, 2024

Full Length Review: Metallica "Kill ‘Em All" (Megaforce, Elektra) by Devin J. Meaney

Band: Metallica
Location: San Francisco, California
Country: USA
Genre: Thrash metal, metal, rock
Full length: Kill ‘Em All
Format: Vinyl, cassette, CD
Label: Megaforce Records, Elektra Records
Release date: July 25, 1983
For many years I steered away from Metallica. Not that they are a bad band, I have just listened to so damn much Metallica since my youth that their music became somewhat tired and overplayed in my ears. With that said, later in life I spent some time with my daughter’s boyfriend, and as a Metallica fan, he inspired me to revisit some of their earlier work. As if by chance, I walked into Walmart one day and both “Kill ‘Em All” and “Ride the Lightning” were available on CD for ten bucks each. Thinking of my daughter’s boyfriend I picked them up and took them home. The rest of this writing will be about “Kill ‘Em All”.
I have always liked this album, but after not listening to Metallica for so long it was as if this piece of work was newly implanted in my brain. It was almost as if I found this record for the first time all over again—and I had forgotten that it was just so damn good! James’s voice is punchy and youthful and filled with drive, the guitars are a thrashy blur of fret masturbation, the bass (even more so on the solo track) is well played and Lars’s drum work is exceptional. It is sometimes easy to forget that these songs are so old, but without question it is plain to see that there is a reason why Metallica is (or at least was) the most popular thrash band on the globe.
It is hard to pick a favorite track as each individual song is pure gold—and while listening it inspires head-banging and a mildly blackened eye. It helps you reminisce of your teen years—filled with fire and chock full of dreams. I never did learn how to play guitar like Kirk, and I probably never will. Still, it makes you want to pick up the axe and thrash yourself into a coma until your fingers are bleeding and blistered.
Lastly, as I spoke earlier of “Ride the Lightning”—that is a great album too, and arguably one of the most popular and inspiring metal records ever written. With that said, for me personally, “Kill ‘Em All” trumps this album hands down, and if you haven’t already listened to it—I do suggest you give it a solid spin. -Devin J. Meaney

Lineup:
James Hetfield: Vocals, rhythm guitar
Kirk Hammett: Lead guitar
Cliff Burton: Bass
Lars Ulrich: Drums

Track list:
1. Hit the Lights
2. The Four Horsemen
3. Motorbreath
4. Jump in the Fire
5. (Anesthesia) Pulling Teeth
6. Whiplash
7. Phantom Lord
8. No Remorse
9. Seek & Destroy
10. Metal Militia

Thursday, July 11, 2024

Full Length Review: John Lennon and the Plastic U.F. Ono Band "Mind Games – The Ultimate Collection" (UMe) by Tony Sokol

Band: John Lennon and the Plastic U.F. Ono Band
Location: New York
Country: United States
Genre: Rock
Full length: Mind Games – The Ultimate Collection
Format: Remixed and Expanded Collection
Label: UMe
Release date: July 12, 2024
“Mind Games” (1973), John Lennon’s fourth solo album after the breakup of The Beatles, celebrated unity. The latest remixed expansion, “Mind Games – The Ultimate Collection” due to come out on July 12, is marvel of separation. This is especially true when heard in the immersive surround sound of New York City’s Dolby Screening Room, where an electric rhythm guitar on “Tight A$” seems to meander around the seats under their Dolby Atmos aural presentation. No visuals are needed. Only the album cover is projected. Lennon recorded the album in five days, sitting in on guitar and guide vocals with Record Plant’s top studio musicians. Dubbing the lineup The Plastic U.F.Ono Band, the basic tracks were laid down by Lennon, guitarist David Spinozza, pianist Ken Ascher, drummer Rick Marotta, and bassist Gordon Edwards, all of whom were in attendance for the Q&A. Jim Keltner discussed his fills via satellite.
Besides instruments which had been previously buried in the mix, the first sonic shock is the fullness of the bottom. Edwards commands every fret, lovingly and playfully cushioning the groove, and propelling the motion. After hearing the playback, Spinozza was reminded of the endless diversity of the chord changes. This rendered any blues riff borrowings impossible for the solo on “Aisumasen (I'm Sorry),” which the guitarist still considers his best.
Marotta told the audience the playback reminded him how Lennon’s lavish time signature changes often left him grasping “to find the one.” In the documentary, “John Lennon Mind Games (The Evolution Documentary),” Lennon shows he does this “for no reason other than my insanity.”
“Mind Games’” original engineer, Daniel Barbiero, came to work straight after setting the dials on the album “Innervisions.” Lennon introduced himself, saying “’I’m no Stevie Wonder, just a dammed good rhythm guitar player.” Lennon’s opening to “Out the Blue” is among his best acoustic guitar work, but he can still fuzz and funk out with the best on songs like “Bring On the Lucie (Freda People)” and “Meat City.” Barbiero confirmed that Lennon drenched his vocals in effects while he was singing, but said they were unnecessary. Lennon’s vocals are up front and unencumbered by the original production’s excessive echo, reverb, and flange. Powerful even on the softest of songs, they are just as effective naked.
The new mixes were produced by Sean Ono Lennon, off the original tapes. His father might have considered scolding him for stripping the veneer from the vocals, but it is a joy to hear the voice so clean. Sean pares the songs down to highlight each instrument chosen from the original players. Bass and drums are high in the mix. We hear a lot of individual parts which were buried, but we lose much of the saxophone Michael Brecker supplied the original album. Paul Hicks also produced and engineered along with Sam Gannon.
Of the deep cuts selected for previews, one of the greatest revelations is the pedal-steel work of “Sneaky” Pete Kleinow on “You Are Here.” A very good case could be made, after hearing the isolated performance, that the song could have gone out with no other instrumentation. It fulfills the promise Santo and Johnny’s “Sleepwalk” made so many years ago. Another surprise is the work of backing vocalists Jocelyn Brown, Christine Wiltshire, Angel Coakely and Kathy Mull, which is crystal clear in the new mix.
The cover photographer, Bob Gruen, put the album in historical context. The 1973 recording sessions at the Record Plant corresponded with Lennon’s fight to stay in the United States, specifically in New York City. He’d been getting heavy heat from the American government after his public opposition to the Vietnam War, and his “Some Time in New York City” album didn’t win him any points with President Richard Nixon. Fighting to keep his green card and followed by the FBI, the pressure caused the separation with Yoko Ono. After recording Mind Games, Lennon would move to California to form the Hollywood Vampires for his Lost Weekend period. He also made music.
There are many iterations of the Ultimate Collection, but this is the full list of purchasable tracks. -Tony Sokol

CD1 • The Ultimate Mixes
1. Mind Games
2. Tight A$
3. Aisumasen (I’m Sorry)
4. One Day (At A Time)
5. Bring On The Lucie (Freeda Peeple)
6. Nutopian International Anthem
7. Intuition
8. Out The Blue
9. Only People
10. I Know (I Know)
11. You Are Here
12. Meat City

