Wednesday, January 27, 2016

CD Review: SOUL COLLECTOR Thrashmageddon

SOUL COLLECTOR
Thrashmageddon
Defense Records
We all know the zombie apocalypse is nothing new when it comes to thrash metal subject matter. Some of the best bands have been incorporating these themes since there has been such a thing as thrash. Including bands who have their material reviewed in this blog for your perusal. Many death metal bands as well as thrash bands have sampled Night Of The Living Dead in one or more of their songs. Sampling from this movie has almost become a rite of passage for many. Can Soul Collector rejuvenate this lyrical approach and make it sound new? It depends on the listener to decide, but for me they compose an impressive soundtrack for the scenario. As usual you hear a scene sample from NOTLD introducing Thrashmageddon; specifically the newscast stating that people seemingly in a trance are killing and eating their victims. On the heels of this is the energetic opening riff of Army Of The Dead which kicks things off on a potent vibe. Soul Collector are apparently huge Exodus fans; if you didn’t know they are based in Poland you’d swear they’re from the Bay Area of California. The progressions, the harmonies and most of all the vocals give these impressions in several songs, such as the title track and Bless My Gun. The lead vocals consistently remind me of Steve Souza, though I’ve heard them compared to Blitz of Overkill. Even so, it may be a cop out to write this band off as imitators, since I’ve heard bands copying their influences more obviously, with no hint of their own personalities. There are sufficient differences showing Soul Collector have their own identity as opposed to being a complete ripoff of the classic era. For one thing, there are noticeable differences in the song structure. The riffs and time changes are consolidated differently, the solos use different scales and harmonies, and the song length has a general range of four to eight minutes. Songs like Horrorhouse show them starting to explore their own territory. The band’s Bandcamp profile has ordering information and links to other bands on the Defense Records roster. -Dave Wolff

Track list:
1. Army Of The Dead
2. The Cursed Land
3. Thrashmageddon
4. Bless My Gun
5. Lord Of Fire
6. 2000 Years In Lies
7. Horrorhouse
8. I saw...
9. The Stoneface
10. One Day In The Front
11. Pure Fucking Evil

CD Review: DEAD SHORE

DEAD SHORE
EP
Independent
Where to start with this insane album hand delivered from satan himself straight from the deepest, darkest, bloodiest pit of hell! Nothing has ever infused my imagination so strongly with visions of mutilation and human despair… While making the hair on my arms rise as if to try to separate their follicles from my skin. The guitars were absolutely impeccable. The vocals perfectly fit the black metal style. Also, I could definitely see the influence from Immortal and Vader. While all tracks were brutal beyond belief, my favorite track had to be “Godless Martyr.” FLAWLESS. What I enjoyed most about this track was its ability to suck me into the darkest places of my soul… Make me feel the things that I have hidden beneath my “happy” persona. I believe that is what more metal artists should aim for… Not to just write lyrics about blood, gore, and human despair, but to make the listener FEEL the despair in their music… Feel THEIR despair. Open the wounds that made them who they are today! That my friends, is metal. Dead Shore is metal. -Alecia Fincher

Track list:
1. Temple of Mutilation
2. Exalted Abomination
3. The Dead Shore
4. Godless Martyr

CD Review: DELIRIOUS Moshcircus

DELIRIOUS
Moshcircus
Independent
Today my focus is the thrash metal band Delirious from Hamm, Germany. I gotta say this band definitely has some serious highlights to their sound. The first few songs I listened to really got the blood pumpin' and was very impressive. The album MoshCircus is the one we discuss today. The first handful of songs from the album were straight up, no holds barred, authentic ass kickery, worthy of the thrash metal badge with titles such as Drowning In Your Blood, I Can't Resist, Toxic Trace, Bloodsucker, and The Neverending Rain. I could smell alot of old school and new school influences in the mix. I heard some flavors of the likes of King Diamond, Cradle of Filth, Overkill, Iron Maiden, even W.A.S.P. and Gwar. When these guys are on it, it's like a runaway train that can't be stopped. If the entire album kept the same drive and seasoned sound as these particular songs, I could see these guys going far. There were, admittedly, a few tunes that lacked a little in the vocals where the music still stayed on point, others like the one titled Your Decision, Dead Man Rising, and H.M.M.I.G. were questionable. Your Decision was great through the verses, but when you get to the chorus it's a bit of a trainwreck. It seems to take a completely different direction from the rest of the song and does it no justice. H.M.M.I.G. was phenomenal as far as the instrumental parts go, but vocals were very droll and lacked the conviction I heard in some of the other songs. Dead Man Rising, however, should not have been released in the shape it was left to be in. Extreme timing issues on all ends with that one. So there you have it, the highs and lows of the thrash metal band Delirious from Hamm, Germany. Keep up the good work and tighten up those loose ends and wiggle elbows and we'll be keeping an eye out for ya. -Angel Michaels-Abaddon

Track list:
1. Circus Of Mosh
2. Drowning In You Own Blood
3. I Can't Resist
4. Toxic Trace
5. Moshcircus
6. The Nevererending Rain
7. A Memory From My Past
8. Your Decision
9. Dead Man Rising
10. Bloodsucker
11. H.M.M.I.G.

Tuesday, January 26, 2016

CD Review: DEATHINITION Art Of Manipulation

DEATHINITION
Art Of Manipulation
Independent
This thrash metal band began in Bydgoszcz, Poland in 2008. Initially a three piece, they added two members and released their debut demo in December of 2011. More lineup changes occurred before the debut EP The Art Of Manipulation came out in 2013. Presently the lineup of the band is Adi (lead vocals), Igor (guitar/vocals), Maciej (guitar/backing vocals), Miłosz (bass/backing vocals) and Witek (drums). This is the first incarnation of the band I’m hearing; even if it’s an EP with four tracks they recorded, in terms of pure conviction they sound like a seasoned bunch who have worked and played together for much longer. Admittedly the production could use some improvement on future releases; one example is a bass solo in the middle of Art Of Misunderstanding which sounds mixed too loud. The production could use a little work as some of the transitions within the songs, while being inventive, come across as too abrupt and the endings cut off too soon or fade out where they don’t need to. Aside from these complaints we’re dealing with a band of talented musicians; the guitar progressions prove with a vengeance just now much ability and endurance is required to play thrash metal. The vocals remind me of melodic bands of the 80s and 90s, particularly Agent Steel. For a young band to blow me away with their dexterity and tightness speaks volumes about what they’ll accomplish with enough time and practice. This is vicious, malevolent, impenitent thrash that catches hold of your windpipe, just as the best of the bunch had dome in the classic era. A release that would likely have been heard on my stereo if it had come out back in the day. -Dave Wolff

Track list:
1. My Personal Maniac Fear
2. Art Of Misunderstanding
3. Priest
4. Kłamstwa dla mas

Sunday, January 24, 2016

CD Review: VARIOUS ARTISTS Doomed & Stoned in Canada

VARIOUS ARTISTS
Doomed & Stoned in Canada
Doomed And Stoned
This is the latest compilation of the Doomed And Stoned series, released in September of last year. Doomed & Stoned in Canada is the follow up release to Doomed & Stoned in Portland, Doomed in Oregon, Doomed & Stoned in Mexico: Una Retrospectiva and The Enchanter’s Ball. As usual songs are featured from a seemingly infinite number of bands from a scene that otherwise gets little to no mainstream exposure, presumably because there is no money in signing them to major labels. Going by the painstaking process by which these compilations are arranged, it’s obvious label head Billy Goate cares about helping unsigned doom metal bands reach more listeners outside their respective communities and supporting the genre as a whole. Consider the time he invested in searching for all the bands appearing on these five compilations, and in contacting each of them for permission to use their material, and you’ll get the idea. If anyone doubted there were thriving doom metal and stoner rock scenes in the U.S. and other countries and thought the majority of consumers out there want to hear nu metal or pop punk, this compilation series will prove you wrong. It definitely hit me with the impact of a ton of bricks and made the point clear that doom and stoner have viable target audiences despite the limited publicity the genres have had even from the indie labels with such bands on their rosters. Before I started corresponding with Billy I was only aware of a few active doom bands and thought it was mostly an 80s phenomenon. I had no idea the scenes in those cities and countries were so huge, and I would guess there are scenes in many more areas that are just as active. The question arises if the bands gathered to appear on this installment justify the time and effort channeled into it. If you like Trouble, The Obsessed, Earth and especially Black Sabbath, you may well like most of the 75 bands you get to hear. It will take you a long time to listen to it in its entirety but in the end it’s worth the journey. They are all capable bands and have their act together when it comes to composing crushing music. From what I heard each band relatively has their own sound so it won’t become too repetitive. All the compilations in this series are worth checking out for all the hard work involved in compiling them. -Dave Wolff

Track list:
1. 88 Mile Trip - The Repressed
2. A Day As Wolves - Killing Time
3. Acid†Priest - Vacation Wasteland
4. AlgomA – Bedsores
5. Ballot Burner - State of Nature
6. Big Game Hunt - The Grail
7. BIIPIIGWAN – Shkweyaang
8. Black Mastiff - Weird Fog
9. Black Thunder - Through The Mirror
10. Black Tremor – Markhor
11. Boreas – Stormrider
12. Buffalo Theory MTL – Disciple
13. Buzzard - Moving A Mountain
14. ChronGoblin – Deserter
15. ChronoBot - Green Leaf Hag
16. Dead Ranch - Waterpark Shark
17. Doom's Day - The Outsider
18. Eagle Tears - Drug Rug
19. Evil Can Evil - Love & Hate
20. Gypsy Chief Goliath (G.C.G.) - Holding Grace
21. Hash Tin - Lightyears From The Earth
22. Hitman - Preacher (Hell is Just a Hole)
23. Hoopsnake - White Wido
24. Hypnopilot - Rolling On
25. Johnny 2 Fingers & The Deformities - Born Loser
26. La Chinga - Stoned Grease White Lightning
27. Lavagoat - Black Lotus
28. Les Indiens – Crane
29. Lightbulb Vapourizer - Missing Apparition
30. Longhouse - Gift of Fire (bonus track)
31. Low Orbit - International Bass Station
32. MANcub – Gambler
33. Mendozza - The Rise of the Piscean
34. Million Dollar Fix - Kill The Banker
35. Monobrow - These Mountains Don't Want Us Here
36. Napalmpom - Ashes
37. Norilsk - La liberté aux ailes brisées
38. Nosis – Womb
39. Ol' Time Moonshine – Lycanthroposphere
40. OLDE - Rise To Fall
41. Olde Worlde Nudists - Sandwich Worshipping Doom
42. On The Verge - Lost My Soul
43. Orbital Express - March to Mars
44. Psychotic Gardening - Hybridized Strain
45. Public Animal - Stolen Eyes
46. Pygmate - Le Continent En Plastique
47. Ravenblack - Moving A Rock
48. Rebuild/Repair - Zero Days
49. Reverend Snow – Devillus
50. Royal Red Brigade - Blackout City Nights
51. Sandveiss - Green For Gold
52. Sea Witch - Dragged Across The Ocean Floor
53. Seven Nines & Tens - Constants and Axioms
54. Shooting Guns - Mega Volcano
55. Solid Brown - Overlapped Skin Breakdown
56. Strange Broue – Druglust
57. Succubus Irons - House of Atreus
58. Supermansion - Don't Piss on a Witch
59. Swarm of Spheres - Get Some or Run Some
60. The Switching Yard - World of Shit
61. The Blue Stones - Black Holes (Solid Ground)
62. The Dead Fuks - Hunting Down The Enemy
63. The Death Wheelers - Sleazy Rider
64. The Great Sabatini - Bleeder of the Pack
65. Triton – Achiever
66. Waingro – Firebird
67. War Baby - In Light Of
68. Warsnake - Organia
69. We Hunt Buffalo - Blood From a Stone
70. Whiskey Manner - Burn Free
71. Wiser Fool - The Anchor
72. Witchstone - Riff Riders (Part 1)
73. Woodhawk - Don't Wake The Witch
74. Yeti On Horseback - Dragged Down To Hell
75. Mendozza - Dragonaut (Bonus Track)

