Thursday, June 22, 2017

Video Review: LION’S SHARE Another Desire

Another Desire
Mixed By: Lars Chriss
Mastered by: Mike Lind
Video made by: Paolo Vallegra
The new video by Lion’s Share titled Another Desire has got one hell of a guitar opening! This is the first release since their Dark Hours album back in 2009! Leaving the melodic sound behind, Lion’s Share has adopted the sound and feel of Ronnie James Dio, who they toured with in 2000. It is chalk full of heavy rock.
The video shows a man with a gun and a hand that rises in defense as if to ward off the attack. It is quite clear, at least to me, that they lyrics and the video are telling a story. Depending on your perception of the story it could be about the rage and desire of ending a life or it could even represent the senseless lives lost due to the use of fire arms. Either way- you will not be disappointed!
The lyrics appear in the video and you can find them listed below the video.
The Swedish band really packs a rocking punch with their more than seasoned voices and sound. Boys and girls, they are not your average band!
I give this a 5 out of 5 skull rating! This is a MUST have MUST see and MUST listen to! -Roberta Jean Downing

Video Review: CORRODED Carry Me My Bones

Carry Me My Bones
From their current full length Defcon Zero (Despotz Records)
I like the slow mellow start and how it picks up fast and hard with amazing chords. The lyrics and imagery seem, to me, to tell the story of the burdens of a soldier so far from his home and family brought on by a war that is not his. Corroded is made up of Jens Westin-vocals; guitar, Tomas Andersson-guitar; backing vocals, Bjarne Elvsgard-bass, and Per Solang-drums. They releases their debut album Eleven Shades of Black in 2009. Defcon Zero is their first album in five years. Corroded is a hard rock band from Sweden. -Deanna Revis

Wednesday, June 21, 2017

Tattoo Artist Interview: JONATHAN ZUCHOWSKI

Interview with tattoo artist JONATHAN ZUCHOWSKI

How long has your Facebook community page The Fantasy Art of Jonathan “The Animal” Zuchowski been active? It lists your interests as art, tattooing, storytelling, painting. psychology. theology, chess, astrology, horror stories, horror movies and acting.
It was actually started by an admirer of my work. A young lady by the name of Litio Broie from Madrid, Spain, back in June of 2010. Litio was nice enough to put the site together for me. I have no idea how Facebook works half the time. And the other half, I'm reposting for animals, or trying to piss people off. And yep, all that stuff listed is what I'm into. Oh and I probably forgot to include: working out and playing racquetball. Hey, I'm a Virgo. I like to keep stimulated. 

What kind of fantasy art do you design? Is there a specific subject or time period you are basing your work on?
Really it varies. I just call it "Fantasy Art" but it includes sci-fi, horror, religious mythology, and social parodies. There is no particular ANYTHING. The stuff I paint is the shit that goes on in my head. If I analyze it, it usually turns out to be issues I've had through life. As for time periods- yes everything happens at some point in time. When I paint, I am trying to capture an entire story in one frozen moment of time. That's why I put a ton of details into everything. Keep in mind I picked up the brush after a ten year hiatus. I had come out of two heart surgeries. And was in a state of suicidal depression (this is pretty common with heart patients). I found an old canvas and some paints one day, and started painting. Eight hours later I still hadn't finished the painting and was exhausted from all the focusing. I then realized that the whole time I was directing my attention to my painting, I had forgotten how much my life sucked! So for the next ten years, every painting I did was one more time I didn't commit suicide. I also noticed that for whatever reason I was no longer painting in the impressionistic style but I was working more detailed and was attempting "realism" So basically I was trying to paint fantasy "realistically."

How do you define social parody, and how do you express it through your artwork?
I am making fun of society and its values. In various pieces I often use my characters to make commentary on our world... In "Christmas Eve" I am using the ghost of a forgotten child looking forlornly at the world of the living, who are in celebration. His tombstone says he will always be remembered. But in actuality he is forgotten. In "Christmas Eve Somewhere Else" the ghosts of a homeless girl and her dead infant are still begging, while a lone passerby is too busy to even care or even notice her. The frozen, dead bodies of her and her child are only a few feet away. In "Fallen Angel, The Condemned" a parody of the Pieta is the focus. A badly beaten angel, cradling the dead body of another angel are the focus. Three figures of the church (who resemble the Three Stooges) are standing by as one beats her with a cross while holding her on a leash. In the background another angel has had its wings cut off, and is being tortured while being chained to a cross. Obviously a commentary on religion. These are just a few examples. So interpret them as you will. Everybody sees something different in the same painting.

I have often covered how people use professed religious belief as a weapon. And those pieces you described seem to be a reflection of such people. How much has this mindset been gaining popularity, from what you read in the news?
I would say that mindset isn't GAINING popularity. It's been in force since humans developed the concept of divine beings! There has always been a charlatan out there willing to make empty promises. And there have always been people dumb enough to believe them. If you follow history, there have been periods where various religions called the shots in their neck of the world. Religion and politics are the SAME thing- just another means to control the simple-minded, and weak-willed. What's the difference between a priest and a politician? NOTHING! They both make empty promises to gain your trust. Then when they know they have it, they fuck you over, and make you believe you're being rewarded! They work around the idea of keeping people OUT. And pretending that by joining their particular group, that you are doing the right thing.