CD2 • The Elemental Mixes
1. Mind Games (Elemental Mix)
2. Tight A$ (Elemental Mix)
3. Aisumasen (I’m Sorry) (Elemental Mix)
4. One Day (At A Time) (Elemental Mix)
5. Bring On The Lucie (Freeda Peeple) (Elemental Mix)
6. Nutopian International Anthem (Elemental Mix)
7. Intuition (Elemental Mix)
8. Out The Blue (Elemental Mix)
9. Only People (Elemental Mix)
10. I Know (I Know) (Elemental Mix)
11. You Are Here (Elemental Mix)
12. Meat City (Elemental Mix)

CD3 • The Elements Mixes
1. Mind Games (Elements Mixes)
2. Tight A$ (Elements Mixes)
3. Aisumasen (I’m Sorry) (Elements Mixes)
4. One Day (At A Time) (Elements Mixes)
5. Bring On The Lucie (Freeda Peeple) (Elements Mixes)
6. Nutopian International Anthem (Elements Mixes)
7. Intuition (Elements Mixes)
8. Out The Blue (Elements Mixes)
9. Only People (Elements Mixes)
10. I Know (I Know) (Elements Mixes)
11. You Are Here (Elements Mixes)
12. Meat City (Elements Mixes)

CD4 • The Evolution Documentary
1. Mind Games (Evolution Documentary)
2. Tight A$ (Evolution Documentary)
3. Aisumasen (I’m Sorry) (Evolution Documentary)
4. One Day (At A Time) (Evolution Documentary)
5. Bring On The Lucie (Freeda Peeple) (Evolution Documentary)
6. Nutopian International Anthem (Evolution Documentary)
7. Intuition (Evolution Documentary)
8. Out The Blue (Evolution Documentary)
9. Only People (Evolution Documentary)
10. I Know (I Know) (Evolution Documentary)
11. You Are Here (Evolution Documentary)
12. Meat City (Evolution Documentary)

CD5 • The Raw Studio Mixes
1. Mind Games (Raw Studio Mix)
2. Tight A$ (Raw Studio Mix)
3. Aisumasen (I’m Sorry) (Raw Studio Mix)
4. One Day (At A Time) (Raw Studio Mix)
5. Bring On The Lucie (Freeda Peeple) (Raw Studio Mix)
6. Nutopian International Anthem (Raw Studio Mix)
7. Intuition (Raw Studio Mix)
8. Out The Blue (Raw Studio Mix)
9. Only People (Raw Studio Mix)
10. I Know (I Know) (Raw Studio Mix)
11. You Are Here (Raw Studio Mix)
12. Meat City (Raw Studio Mix)

CD6 • The Out-takes
1. Mind Games (Out-take, Take 7)
2. Tight A$ (Out-take, Take 6)
3. Aisumasen (I’m Sorry) (Out-take, Take 2)
4. One Day (At A Time) (Out-take, Take 18)
5. Bring On The Lucie (Freeda Peeple) (Out-take, Take 15)
6. Declaration Of Nutopia (Out-take, Take 1)
7. Intuition (Out-take, Take 12)
8. Out The Blue (Out-take, Take 15)
9. Only People (Out-take, Take 12)
10. I Know (I Know) (Out-take, Take 22)
11. You Are Here (Out-take, Take 5)
12. Meat City (Out-take, Take 16)

Sunday, July 7, 2024

Article: "July 2024 Dark Moon" by HEOP Liath Sahjaza

July 2024 Dark Moon
Article by HEOP Liath Sahjaza

Welcome to July’s Dark Moon ritual. Cut cords, cleanse yourself, and get ready for the new beginnings’ energies of New Moon.
This moon finds us in Cancer, so it is a good time to commit to personal goals that express the positive energies of the sign of the Crab. These include honoring our deepest, most irrational and intimate feelings. Recognize the sense of security and safety we get from whatever it is we call home, at least, I hope we all have a secure place to call home. Allow yourself to accept support, while also offering support to others. Starting a project aimed at improving our domestic lives is a good idea for the energies in the air at this time. Concentrate on new ways to enhance family life and domestic situations, and to build up your feelings of security and safety.
With this potent Cancer energy, we have the chance to make important changes in our lives that will benefit us well beyond this Moon cycle. What do you need to talk to yourself about as you take your meditative inner journey that can help you fulfill these tasks? How is your home and domestic situation? Family does not necessarily mean biological relatives, but sometimes we have chosen family. Even if you are estranged from anyone or your loved ones have passed on, enjoy the family you have.
It is time to set your intentions for the coming month. This Dark Moon energy helps reset any doubts and insecurities you might have. With this maternal energy of Cancer on your side, the spiritual meaning is about nurturing your hopes and honoring your feelings as you open the door to the second half of the year. Submerge yourself in the emotional waves of this Dark Moon.
The energy is especially comforting and protective, creating a safe and cozy bubble within so you can safely explore your emotional desires and set intentions that are aligned with your heart. Connecting with the things that make you feel nurtured is a big part of the spiritual meaning, so allow yourself to gently roll with the ebb and flow of your true feelings. Be loving and gentle to yourself, but also honest as you dig deep into your heart and start drawing in whatever energy you need to feel safe and secure.
Know that you deserve the very best. Much love to you all.

HEOP Liath Sahjaza

Friday, July 5, 2024

Full Length Review: Arhat "Secrets of Ancient Gods" (Independent) by Dave Wolff

Band: Arhat
Location: Kyiv
Country: Ukraine
Genre: Groove metal
Full length: Secrets of Ancient Gods
Format: Digital album
Label: Independent
Release date: May 31, 2024
Arhat is not the first band to incorporate metal with oriental and mideastern influences, but their spiritual and mythological allegories push them to new levels of awareness of the distant past. Regardless of how long ago the distant past was, it played a substantial role in shaping the world we know today.
First and foremost a groove metal band, Arhat add weight to their songwriting with elements of power metal, thrash metal, and death metal. Remember classic metal’s impact on bands like Iced Earth, Nevermore and Morgana Lafey? Not just in terms of sound, but also in terms of the mosaic conveyed through the lyrics, songwriting, and feeling? In a similar way, Arhat combines each part of their work into a cohesive whole that transcends their influences and becomes something much more immense.
Arhat began in 2017 and released an EP, a few singles, and another full-length in 2020. Even at its rawest, their material revealed indications of something aberrant from any subgenre it was drawn from. “Secrets of Ancient Gods” advances the band's autochthonous exoticism and their ability to redefine groove metal's capacity for progress.
To accompany ancient civilizations, ancient gods, ancient rituals, and ancient wisdom they celebrate, a great deal of emphasis is placed on ethnic themes. "Secrets Of Ancient Gods" incorporates symphonics and cinematic overtones, as well as anachronistic instruments such as sitar, Turkish ney, and percussion that bring those civilizations to life like a vibrant pagan ritual. It brings all that forgotten sageness into the 21st century, not only piercing the veil but opening it wide, releasing all that forgotten wisdom.
With this album, Arhat has tightened up the aggressive and avant garde, with thrash and death metal elements emerging organically from their groove. As the album opens with sounds from a distant place in space and time, traditional instruments merge with lead guitars, bringing metal into the mix without losing any of its flow with the first song. Despite the risk of introducing more comparisons, the material has a sophisticated vibe somewhat reminiscent of Iron Maiden and Amorphis with Arhat's complexity.
The sharp production enhances the fusion between metal subgenres, as well as the spiritual/ethnic/tribal journeys that are taken in the songs. The latter grows out of the former in a similar manner, and the atmosphere underlying the guitar solos and keyboard sections adds a further layer to the sound Arhat has achieved with this album. As “The Great Unknown” is near the end of the album, it makes sense that this track should be one of the most progressive as it suggests where Arhat is heading next. –Dave Wolff