Thursday, January 21, 2016

CD Review: SOMEDAY I COULD KILL Where The Wolves Rest

SOMEDAY I COULD KILL
Where The Wolves Rest
Turkey Vulture
Someday I Could Kill (SICK for short) formed in Waupaca, Wisconsin in 2009 and are currently signed to Turkey Vulture Records, a label you might be familiar with from my reviews on this blog and Obscure Chaos zine’s blog. Where The Wolves Rest is the band’s only release so far, having been available since 2013. The band display a range in influence from classic metal and thrash to Black Sabbath to (occasionally) grunge. Their Facebook bio says they initially intended to play grunge when starting out, so some elements of this must have lasted while they fleshed themselves out. Pantera is one band they cite as a major influence; I could perceive those similarities from the outset. Perhaps there was some Alice In Chains and punk influence too, but the energy of 80s thrash dominated most of the material. We Are Legion is a solid start but things really take off with Crawling Around. I didn’t hear direct punk influence until Rock The 40. From there on this album began to learn closer to grunge. During Rock The 40 I was somewhat reminded of a song with a similar title by a local NYC punk band called Leftover Crack, as well as a few other NY punk bands. I should also mention the acoustic guitar interludes that appear on the album and the opening guitars of Psilocybin, accompanied by vocals similar to the late, great Layne Staley. This song’s psychedelic and Eqyptian feel adds yet another dimension to When The Wolves Rest. Then there’s the nourish theme introducing Midget Tea Part, the Butthole Surfers influence in White Persia and the somber delivery of Lashing Back. All these elements sound as fresh as they would have sounded if they had been recorded twenty-five years ago (hard to believe it’s been that long). In many ways I am certainly reminded of a different era in popular music, an era before boy bands and pop divas oversaturated the industry. There is still value to be found in the past. -Dave Wolff

Track list:
1. We Are Legion
2. Crawling Around
3. Where the Wolves Rest
4. Into Distortion
5. Goblet of Smoke
6. Rock the 40
7. Psilocybin
8. Midget Tea Party
9. White Persia
10. Lashing Back

Actress/Poet Interview: LORA LEE ORTH

Interview with LORA LEE ORTH

I recently heard you are involved in the making of a new horror movie. Shed some light on this movie and what it’s about? How did you become involved?
On November 1, 2014 Rich and I were headed to Long Island to a Twitch Twitch Productions/Macabre Faire event. We were excited that Demon Boy was performing some of the songs Rich has written with the band. Just as we got over the Verrazano Bridge our engine seized. The event began at 7:30 pm. By the time we were towed, we gave the engine last rites and rented a car. We arrived just as Demon Boy hit the stage at 11 pm. Once the band had finished we mingled with all our Macabre friends. Actor Edward X. Young was there and mentioned he was working on a new movie titled Bigfoot: Blood Trap. During our conversation Edward said there were two roles not yet cast. Edward then asked if I would play the role of his wife in a flashback scene, I said yes and the journey began. I filmed my scene on September 20, 2015. Bigfoot Blood Trap is directed by John Orrichio and my scene was filmed in the woods near his New Jersey home. Check out the Production's Facebook page at facebook.com/bigfootbloodtrap.

Can you provide a synopsis of Bigfoot Blood Trap as well as a rundown of the lead characters in the movie? What about the movie interested you in making an appearance?
Bigfoot Blood Trap stars Edward X. Young as Dr. Laurence Corman, Chrissy Laboy as Shannon.... our friends Adam Ginsberg, Elsie Ginsberg, and KJ Hopkins are also deeply involved. The story involves Bigfoot being captured and Dr. Corman attempting to mate him with a human female. What interested me most about appearing in the film was being in a film with many dear friends and also that Edward specifically asked me to be a part of this. I also have always dreamed of being in a bloody death scene and to scream till one cannot scream again.

Did you have to audition for the part? Were there other actresses who were interested or were you solely up for it?
No audition was necessary for at first there was no speaking part scripted. Thanks to Edward X. Young and director John Orrichio, there was no other actresses in the mix. Once he offered it, the part was mine.

Describe your experience filming the flashback scene for Bigfoot Blood Trap. Who else in the cast were you working with and how many takes were completed before everyone involved was satisfied?

For my first time filming on location, the shoot seemed pleasant and coordinated. Director John Orrichio had his vision, but listened to others’ input. The filming was five hours or so for a two minute scene. I worked with a film daughter, Lexi... a true professional. Working with Edward was such a pleasure. Bigfoot was brought to us by KJ Hopkins... the stunts with him were the toughest. Truly, it was fun and it was tough not to smile even during the most horrifying scenes.

Why did the filming process for that two minute flashback scene take five hours, and how much work did it require?
First was an introduction to the rest of the actors and an overview of the script and how it would fall into place. Then setting the scene and filming everything from multiple angles. Also, several shots had to be retaken due to outside intervention (the highway was very near and unfortunately the road was busy that day). Makeup artist Jay Stoddart also needed time to make myself and my "daughter" look good and dead.

What input did you and the others involved have into the flashback scene? Were you satisfied with the results? Is appearing in a horror/slasher movie; perhaps a larger role; an experience you would want to have again?
We brought some props for Lexi, the daughter, otherwise it was John Orrichio's show. We spent some time afterward watching clips and then less than a day later John sent the edited portion and it was a perfect editing job. If it is half as enjoyable as this process was I would love to move ahead with appearing in another movie in the near future.

How long had you been acquainted with Edward X. Young before you and he met at Macabre Faire’s event? And how long had he been an actor in independent horror movies previously?
I met Edward at an after party of the premiere of the movie Gilgo Beach Murders... recently released on DVD as The Long Island Serial Killer. I was able to land Rich a product placement deal for his first book, Rich Orth POEtry Girls. Edward X. Young has been in film since 2006! As a fan of the Hammer film genre, Edward costarring with Ingrid Pitt in Sea Of Dust was an honor for him and pleasure to watch.

What movie was Rich’s product placement deal for? What sort of an impression did Rich’s poems have on Edward X. Young?

Rich's first book, Rich Orth POEtry Girls appears in the movie Long Island Serial Killer... this placement is the precursor to all that has happened professionally for the both of us. I was able to attain it through Elsie Ginsberg and things took off from there. Edward is truly a fan and supporter of Rich's work. When introducing Rich to others, Edward always begins with how much he enjoys Rich's poetry and how much he believes in Rich's talent. One of his favorites is Carmilla, as he starred with the iconic Ingrid Pitt in Sea Of Dust... She inspired Rich's version of the poem.

What was Long Island Serial Killer about; its storyline and plot development? How would you rate it as a movie?
The movie was originally titled The Gilgo Beach Murders. Based on multiple bodies found in a beach area of Long Island. It follows an interpretation of what may have happened as the crimes have never been solved. The movie also tries to humanize the victims and not be a typical slasher film. The DVD is edited down from the premiere we saw in New York and tightened it up some. It was enjoyable as it is how we became friends with many in the Long Island horror scene.

Long Island has quite a few legends, including the Amityville House which the movie was based on and “Sweet Hollow Road” which is said to be haunted by the spirit of a young woman named Mary. Are you familiar with those or other legends?
As I grew up in the Philadelphia area, Amityville is the only Long Island story I am aware of thanks to the books and movies. I did Google the Sweet Hollow Road story and would like to visit that area and investigate the story more.

What local legends of Philadelphia do you most recall hearing about in your lifetime?
Well not really Philly, but the Jersey Devil is probably the most famous legend in the vicinity. In our area growing up it would be Byberry State Mental Hospital. The Hospital was said to be haunted due to all the atrocities committed upon the patients. In our youth we explored all the buildings, the grounds and the underground areas and though spooky and fun, we never came across anything supernatural.

What interests you in the legend of the Jersey Devil and how much research have you done on it, if any?
The length of time the legend has been around is impressive. Growing up in we would always drive through the Pine Barrens to go to the shore. It covers such an immense area it would be easy for something to stay away from civilization, though you would think more sightings would occur since it is purported to fly also, haha. Have never done research per se, but Rich and I would never turn down a chance to watch a movie or documentary based on the Jersey Devil legend.

I would recommend Axis Video (youtube.com/armpitstate) since their research on the Jersey Devil and other legends has always been extensive and they have produced films and books on the Devil.
Watched one 5 minute video by Axis which lead us to a Monster Quest documentary, but like Ghost Adventures all is speculation and no truth comes to the forefront. With all of today's media and phones being better cameras than the high quality cameras of the past we would love to once see a photo that was not blurry. Maybe in the next few years someone will get the shot that truly proves many myths existence. Till then we remain skeptical, but that does not mean we will stop watching these types of stories again and again.

Are there any websites with information about what went on at Byberry State Mental Hospital? What do you remember the atmosphere being like when you visited there?
Try philadelphiastatehospital.com and also opacity.us. The grounds and buildings always had an eerie air about them, but it was primarily a psychological effect. Of course we were always there after nightfall also, so that added to the atmosphere. One regret is we did not take photos. We spent many weekends there with sometimes thirty to forty people, it was fun to explore and a great place to party.

Do you watch anything on the History Channel or Discovery Channel about these legends we’ve been covering? Or any programs on internet TV channels?
We spend a lot of our TV time watching documentaries. Sadly the channels mentioned focus too much on aliens and nazis but of course we still watch! Rich recently watched one on the Manson Family and unsolved murders they were believed to have committed (he was not impressed). We will have to see if anything is available on Netflix and we have watched some asylum stories on Youtube. There is so much out there media-wise, I am sure we will unearth some interesting things in the near future.