Have you been involved in local pagan communities where you live for a long time? Describe the path you have chosen.
I really don't get too involved in any specific organized pagan groups. I love the freedom of coming and going at will. There are a few pagan groups out here in Utah, but while I'm friends with some of the people in them. And respect their views. I usually don't try to belong to any particular group. As Groucho Marx once said, "I refuse to join any club that would have me as its member." As for my path? Well let’s just say I'm nihilistic in my approach. If something does not work out for me, I get rid of it, and replace it with something that I think works better. I tend to use the ideas set about by the master of horror, himself- H.P. Lovecraft. The idea of beings able to travel between the multiverse and all dimensions appeals to me. They say we create gods that reflect our personal values. For me, those are entities who have no concern over anyone else's agenda, and are not affected by the laws of physics around them. I love tormenting missionaries, and bible thumpers with extremely detailed attributes of supernatural beings who have already eaten their (for the most part - the Christian god).divine saviors. I play "my dog is bigger." They claim that their god is all powerful, then I come up with an even bigger god who has EATEN their god. And no matter how much they deny it or refuse to accept it, I tell them there is nothing they can do about it. I'll make up a bunch of "facts" to suit the situation to the point where their heads are spinning. For me it’s a psychological game. I love fucking with people. As the Addams Family motto states," We would gladly feast on those who would subdue us." Everyone, and everything has a weakness. And I just try to figure it out and have fun at their expense. I love playing mind games.

Are those games meant to be a deterrent to people who would judge and forcibly convert you?
Most definitely! I love when people think they have all the "answers"- especially when it's about something you can't prove. I know I won't change their minds. But I also know they won't be back!

Which of Lovecraft’s novels have you read several times for their impact? What about the multiverse appeals to you?
My all-time favorites are "The Dunwich Horror", "The Shadow Over Innsmouth" and "The Mountains Of Madness". I'm particularly fond of "The Dunwich Horror". As a child of six, the movie scared me sooo much, I almost died of a heart attack! It wasn't actually the movie itself that scared me. The movie is an "okay" horror film. But the nightmares that it conjured up when I slept are what almost did me in! I think THAT’S the turning point that got me started on Lovecraft. Sadly, I've never been able to reduplicate that level of nightmare intensity again. "Shadow over Innsmouth" - A really cool "coming of age story. With the main character learning that the monsters he was trying to escape from are really his "family. And “The Mountains of Madness" Is a fun story about ancient civilizations hidden away in unexplored areas of the world. Shoggoths are just such fun creatures! They’re basically highly intelligent "blobs". As for the "multiverse" theory... I love the whole idea of alternate possibilities and variations on a theme. Each universe somewhat resembling the next, but with enough variations, that of you go out far enough from your point of origin, you have something totally wild and insane! I also love the idea of moments in time being forever trapped in their moment. Replaying themselves constantly over and over. Much like the "past" that Scrooge visits in "A Christmas Carol" - "These are but shadows of the things that have been,' said the Ghost. `They have no consciousness of us.' Couple that with Yog-SoThoth, an inter-dimensional entity that exists in every moment of every universe of every dimension. Past, present, and future - That's just fun to think about!

What have you read about the Lovecraftian influence in the Necronomicon?
Lovecraft wrote OF a book called the Necronomicon. It never really existed, except when some guy named Simon decided to come up with his own version back in the 70's. H. R. Giger also came up with a wonderfully illustrated book he called "The Necronomicon." And occasionally you'll find someone having put together a version of it. All entertainment. Nothing to take seriously. Unless you're dealing with someone who DOES take it seriously. In which case you might have a psychopath on your hands trying to appease the dark gods in his imagination. I find that human imagination can cause more problems than the powers of nature. I also find it amusing that the rarest book in the entire world, winds up in almost every horror story these days! And somehow, even though it would have been written in ancient Aramaic, people are able to READ IT!

Why do you think there are so many people who believe there is an actual Necronomicon other than the book written by Simon?
People want something to believe in if they're not willing to believe in themselves. Sometimes they want to rebel so much against an established idea (like Christianity or Islam or Judaism) that they will want to believe in an alternate idea. People create gods and religions to suit their own values. Sometimes they claim to have visions, or hear a voice tell them what to do. I usually refer to that as schizophrenic hallucinations. You go out into a desert and fast for 40 days - your brain is gonna start firing off, and you're gonna see, and hear some weird shit! Most people believe in their respective religions because someone told them to. And through conditioning, were trained not to question it. Lots of people are afraid to think for themselves. They don't want the responsibility. And feel threatened if others are not willing to think the same way. With believing in the Necronomicon, I feel these individuals, because they lack control of their own lives, are desiring to be in control of elements out of their reach. Think about this... Do you really want to open up a gateway to a being that regards you as less than an annoying insect?