Lineup:
Alex Sitkoff: Vocals
Anton Skrebov: Guitar
Anton Inov: Bass
Ivan Semenchuk: Drums

Track list:
1. Intro
2. Abyss Of Flame
3. Karnak
4. Arcana XVI
5. Nasha Khoda Nevpynna
6. Symbols (feat Oleksii Syrota of Voracity)
7. Path Eternal
8. Wheel Of Fate
9. The Great Unknown (feat Dmytro Moskalenko of Violateress)
10. Shlyakh Do Prozrinnya

Monday, July 1, 2024

Full Length Review: Conan the Accountant "Pet Waste" (Independent) by Dave Wolff

Project: Conan the Accountant
Location: Brooklyn, New York
Country: USA
Genre: Experimental noise
Full length: Pet Waste
Format: Cassette, digital album
Label: Independent
Release date: June 24, 2024
Ben Fitts, who played guitar, bass, and produced for the Brooklyn indie rock band Warhoney (and is still involved with them), has written reviews, articles, and fiction for Asphyxium since 2018. In his new project, Conan the Accountant, he is playing experimental noise, adding some techno, industrial, and complete, calculated song structure. Aside from designing the cover artwork, mixing, mastering, and producing it independently, he is also plugging the album on social media as a one-man promotional team. His promotional efforts appear to be motivated by a genuine desire to hear people’s thoughts about the tracks he curated.
Fitts recently stated he was inspired to create this project after experimenting with different sounds as Warhoney's guitarist, to see how far he could take it. This past May he performed solo with a number of local bands at Caffeine Underground in Brooklyn (admission was ten dollars for those of you who don't like ridiculously high ticket prices). During this performance he got to demonstrate how he wrote and composed the album with guitar; a Fender, no less; and several effects pedals. His instrumental pieces may appear to be made with keyboards, synthesizers, and electronic percussion, but all the sounds here are created with a classic guitar model, pedals, and his imagination.
Many of the sounds he obtains seem impossible to achieve in this manner, but he manages to pull it off, proving it's still possible to adhere to tradition while expanding your musical knowledge. With only the tools at your disposal, you can still be broad minded. As well as this album, Fitts has released a debut EP and a live album recorded at The Next Chapter in Huntington early in June. A little more classic and indie rock vibes appear in the former release, while the latter shows how well he's able to reproduce at a club the nuanced, layered instrumentals he experimented with conceptually in the studio.
Take a listen to this and the other two releases if you're interested in seeing how many different tones, moods, and atmospheres can be achieved with a Stratocaster. –Dave Wolff

Lineup:
Ben Fitts: Guitar, production, mixing/mastering, album art

Track list:
1. First Date At The Cemetery
2. Mars Is The New West
3. Manson Family Values
4. Amoraphobia
5. Junkyard Android
6. Free Improvisation #DCLXVI
7. If I Was Dr. Frankenstein, I’d Totally Let You Be My Monster
8. Setting My Metronome to 666
9. Written By Lenin And McCarthy
10. Satan Rules, Jesus Drools
11. Canabyss





Tuesday, June 25, 2024

Interview with Matteo Zanella of Padus by Dave Wolff

Interview with Matteo Zanella of Padus by Dave Wolff

How did Padus come up with the idea to combine doom, dark ambient and classic jazz trio while presenting everything with a metal aesthetic?
My great desire was to experiment without borders. I know I didn't invent anything new by putting together a bass, an organ and drums, but by distorting everything and making it heavy, maybe it could work. I distorted everything in certain songs on my records, even the voice, and then interspersed it with episodes of dark and silent ambient, in order to create a notable contrast.

There was a time when you were a member of a thrash-death metal band called Hellvoid, which released two demos in 1995 and 1998. Please tell the readers about the work you put into that band and any other releases you may have made with them?
It was a long time ago, when death metal was really going strong. I was the voice and guitar in that band, I proposed riffs, wrote lyrics, designed the logo and also laid out the covers of the two demos. In the first demo from 1995 (Infernal fonds), I was the voice and the compositions were quite classic-style for the time, with a fairly deep vocal growl. Shortly after for various personal reasons I left the band, only to return in 1998 and make a second demo (Dreams of past shadows), where the bassist was the voice and I limited myself to playing only the guitar. Here the compositions were more complex and technical and the style was very close to that of Carcass' “Heartwork”. But all this is now part of a distant past.

Are either Hellvoid demos still available on streaming websites or were they released on a limited basis? What efforts did Hellvoid make to evolve death metal? Did the development of Hellvoid influence the growth of your current project in any way, or is Padus a separate entity?
Hellvoid was a short but intense youth experience of mine. At the time, in the 90s, we rarely played live but we didn't have much of an audience. The project didn't evolve much to be relevant, it was a debut group like many others. Padus was born from many musical experiences in my life, metal and non-metal

Can you say how much distortion plays a role in your songwriting? Does the amount of distortion vary from song to song when you compose?
Distortion, especially of the bass, is fundamental in my compositions, it regulates the mood of my songs. If the atmosphere is quite calm, soft, I could limit myself to a very light crunch sound, characterized by a simple overdrive. If the rhythm is important and with a heavy cadence, a nice powerful and metallic distortion is perfect. I do not exclude that the voice and the organ are distorted too, so as to create tension and panic. Lately I created a sound that I called “Abarth” that recalls the roar of rally cars, obtained with several distortions put together and used in the compositions where I wanted to create total chaos! Aaaaaahhhh!!!

There are some people who complain that underground music lyrics are difficult to understand. When you record your vocals, how much distortion do you use, and do you take care to make your lyrics as clear as possible?
Poor people, who do not know how to interpret art, ha, ha, ha, ha! I “sing” in grammelot, that is: a theatrical language, an emission of sounds without sense but similar to real words or speeches in order to obtain a comic or farcical effect. I add distortion in the voice when I want to create tension and anxiety, then if the lyrics are not understood it is because either I used grammelot, or I always attach the text written on the internet, when this exists.

Explain in more detail what grammelot is and how it functions as a vocal style. In what way does Padus' formula utilize this approach to singing?
Grammelot is a theatrical language, an emission of meaningless sounds but similar to real words or speeches with the aim of obtaining a comic or farcical effect, used in my musical project to communicate in an alternative way, giving the same color to the lyrics, while not saying anything or babbling a few words to make the listener more or less understand the topic being discussed.