How many asylum stories have you watched on Youtube and what about them appeals to you?
One was BBC's Mental History of a Madhouse (youtu.be/oswUssXzFlY). The other we found on PBS on Demand a few years ago about Walter Freeman who is considered the father of the lobotomy. There are a few videos of the documentary, but nothing in its entirety sorry to say. Both were striking because actual patients are interviewed and there was much documentation.

I saw you and Rich at Long Island’s first Haunt Faire last September. Demon Boy was present at this event as were many local Long Island talents. What were your experiences like meeting some of these talents as well as new fans?
This was the first time I met Jay Stoddart who does most of the special effects in Bigfoot; Blood Trap. She kicks ass and the blood she synethizes never cleans easily. I was pink for a few days. I also got to recite one of Rich's poems, Teller Of Misfortune, in the Corpse Couture Fashion Show. I appeared as a gypsy in our friend and Rich's music collaborator, Nicole Oliva's show. And as always seeing Demon Boy perform and spending time with our Macabre Family makes a four hour drive worth every second, even on the Belt Parkway.

What made you choose Teller Of Misfortune from Rich’s body of work to recite at the Corpse Couture Fashion Show?
Teller Of Misfortune is a poem Rich specifically wrote for me to recite at Nicole Oliva's Corpse Couture Fashion Show. Once Nicole had decided upon my costume, it was left to Rich to create a poem as part of my presentation.

What else can you tell those reading this interview about the Corpse Couture Fashion Show? Where was it held where you attended? How much coverage did this show receive when it was put on?

Nicole Oliva is a multitalented performer. Rich is currently working on a CD with her singing his lyrics in operatic form. She brought together many friends for the show at Haunt Faire in Long Island and each model performed a skit. The reception that day was overwhelming and it was a very enjoyable experience.

How did you and Rich first come into contact with Nicole, and what made Rich and Nicole want to collaborate together?
We met Nicole through the Macabre Faire. Nicole contacted Rich about using a few of his poems to be arranged by Harrison Ingemarson into an opera style. Rich in turn converted the poems into lyrics, since they were written in a poetry style with no breaks, bridges or choruses. Rich loved the opportunity to get involved for two reasons. First, Nicole has an exquisite voice. Second his late Father loved opera and this is a little homage to him.

How much of a process was it for Harrison Ingemarson to arrange Rich’s poems into opera? Do you think Rich’s father would have appreciated the arrangement?

At Nicole's request Rich rewrote the poems as lyrics, so they had an easier flow with breaks, hooks and choruses. Harrison took the words as Rich had written and composed the arrangement. Being quite talented, I am sure Harrison had no trouble completing the work as he is classically trained. Rich was quite pleased with the demo Harrison sent with him singing the lyrics prior to Nicole recording her vocals. As far as Rich's dad, I am quite certain he would have loved the composition and without a doubt would have been smitten with Nicole and her beautiful voice.

Does Rich plan to work on new collaborations with Harrison and Nicole in the coming months?

Rich would like to do a complete CD with Harrison and Nicole.  Harrison has two more poems that Rich converted into lyrical format. Hopefully within the next year Rich and Nicole can get another six to ten songs completed and accomplish Rich's goal.

Which of Rich’s written verse is Nicole adapting to opera? How much of his work did she look through before deciding on something?

The first collaboration was Lady Sea, which Nicole has now been performing in her Dark Side of Opera and other avenues. Nicole has Rich's books and has perused many of his poems. In the future Nicole, Harrison and Rich we be collaborating on Summer Souls and Tea of Life. We also hope that Nicole chooses to do Rich's take on Greensleeves, Lady Greensleeves!

What spoke to Rich about Greensleeves, Lady Greensleeves, and what sort of twists did he put on it when adapting it as a poem?
Greensleeves is arguably Rich's all-time favorite song. He has many different recordings of it from Jeff Beck to Olivia Newton John. Rich has a great love for classical and European folk music and Greensleeves speaks to the yearning and loss that permeates many of his own writes. The twist Rich put into it is instead of the writer simply being denied Lady Greensleeves love by her, he is summarily executed by her actions. The execution could be physical as if she turned him in for treason or quite psychological and he was simply dumped and cannot overcome the pain.

Which version of Greensleeves is Rich most familiar with? I’ve heard Loreena McKennitt’s version most often.
Rich considers Jeff Beck's acoustic version the best. We are both fans of Loreena McKennitt and love her version. As I said earlier in the conversation, Rich has Olivia Newton-John's version on a 45rpm (guess some of the younger readers will say, what's that?). We also have a version by Blackmore's Night that we are both fond of.

Being that September’s Haunt Faire was the first ever on Long Island, how memorable would you say the convention was?
It was memorable for it was the first ever Haunt Faire... not just in LI. We also got to volunteer and participate. We were able to meet you, Robert Uller and many others for the first time. I was able to perform one of Rich's poem in a segment contrived by our dear friend Nicole Oliva. Demon Boy performed.... so many things... The Macabre Family is something all should experience...

How would you describe Demon Boy’s live show to people who haven’t seen him and his band perform yet?
Demon Boy shows kick ass... they are like viewing Alice Cooper or Rob Zombie in an intimate atmosphere. Demon Boy is always an extravaganza. The premiere Horror Rock show and at Haunt Faire he pulled out all stops. The band was joined on stage by performers Robert Uller and Swordsha. Between the band kicking ass, Robert's interesting use of a razor blade, Swordsha and her sword work and the showman that is Demon Boy leading the way, the show is always worth the price of admission! It was also fun since Rich is the band lyricist and this Haunt Faire we were both involved in the photography and filming of the stage show.

How many events in Long Island have you attended to promote your work? Which of them have been most memorable?
We have attended events since 2013. Every one tops the next, though our first Red Carpet event was most dramatic. Flashing lights... interviews... just a dream within a dream… Honest.

Name the events you have attended since 2013? Have you attended shows outside of New York and Pennsylvania?
Our first was the movie premiere for Long Island Serial Killer in NYC and the after party in 2013.  Then in 2014 Rich was a guest at the Red Carpet event and shared an event table with Demon Boy all weekend. Since we have been to every event we are able to make. This group makes you a part of the family and you do whatever possible to be at every event.  We have only done Philly, New Jersey and New York events so far.

What was the Red Carpet event where you appeared to promote Rich’s publications? Describe your experience there.
That Red Carpet Event in January 2014 was phenomenal. Organizers, Adam and Elsie Ginsberg included us because of their belief in Rich's Poetry. Rich was known in some circles as a poet, but this certainly brought his work to the masses. Having so many talented people surrounding you at an event certainly does elevate you... validates you in a small way. We still have loyalty to the Long Island scene... Honestly we have not attended anything in our area that did not involve our Macabre Family... Our loyalties lie with them....

What other events in New York, New Jersey and Philadelphia have you and Rich promoted your work?
We have done the New York Horror Show, Macabre Faire Film Festivals, Haunt Faire, any Demon Boy show and in Philly area we did the Steam Punk World's Fair in New Hope, Pennsylvania.

Are there any poems you have written or any collaborations you and Rich have worked on together?
I have interjected some thoughts in many poems Rich has written. We have collaborated on a larger scale on a few poems and maybe soon we will write another one exclusively for AEA. Our work schedule has slowed us down; Rich has been in a temporary writer's block mode, but he and we will be back.

Name some of the poems you and Rich collaborated on? Is there a process by which you arrange the verses?
Still Life is one that we collaborated on from start to finish and is included in Rich's book, Rich Orth Poetry Girls with artwork done by Levi Lionel Leland. Most other interaction is Rich having me read his work and give input on its content, and many times Rich will ask me for help titling his poems. I also did much of the design and layout of his second book, Bloody T'is My Valentine. I also have taken many photographs for Rich's books and look forward to our future Cemetery trips and photographic excursions. As for process Rich has no set style so we just go back and forth with just an idea that sparks the poem.

What local cemeteries do you visit to photograph for Rich’s books? How many shoots have you done with him and are there any personal favorites?
Rich and our daughter Cait have been to several in the area including St Valentine's which is in the neighborhood where Rich grew up. His late friend PJ grew up there as his Dad was the caretaker. Rich spent much of his life hanging around death and has always looked at that time as great inspiration. We shot some at two cemeteries in the Kutztown Pa area and also Cait and Rich went to Holy Sepluchre in Philadelphia where Rich's maternal grandparents and paternal grandfather are buried. Our favorite is also in Philly, Laurel Hill. One would truly have to visit several times over to digest its 81 acres of grounds. The Schuylkill River runs alongside the cemetery. The monuments are exquisite. Up until the turn of the century people would picnic amongst the dead, so surreal, and serene. I am quite positive we will be heading back to Laurel Hill sometime in the spring!

How many of Rich’s poems have you helped title? Do you think of a title when studying each line and verse he writes? How easily does it come to you?
Over the years I really cannot put a number on how many I have helped title. Rich likes the title to draw you in, but not necessarily be the most obvious line or word in the poem.  He also uses many words not even used in the English language any longer and tends to make up words on a whim, so usually I will read word by word, line by line straight through and then decide with him the best choice. When titling it usually will come to you immediately, something pops out and simply that aha moment occurs.

Do the titles you thought up usually fit the verses Rich puts to paper? What does Rich usually think of your titles?

Most times I help title after the poem is complete, but on occasion I will throw a word or title out and Rich will write to that. Rich is quite good at getting the most out of a word, a sentence, a photo, or a piece of art and we have been together long enough that I know his trigger points!

Another show you and Rich recently attended was Macabre Faire, which is held at the same location as Haunt Faire. Describe this event from your visits there?
The Macabre Faire Film Festival had over 140 films screening this year from one minute shorts to feature length movies. It is an opportunity for filmmakers from all over the world to be seen and heard. Some very talented artists debut their work at the Faire. This year the entertainment was magicians, ventriloquists and stand-up comics. Honestly, all that aside, The Macabre Film Festival is special to us mainly because we have become family. Rich and I have been given so many exciting opportunities from acting, book signings and networking that would have been nearly impossible to achieve without our Macabre Family, especially Adam & Elsie Ginsberg who coordinate the event and Robert Frankenberg, who kindly engineered Rich's audio book which Adam voiced. Also for me, I was able to have parts in two movies thanks to Edward X Young and Robert M. Jackson.  So many friendships I cannot mention or it would fill and entire page or more in the zine!

I saw a brief interview with Rich at last year’s Macabre Faire on Youtube, and at this year’s event he was interviewed for a local cable access show on Long Island. Tell of your other experiences there, such as any new movies you got to see etc?
By the way we both thank you for asking Zen Bock to interview Rich.  Rich had a great time and enjoyed the experience and Zen Bock himself. As usual we did not see as many movies as we should. Two that stood out were first, Spammers made by our friends Sanj Surati and John Iwasz which had some Cthulhu influenced scenes. Secondly, we watched Adam Ginsberg's son Addison in the Sin Reapers.  It is extremely rewarding to see the next generation of friends plying a craft we all enjoy.