Anton LaVey stated people create their gods, and should recognize themselves as such.
Civilizations create gods based on the values of that particular culture. You value poetry - you create a god of poetry. You accept death- you create a god of death. You like pizza - you create a god of pizza. You want to see yourself as a "god" - well guess what? In your own private world, YOU ARE! You do everything for your own survival and enjoyment. Your whole world is based on you. You interact with others based on how they make you feel. You have children because you either think it's a good idea… or you don't know how to have sex. (if you DID know how to have sex, you wouldn't have any accidental children!) And when it comes to "established gods" you'll notice that people always tell you what their god expects by citing their own values. That's why "Republican Jesus" doesn't want the poor to get food stamps, or medical help. As for my own personal belief (by the way, I am an ordained atheist minister) I talk about "Selfism." You can't help someone else, unless you can help yourself first. For example... You're in a hospital bed with all your limbs broken, and you're in traction. Your jaws are wired shut because that's broken too (you had a really bad day). You look out the window and see a kid about to step out into traffic, and get hit by a truck. You can't do anything to help the kid, because you can't even help yourself. And by the time a nurse comes to see what's going on with you, the kid is a smear 1/16" high by 200 yards long. So all you can do is focus on your healing. But if you were in normal health, and you saw a kid about to walk out into traffic, you could yell to him to "stop" or pull him back. Thereby helping someone else, because you are in the position to do something about it. And as an atheist minister, I preach that you should take responsibility for your own actions.

Stephen King wrote some Lovecraftian fiction including a short story called Crouch End. Are you familiar with this piece? There are also Lovecraftian elements in novels of his including Needful Things.
I haven't read "Couch End" or "Needful Things." But now that you've mentioned them I'll check them out. I am familiar with "The Mist" and "The Raft". I know King was greatly influenced by Lovecraft. But I'm not too big a fan of King's. It's not that I hate him, or dislike his work. I'm just not a fan.

What other writers do you know of who were influenced to some extent by Lovecraft?
Well of course there is August Derleth, Robert E. Howard, Mike Mignola (of "Hellboy" fame), Fritz Leiber, Brian Lumly, And Harold Ramis of "Ghostbusters" fame to name a few.

In what publications have the authors you cited drawn influence from Lovecraft? How much of his influence is there?
Well in Hellboy comics, C'Thulhu and alternate dimensions get referred to quite often throughout the series. If you're looking for specific books - Robert E. Howard's work can be found in "Cthulhu The Mythos and Kindred Horrors". August Derleth's work in "The Trail of Cthulhu" Fritz Leiber can be found in "The Disciples of Cthulhu". Along with a few other writers. And I'd say judging by the titles alone- These stories are extensions and interpretations of Lovecraft's mythos! There are TONS of horror writers out there who are jumping on the "Cthulhu" bandwagon! Even an episode of South Park featured Cthulhu! I'm willing to bet ol' H.P.L. never even realized the stir he was going to make with his stories!

How much of your work did Litio Broie place on your community page? Does she regularly moderate it or is it open to anyone?
Litio has put EVERYTHING on line that I gave her to. And since then I've been doing all the posting. So if it wasn't for her, I wouldn't have even tried to post anything on a separate Facebook site. She also does not "moderate" it. It's there, I post. Occasionally people leave comments. That's about the size of it. If anyone wants to hate my work. That's fine. I don't give a shit I paint for ME. Other people just happen to like some of it. I guess it's because they are relating to it in some way, shape, or form. 

What are the advantages and disadvantages for an artist promoting his work on social media?
Well first of all I find social media GREAT for promoting yourself. Years ago I had someone approach me about putting my own site up on the internet. They put together a nice website- cool graphics and all. And they charged me 160 bucks to do it. Do you know how many hits I got on that thing? ZERO! NOTHING! ZIP! ZILCH! When you do something like build a website, and you're a complete unknown, you're basically putting a microscopic piece of plankton out in the world wide web ocean, and hoping someone else sees it. Also I had no control over adding anything, or posting comments on my own work. So when he asked me if I wanted to renew with him, I told the guy don't bother. The advantages of social media are that people are going to be logging onto it almost every day. You're going to have a lot of control over what you post. And it's FREE! And because it's a "social" media, people are going to be getting "friendship" and "like my site" requests all the time. Very minimal effort to promote. Especially if you're like me, and not too obsessed with people seeing your work.

Being that social media has helped you promote online more than websites, how many other networks do you have accounts with? How often are you keeping up with them?
I don't have any other networks that I'm affiliated with. I've had a few offers, but they want me to pay to promote my work. And since I'm perfectly comfortable with how things are, I see no reason to.

Did your interest in art lead to an interest in tattooing? Describe your first job as a professional tattoo artist.
It actually did! For years I had people approaching me about doing some of my paintings as tattoos on them. And because I didn't have the skills to tattoo back then, the person would buy one of my prints for five dollars. And then some tattoo artist would make a couple hundred off of my stuff. What finally happened to get me started in tattooing was I had just been let go from AOL because our site was closing down, and I wasn't about to transfer to the new call-center company that was taking over (I had worked for them prior to AOL, and was well aware of how poorly they treated their employees So no way in hell was I going to work for THEM again!). A friend of mine told me about another friend who owned a tattoo parlor. He set it up for me to come in for an interview. I went in, the guy saw my work, and said "There is absolutely no reason we shouldn't apprentice you!” So with that I started my long journey into the world of tattoo. As for my first "professional" tattoo, it was a simple script style lettering job on the guy's forearm. Before that, I was doing "apprentice work", stuff like simple butterflies, roses, skulls, and lettering.