What effect does the addition of dark ambience have on the balance between Padus’ heaviness and atmosphere?
A dark atmosphere always creates a disturbing situation: anxiety, melancholy, desperation, depression and it is made mostly of very low notes especially of a piano. So basically it is sad, then it gives the coup de grace with a heavy rhythm beaten in a violent way. Do you know how much fun I have?

Are anxiety, melancholy, desperation, and depression the emotions you intend to convey through incorporating distortion and ambiance? Does this project share similarities with ambient and noise projects such as Mortiis, Vond, Aghast, and Abruptum for example, or does it come from an entirely different mindset?
Of course: atmospheres and amounts of distortion depending on the mood of the song I'm composing. I haven't listened to the bands mentioned much, so if there are similarities with these projects it's completely coincidental. My Padus project was born without very specific references, it is something very intimate and personal, songwriting which very much reflects my character, my personality.

Tell us about some of the musical experiences Padus was born from after Hellvoid.
Well, I can tell you that my musical experiences have been many and varied, but none of them, including Hellvoid, have had any influence on the creation of the Padus project. This one man band of mine was born from my infinite desire to experiment with different sounds.

Are you writing material for Padus to exorcise personal demons, or is it an affirmation of aspects of your psyche most people would rather not acknowledge? Is Padus a mirror to your listeners or an opportunity to display aspects of yourself you wouldn't otherwise be able to?
Padus is a project that reflects my personality very much. I am like this, like my music, like all my albums. What I cannot express publicly, I do through sounds and artistic expression. I express all my moods with the songs of Padus, as well as my way of thinking or seeing things.

Do you have a private studio or prefer to work in a professional studio with engineers and producers? How much of your chaotic style and unique vocals can you maintain when you're making the transition between composing songs for Padus and recording them?
I have a private studio at my home, where I can easily self-manage, where as soon as inspiration comes, I can record it immediately. Between composing and recording, there is not much difference: how I conceive I record. Of course, by recording new ideas can arise to enrich the song or new sound solutions.

For how long had you been collecting recording and mixing material for your private studio? In order to achieve Padus' desired sound, was it a lengthy process to find appropriate material?
Every time I'm about to make an album, I compose songs that will be part of it, but sometimes it happens that some songs don't convince me so much and so I put them in the archive for future works. Currently I have an archive with several songs collected in recent years. When I started with this project it wasn't easy at all to create a distorted bass sound that worked for my songs. I had to do several recording tests to get to a satisfactory level. It was a bit of a long process before recording the first EP.

How often do you feel inspired to write and are motivated to record in your studio? What is the frequency with which you come up with new ideas for your songs?
As soon as I find some free time from work, I immediately pick up my bass, connect to the computer and start trying out new material. Unfortunately, there aren't many free moments. The ideas for the songs, the topics, the titles to give and the covers to create, I find them by looking around and having personal experiences, so, almost every day ideas are born; it's the time to realize them that is scarce.

What is the number of songs left off of your debut EP, “Diva Sporca”, prior to its completion? Have any of those been included on subsequent recordings, or are they still on the back burner?
On that occasion I didn't archive any extra tracks. It was my first work, so I moved in small steps in a timid way. I started archiving tracks towards the third, fourth album and some of those are still in the archive.

“Diva Sporca” has a distinctly massive sound, as much in terms of atmosphere and keyboards as bass and drums. Furthermore, it has a hypnotic repetitiveness that has become something of a signature sound for Padus. As a first impression, did you intend for it to have a huge atmosphere?
I focused a lot on the atmospheric aspect, while maintaining heavy sounds that would have given that right dark contribution. However, I repeat, I was still in the start-up phase and I had to move with caution.

What's the meaning of the lyrics on “Diva Sporca” and what imagery did you want to convey through them, in addition to feelings of anxiety, melancholy, desperation, and depression?
“Diva Sporca”, as on the cover, represents the indecent exploitation of the female body with prostitution and pornography: a tortured body (symbolically) of a woman with a group of skulls that represent unscrupulous exploiters and consumers of pornography. “La Luna Nera”, where I then also shot the first video clip of Padus, speaks symbolically of an occult rite, it is not specified whether satanic or of another entity, but it wants to express the dark atmosphere of an occult rite. “La Peste” instead tells of the mysterious environment of the island of Poveglia, an abandoned island in the Venice lagoon, where in ancient times there was a hospital with plague patients and where it is said that dark phenomena now occur perhaps due to the presence of restless souls. Both for “La Lingua Nera” and for “La Peste”, I also created two paintings inspired by the two songs.

How are the characteristics of “La Lingua Nera” and “La Peste” depicted in the two paintings that you mentioned earlier?
Just as described in the related texts: in “La Luna Nera”, elements such as the moon, blood, sperm, worms and that occultist touch that underlies everything are represented. While in “La Peste”, faces are represented, almost masks. These are all the souls that are prisoners of their damned destiny that imprisons them in that abandoned context of the island of Poveglia.

Were each of your albums intended to have a different concept behind them? How would you describe the conceptual themes of the full lengths you released after “Diva Sporca”?
There doesn't necessarily have to be a concept. It can happen like for “Opera funebre”, but the songs all have a different argument and still remain linked to the dark themes typical of Doom metal.

Are there any lyrics or artwork that particularly stands out from your albums between “Diva Sporca” and “Opera funebre”? Name some of the songs that best represent the growth of Padus over the years.
Of course, in every album there is always the song that I care about the most and therefore I consider it more prominent, such as: “La luna nera” (from “Diva Sporca”), “Ballata sulla fossa” (from “Colloqui con il satana”), “La fola del mare negro” (from “La łengua del leòn”), “Maniaco” and “Ora pro nobis” (from “Amsirac”), “Blues del camposanto” (from “Modificazioni genetiche per esposizione ai raggi gamma”), “Baptisterium” (from “Oscuramenti”) and “Croce di marmo nero” (from “Opera funebre”). Songs that could very well be included in a possible live repertoire, but which for the moment I am unable to implement, even if in 2020 I had tried to put together a band for concerts, but then Covid arrived.

In what ways does your latest album “Opera funebre” differ from your previous albums in terms of how it was written and recorded?
I've wanted to make a true cemetery doom album for a long time. A dark, caracombal record, an album that deals with only one subject, in this case cemeteries, funeral rites and everything that revolves around them. I also chose to use calmer sounds and rhythms than the previous ones.

There is a sense of ancient crypts and ancient spirits lurking in the shadows throughout “Opera funebre”. It's not until the final track that your grammelot vocal style is heard. Did you design this intentionally while representing funeral rites in cemeteries?
The song “La Lingua Oscura” deals with the theme of “metaphony”, used as a phenomenon to listen to the voice of the deceased through radio waves. So the vocal part is incomprehensible just like the one that can be heard in these experiments.

Before you experimented with the vocals in “La Lingua Oscura”, how did you learn about metaphony? I’ve noticed paranormal investigators are increasingly using radio devices to communicate with spirits or entities. Did you watch video accounts and/or read online accounts as part of your research?
I was a little disturbed by this topic, watching video testimonials on social networks. However, I must confess that I am somewhat skeptical about these phenomena, but it lent itself very well to the context of the album.