What plans do you and Rich have for the future? Rich mentioned a thing or two in passing but what is the whole picture?
Well, I have been offered a role in another movie. A friend is writing the screenplay and has a part they would like me to play. When more info is available I will contact you. I am sure in the next year or so, I will piece another book together for Rich. Bloody T'is My Valentine was an enormous amount of work editing and compiling, but to see the finished product was and is extremely exciting! As mentioned in the earlier Cemetery question, I am positive there will be many more adventures amongst the marble happening in the future. Rich has several collaborations happening. He will be writing to two pieces of artwork by Mark Kokopelli Watkins, who appears in both of Rich's books. Rich and Alex Kautz still have a book they are collaborating on and I am quite sure much more shall come from their minds before the year ends. One more art/poetry collaboration will be between Rich and our friend Jay Stoddart. Jay does movie makeup and is an amazingly talented artist. During the weekend Rich also talked to Robert Frankenberg (engineer of Rich's Whisper on the Wind audio book) and it looks like music/poetry videos will be coming in conjunction with Whisper on the Wind. Finally, well most likely not, Rich hopes to have a poem become the basis for a script for a short movie, hopefully with Edward X. Young having a strong involvement!

Rich Orth's Facebook profile
LoraLee Orth's Facebook profile

-Dave Wolff

Sunday, January 17, 2016

CD Review: BARABBAS False Flag

BARABBAS
False Flag
Independent
Barabbas from the Philippines have been around since 2001. The band’s lineup has been involved in the local scenes in Manila and Bicol since 1994 having played in Treachery, Bagang, Muerte and Camposanto. Their style of “full contact protest metal” crosses over stoner rock and 2000s melodic thrash. Their production job on their EP False Flag is particularly guitar heavy, boasting a great deal of crunch and reaching the sort of primal depths Sepultura achieved in their Chaos A.D./Roots era. It’s an absorbing synthesis of techniques that works surprisingly well and validates the modern approach to thrash unlike how the mainstream toned it down. For an EP with only three songs False Flag crushes, and its disposition corresponds with the clear effort the band makes to write socially conscious lyrics in with their angst-ridden verses. Granted it’s not new for bands to write about social strife and its relation to politics, but it is a welcome concept for a band from that area and I’m sure other Philippine bands are doing something similar with their views on society. The musicianship as it’s showcased on this EP sounds typical at first; the Black Sabbath influences in these three songs is immediately apparent; but then the tempos begin to break mid-verse and alter things drastically, almost as if new methods of variety are creating themselves. The transitions of In Celebration Of Ignorance are agreeable examples of this, and the band even launches into a jazz section in the middle of Neural Bend of the Thinking Man which is something I really hadn’t expected to hear from them. The final track Matapos Ang Dilim hearkens to the early 90s when Pantera made their transition from playing glam to playing heavier music. This song takes yet another unexpected turn into pure doom, complete with heaviness and atmosphere. To display that much diversity over the course of three songs is no small feat for a band; for this Barabbas deserve props. -Dave Wolff

Track list:
1. In Celebration Of Ignorance
2. Neural Bend Of The Thinking Man
3. Matapos Ang Dilim

Friday, January 15, 2016

Article: A Line In The Sand by Haniel Adhar

A Line In The Sand 
Article by Haniel Adhar

I refuse to support any band signed to a "major" label until I can get confirmation that they are protesting the new restrictions on internet radio and new licensing fees.

Until that time comes where I get direct confirmation that these bands are AGAINST this collusion by the industry to unfairly shut down competition and punish unsigned and independent bands that depend on internet radio, I have no issues with endorsing the widespread torrenting, downloading, and file sharing of any and all bands signed to major labels who seem to have forgotten where they came from. By all means folks, HAVE AT 'EM.

They are so worried about a tiny little radio station that pays for fees out of their own pockets hurting the big bad famous bands' bank account, then hit them where it hurts. DO NOT BUY ANYTHING BY ANY BAND THAT DOES NOT FULLY PROTEST THIS MASSIVE ATTACK ON INDEPENDENT ARTISTS. Because that is what it is: an attack on unsigned bands that depend on internet radio for their promotion. If these stations shut down as a result of these increased fees, who does it hurt the most? Not a fucking band that has financial backing by industry moguls and suit-n-ties, but the local and unsigned bands, who incidentally are the ones actually making the good music nowadays-not the corporate whores catering to the lowest common denominator and the dregs of human intellect.

This is a full scale attack on the biggest competition for the major label and semi-major label bands: the independent artist. We are creating better quality music, with more fervent and dedicated fans who spend more money that directly reaches the bands, and instead of these bands and these labels and these industry people creating better music to compete with the budding independent scene, they silence their competition by using legislative clout to change the playing field so only THEY and their cronies can survive and succeed, or assure that they will get a HUGE piece of the pie of the independent scene by forcing fees to go sky-high.

Where is the push back from these same people against Spotify? Artists get crap from these streaming services, unless you are Christina Aguilera or Metallica, who have millions of plays each pay cycle. But if you are an independent artist who has, say, even 10,000 plays, you are small potatoes. But think about the indie and unsigned artist who has 10,000 plays on internet radio world wide; that makes that band HUGELY successful and profitable, and that is exactly what they want to stop.

Don't think this is some legal action against small radio stations- read between the lines; this is an attack on BANDS AND MUSIC THAT CREATE COMPETITION FOR THE MAJOR MUSIC INDUSTRY THAT HAS BEEN LOSING MONEY FOR YEARS TO THE INDEPENDENT ARTIST. The radio stations are the scapegoat, the target to deflect the real attacks, and are suffering huge loses for being what really amounts to as collateral damage. They can't attack the bands themselves without a huge PR nightmare, but they can attack the things that these bands need: internet promotion via internet radio and social media, which is the primary source of internet radio promotions. So, that is what they are doing; they are using Roman war tactics to crush their competition. IF it was up to them, NO band would be allowed to be broadcast on any radio station unless they were under contract with them. Think about this for a second; if internet radio stations are being iced out due to massive fee increases and regulations, what other alternative do bands have to broadcast this stuff? Youtube, which is owned by Skynet I mean Google, iTunes, Spotify, or get signed by a label that takes care of licensing for you (while you as a band, get a big bag of dicks).

So, any band that is NOT protesting against this is the enemy. Lead, follow, or get out of the way. If you are not with us, you are against us. Don't buy their shit. Don't go to their shows. Don't be a coward scab and buy a $40 ticket to see them while they are sitting pretty and the underground suffers as a result of their implicit support or non-action. Don't be a John to their whoring.

You people are watching music die. You are watching it be completely taken over by an industry conglomerate, socializing and nationalizing music by essentially making it part of the state, controlled by regulations and corporate interests that are tied directly to government. Crypto-fascist corporate government run bullshit.

So, next time you go out to buy that CD from that band signed to such n such label, or pay for your streaming on Spotify, or buy those downloads on iTunes, or watch a monetized video on youtube by one of those famous bands, think about how they are all in on the conspiracy to destroy any of their competition from the internet radio stations, and destroy any band that refuses to play their games and be a part of their assimilation of art and music.

You can be a coward scab or you can be a person of principle. Your choice. But when things get worse and worse, you better not complain one bit, because I will personally remind you how you stood by and did NOTHING to stop this, you piece of shit.

And to the radio stations getting hit by this: If the major bands and their labels don't want you to play them, then don't. Don't get their permission. Don't go through the bureaucratic nightmare to get legal permission to play them, pay the higher fees, and to give them royalties from something you don't even make money from. Play unsigned, independent, and underground artists, exclusively. Fuck 'em all. Seriously. All that shit...we all heard it before. We all own their merch. And if they have new shit that is released, it will be up on youtube within a matter of hours, instantly creating competition for you anyway. Don't give them the time of fucking day. They don't deserve it. I don't care how much people love these bands; it is pretty clear that these bands forgot where they came from. If they are not coming out and calling bullshit, then they are part of the problem, and don't give a rat's ass about you, me, or the actual metal scene at all. If they ain't seeing direct cash from it, they don't care. So, fuck them. All of them. Don't play em, and don't pay for the rights to give them free fucking support and advertising. Show your protest and solidarity by boycotting any band that refuses to publicly push back against this. Because if these bands see a decrease in sales and revenue as a result of a grassroots protest and boycott, then the labels and corporate entities will change their tune. They only care about the almighty dollar and the accumulation of it at the cost of opportunity for other people, so hit them where the fuck it hurts the most.

If they are going to shut you down, and in turn rape the underground and indie bands of their major source of promotion, then go down swinging. Fuck these assholes....

...every last one of them.

CD Review: MAZE OF TERROR Ready To Kill

MAZE OF TERROR
Ready To Kill
Empire Records
http://www.facebook.com/mazeofterrorthrash
I’ve known of Maze Of Terror since I reviewed their Skullcrusher album for Obscure Chaos zine in 2014. A couple years later the band is still going strong in their home country Peru. Ready To Kill is out this month and its title is appropriate concerning their quest to storm underground communities everywhere. I’ve heard many samples on death metal, grindcore and goregrind albums, but not exactly like the sample introducing this one. It portrays the arrival of the age of nuclear power as an apocalyptic demon, reaching theatrical heights alongside the material. The line by Robert Oppenheimer quoting the Baghavad Gita “Now I am become death, the destroyer of worlds” have a prophetic feel as it’s immediately followed by the opening guitar progression of Rotting Force. This cut establishes the new album as having an even balance; you can clearly hear bass guitar in relation to the other instruments. The production tightens the songs to whipcord with enough of a dark quality to add natural malevolence to them. This enables each song to bludgeon your brain matter into gruel. The closest comparison I can think of is the production job on Destruction’s 1985 full length Infernal Overkill, its primitive delivery polished and stretched out to the point of unbearable intensity. There are some notable elements of Slayer in the musicianship, but not to the point of overemulating them. The vocals remind me of Mille Petrozza (Kreator) only deeper and more rasping; this fits the subject matter of There Will Be Blood, Violent Mind Of Hate, Bringer Of Torture and other songs gathered for the new album. This is a brutal, relentless, vital thrash recording I’d advise you to check out upon its release. -Dave Wolff

Track list:
1. Rotting Force
2. Lycanthropes
3. There Will Be Blood
4. Violent Mind Of Hate
5. World’s Dead Side
6. Bringer Of Torture
7. Protectors
8. Executio Bestialis
9. Blooded Past Burning Future
10. Gilles De Rais