How long were you tattooing with designs advertised on tattoo shop walls before you started using your own artwork?
I was fortunate to apprentice in a shop that encouraged us to be creative with our pieces. Yes, we will have customers come in with an idea of something they've seen on the internet. And we will adapt it for them. But other than that, we have no "flash" posters on our walls. So basically it was baptism by fire. I was taught to use my creativity right off the bat. We draw and design the piece right in front of you. Everyone at our shop is an artist. You have to be able to think on your feet.

Do you still work at the tattoo shop where you were an apprentice? How much did designing tattoos on the spot help you develop as an artist?
I've stayed with the shop where I was apprenticed. We are ALL artists there. Each one of us has different strengths and opinions. I love the fact that we will pick each other apart when we see something that doesn't seem right. Our shop boss, Dave, is probably the biggest dick you could ever meet. But he would sooner screw himself over first, before fucking anyone else over. He challenges me all the time. He nitpicks on the things I paint and draw. This forces me to work harder at what I do. You don't improve if you are not challenged. I've seen guys who left our shop years ago to become independent artists. Their work is still at the same level as when the left. Am I great? I hope not!! If I become great, it's time to hang up my brushes and machines. I won't be able to grow and improve. No one EVER achieves perfection. We strive for it! And it eludes our grasp every day. And tomorrow, we wake up and try again. And by designing tattoos on the spot, it forces us to think faster. What am I going to do to make that tattoo of a skull stick out from every other tattoo of a skull I've ever done? In our shop you have to have a thick skin. We've had plenty of apprentices who quit because they couldn't handle their work being torn apart. You either improve or get the fuck out. Have my paintings improved from this? I like to think so! I definitely feel more proud of the pieces I'm producing now, when I compare them to work I did a few years ago. But I know I can always take them to that next level!

Would you consider it a feasible idea to have your own tattoo parlor at some point?
I actually was part owner of the shop for four years. It was a pain in the ass. Having to keep after everything and everyone. I don't want to do that level of responsibility again. I just like going in. Getting a chance at being creative. Closing up and going home.

What were your experiences as the co-owner of a tattoo shop like? Was it in the same area where you practice now?
As a co-owner, I was always balancing the budget. Making sure bills got paid on time. Making sure the guys were paying into the shop. Keeping the shop clean. Making sure we always had enough water, towels, toilet paper, and cleaning supplies calling up clients if their artist wasn't going to be available for them. Having to be aware of everyone in the shop at the same time while I was trying to concentrate on my own work. Tons of little things that all added up to longer hours, with no extra pay. And not only was it in the same area. But it was the same shop (laughs)! I've been with Frankie’s Tattoo Parlor for ten and a half years now. And the shop is eleven years old this November. Seeing as our retirement plan is, "don't plan on retiring", I plan on staying til I die.

Do you promote Frankie’s Tattoo Parlor by spreading fliers or spreading word on the internet?
We promote Frankie's Tattoo by word of mouth. We are the best kept secret of Clearfield, Utah. People come to us because their friends and family come to us. I'm tattooing the grown up kids of some of my original customers. We also post on Facebook. Look for Frankie's Tattoo. We occasionally run specials. Each artist is an independent contractor. So if one guy is running a special, it doesn't apply to the other guys. And we all keep our prices in the same range. So there is no "bidding" about which artist will do it for less.

How many people are on the staff at Frankie’s with you? What are some designs you have inked on your customers lately?
We have six artists and one part-time piercer. Most of the stuff we do is "meat and potatoes" kinda stuff. Things like small roses, names, small kanji symbols. Stuff that we can knock out fairly quickly. Occasionally we'll do a bigger piece. Last week I did a stomach tattoo of Fenris' head with Tyr's arm in his mouth. Took three hours, and the guy says he felt like he did a thousand crunches. I've done a few zombie heads, and various sleeves. Like I always say, "The bigger tattoos get you recognition. The smaller tattoos pay the bills."

What is the strangest request for a tattoo you have gotten from one of your customers? Were you able to design what he had in mind?
I don't consider anything to be "strange." But sometimes customers really don't know what they want. You can tell by how they change their minds every two minutes. In one case, a guy changed his mind I think over fifty times in a space of two hours. I told him to just go home and think about what he really wanted. And when he was ready to come back, we'd (anyone of our guys working in the shop) take care of him. He insisted he had to have a tattoo that night! I told him that if he changed his mind one more time I was going to beat him senseless. He immediately stopped changing his mind and settled on a tattoo... Another instance was where a guy came into the shop and wanted an extremely detailed very large piece of spirals, counter spirals, the universe, a sunrise and a tribal tie in that "looked real, but not too real." on his arm. He then proceeded to tell me he was leaving to go back home that night (I think it was Georgia), and needed EVERYTHING done that night within a space of about four hours. He also wanted to know if I could do it all for $100 dollars. I informed him it might take that long just to get the piece designed, that with the size of it, and detail, we might be looking at least two or three sessions of about two hours each. And I certainly wasn't going to cheat myself by working all those hours for just a $100. He got flustered, the settled on a very nice significantly smaller tribal piece for $100. Another time I had a guy come in and show me a very detailed half sleeve. He wanted me to do his other arm in a half sleeve as well, with an equal amount of detail. I looked over the job, and gave him an estimate of about $400 to $600 (depending how long it would take. He then informed me that his half sleeve only cost him $60. I told him that he should go back to his artist who did his original sleeve, if he was looking for that type of deal. He then informed me that he couldn't, because the other artist was still in prison (which is where he had gotten his half sleeve done). Needless to say he didn't have enough money to get any work done, and left. We’re always very friendly and helpful at our shop. But when someone comes in and tells us they can get a better deal somewhere else, we tell them to go ahead. About 75% of the time they come back. 