Are you researching any particular subject matter for future songs and/or albums? What has been holding your interest lately? Do you have any inspiration for writing new material?
No particular topics, not even things or facts that have piqued my interest, but I can tell you in advance that the new album that will be released in October 2024 is already ready (recorded and printed) and I'm already working on the draft of the one that will be released in the spring of 2025. In case I die, I will delegate some trusted person to have it published ha, ha, ha!

Are you making any efforts to reach a wider audience? Since the beginning, you have released your music independently; do you intend to sign with an indie label in the near future or would you prefer to keep creative control over your work?
If the listeners of my music were to increase, I'd be happy, otherwise there's no problem. My greatest satisfaction is simply that of experimenting, recording my songs and making my albums. I prefer to remain independent, self-produced, and genuine to the max. My project reflects my personality a lot from the covers that I paint, to my experimental songs and therefore it is very intimate and that's how I want it to remain.

Since you choose to remain under the radar as an independent artist, how much self-promotion are you conducting to promote your work?
The usual thing I do for all the records I make: I make a very limited edition of copies that I then sell out in a short time, I put the news on Facebook and make the album downloadable for free on Bandcamp. Luckily this time I have the support of The Triad Records that gives me the opportunity to make myself known abroad too.


-Dave Wolff

Monday, June 24, 2024

Interview (third) with Erik Leviathan of Misanthropik Torment and SelfMade Records LLC by Dave Wolff

Interview with Erik Leviathan of Misanthropik Torment and SelfMade Records LLC by Dave Wolff

How much effort and time has been put into revamping your label since our last interview? What industry contacts have you made recently and how are you able to provide additional assistance and support to bands?
A lot of time, money and effort have been put into revamping and rebranding. I had to take a step back and take a look at the industry and the so-called internet labels along with the so-called internet PR firms. I noticed that 90% of all these companies were just charging artists to do what the artist could do for themselves if the artist was given some direction. But that's the problem, none of these companies actually wanted to help these artists. These companies just wanted to make money unfairly off the artist's hard work. And they all offered the same thing. There was nothing special about any of these companies. I knew that if I wanted to thrive and actually be able to put these artists in a spot that no one else could, I had to be able to offer them something that no one else was. So I stopped working with a lot of these people, and I made connections with Earache Records EDD and the companies they work with, such as Roadie Media and Discipline PR. SelfMadeRecords L.L.C is also endorsed by WB Gear, My Merch Guy, and Dirtbag Clothing. We can now take an artist who is willing to listen to direction and take them directly to bigger labels or at least provide the artist with real legitimate label services. It's a lot of hard work and it does cost money however it's money well spent in the right places with long time industry professionals.

How would you like to see the music industry changed for the better?
As far as the industry and changes. I myself would like to see Spotify take a nosedive and disappear. Spotify is the most criminal platform out there. They refuse to pay lesser known artists and frequently make false accusations of stream fraud when it's time to make payouts to the artist. Spotify is being sued by multiple companies for their mistreatment of artists. I myself have no issues with technology and the evolution of these platforms however I don't believe that any of them really know the money it takes to be a musician these days. The owner of Spotify stated that music is free because it doesn't cost anything to make. That makes no sense to me. As an artist myself I know equipment costs money recording and production costs money getting put on these platforms costs money. I have a band on my roster that has spent $27k on their album. Not just that but the marketing costs quite a bit as well. So I don't know where this guy got his information but none of this is free and they are ripping off artists. That's just one aspect of things that need to change. There are so many more such as artists having to pay venues to perform and venues taking their merch sales. I can go on and on about this but let's move on.

Can you explain what you mean by disenchanting the industry?
Disenchanting the music industry, what I mean by this is, the music industry itself is one big illusion that is sold to fans of music and independent aspiring artists who are naive enough to buy into the smoke & mirrors. There seems to be this false expectation that if an artist is not in every major media outlet that their music is trash. Or that if an artist is not being aired on a major radio station that the artists do not have what it takes to be good musicians. All of this is a made up false expectation by PR firms and payola companies and gate keepers of the industry to keep independent artists out of the cool kids circle if they are not rich enough to pay their way in. Being in a big magazine or on a big radio station has nothing to do with talent. At the end of the day everyone who has made it into these categories has paid for it. So basically if you have the money you too can be looked at like a god even if your music sucks. How do I know this people may be asking well? That's simple, I know because I also pay for these services for the artists on my roster. I work in the industry on a level that allows me to navigate the behind the scenes. No one gets anywhere without paying for it. Don't get me wrong I see nothing wrong with working hard and paying for what you get but don't lie to yourself or others thinking you are something better than everyone else just because you can afford all the big name perks. That doesn't make you a good musician. And it discourages other talented, hard-working musicians that are not in a financial situation to be able to afford these things. It also detours fans of music from giving the music a chance simply because most people listen to what looks popular. It's a real problem for this art. Also people seem to forget that we are all racing towards the same goal.

Could you describe some of what you have observed behind the scenes?
In my opinion there's too much negativity in all the scenes. This was supposed to be fun, there is supposed to be some type of camaraderie. The overzealous egos and high school drama queens are a part of what is killing what it means to be an artist. If someone does not like someone else for any reason these days everyone screams cancel cancel cancel, and they try to bait and bully a person to the point of going off on social media so they can attempt to show others why that person should be canceled. That shit is stupid, I'm old-school, in my day if someone offended someone the two individuals would go and deal with their grievances like grown adults and then go have a beer. People are pansies these days. The internet is not real life, people need to log off and go outside or something. I myself have lived a very interesting life, I’ve been to places most would not have survived. Most of these cats out here have no idea what the real world is like and it shows in how they conduct themselves in the scene and in business. This is also a topic I can go on forever about. But I feel I have said enough on that topic.

You have consistently communicated the idea of generating change in the world, particularly in the media. What level of detail have you gone into in any recent writings that you have produced?
My last release before CLICK HATE is a song called Indigenous Lands. This track speaks on the horrific genocide that is transpiring in the Middle East. It is kind of ironic to me that one group of people who were murdered raped and oppressed have turned to do the exact same thing to another group of people. These things make no sense to me. I have had bad shit happen to me not once have I ever thought to inflict that pain on someone else. This is not a holy war, it's a war of greed for land that doesn't belong to them and they disguise it as something holy in the name of their god. There is nothing godly or holy about murdering innocent children; it's actually quite disgusting.