Thursday, January 14, 2016

CD Review: BONE TOMB Tombs Of Blood

BONE TOMB
Tombs Of Blood
Goat Prayer Records
Bone Tomb is the brainchild of Dan Rochester who I was introduced to by our mutual friend Matthew Langley. Langley now does the depressive suicidal black metal project Plaintive Bearer. Bone Tomb is based in the United Kingdom and is streaming their debut demo on Goatprayer Records’ Bandcamp page, currently showcasing several full length albums including Dolven’s Navigating The Labyrith and Vacivis’ Rite Of Ascension. I have yet to hear those but Tombs Of Blood was a favorable listening experience. Initially I was reminded of Full Moon Productions bands such as Algaion. The mood and atmosphere of the first track (which is the title track) is similar to Algaion on their 1995 album Oimai Alagiou; what most reminded me of it was the abrupt manner the song begins with. It thrusts you into a chaotic black metal whirlwind with blast beats and dynamic guitars. Just as suddenly it changes to a triplet march and rages through another time change or two even before the first verse. At first I picked up on that mid nineties flavor, that purist attitude that existed as bands had free reign with their material before extreme metal began its MTV and FUSE rotation a decade later inspiring a new generation of mall goths who would have Oystein Aarseth spinning in his grave. As I listened on I realized there was even more to the potential Bone Tomb displays here. That first track is in the five minute range but it feels much more epic with all the time changes written into it. The following track Macabre is Eternal carries things even further, as it incorporates a disturbing keyboard passage into its painfully slow rhythm. The energy builds with this until the song finally explodes into a series of thrash and blast beats which are accompanied by more unorthodox guitar progressions and tempo changes. Toward the end of this song is yet another slow section with vocal choruses that reminded me of old Borknagar, Bone Tomb shines just as brightly in their inventive treatment of Celtic Frost’s Sorrows Of The Moon, Martin Ain’s Poe-esque lyrical piece from Into The Pandemonium. Strange license is taken with this cover track; this is something you’ll have to experience firsthand to appreciate it completely. -Dave Wolff

Track list:
1. Tombs of Blood
2. Macabre is Eternal
3. Sorrows of the Moon (Celtic Frost cover)


CD Review: ATRORUM Structurae

ATRORUM
Structurae
Apathia Records
Let me start by saying that I’m the kind of guy that visualizes things when I’m listening to music, so I’ll be using visions to describe what I’m hearing. I had no idea what to expect when I clicked on the link that I was provided, but I was pleasantly surprised.
The first song that I heard was Menschsein. I immediately thought of an evil circus kind of scenario. The guitar chords in the beginning set a dark vibe, and the piano made me think of carnival music. The music was put together well. This is one of the most interesting blends of sounds that I’ve heard in my life. Very refreshing. The screamed vocals sound like they came straight from hell, and the clean singing in the middle make the whole song sound epic. All in all, I love the way this song makes me feel. The ending gets super heavy for a moment, then gently lets you back down again.
The next song on the list is Große weiße Welt. This song gets straight to the point. The first thing you’ll hear is this weird electronic synth that sounds like it could have been in a Sci-Fi movie about extra-terrestrials, accompanied by some heavy guitars and vocals. The vocal harmonies are absolutely horrifying. If ever there were a soundtrack made for sacrificing humans to, this song would be on it. Pure evil.
Up next is Amapolas. It sounds sweet and innocent in the beginning like something you would hear in an old Disney movie. Honestly, the first thing that I thought of was the movie Bambi. However, those feelings didn’t last very long. I was soon picturing corpses lying all around a burning field. As if Bambi and his whole damned neighborhood had just been blown away by a napalm bomb. Halfway through the song there is this really cool jazzy section to help put those thoughts to rest. I have to say, I love the dynamics of this band. They really know how to build you up and tear you right back down again.
I wish I could tell you the name of the next song, but there isn’t a single English character in the track title. This song sounds fancy as fuck. If Queen Elizabeth were a metalhead, she’d rock this all over the castle. It’s extremely bizarre in a magical way. I don’t even know what some of the instruments are but they’re working. The end of the song reminds me of a Viking funeral or something. Interesting song to say the least.
Next we have Camouflage. This song is catchy. It almost sounds like something you would hear if you were watching a live musical. Very well written. The more I listen to it, the more I like it. It’s difficult to describe the sound. I’ve never heard anything like this in my life. This is some seriously innovative shit right here. If you’re reading this, just go listen to it and see for yourself.
The sixth song on the album is titled Verfugung. This song sounds angry, in a peaceful way. The music is almost relaxing but the vocals sound so mean. This song is proof that you can make some really heavy music without distorted guitars and blistering blast beats. It’s almost entirely acoustic.
Track 7, my personal favorite, is called Équipartition. This song makes me think of pirates. Something about the intro reminds me of the opening scene in Pirates Of The Caribbean: Dead Man’s Chest. It gets heavy after a few minutes into the song. The whole song is twelve minutes long and it’s good from start to finish. I almost lost interest at the eight minute mark, but it picked back up again before the song finished. It’s a great piece really.
The final track of the album, Regnum Caelorum, is just a bunch of noise. Literally. 1:48 of white noise and ambient sounds. Not worth checking out on its own, but a great way to finish the album if you’ve been listening from beginning to end. I listened to most of this album in the dark with headphones on, and this last song was kind of nerve wracking in that particular situation. The last fifteen seconds were suspenseful in an odd way.
Overall, this album is amazing. Highly recommended for anyone who likes to hear creative music that defies genre classification. These songs were sang in six different languages for crying out loud. English, German, French, Spanish, Latin, and Russian... Who does that? Apparently AtroruM does that and I love it. -Chase Fincher

Track list:
1. Menschsein
2. Große weiße Welt
3. Amapolas
4. Ψαλμός
5. Camouflage
6. Verfugung
7. Équipartition
8. Regnum Caelorum

Sunday, January 10, 2016

CD Review: THIRTY SILVER Sampler

THIRTY SILVER
Sampler
Independent
What an emotional vocalist we have here!! Powerful in many ways and in all directions. The first resemblance that came to mind is the band Tool. Both have the same way of singing. Musically it’s a "bit" strange. I can't say they sound like grunge because when we talk about the grunge musical movement we immediately think about Nirvana and Kurt Cobain. I have listened to all the tracks on their site, and the resemblance to the vocalist of Tool is impressive. He sings with emotion; it's not that superficial if you pay attention. They’re a powerful rock band to my ears. About the song "Dark And Sinister Man, Have At Thee!", I can't resist comparing it to a great actor who scared me many times with his silver balls set in the Phantasm series, Angus Scrimm (I would like to write this despite that he passed away: Angus make us Scrimm in his movies). I'm pretty sure the song is related to him in a certain way. I have a favorite title called "Familiar". I could listen to it all day long. -Abyss Forgottentomb

Track list:
1. GOAT
2. Dark and Sinister Man, Have at Thee!

CD Review: WILT Moving Monoliths

WILT
Moving Monoliths
Bindrune Recordings
The beginning of the first track "Illusion Of Hope" reminds me of My Dying Bride so I was expecting an instrumental, but listening to the whole song, it sounds really metal (power metal maybe? I don't want to label any metal bands). Played slowly this way it is really doomy. Something dead and doomed on the surface, like those moving monoliths (the title of the album). Stones are supposed to be "lifeless" but inside there are microorganisms evolving before your eyes but you can't see them. You can't even hear that hidden life breath. This is just sort of a metaphor. Moving monoliths are symbolic, changing slowly. But more seriously, the cover artwork reminds me of the two giants of stone from the movie "The Lord of the Rings" and also in "Jason and the Argonauts". All is symbolic: The Elder is "the older"; the earth is one of the oldest stone in the universe. So it means it holds the quintessence of life and its secrets. Stones hold life inside of themselves, but... sometimes, life sleeps too long, so you can't see anything grow, like a sterile soil (Illusion Of Hope). A sterile landscape of stone is about Solitude. No one around, no expected life. But there's a micro life somehow. Imagining that monoliths could move by themselves is the way to explain that doom is not only about death and things rotting slowly, but it's all about the cycle of Life. Once again, it reminds me of the autumn and winter (the real ones) I know so well, and technically they are jamming quite like My Dying Bride. The four tracks are a pure lonely moment with oneself, remembering what Life is. Remember that stones are holding the origin of our planet; they have a micro biological memory. The cover artwork is certainly about the nature back on tracks to make you remember to save our environment. In a way. One thing is sure: this album has blown my head off. It's gonna be difficult to pick up the pieces to recombine it, haha. -Abyss Forgottentomb

Track list:
1. Illusion of Hope
2. Moving Monoliths
3. The Elder
4. Solitude

Saturday, January 9, 2016

CD Review: KIRLIAN CAMERA Christmas Message From Elsewhere

KIRLIAN CAMERA
Christmas Message From Elsewhere
Independent
http://soundcloud.com/kirliancamera/christmas-message-from-elsewhere-dec-2015
Kirlian Camera - an unusual name that does more than compliment the unusual nature of the music. I'd like to tell you the lyrics are just as wonderful, but most bands forget how equally important those lyrics are to the listener. Lyrics and musical composition and talent all play off of each other to bring about the brilliance of a band worth the listen. It adds depth - take note, all musicians. "Finally we can announce 4 new Kirlian Camera CDs arrived. KIRLIAN CAMERA CD The Three Shadows KIRLIAN CAMERA CD Todesengel KIRLIAN CAMERA CD It Doesn’t Matter, Now KIRLIAN CAMERA/ANDROMEDA COMPLEX CD Split" - as you can see, there was much to listen to and process for a fair review. The band is distinctly Italian - in your face and proud, capable of producing a reaction and keeping you coming back for more. Their work seems to have taken on a life of its own, and a pace that makes it difficult to follow. Each of their albums is worthy and superb. I would personally recommend closing your eyes, hitting play and going from there. It is all amazingly intense. For more information on the founding members and contributing artists, please visit http://www.kirliancamera.com. -Teresa Clayton

Track list
1.    Christmas Message From Elsewhere

CD Review: PERIHELION Zeng

PERIHELION
Zeng
Perihelion is a German band with a twist - Zeng is powerful in delivery without the bombardment of vocals. This is a band that I could use as background to write my novellas. Don't mistake my comment as there being no vocals - there are - it is just that the music is often lost under the vocals and in this band's music - the sounds of the instrumentals and techno additions take center stage with the vocals, for the most part, filling in the background. The arrangements are played out with strong indications of genius. The vocals are in German, but it does nothing to lessen that genius. Well worth the opportunity to review them. -Teresa Clayton

Track list:
1. Tündöklés
2. Vég se hozza el
3. Felemészt a tér
4. Végtelen kék
5. Égrengető
6. Űzött
7. Hajad szél
8. Széthulló színek

Book Review: MYSTIC VERSES (Revised second edition)