How often are you creating new designs to offer prospective customers?
Almost every tattoo we do (even the simple ones) we try to be creative, and take to the "next level." Any tattooist can write a person's name or a row of roman numerals. The trick is figuring out what to do to make it more interesting. And since we don't use any "flash" almost every piece is a new creation.

How do you think you’ll be remembered for your work long after your career?
Seeing as my career will end when I'm dead. I guess you mean long after I'm gone.... I'm pretty sure they will say, "he was a painter who also tattooed." Both my tattooing, and my painting skills have increased significantly over the years at "Frankie's." My boss, Dave, is ALWAYS pushing us, and forcing us to rethink what we're doing. Yes, he can be a total dick when he does that. But the end result is something much better than what we started with. As for my paintings, people are going to probably say what they tell me now. "That it takes forever to see everything that's going on in his work." And that it's loaded with details. Some have told me I'm painting "scenes from movies that haven't been made yet." Or that I'm painting what's in THEIR souls. So I guess that's what they'll probably say too. I'll hope to be remembered as that guy who painted what he wanted, and didn't give a fuck about what the public wanted to see. I'm pretty sure that in a hundred years after my death, when all that's left are the paintings. That people will come up with their own stories if they ever study my work. But then again, all my work might get destroyed after I'm gone. And there will be no records of me, and what I had done. So nothing will have mattered anyway!

-Dave Wolff

Tuesday, June 20, 2017


To be released June 30, 2017
X-Gate is the upcoming EP from this Italian progressive metal band, following their 2016 CD Message From Eternity. For a three song release it shows depth, merging the technical complexity of Fates Warning, the surreal atmosphere of Dream Theater, the emotion of Evanescence, the mystery of Queensryche and the theatrical cleverness of Rush. Granted these are ballsy comparisons for musicians that have only been recording for four years, but this sounds like the sort of band that emerges unexpectedly onto the scene generating waves from seemingly out of nowhere. Metalmessage PR says Virtual Symmetry is partly influenced by contemporary music and pop; as far as my own perception this may apply to Marco Pastorino’s vocals but anything contemporary or poppy ends there. The formula here is pure cutting edge experimentation not meant for fans of formulaic pop-punk or verse-chorus-verse pop metal. Virtual Symmetry take the visionary achievements of prodigies like those I refer to and reshuffle them into something that sounds distinct and untested all over again. The dramatic direction these tracks head in call attention to the expectant tension you experience seeing a band perform for the first time, running like a feature film or an ongoing miniseries in which you become intimately familiar with the lead characters. The epic length goes a long way to driving this point home as much as the multiple sections of these songs. There is a substantial sci fi theme connecting them, making science fiction genres of the past and present accessible to the contemporary prog metal fan base. The full scope by which this is depicted on record is breathtaking and should be ventured into at least once. Check out the exchange between Pastorino and guest vocalist Diane Lee in the final track. -Dave Wolff

Track list:
1. Eyes of Salvation
2. Alchymera
3. Elevate

Demo Review: MAOU MINDU Grind Against Humanity

This is my first review for Autoeroticasphyxium zine and I get the pleasure of reviewing ''GRIND AGAINST HUMANITY'' by MAOU MINDU. This demo consists of four blistering death-grind tracks, each one just as brutal as the last. The first two tracks VIRAL MANTRA and TORTURE AND OTHER UNPLEASANT EXPERIENCES are your standard length death-grind tracks, and the second two, PIRATES OF THE PANCREAS and SKULLFUCKING THE TREPANNED are quite a bit shorter and heavier on the grind end of things.
I tried to choose a favorite recording on this release, but I honestly could not choose one. I enjoy all of these tracks equally. Grindcore and deathmetal are both fused within my blood, so death-grind is not a far stretch for me. I highly suggest that fans of both death and grind check out this piece of necrotic revelry.
This demo is short, so I suggest that you take the time out of your day to give this bad-boy a listen. You won't regret it, I promise! -Devin Joseph Meaney

Track list:
1. Viral Mantra 04:23
2. Torture and Other Unpleasant Experiences 05:30
3. Pirates of the Pancreas 01:17
4. Skullfucking the Trepanned 02:28