We've discussed this on one level or another; how much change can a song, album, or video from an underground band make? Is there any way underground music has changed anything? If someone said you can't do anything about the ways of the world, what would you say?
I am not really sure if one song can change the world. I am not narcissistic enough to think that anything I have to say is going to make an impact on this shit stain of a society. I would like to believe that there are people out there that are like me who want to stop the hate both the meaningless hate and the meaningless killings in the name of a god that no one really knows if they truly exist or not, because at the end of the day no one alive has seen god nor have they seen a heaven or a hell. I myself was baptized in a church. I was taught all about God and I will say if that entity truly does exist this is not what they intend. Love is supposed to be the law in all things. So can music change the world? People have been singing and screaming songs about change since the 60s, so no I do not believe one song can change the world, however a multitude of songs with the same message written for the many different genres of music that will appeal to the many different tastes of music that people have, this may be able to change some people and then those people can help others open their eyes and just maybe enough will start to care. But at this point I myself have no faith or hope in humanity. I use my platform to say I know what is happening and I am not fooled, as I have said before I hope what I have to say pisses people off. Mainly those who are doing the evil deeds that keep us divided and fighting amongst each other. They love us divided, they need us to have reasons to hate. If you happen to be a hateful person reading this, ask yourself why you hate, is it because you were taught to hate or is your hate justified for a personal reason not influenced by outside idealisms. So if someone said to me that I can't do anything about the ways of the world, I would say they are absolutely correct but together we can try to be a part of the solution. In my opinion you are either the problem or the solution. Which side of history do you want to be on?

As I mentioned while reviewing MT, the world has changed in many ways. From legalizing pot to a chipping away at corporate greed (which you may see in search results for movie theaters and fast food franchises) to a broader understanding and acceptance of underground music in the mainstream. In that sense, have we contributed to being part of a solution, however small?
ANSWER- I do see changes in the world however the changes that I see are not of a magnitude to make a real difference. I myself am an advocate for the legalization of marijuana however in my opinion the only reason the government has allowed it to become legalized in most states is that it is easier to control and manipulate the masses when 90% of the population is high or docile dare I say even dumb down. I use pot on rare occasions but let's be honest here after long terms of use it does slow down your brain and it literally makes a person care less about important topics. So no, I do not feel like the legalization of pot is even a minute change that could be beneficial to our society or our world, the change I am speaking of, the change I am looking for is one that will cause me to be labeled as a domestic terrorist. But I will speak on it here anyway. I want to see every politician, every government official in every country be stripped of their power. The idealisms of religious belief shattered. We as a people, the human race need to unite and overthrow every oppressor and rebuild what they have broken. Our world, not just the United States, has been divided by a great design that keeps us from being able to come together. We need to agree to disagree on unimportant topics and rise together for true and absolute freedom. A person's religious or spiritual beliefs are just that beliefs and they are important to that person or persons. However those beliefs are what those in power use to control the masses. They entice war and genocide and wars are a business that make good money for the powerful while innocent people continue to die for the agenda of others who seek to seize the world. The change I want to see will never happen. I want people to see that we have all been lied to but more importantly I want people to care enough about it to take the necessary stand. None of us are free. That's just an illusion to keep the masses deaf dumb and blind while high on whatever prescription drugs or legalized strain of pot they are on.

Hemp can also be used to manufacture paper and cloth, and to treat glaucoma. Hemp was viewed years ago as a threat to vested corporate interests, so racist propaganda was spun; people are only now discovering this.
That is true. Hemp can be used to manufacture many of our world's needs. Such as fuel, paper, rope… hemp could even replace plastic. It would be beneficial to our existence and for our planet for us to use these methods. However it is not beneficial to the corporations that run our world so when someone invents something that threatens their monetary gain, well they end up disappearing or “committing suicide”. So yeah it's a great idea, but the powers that be seem to be hell-bent on destroying humanity as well as our planet all in the name of power, control, and the almighty dollar. It is frustrating to me that small minded people cannot see the bigger picture. Either they can't or they refuse to see people as anything other than a dollar sign, so they do not care about the destruction they will bring!

Aside from that, have you been receiving any positive feedback for speaking out through your lyrics? From any bands you’re working with or your listeners?
I have received both positive and negative feedback from bands, PR companies as well as my listeners and those who do not listen to my music. I get plenty of praise and hate. It is difficult to tell which one outweighs the other. The people who get the message understand what I am doing and they are either on one side or the other. It's not up to me to make up their minds. It is up to me to deliver the truth. What they do with that is up to them.

How much of a risk do you think you’re talking in addressing these issues, given Facebook’s recent trend of deletions (censorship?)?
Risk ha ha I've passed the point of no return on the risk factor. They have tried to cancel me, they have tried to make me look insane so that they could discredit me. They have made my albums non advertisable so I mean the only thing left to do is for them to stage a suicide or black bag me lol. I won't shut up. I see too much in this world that needs to be changed. I do not give to fucks about how others view me. I have a voice and I have a fan base that likes what I have to say because they know I speak the truth. Being true and authentic is lost to the world and I think that is why my listeners stay around, I am not in this to become rich or famous I am here to piss the world off and wait for people to wake up and unite no matter their difference in belief or the color of their skin or what their sexual orientation or what their gender identity is. At the end of the day those differences should not divide us. They should unite us.

Recently, you showed me a lyric inspired by media spin directed at Chris Barnes of Six Feet Under. Earlier, we discussed how Sharon Osbourne and Marilyn Manson faced similar situations. In light of that, what was your motivation for writing said lyrics?
It's funny that you ask that. A while back Chris Barns was unfairly attacked by the masses due to the media intentionally misquoting him on his opinion of what Death Metal had become. Chris and I had been social media friends for a while before that. The media's lies caused a shit storm of trolls to come out of the word work to the point that songs had to be written by him and myself. Which brings me to the new Misanthropik Torment track CLICK HATE that features A.MOORTAL. This track was originally written as a diss track towards Chris, however Chris and I ended up talking about the issue and I got the real story from the horse's mouth. It's because of that issue that this track exists. We ended up going back and changing the lyrics and title of the track to attack the media instead of the media's target for clicks. [Promotional video link]

In what manner did you and Chris Barnes discuss his being misquoted as well as the extent to which the media spreads sensationalism about public figures? To make no assumptions, but the point I made earlier was that this was a change for the better in that it allowed us to recognize media bullshit for what it was rather than fall for it blindly. Were the lyrics entirely yours or did Barnes have a hand in penning them?
Chris and I had spoken on the Cameo app about the situation. It's actually funny because my initial intention was to have him promote the song that was trashing him, it was supposed to be a big fuck you to someone who had inspired me. The way the media portrayed Chris felt like a betrayal to the whole Death Metal scene so I wanted to fire back. That and I was told by others that his new track Know Nothing Ingrate was written about me. So I took offense. I had booked a Cameo with him to get him to promote the song, but we ended up talking like two adults should and we cleared the air so to speak. So I went back to Aaron from A.MOORTAL and I said we can't release this track and I told him why. So we agreed we should fire the track at the media instead. The Lyrics were written by myself and Aaron. The media itself uses these tactics to create a negative buzz surrounding public figures, they do it to keep their relevance. People by nature flock to negative bullshit so the media keeps it going and they keep thriving by spreading lies and hate. The masses fall for it either because they are stupid or they are just as hateful.

Would you be willing to name some media sources that misrepresented Chris Barnes? In your opinion, how much of a betrayal was this portrayal of him? In underground music and death metal, I recall more honesty and attention to facts than sensationalism. Since the scenes have always been about exposing bullshit, do you think we should return to more responsible journalism instead of fueling cancel culture?
If memory serves me correctly it was Loudwire who misquoted Chris and then after a few days of Click Hate they decided to come clean and properly quote what he had actually said. In my opinion this digital age has made it too easy for people to publish bullshit. Back in my day there were consequences for shit. Today no one has to man up or woman up and own what they have said or done. We need more professional writers like yourself. Cancel Culture is the dumbest movement ever. It just needs to fuck off and die already.