MYSTIC VERSES
Poems by M Teresa Clayton
Revised second edition

The first verse published in this collection, entitled Alive, sets the tone for the others to follow by establishing the idea that salvation of the soul begins on earth rather than false promises of heaven from self-professed, self-serving “prophets” (we all know there are plenty of them). The second thing that struck me was its blend of mysticism and humanism, a motif running concurrently through this tome. You receive impressions of nature’s dual role as benign and merciless, as if it is transformed into a living, breathing entity. You receive images of those who were killed in the name of religion, tainting snow with innocent blood and returning from beyond to seek vengeance. M Teresa Clayton’s verse is incisive and grows progressively darker, filling your mind with images of lost souls and forgotten songs from ages past; she somewhat reminds me of Tom Warrior’s (Celtic Frost) lyrics, only the landscapes she illustrates are much vaster. She credits her writings as being inspired by what she refers to as “intradminensional beings” that communicate with her while presenting her with information about us as individuals and us as a species. She calls these beings “the Otheres” and dedicates her book exclusively to them. In Mystic Verses we’re reminded that many landscapes exist in the imagination, regardless how much we close our eyes to them. I would say those inner landscapes, for all their darkness, are far preferable to the reality the general public is expected to accept. We are invited into the endless, boundless realm of Clayton’s “forgotten knowing”, to explore it freely and without reservation, so we might recognize something within and come away a little more enlightened than we were beforehand. With all the verses gathered for your consumption, you have too many opportunities for exploration to not be drawn in. Complementing them are photos taken by Debbie Dixon of Dragon Wolf Productions presenting some visuals to accompany her writing. -Dave Wolff

Thursday, January 7, 2016

CD Review: DIVINE SORROW Tales Of Descension

DIVINE SORROW
Tales Of Descension
Independent
http://www.divinesorrow.com
http://www.facebook.com/divinesorrowband
There aren't many bands that I can stay with that shows consistency in their sound, their lyrics and their collective musical focus. DIVINE SORROW is one of those bands. DS is an Indie band out of St Louis; a city rich with unrecognized talent.
The city of St Louis has given us many amazingly talented artists, writers and musicians, but, Divine Sorrow is quickly overtaking the pack with both their debut CD - Tales of Descension gave us an unbelievable introduction to the individual talents of Lee Skyles on drums, Mike Sikorski and Michael Di Pew on guitars ties up nicely with the bass, vocals and incredible lyrics written by leader Bryan Chappell.
Their second CD has surpassed the first. With simple logic, they are a bit more experienced with the recording process and Bryan Chappell is writing with a swift pen and extracting his inspirations from every possible angle.
The title of their second CD is SEVEN DEADLY... and the music is addictive. A change has been made Di Pew has been replaced by the impeccable guitarist, Paul Shaffrin.
I spoke to Bryan earlier this week, only to discover that they are now in the studio recording their third CD!
Divine Sorrow has their own sound. However, if I were to offer up one band that they may have some similarities with, it would be TOOL.
I suppose now would be just as good a time as any to mention that Divine Sorrow was the recipient of THE PEOPLE'S CHOICE AWARD held every year by the Riverfront Times, an avant-garde and savvy arts magazine here in the Lou.
One of my personal favorites, each member untouched by the fame and notoriety that comes with being THE band to beat, four men who are are just happy to play for your entertainment and are just as happy to get out in the world and play like the big boys they still are inside.
It is my pleasure to review this band, I've come to truly appreciate each of them individually and respect them jointly. It is my honor to introduce them to you. -Teresa Clayton

Track list:
1.    Ascension
2.    Eden (Odium)
3.    Everything
4.    Throne
5.    Creeping/Shadows and Sorrow
6.    Judas
7.    Asunder
8.    Mary

CD Review: PAGANFIRE The Executor Is Back

PAGANFIRE
The Executor Is Back
Independent
http://paganfire13.proboards.com
paganfire13@yahoo.com
The Executor Is Back is a new two-track single from Paganfire, the latest in a long line of demos, promo cassettes, full lengths, live albums, EPs, promotional videos and split releases going back to 2004. I’ve commented before how the band never strayed from their approach to extreme music since their formation, nor has their determination to bring their furious brand of death-thrash to the rest of the world wavered, whether releasing material independently or through obscure labels and distro companies. In 2016 we’re getting another example of the underground spirit channeled through their blazing guitars, frenetic percussion and abrasive vocals. I would say the six-minute piece recorded for this single takes me farther back to the mid-nineties. While there’s just one original song to go by, hearing “The Executor Is Back” is like discovering death metal on compilations like Satan's Revenge Part II and makes me want to visit a mom and pop record store to see what new releases just arrived. This song reaches almost six minutes in length and contains more guitar progressions than you might expect from bands like this, heading closer to epic territory while bombarding you with time changes and little room to catch breath between them. So relentless is this track that by the time it ends you are convinced beyond any shred of doubt that the executor has returned to stay. The second track is a cover of Gehennah’s “Hellstorm” from their 1996 album King Of The Sidewalk (yet another 90s favorite of mine). It’s about twenty years old, but Paganfire breathe new life into it as if it had just been written and composed recently. I’m already looking forward to the next full length from them. -Dave Wolff

Track list:
1.    The Executor Is Back
2.    Hellstorm (Gehennah cover)

Tuesday, January 5, 2016

CD Review: ERDH Sideremesis

ERDH
Sideremesis
Apathia Records
Being able to see music in color and texture makes it difficult to give fair and objective reviews. However, on this occasion, I would be remiss to avoid it. This band is this important. Their album "Sideremesis" is electronic, as they describe it. I would not. I would say that this album in a compilation of intricate and intellectually delivered music that both entertains as well as calls you to stop what you are doing and pay attention. It is captivating. Let us begin with Nicolas Pingnelain who is credited with all instrumentals. I have no desire to know if this is computer generated or if the man is playing each instrument one at a time and creating such an intense mosaic of audio enchantment by any other means but willing it to be.
Emmanuel Lévy (Wormfood) is credited with Vocals & Lyrics. Here is where I am pulled under in a maelstrom of vocal hypnotics that will not release you until it is finished with you; leaving the listener quite confused by his low registers and the frequency that it provides. It may take a while to regain some of your presence in the now after hearing him. He seems to speak and sing at the same time. The method you choose to hear it is your choice.
I did request lyrics to the songs. I am an author and poet, words are living entities to me and the words would have given me a complete study of their profoundly odd, yet extraordinarily magical gift.
Five stars for this one! I will be purchasing the album. I also hope to have the lyrics sent to me so I may offer more commentary on their ethereal mix of instrumentals with vocals. -Teresa Clayton

Track list:
1. Sideremesis
2. Backup1011
3. E-Creed
4. Pink Circuit Firmware 2.0.15 - Mlada Fronta Remix


Monday, January 4, 2016

Musician Interview: JERICO DE ANGELO

Interview with JERICO DE ANGELO

What has been going on with your recording career since the last time I interviewed you?
I have been working on two totally different albums, remastering these 23 year old songs for "Tame The Wind" which is adult contemporary/pop rock with a mystical edge to it. As well as another CD in the making of original modern baroque compositions for virtual orchestra ensembles fused with new age. I have not decided on a title for that one yet, but I think my listeners are going to be very surprised when they hear it… probably as surprised as they will be with my divergence from Dark EDM and Goth, with "Tame The Wind". It's a style and vocal caliber they've never heard out of me.

How well has the HEBE Experiment been doing since we discussed it in our previous interview? Has it gotten as much of a response on Youtube since it was posted there?
I did not promote the HEBE Experiment like I would a CD or a music video release. I wanted people to find it by word of mouth and by the grace of the intelligence that weaves the fate of the world. This is how I always found the books, or tools I needed at any given time on my spiritual quests... I was just drawn to what I needed at the time.
So far thousands of people around the world are participating in the HEBE experiment with mind blowing results. My own body has become more receptive to my thoughts in ways, only those who practice the meditations would understand.
I have also released another 10 minutes segment of the 39 minute meditation video (the duration of a video made of occult symbology is not by accident), free to people via YouTube. I'm just asking people who feel so inclined and who are gaining benefit from this work, to help support its continuation by donating to OsiriStar.
Again, only if someone is so compelled. I’m making this work available to whoever is called by these meditations.

How many donations have you gotten so far from people who checked out HEBE Experiment on Youtube?
There is a long way to go to cover the hours of production, studio time, research and administration of the project. However, the meditation is for everyone who wants to participate, regardless. That’s why I’m releasing it for free in segments on YouTube. The meditation started as a personal visual and symbolic subliminal affirmation audio production for me to transform my life... my body, my health, my youth, my prosperity, my love etc., but I decided after practicing it myself and seeing and experiencing changes in my life, I wanted to share the mediation with whoever wanted to use it as their spiritual tool. If you notice on the Youtube HEBE videos, I don’t allow advertisements, unlike my music videos that I do monetize. I don’t want us all to have to be subconsciously bombarded with advertisements as we meditate. I want the HEBE video and audio meditation to be pure, for anyone who is using it.

Since discovering the HEBE video on Youtube I have found many subliminal videos of varying subject matter. How would you say yours stands out from the rest?
There are wonderful affirmation videos out there that do wonders for your life. They are very helpful in personal transformation, but my meditation videos are the only ones that I know of that have actual documented psychological and occult meanings behind visual symbols, consciously used in a certain order to communicate and re-program the subconscious mind in order to manifest a new life experience reality. This is based on years of study, research, and practice by me. Some of my research is based on the work of professor Joseph Campbell and his work with symbols in myth and art, and the writings of Carl Jung. My work is also based on a lifetime study of other scholarly research, and publications of occult sciences and metaphysics, not to mention my own successful personal life practices and magic rituals from around the world.
The audio subliminal messages weaved into my music composition ‘SBLMNL MPCT’, played as the score to the visuals, are being looped simultaneously over and over on 61 tracks for 39 minutes. If each message is repeated every 5-10 seconds on every track, that means you are being bombarded subconsciously with the messages no less than 23,000  to 47,580 times (and probably more because of the tracks with shorter affirmations). They are not mixed so low that they are not consciously audible, just consciously discernible. When the music is at its lowest points in volume, you can actually hear the subliminal affirmation chatter from the many tacks that are influencing you simultaneously.
Not to mention, I don’t think many, if any, affirmation videos are going to the places I am, with some affirmations so cutting edge that I instruct the body to awaken it’s dormant RNA DNA strands.... that the “extra-terrestrial part of myself is awakening now” and “I am experiencing my ageless everlasting body of perpetual renewal”. “My mind is opening and consciousness expanding to experience, at will, any and all of the dimensions that exist”... and so many more affirmations that only someone with my personal life experiences and knowledge would even think of stating.
Yes it does have your usual “I am happy”, “I am prosperous”, “I am healthy”, “I am loved”. These are wonderful time testes affirmations being used by other wonderful beings in their affirmation videos, but I also have included many of the rare and never used before affirmations like the ones I previously mentioned.