Monday, June 19, 2017

Video Review: BLOODCLOT Kali

From their 2017 full length Up In Arms
Order the album at Metal Blade Records
Kali is the second promotional video promoting Bloodclot’s current CD Up In Arms. The first video of the title track was reviewed here last December. In that review I stated how relevant eighties hardcore remains today. Now as then, “the ruling class destroys the planet and kills millions for profit” according to vocalist John Joseph (Cro Mags. Both Worlds). “The formula for our response is simple. Don’t just bitch. Change it.” In another video Joseph cites Henry Rollins as saying hardcore was special because the bands were accessible to the fans and not above them. I remember going to CBGB, L’Amour and Right Track Inn and seeing bands and fans on equal footing. The prevailing mood was down to earth and antistar. This gives you an understanding of the “fuck you” position of the scene regarding rock star attitudes. Anyway, the one to two minute bursts of energy and conviction in Joseph’s vocals reflect that classic attitude. His energy and diction easily matches the Cro Mags’ Age Of Quarrel which people still listen to as if it came out last month. Todd Youth, a guitarist you’ll remember from Warzone, Murphy’s Law and later Danzig, reportedly wanted to record Up In Arms for a long time. He had composed songs and Joseph had lyrics written in notebooks. Recording a demo in the early fall of 2015, their collaboration led to the album’s release which they feel is a positive development meant to happen. With bassist Nick Olveri and drummer Joey Castillo (Queens of the Stone Age), Bloodclot generates songs that developed naturally and unforced, the results of four like-minded band members with the same social issues and the same goals at heart. Produced by Zeuss (Hatebreed, Revocation) in Los Angeles, the CD and new video reflects their combined vision, and Metal Blade is raving on how well the material is executed. One listen to the controlled energy of Kali is more than enough to make you want to hear more, especially if you like classic Cro Mags, Bad Brains, Minor Threat, Agnostic Front, D.R.I. and SS Decontrol. Bloodclot will be touring in July and August to support Up In Arms with Negative Approach; tour information is at their page at Metal Blade. -Dave Wolff

Saturday, June 17, 2017

Video Review: "Vocal Fry" vs "Fry Scream" vs "Singing & Yelling w/Grit or Rasp"

"Vocal Fry" vs "Fry Scream" vs "Singing & Yelling w/Grit or Rasp": WHAT'S THE DIFFERENCE?
While I was on Youtube seeking tutorial videos for death metal and extreme metal vocals, I found a profile with the most comprehensive and academic instructional clips yet. The profile’s owner is Mary Zimmer an experienced vocalist and vocal teacher who has been posting tutorial videos for about a year and generated positive feedback from prospective vocalists in underground metal. To instruct vocalists in this discipline is relatively new, with a handful of bands (Hungry Lights), singers (Andrew Patterson) and instructors (VokillCoversMelissa Cross) demonstrating how the techniques works on Youtube. According to her channel, Zimmer clearly has a grasp of her branch of knowledge, and with enough promotion their demonstrations will annul the threadbare phrase that the vocal styles of death, black and power metal are screaming into a microphone without talent. A few minutes spent watching Zimmer’s videos are enough to effectively disprove this and show the training needed to master low pitched D/M vocals and high pitched B/M vocals. Two requirements she stresses as important are physical strength and coordination, as well as training your throat to achieve your desired sounds. Zimmer states as a disclaimer in another video her methods are safe and healthy, but should not overlook the advice of a medical professional, so a certain sense of responsibility and patience is likewise needed. Excessive strain and tension are signs that you should consult a professional rather than continue. As the title of the video states, Zimmer explains the differences between singing with grit and singing with rasp, emphasizing the importance of throat training and likening her methods to those used by blues, pop, rock and soul singers. My description is just scratching the surface and you’ll find much more information in her forty-plus videos. Highly recommended for vocalists who seriously want to learn about these vocal styles, and I would also recommend the other channels I cited above. -Dave Wolff

Friday, June 16, 2017

CD Review: SPECTRA*paris Retromachine Betty

Not too long ago I reviewed the first promotional video of Retromachine Betty, raving about how well SPECTRA*paris recaptured the synth pop/wave of the early eighties and the quasi-futuristic birth of music television. It was a short-lived direction for MTV as it lasted for two or three years, but memorable for being pioneering. Whether it was worthwhile depends on personal taste; one band deemed it worth remembering when they got the idea to base a full length on that era. When people hear the term electropop they usually think of bands like Depeche Mode, according to the Bandcamp bio for this recording. The musical route taken here was always less traveled, the bio goes on to say. Presented with a chance to witness SPECTRA*paris reinventing themselves, I’m pleased to join Elena Alice Fossi’s atypical journey into the past and consider the possible futures that could have grown from it. For as long as I’ve been listening to SPECTRA*paris and Fossi’s other band Kirlian Camera I haven’t heard anything quite like this. It’s like entering a time machine out of Doctor Who and exploring a parallel world where music evolved far differently. The bands cited as having partly influenced this are Visage and Desireless. As I’m streaming Retromachine Betty on Bandcamp I wish the lyrics were available for reading. Fossi’s angelic vocals still make the lyrics easy to hear over the keyboards and electronics. These components feel like settings similar in atmosphere and scope to Blade Runner and Heavy Metal graphic magazines. You see these settings clearly while listening, the smoky city lights and surrounding darkness, the gritty sidewalks and seedy nightclubs you visit for the first time. In its own way it’s strangely comforting if you have an attraction to science fiction noir. In high school I read a lot of science fiction, and for recreation, not for class. This could have as much to do with my appreciation for this album as anything else. Whether the prevailing mood is melancholy or uplifting, the songs are presented with the kind of feeling you wouldn’t expect to experience. The latter songs depict mechanized settings theatrically displayed for the listener. This is a logical progression, yet it still takes you by surprise. The band’s cover of the Kinks’ You Really Got Me is worth checking out alone; I’m wondering if a video will be filmed for it. Either way Retromachine Betty is highly recommended. -Dave Wolff