How much have you seen Sharon Osbourne and Marilyn Manson recover since the media smeared them?
I haven't seen much of Sharon Osbourne in the media lately. I do know that she and Ozzy are or have moved back to England; the USA just doesn't seem to feel safe to them anymore and I do not blame them. If I could get out of this country I would too. As for Marilyn Manson It looks like he is back in the swing of things but he took a hard hit. His label dropped him before he could even defend himself. That's not right. It's supposed to be innocent until proven guilty. People need to start caring more about facts before they go ruining someone's career. It's the digital age; if it's said on the internet it must be true. I also wrote a song about this a while back called Everybody Needs A Devil.

They’re still doing shows at Tompkins Square Park; also Amber Heard tried to have Johnny Depp canceled but it didn’t work. The lyrics in “Everybody Needs a Devil” resonate considering how people need to scapegoat and demonize people to look saintly. I recall Manson’s art was attacked when they were trying to have him canceled. In what ways have people tried to cancel you?
The problem with this is even though Amber Heard’s attempts were thwarted, the damage was done. Johnny Depp's career was put on pause, almost destroyed over a psychotic woman's need for vengeance and attention. Abuse of any kind is not O.K. However we live in a society that allows an accusation to confirm guilt before any of us know the details. So it may have come out in the wash like everything does, but he still had to go through public shaming and loss of income. While there seem to be no consequences for her actions. In my opinion if someone accuses a person of such a vile atrocity and that accusation is not true, they need to face the consequences that are attached to the act they have accused them for. The attacks on Johnny Depp and Marilyn Manson were orchestrated by the same women. They used Manson's art to paint this horrible picture of him. Manson is no stranger to controversy and cancel culture. But I think this time it really wounded his career. I do see him making a comeback but how successful that comeback is going to be remains to be seen.

Can you recommend any major metal news sites or independent webzines that provide more factual information and less sensationalism?
As always, no PR company will touch my content therefore I have to do it all myself which is fine. No label will take the risk of signing my project so I signed myself, no publishing company will come near my project so I created my own publishing. Some Facebook groups have banned my name and anyone associated with me. I have lost band members due to my content. There are individuals out there who spread lies about me. Specific individuals do all they can to keep me out of the music scene and the industry itself. I have no delusions about how far I can go in this business. I am shut out on many levels when it comes to my own project. Yet these mindless idiots do not seem to understand that I am not concerned with fame or the business when it comes to my project. My focus is change, my focus is reaching as many people as I can and hope to be an influence of change. If people support me along the way that's cool but my music is free. My words are free. Like the Bible my message is free for anyone who wants to hear it.
I can recommend a few good zines. Your zine is obviously my favorite because you tell the truth and use accurate facts. You do not change my words to fit your narrative or agenda. Most others are more concerned with how many clicks they can get instead of telling the truth.

Your statement regarding signing yourself is, to me, a significant step towards making positive change in the world. From authors putting pen to paper to movie directors inventing new ideas to podcasters building their own channels, there will always be people who think outside the box and people who listen to them, even if in a small fashion. Otherwise, why continue if you can’t do anything?
Thank you for that. I greatly appreciate the compliment. I like going against the grain. If someone wants to shut me out and not even allow me to earn my opportunity to be in the cool kids club and do what I love to do, I don't let that stop me. I may not be able to do it on a larger scale but no one is going to stop me from pursuing my goals and ambitions. I will do this until the day I die. If for no other reasons than to outshine all those who tried and are still trying to keep me out. And at the end of the day I can be proud because I did this all on my own without much support from anyone in the industry. I continue because this is who I am and I honestly would not know what to do or who I was without music. Through all the chaos involved in this I will thrive and overcome any obstacle.

When it comes to writing new lyrics, writing new music, and collaborating with musicians on future albums, what ideas do you have?
At the moment I and Aaron Moore from A.MOORTAL are working on the “Brought Back by Unpopular Demand” album. The title seems kind of fitting. As always the music and lyrics are driven by the insanity that plagues my mind. Depending on one's views, I have always been politically incorrect so most of the music and lyrics are driven by themes of anti-tyranny, antigovernment and absolute freedom. There is enough crap going on in the world to fuel that creative spark so I really do not foresee the topics changing anytime soon. I am, however, contemplating a song or an album in the future that will address the struggles of living with mental health issues and how our society and the government can either cause mental health issues or make them much worse. I feel this is a topic that should be addressed. Other than my need to use my music as a weapon to attack the issues of our world, I would like to do some cover tunes just for kicks.

How much more extreme will “Brought Back by Unpopular Demand” be compared to your older releases? When did you start recording? How much input is Aaron Moore having for the material?
With this album I believe the music is much more in tune with what I have to say. Aaron Moore is a beast. His music style is fitting for how I feel at the moment. It's not just another Death Metal album, it is a mix of extreme sounds and I like that. I needed Aaron for this. Lyrically like always the gloves are off. I am not sure if the gloves were ever really on. So how much more extreme can I get, that is not something that I think about while I am writing a song, my concern is how do I get my point across with the many things that I have to convey in the most truthful way, how can I entice someone to think in the two to four minutes of this track while somewhat appeasing the music nazis out there who want a repetitive song. I find it very difficult to convey my message if I am forced to dumb down my verses and make a repetitive catchy hook. Yet I understand the need for it. I just have too much to say so getting it all into a single song or even a full album is challenging.
We started recording about 4 months back. I had planned on “Declaration Of War” being my last album. I wanted to focus on my book that I am still writing. But the world just kept getting more evil and the sheeple just kept getting dumber and I just needed to scream some common sense or rather "rare sense.” at the world. There is a song on this album that will piss a lot of people off if anyone pays attention to the words. The song is called This Is Why God Hates You. I won't ruin it by telling you what it is about. I will just say this, there are people in this world who believe to be their god’s chosen few committing genocide. I think that their view is a much distorted point of view.
I give Aaron an idea with some lyrics, he then writes all the music he also does some vocals with me on some of the tracks. We send stuff back and forth until we are both happy with the way the song is. Like I said earlier I needed Aaron for this. He is making me a better vocalist.

Do you have any new bands signed to SelfMadeRecords? Are you looking for bands seeking recording contracts? Acquaint the readers with bands you’ve come across lately.
I have one band that I am pushing really hard right now called The D.O.O.D. This band is amazing. They are the hardest working band that I have ever worked with and I believe they have what it takes to break through to the mainstream industry. The work ethic is there, the sound is there, I mean they recorded their album at Morrisound Recording. That practically sells itself. We have them set for a tour in the UK next year; there is not much this band cannot do. Find out more about them here: https://thedoodband.com/home

How extensive is the UK tour you have planned for The D.O.O.D.? How are you going about advertising and publicity? Are there other bands on your label you’re arranging tours for?
The D.O.O.D. is performing at the Masters of Rock Festival in Bulgaria in 2025 we are obviously planning smaller shows overseas to make it a worthy trip. I can't say too much on the topic till after September 2024. The company that is putting on the festival is taking care of all the advertising. We just hired ClawHammer PR for The D.O.O.D. so I am sure there will be some promo on their end as well. We have some shows booked for our other bands but most are in the studio working on new albums.