How much research into Joseph Campbell and Carl Jung did you go into in preparation for the HEBE Experiment?
Countless hours over years of studying Joseph Campbell's documented interview and his Power Of Myth series. And reading and re-reading and studying the writings of Carl Jung, starting with Man And His Symbols, which was actually recommended reading from a powerful witch that I met around 1985, at the Atwood WinterStar Pagan festival and solstice ritual in Ohio, years ago. I met her at a turning point in my life when I was experiencing a major psychic awakening and initiation from the cosmos into the mysteries of occultism and magic.

What did you get from Campbell’s interview and The Power Of Myth as inspiration for your recording?
Joseph Campbell's influence is felt throughout my songs and my visuals. It’s not really “what I took”. It is everything I was influenced by. My work is expressive, creative and experiential. It is not a form of academic masturbation. Campbell made me see that art (visual / audio) is a direct manifestation of, as well as a door to, realities our collective mind experiences... and has tapped into since the beginning. You can see this much more through my visuals, in fact. Because of his teachings of the meanings of symbols and myth, interpreted from artifacts, literature, oral traditions and rituals, I use mythological and occult symbols throughout my videos and stage shows. For instance, if you take the HEBE Experiment, the very name Hebe itself is a reference to the Greek Goddess of youth, as depicted in ancient art, her image and name evoke primordial energies of rejuvenation and youth. I use her name also for the letters that abbreviate a personal meaning to me. H.E.B.E. = Health, Eternal youth, Beauty, Everlasting Life. Her image, from ancient statues and paintings, are used in this video and are superimposed upon other symbols of immortality, magic healing power, perpetual renewal, regeneration and rejuvenation. In one of my images I have created, a pentagram and full moon are one... they become a circle around the deity’s face as interpreted by artists from ages past... and then the circle that surrounds her image becomes a variation of the Ouroboros, which is also an RNA DNA consciousness trigger as such. I could go on and on and on. However, it’s more important to understand that the deeper meanings of all of the symbology I use, are pulled from a more profound place where they can’t be expressed in words. This is the place beyond words, the place of the collective unconscious where symbols and archetypes live. Of course, the last reference is what I’ve understood more clearly from the teachings of Carl Jung. In other words, I would still be an artists and using symbols, knowingly or unknowingly, even if I never heard of Campbell or Jung! They, however, gave me a more clear understanding of my process and a way to articulate it more precise.

Why did you choose Carl Jung as opposed to other philosophers for research? How did those dual elements of Campbell and Jung create something unique for you and HEBE Experiment?
I have been influenced by others as well. I mention Carl Jung, because his theories about our minds, the collective unconscious and the significance of symbols and archetypal energies resonates with my own personal experiences. They also explain perfectly why, as Joseph Campbell demonstrates so well, that artists of cultures from various times and locales isolated from each other, share common symbols and themes in their art. Also, many mythologies also contain very strikingly similar story lines and deities.

Are there other publications from by Campbell and Jung you would recommend to the readers? Who else in addition to Jung have you been influenced by?
You could read it all and, if you are like me, you will never get enough of these two men. I'm influenced by too many to mention.... authors, artists, poets, directors, musicians, and even people you have never heard of but have come into my life at the exact point in time and space that I needed them to grow. I do want to specifically mention two artists, though, that have profoundly influenced what I do and how I create. One is the avant-garde director and playwright Rezah Abdoh. I had the incredible fortune of having known him and worked with him as an actor among other things back in the 1980s. His pure genius, and the way he created, taught me to release my creative force in a liberation to plunder the senses of the world, if that's what the creative energy flowing through me wanted to do! Don't worry about what people think. They can take it.... and if not... then my art is for them even more. A documentary was made about him in 2015, by the film maker Adam Soch Williams, and is still making the film festival rounds. It’s called  Reza Abdoh - Theatre Visionary. I went to see it at a private screening hosted by Adam and the film's other producer Anita Durst (http://www.chashama.org/about/contact) at the Anthology Film Archives in New York City, I was surprised to actually see clips of me in the documentary of experimental videos of Rezah, that I performed in back in the late 1980s. The second is also a man of visual art, another filmmaker / director. I only met him briefly at an exhibit of his art many years ago, but his moving images burned a fire in my soul from the moment I was introduced to his creations. His name is Kenneth Anger… And of course songwriting and music wise, I am especially thankful to have known the work of Jim Morrison, Kate Bush, Roger Waters of Pink Floyd.... and so many more!

How many projects did you work on with Rezah Abdoh in the 80s, and how would you describe his documentary Theatre Visionary?
The documentary is an amazing work about his life and his artistic process, with interviews from actors and those who worked with him and knew him well. The documentary maker is my lifelong friend Adam Soch who I also have worked with and is a true visionary artists and genius in his own right. Rezah was taken from us by AIDS in the mid 1990s, after a brave fight with his illness. His theatrical works and process of writing and directing are now part of the theatrical and dramatic curriculums of Universities across the world! Including NYU. I was one of the lucky and rare beings who had an opportunity to actually know him in the late 1980s and early 1990s. He was a friend and I worked for him as an actor in a series of experimental videos he did in the late 1980s and early 1990s; one being called as I recall “Sleeping With The Devil” (http://youtu.be/81P60FrJjEI). I also assisted Adam and Rezah, on and off the camera, in the videos that were shown on a large screen in the back of Rezah’s critically acclaimed avant-garde theatrical play series “ The Bogeyman Trilogy” , originally debuting at the prestigious Los Angeles Theater Center. I was also his assistant artistic director for his one and only feature film “The Blind Owl”

I have heard a lot about Kenneth Anger but haven’t seen much of his work. Which of his films would you personally recommend?
I would recommend any of his works!  My personal favorite is Lucifer Rising.

Describe what most spoke to you about Lucifer Rising and why you consider it a favorite of yours.
You mean besides the beautiful nude actors, blood covered resurrection themes, images of ancient Egypt, magic wizards and satanic rituals as well as U.F.O. flying saucers above  ancient Egyptian pyramids and temples... uh.... let me think. hahahah.

What most speaks to you about the writings of Jim Morrison, Kate Bush and Roger Waters? Specific examples?
All these songwriters are different. From Jim Morrison, it was his longing to get people to realize that we are all living here for the moment, and to really appreciate this moment we could choose to dare to expand our minds, and live life testing the boundaries. “Riders on The Storm” is one of my personal favorites, but I love them all! He did, well all three of these writers did (and do), write in words so masterful that you are transported to their inner place, but yet feel the lyrics personally as they apply to you.
Kate Bush’s lyrics are highly personal, and her music is true art, her melodies, the way she uses chords and her voice.... it’s borderline Music Theater but still remains rock. Running Up That Hill, Withering Heights, Cloud Busting… it’s all so brilliant. She is like a goddess to me as a songwriter. Her songs as well as Jim Morrison’s, and Pink Floyd’s are among the few who I can say have really been the soundtrack of my life. Roger water’s was actually one of Kate’s mentors, I have heard, Comfortably Numb is an all-time masterpiece. Perhaps I relate to these writers because all three write poetically, not like much of the vulgar and mindless things I hear on the radio today. Hahah, They also had experimented with mind expanding, consciousness altering drugs, and it shows in their lyrics. Perhaps I can identify with them more because of that.

We talked about some events you were involved in around the NYC area. Are those still active in the city or have you gotten involved in some new events?
I am still planning on throwing events, although my time has been consumed with “Tame The Wind” coming out next month, and co-writing a title song for a new documentary in the works. It’s about the New York rock scene of the 1990s and is being made by Michael T. Darryl Hell and Wolfgang Buch.

Is this documentary you mentioned strictly covering the NYC scene or are other areas in New York being covered? From your own experience, would you say the coverage is true to life and unbiased?
It is a rockumentary strictly coving the history of the New York City rock scene of the 1990s and how the scene evolved and influenced music world wide, this includes rock, punk, new wave and the gothic scene. The documentary is not finished, and I have not seen any part of it yet. I was commissioned by the award winning director, Wolfgang Busch, to co-write the theme song to it. I was asked because of my unique contribution to the 1990s New York City Art Rock and Goth/vampire music scenes.

In our last interview we covered your working relationship with Goddess Rosemary of Temple Sahjaza. Are you still involved in any collaborations with her?
Goddess and I are constantly talking about ideas, as well as other “Undead A-Go-Go” events in other cities. Goddess Rosemary is my sister. We are kindred spirits and have walked the same paths in so many ways. It’s amazing how we’ve arrived at very similar places in our understanding of our magic and enlightenment.

How many Undead A Go Go events have been held in the past couple of years? What are some of the new ideas you have been discussing with Goddess Rosemary? How much of a buzz has Undead A Go Go generated on Facebook since the birth of the event?
There has been only one so far, in New York City in the fall of 2014, and the concept took on a life of its own and kept going. There is a buzz still happening about it to this day and all kinds of beings interacting on the Undead A-Go-Go Facebook page even now. facebook.com/undeadagogo. Goddess and I are discussing other cities as well as other countries. That’s all I want to give out until it happens again... and you will be one of the first that we announce it to, you and Autoeroticasphyxium Zine members and readers. People are still viewing and liking and participating in daily posts. I’m being asked often by people I see out at other events, “...when is your next one?” ”the world needs ‘Undead A-Go-Go’, but I haven’t set a date or place yet.

Why did you decide to make a departure from Dark EDM and Goth with the new projects you are working on? Is this the first time you have done so or have there been other departures?
I deviate from what certain audiences know me for all the time... but whatever the musical style, you will always recognize the magic I put into it. It’s a thread of my soul in the music or lyrics and production that I weave unintentionally, through everything I create. I won’t be put into a box just so a mass herd mentality audience gets me. Understand, I’m an artist with many different musical influences and what I express at the time when I write and record a song is a combination of what flows through me...  where my creative energy is coming from at that moment, and who I was collaborating with. Michael O’Hara, co-wrote these songs with me, and produced these recordings some 26 years ago; also, the songwriter philanthropist Denise Rich, co-wrote the bulk of songs with me and Michael. Between them they have 8 Grammy nominations, number one songs on the America’s Billboard charts, and about 20 top 10 hits. They have written for and/or produced R&B and pop legends such as Anita Baker, Patti LaBelle, Donna Summer, Cee Cee Peniston, Celine Dion, Aretha Franklin, Hannah Montana (Miley Cyrus), and many more of recording legends. Gregg Parratto, who co-wrote the title song (Tame The Wind) with me and Michael, has a music theater background. So when you combine the forces of us all in this CD, mixing their talents and styles with mine, you get something unique. “Tame The Wind” is that kind of album.