Track list:
1. Star Bubbles
2. Alice (Geistersterne)
3. Ludovico Technique
4. Machinedream
5. Universal
6. Lux Industries
7. You Really Got Me
8. Metrolynx
9. E-Girl Song
10. E-Kitsch Souvenir Of Italy

CD Review: NETHERBIRD The Ghost Collector

The Ghost Collector
Black Lodge Records
This May 5, 2017 re-release is one album worth listening to and adding to any collection. The album originally released in 2008 was their first, and one that earned the band recognition. Two more albums followed. I really like this because of all of the range involved. There are multiple guitars, which I like a lot. It has a bit of a gothic sound, which on some tracks is intoxicating to my soul. For example, Forever Mournful, it is melodic, there are screams and growls, and it is just deep and emotional. Some tracks remind me of the vocal workings of Dani Filth, which I am a fan of. Netherbird calls the town of Stockholm home. They are a Swedish melodic/black/death/metal band deeply rooted in old Scandinavian metal underground. Nephente-vocals, Bizmark-guitars, Nord-guitars and vocals, Tobias Jakobsson-lead guitar, Micke Andre-bass and vocals, and Fredrik Andersson-drums. This is one I will definitely be listening to more of. -Deanna Revis

Track list:
1. Dead Grid Incantation
2. The Blackest Breed
3. Carcass Symphony
4. Adrift On The Sea Of Misery
5. Lighthouse Eternal (Laterna Magika)
6. Hidden Beneath Flesh Pest Ridden
7. The Beauty Of Bones
8. Forever Mournful
9. Adrift Towards Eternity
10. Blood Orchid
11. Ashen Nectar
12. Boulevard Black
13. Boulevard Black (Reprise)


Sins Of Mine (Mortiis remix)
Demons Are Back (Mortiis remix)
From the full length The Great Corrupter released May 9, 2017
An Omnipresence Productions 2017
Demons Are Back is more of what we have come to expect from this band from Oslo, Norway with the driving industrial and techonancing and lyrics that match including some very nice demonic screeching! Sins of Mine is not at all what we would except from this band as the song is very easy on the ears and reminds me of a song that perhaps the late David Bowie would have done back in the early 1990’s.
Mortiis has come a very long way since the early 1990’s as a bassist for Emperor. Together with front man Havard Ellefsen, Chris Kling, Ogee and Levi Gawron, they are defiantly well rounded, seasoned and oozing with sex appeal, stage presence and just that little bit of permission to let the listener feel a little out of control!
The lyrics to Demons Are Back and Sins of Mine kind of intermix talking about all those sins we commit on a daily basis, some we are and are not aware of, that we all must pay the price for daily and how we all try to make different choices to in essence to keep those demons at bay. It also addresses that at some point we all reach a point in our lives that we are faced with choices that no matter which one we choose we know there is no good outcome and in a sense we sort of become just little bit more numb to what we must do to survive.
I do have to say however though I appreciate theatrics and or the use of make up for members in a band; I was not amused to see that one of the band members was wearing a similar design to former KISS member Ace Frehley.
Over all, I would rate Sins of Mine with 3 skulls and Demons Are Back with 5 skulls. Def worth the purchase! -Roberta Jean Downing