Lately I’ve noticed some activity between you and the band Sepsiss who I interviewed for this zine some time ago. Are there any collaborations you’re planning with them at this point?
Not at this time. I would love to do a collaboration with this band. They are very talented people and honest. Which is hard to find in this industry.

In the future, do you have any plans to undertake any projects, such as organizing your own metal festival with your label's artists?
Maybe someday at the present time, I am just focused on getting these artists on well-established festivals and shows. There is a lot that goes into a festival and at the moment I cannot afford to take that risk. Back in 2020 we threw our own festival called The Summer of Madness. We put about $7k into that festival and we lost our asses. People say it's not about the money and they are correct to a point this is a labor of love however if you are putting in a substantial amount of money and you are not rich then an ROI becomes a factor. Throwing another festival before we can become more established at this point is financial suicide. So for now I will continue to grind and get these artists where they need to be and hopefully by my work ethic I may be able to get some investors in the future and possibly get a yearly Festival going but now is not that time.

Do you feel that you are closer to making the impact on underground metal that you envisioned when you launched your band and label? It appears that your partnership with Relapse is a step in that direction.
Things are definitely starting to change for my company and my band. We just got the inside cover of Decibel Magazine. If that doesn't speak volumes for the underground I don't know what will. I do see a slight change in the underground and how I am received today as to how I was shunned a few years back. There are a lot of haters who still continue to attempt to destroy everything that I am building. They can say what they want and spread their lies about me, but the truth always comes out in the wash. I am too stubborn to lay down and die. So they just need to accept that I am not going to stop doing what I love doing .I don't have an issue with any of them so it's their problem not mine. Phil from Pantera said it best "Walk on home, boy '' \m/


-Dave Wolff



Saturday, June 22, 2024

Full Length Review: Fuck the Facts "Pleine Noirceur" (Noise Salvation) by Dave Wolff

Band: Fuck the Facts
Location: Quebec
Country: Canada
Genre: Grindcore
Full length: Pleine Noirceur
Format: Digital, limited edition CD (two pressings), limited edition 12" white vinyl (1st pressing), limited edition 12" clear with smoke vinyl (2nd pressing)
Label: Noise Salvation (Canada)
Release date: November 20, 2020
From the late 90s to the early 2000s, I listened to Fuck The Facts a lot, so I was surprised to discover they’re still active after a practical legion of EPs, splits, and full-length albums. As far as I remember, they started as a typical grindcore band, but there was something progressive about them that became more apparent each time I listened to them. After a long, long period of not hearing anything new from them, "Pleine Noirceur" caught my attention.
Underground bands that remain active for years can undergo many changes, and grindcore bands can advance and attain maturity as much as any band. It’s clear Fuck the Facts haven’t been dormant when it comes to embellishing on their ideas all these years. Their love for grindcore’s unkempt, disorderly assaultiveness has kept up while they heightened components of the genre; a blast section here, a breakdown there; pushing them toward degrees of prolificity waiting to be cultivated while remaining planted in the rapid-fire whirlwinds where they originated.
There is that certain quality in the guitar, bass, and drum tracks, and the burnished production makes them heavier, without the blurriness that is characteristic of most grind, gore grind, and death grind. You can actually hear all the notes written into the more chaotic songs and those with more resourceful songwriting, with all-encompassing atmosphere, overlapping guitars, and overtones of industrial, doom, melodic death and prog overtones. Even the vocals get this treatment.
To present the extensive range this album careens through, you need the clean production you get here, and you receive the impression each new approach to their songwriting has its origins in a traditional grind. In many instances I didn’t expect a transformation this far-reaching in structure and musicianship, but at the rate they’re going, Fuck The Facts do for grindcore what Voivod did for thrash, Mastodon did for math metal, Orphaned Land did for oriental metal, and Blind Guardian did for power metal.
"Pleine Noirceur" demonstrates how much maturity and growth can only occur with experience and can't be achieved without a certain degree of foundation. And yes, the lyrics (in English and French) are included on their Bandcamp profile. –Dave Wolff

Lineup:
Mel Mongeon: Vocals, lyrics
Topon Das: Guitars, songwriting
Mathieu "Vil" Vilandré: Guitars, drums, songwriting

Track list:
1. Doubt, Fear, Neglect
2. Ailleurs
3. Pleine Noirceur
4. Aube
5. Sans Lumière
6. Sans Racines
7. Everything I Love Is Ending
8. A Dying Light
9. Dropping Like Flies
10. L'abandon
11. An Ending
12. _cide

Thursday, June 20, 2024

Full Length Review: Die Entweihung "Kings & Pawns - Remastered edition" (Inverted Chalice Prods, Bajo Tierra Records) by Dave Wolff

Project: Die Entweihung
Location: Haifa
Country: Israel
Genre: Blackened heavy metal
Format: Digital album
Label: Inverted Chalice Prods, Bajo Tierra Records
Release date: May 24, 2024
Denis Tereshenko's dark, open mind has produced another remastered reissue. The original recording of "Kings and Pawns" was among Tereshenko's most recent works, released just before "Strict Regime Country" was released in 2022.
This is the third time I'm writing about this project since almost a year ago, not including my interview with Tereshenko last July. There is a subtle difference between the original and the remaster, but if you pay careful attention, you’ll hear less rawness and more atmosphere. I'd even recommend listening to this version first if you're unfamiliar with the album, as you'll be able to gain a greater understanding of Tereshenko manifesting his vision .
There’s a greater emphasis on the finesse with which these songs were written and arranged, especially when it comes to the precision and dexterity of the guitars. In many ways, I prefer the remaster to the original, as there's more of a fullness in the overall sound, revealing aspects of each track that were previously hidden. In addition to the guitars, the piano and keyboards play more of an important role in the songs, adding different flavors to each song as they were intended to. 
There's an enhanced interplay between the acoustic sections, the bass tracks are polished so they are more prominent, and the diverse vocal tracks are incorporated into the song structure in a more significant way. You have an excellent sense of how to cross over black metal, progressive metal, and folk without overstating anything, with an even distribution of vocals and instruments, and a live feeling to the material, as if you were listening to a live performance rather than a studio recording.
Tereshenko's decision to remaster "Kings and Pawns" was wise as it provides greater opportunities to improve in terms of sound and presentation. Before I forget, please take time to listen to his black/goth metal rendition of "Working Class Hero". -Dave Wolff

Lineup:
Denis Tereschenko: Vocals, all instruments

Track list:
1. Away Into The Night
2. The Moustached God
3. As The Hangover Starts
4. Confrontation
5. Kings & Pawns
6. The Nonsense Games
7. The Only Thing Worthy To Save
8. Working Class Hero (J. Lennon Cover)
9. Sons Of The Moon And Fire (Der Gerwelt Cover)