What made you decide to resurrect the songs on Tame The Wind after more than two decades?
They were part of a body of demos for songs I co-wrote and recorded from 1990 - 1993, so actually the first song on the album, “Tame The Wind” is 26 years old! It’s amazing to think about that. They were never meant to be released commercially. They were part of a package that was being created by myself, Denise Rich and Michael O’Hara, to be shopped to record labels to be picked up for a record deal for me as a recording artist. You see, I was signed to their production company as an artist in and signed a production deal. However, their company disbanded just as I was finishing my project, so the songs sat on a shelf for all these years.  There was nothing I could do, until now. Now 26 years later, I found myself in a new position, thanks to the new cyber world infrastructure making it possible for recording artists to release their records themselves. I went to Michael asking for his blessing to release the demos on my own small indie label, and he was more than happy to give me permission. We both thought it was   cruel and such a waste for such beautiful love songs to never be heard... so here they are out in January 2016. Now you can hear selections from three years of my life’s work of from 23 to 26 years ago.

Why did the production company of Denise Rich and Michael O’Hara disband? Did you remain in touch with them after that?
Their company disbanded because of inner political struggles.... it’s a long and sorted story I’ll save for my auto-biography if the right author ever comes along who wants to ghost write it with me. I did keep in touch with them throughout the sorted years, and also kept tabs on them. In fact, Michael recently signed a contract with my company OsiriStar, giving me permission to shop our songs that we wrote together and collect money for sync licensing in TV. Films and Commercials.
There was a point in my life, shortly after their company broke up that I found myself homeless in the middle of winter, walking through the streets of the East Village with my big duffle bag, cold and dazed. I passed a news stand with Denise on the front covers of New York Times and Daily News, with the headline “She Pleads The Fifth”. I had to laugh because of the irony of it all. Here I was homeless, and there she was, a billionaire’s philanthropist, being called before congress to explain the large donations she made to Bill Clinton for the building of The William J. Clinton Library and museum in Arkansas. It was all because of a White House scandal she found herself in the middle of involving a presidential pardon given to her ex-husband Mark Rich by President Bill Clinton. She had always been a big democratic donor, though. I laughed because it was a reminder of how fast my life had changed. Just a few months before, I was living in a luxury AAA apartment on the Upper East Side at York and Riverside Drive. It was a black glass tower at One East River Place. I was riding only in private cars and limos, working and hanging out with the rich and famous, dining with millionaires, billionaires and royalty, and now... I was just trying to stay warm and find a safe place to sleep for the night.

How much time did you spend homeless before you began your new endeavors? Would you describe this period in your autobiography?
I was only homeless this time, for about three months. There were other times in my life that I experienced this, once when I was living in LA back in the late 1980s. I actually slept on a park bench at the Griffith Observatory very close to the Hollywood sign. I hung around the hills and cliffs near the sign and just beneath the letters on the famous landmark. You see, when you are homeless the stars are your roof, and the earth is your unbound home. Perhaps these experiences led me to where I am now, and the why and how I have evolved my prosperity consciousness over the years. I have dreams of helping the homeless someday, by creating a bed and breakfast chain across the world. I say someday, because much capitol and planning is needed for such an endeavor. It is a goal I have set for myself. Of course I want all of it in my Autobiography. The good and the bad. I think the entire truth of what I experienced is the reason I would even consider having my story told. To take out parts just because they were seemingly sometimes painful, sorted, sleazy or dysfunctional would not serve any good. Haha, if I were Snow White, I think I know the names of at least four of my seven dwarves. The rest would be magical, musical, and resilient.

In what ways did living in Los Angeles contrast New York? How much homelessness did you see there around that time?
LA and New York were very different for me. New York is hyper energy, in your face, fast paced and like our weather that can change on a dime, very unpredictable. L.A. is mostly dry and sunny all year round, except for a short rainy season. Without real seasons, years blend into years. It’s a much slower pace. More reserved, than in your face. The energy is just so much more laid back. There was quite a bit of homelessness when I was there in the late 1980s. I remember there were many homeless runaways and street kids, but at least we did not have to deal with ten degree nights like we do in New York in the winter. I’m not saying it is easy there by any stretch. To be homeless is very challenging for your body and mind, no matter where you are at. I love both places, New York City and Los Angeles, but tend to gravitate more toward hot, humid and stormy places. Like parts of Peru in South America that I go to every year to study magic and meditate among ancient ruins and energy spots.

When was the last time you visited Peru? What are you usually studying over there? Describe the ancient ruins you’ve seen there.
Peru is another world. It is my second home. I can only touch upon what I do there, because there is so much. I have been going there every year for the last eight years. I believed some of the clues to the mysteries of our history, and my own spiritual awakening, are in this part of the world, and there is a tangible physical pulse I feel there. You see, unlike the United States, magic is very much woven into the very fabric of their culture. Even the most conservative Catholic there lives with a deep knowing of the magic in their life. Myth is still real down there. Legends live as if they are happening even now... and they are! Ayahuasca rituals are still performed with Shamans in Peru. I study and perform magic rites with the local people. I have meditated among the ancient Inca ruins of Machu Picchu... performed spell work and meditations among the Nazca lines that ancient alien theorists believe are ancient runways. I pray to the spirits of the three major volcanoes towering above Arequipa, and have walked along the ancient pumice carved city streets and buildings as if I had time traveled to the past. I have laid hands on the people of a remote area, psychically diagnosing their conditions for eight hours straight, and taking their aliments into me before psychically discharging the unwanted energies into mother earth. I still do my healing work when I go there. People wait for me, and when I start, word travels fast and people start flocking to me. I feel it’s my service to the cosmos to heal everyone who asks. NEVER for money of course! Above all, I pay homage to the deity Pachamama. If you look at the beginning of my music video “Ghost Dance” you will see me among some of the Nazca lines, and I also used other footage from Peru in this video, as well. https://youtu.be/zEcEos1X4aU

How much feedback has your video for Ghost Dance received since its release?
It has had an incredible response. I think it’s up to over 20,000 views, which is great for a music video instrumental of tribal / progressive house dance music, especially from an indie artist. It’s one of my personal favorites. It has dancing skeletons, original Native American Ghost Dance footage from the 1890s, nuclear explosions, and footage of me in Peru among the Nazca lines! If anyone hasn’t seen it yet, you are missing out!

What was the nature of the contract you signed with Michael worked out for OsiriStar? When was OsiriStar formed?
The company “OsiriStar Entertainment” was officially formed in 2010, but I am still launching child companies from it. Companies like OsiriStar Records, OsiriStar Productions, etc. The contract I did with Michael was a simple agreement giving me the power to shop our songs and recording masters, negotiate on his behalf with any music supervisors or persons I was shopping our songs to. In today’s fast paces world, people, like music supervisors of films and TV, are more receptive when they don't have to go separately to each writer to make a sync license contract work for them. They are very busy people and you have more of chance having your music placed in a movie or T.V. shows if they can take care of everything with one person. That's why it was important that I had the right to do so on Michael’s share of the recording.

How recently did you start putting together a record label and production company from OsiriStar? How soon do you expect them to be up and running?
OsiriStar is my creative vehicle. Songwriting, recording, producing, making videos and films, and any other creative endeavor I pursue. It is me. It is my business entity that I create through, and earn money through. It was legally formed in 2010 and will be running as long as I am.

How have those songs been reworked from the first time they were written and compose in the early 90s?
These are the original recordings Michael produced and I sang on. The sounds were not updated or anything like that. I love the magic the decades old originals captured. I was given what was left of recording that were saved to DAT tapes and transferred to CD. The original two inch studio tape masters were lost somewhere through the decades. I mastered and even remastered the recordings, as best I could with what I had. Tape can degrade over the years because of environmental factors. Tape expands and contacts among other things. So when I mastered the original mixes from the DAT to CD versions, I had to work with little pops, hisses and white noise. Probably only my trained ears would hear this because of the thousands of times I have listened to the recordings. Not to mention the fact that the songs were recorded as demos and never meant to be the final commercial releases. Some things on them were allowed to slide through that never would have been allowed if I was being released on SONY Records for instance. I did not do much to the originals though, because I did not want to lose their charm. I did however, compress them to hell to give them a sound that is today’s radio standard, I hope it was the right decision to make. I also fought against other trends. I did not want to give in to the loudness wars that are being waged in the music industry today. I kept the overall sound at the lower DBs used for records in times past, and preserved the dynamics... the peaks and valleys of the songs.

How does your material from that time differ from that of artists who are involved in the loudness wars you mentioned?
I started recording in the 1970s. I have seen the recording arts and technology change in ways I could not have even imagined would be possible. The records of decades past were mastered at lower overall volumes. This meant they needed less compression and the dynamics of a song (the softer and louder parts) could have more peaks and valleys to them (more feeling). Gradually producers began to compress the songs more and more so that they could get a louder and louder volume. Consumers began to associate "louder” with “better", and so every record is now competing with the next to be louder than the rest. This equates, in reality, to losing the peaks and valleys, because more compression is needed to keep this really loud record from distorting when played at the loudest levels of whatever monitors you hear it through. Lately the music industry has been re-evaluating this and is coming to the conclusion that the way producers use to approach this, makes for a better quality record.

I read Anton LaVey make a similar point to the one you’re making, in that less compression and less volume makes for more nuances. How do you feel that style of recording is making a comeback?
It will be making a comeback. Producers around the world are coming to the conclusion that their records just sound richer that way. It may take a while, but I’m sure the industry will come to its senses. The only thing that will stop it, is if sales go down because consumers are so use to hyper-compressed, louder music. Even the overall DBs of older Metallica albums are softer than most albums today... and that’s fucking Metallica!!! When Taylor Swift albums are louder, overall, than Metallica, something is really fucking wrong!

Why do you think so many record companies are competing to make their records louder than others? What sort of an effect is this having on fans these days?
Studies have been done, and it seems that people who are played records at different volumes equate the louder record with being better. It’s just about money. The modern consumers just are more inclined to buy your record if it’s louder than the next, because in their mind that equates to a better record. That’s not necessarily the case, of course. Better does not mean louder. It just means.... duh.... LOUDER! Hahaha. I tried to keep the integrity of my new album “Tame The Wind” and have faith that the dynamics and feeling will trump any other record’s loudness.

How many examples are there of subtle nuances existing on your current full length?
The nuances on my new CD are all throughout. I put my heart and soul into these songs and as I sang them on the mic in the recording studio, I had to stop and start again several times, because the experiences that I was drawing from on each one was too emotional. Everyone will have to hear the songs for themselves.

What new projects, album and video wise, do you have in mind for the future?
I have so much in mind that I have to constantly prioritize myself so things actually get finished. Like I said before, I am also working on a Modern Baroque Album I composed for virtual orchestra ensembles. I also have several more albums in mind. I want to continue the HEBE experiment with a second full length video “HEBE Meditation #2” and so much more! I have to concentrate on promoting my songs being streamed on Spotify. On Wednesday, January 6th, at 6:00 PM I’m premiering my new music video “Gabrielle” which is the first single from my new CD. Don’t miss that! I will also be celebrating my new CD release “Tame The Wind” by meeting people and signing CDs and posters at the Iron Garden event, Hosted by Madame X , at QXTs night club in Newark, New Jersey, February 26th.

Jerico De Angelo

-Dave Wolff