Thursday, June 15, 2017


Fiction by Devin J. Meaney

It was drizzling and the copper creeper was hiding in the bushes outside an abandoned house. He was waiting for the sun to set, then he was going to break into the derelict building and steal all the copper from its crumbling walls. His beady eyes dilated at the sight of precious metal. The creeper wiped his nose with his sleeve, leaving his shirt badly stained with disgusting snot residue. He was hard up for money, and would do just about anything for a stray dime.
Eventually, the sun set, and the creeper made his way to the building. He pried at the wood nailed over a small basement window. He tore it from the side of the house and cast it aside. He entered the house, dangling in the air for a moment before he descended with a thud into the basement. He knocked something off a shelf as he fell, and he bent down to retrieve it. It was a leather bound book with a title that insinuated it was occult literature. The creeper had no time for make believe, so he put it back on top of the shelf and got back to work. He pulled a hammer from the depths of his hoodie and plunged it into the basement wall. It was night time now. The house was on the outskirts of town, and nobody would hear the creeper hammering into the night. He hammered and hammered until his wrists felt like they were on fire.
The creeper was smashing at the wall for about another twenty minutes or so when he heard a sound coming from upstairs. He assumed it was just a few rats or other undesirable critters, so he shrugged it off and kept working. A few moments passed, and he heard it again. It sounded like footsteps running across the hardwood floor upstairs. The creeper put down his hammer and strained his ears to hear what or who was upstairs, but the footsteps had died out. The creeper laughed, telling himself that his mind was just playing tricks on him. He picked his hammer back up and thrust it into the second basement wall. By now, he had managed to attain a large pile of copper. When he was through in the basement, he was going to move on upstairs and start harvesting copper there as well.
Just as the creeper was starting on his third wall, a deafening bang came from above him. It sounded as if a door was slammed with so much force that it almost came off its hinges. The creeper threw his hammer in fright and it smashed into the floor violently. Cowering in fear, he remained silent. Something was definitely up there. He desperately wanted to make his way back out the basement window to safety, but for some strange reason, the creeper wanted to see who or what it was that was making the racket. Calming down, he decided that it was probably teenagers. He needed to confront them, nothing or nobody was going to scare him away from his copper. He ascended the basement staircase leading to the first floor of the house, trying to be quiet so that the denizens upstairs would not hear him coming.
When he reached the door to the main portion of the house, he strained his ears to see if he could hear any movement on the other side. He opened the door, and at first glance, he could not see anyone. He checked the kitchen and the living room. He also checked the bathroom and the small part of the house leading into the front porch. Nothing. There was a spiral staircase leading upwards into the decrepit mansion. The creeper desperately wanted to leave and go back to his lovely copper, but his morbid curiosity got the better of him. He climbed the stairs, trying not to breathe heavily so as to not startle anyone or anything. After a few moments he came to the end of the staircase. The upstairs portion of the house was in bad shape, forcing the creeper to the side of the hallway so he would not fall through the floor-boards.
There were a few bedrooms and an upstairs bathroom, but nothing seemed to be there. The creeper even checked the closets, but they were as empty as his conscience. He laughed to himself once more, telling himself again that the ruckus was nothing more than a group of rodents desperately searching for stray crumbs. On his way back downstairs to his precious metal, he heard what sounded like a child sobbing. He made his way back through the upstairs hallway, realizing that there was an attic hatch leading upwards. After a few moments of mustering up his courage, he decided to make way into the attic and see what was wrong. The creeper did not like children, as he considered them to be nothing more than annoying, sniveling creatures. He cared for children in the same way that a slum lord cared for his tenants. Not at all. However, if the child was lost, there might be some kind of reward. Being a hero was never a main priority of the creeper, but his empty pockets lusted for a free meal ticket.
When the creeper opened the attic hatch, he was taken by surprise. There were three corpses on the floor, adorned in black robes. Blood, bones and feathers were scattered across the floor in grisly fashion and black candles were left unlit on a makeshift altar in the center of the room. The windows were covered, allowing no light to enter, but the room was still lit by one small lightbulb dangling from the ceiling in the left corner of the small space. The foul stench of death and decay assaulted the creeper's nostrils, forcing him to gag and wretch violently. It was pretty obvious what had happened here. He remembered the occult book he found in the basement and he put two and two together. This was some sort of seance gone wrong. He didn't care about these people, but he sure as hell did not want anyone to think that he had something to do with this. It was time for the creeper to go home. He would take his copper and leave.
Just as he was about to leave, the attic hatch shut violently and locked from the other side. The creeper tried desperately to pry at the hinges, but they would not move even an inch. Even when he attacked the hatch with his hammer, he couldn't put a dent in it. Just then, the bulb in the corner of the attic flickered out, and the creeper was left in darkness. He froze, desperately trying to comprehend what was happening. Suddenly, he could hear the child sobbing again. This confused the creeper, as he knew he was alone in the room. Or was he? He put out his arms, reaching for the unseen child. His hands found nothing but air. The sobbing grew louder and more persistent, and the hairs on the back of the creeper's neck stood up on end. This was not normal.
The crying eventually changed its tone. Instead of a child crying, the sound transformed into low-pitched gutturals, as if a pitbull or some other breed of large dog was crying over its dead owner. The crying eventually turned into a dark laughing sound, making the creeper freeze in position once more. Whatever this was, it was no child. The laughter grew louder and more maniacal, terrifying the creeper to his very core.
Suddenly, he was thrown against the nearest wall. Pinned there by an unseen terror, the creeper could not move. He could not see what was attacking him, but the creeper knew he was done for. With one swift motion, the sound of his snapping neck could be heard ominously throughout every room of the house. The creeper's lifeless body hit the attic floor with a thud, blood trickling from his mouth like a leaking faucet. The creeper would never steal copper ever again, and nobody would miss him, as he had stolen from pretty much every family in town. There would be no funeral, no service, and without a doubt, no tears. The creeper died as he lived. Alone, surrounded by darkness.

If there is anything to be learned from the creeper's descent into thievery, it is this:
Next time you break into an abandoned house, make damn sure that it isn't haunted. The living may never catch you, but the dead never sleep. If you live your life in darkness, the darkness owns your life.

Wednesday, June 14, 2017

Band Interview: WORMLIGHT

Interview with Tiamat Invictuz of WORMLIGHT

Wormlight began in 2014 as Unhallowed. After a change in lineup the following year the band changed their name and changed their lyrical content. What are the differences between your lyrics as Unhallowed and your lyrics as Wormlight?
The lyrical theme of Unhallowed was mostly centered on a general distaste towards Christianity and the lies and weakness that the word of God spreads amongst the weak willed. The lyrics were non-religious and so any mentioning of Satan is a reference to his metaphorical role as the opposer. This is where the transition begins, Unhallowed dies and Wormlight rises from the ashes. The lyrical theme transitions from a symbolic Satanism into a more refined chaos Gnosticism. A result of me taking up the role as vocalist and main writer of the band. A new mind behind the words will naturally create a significant change in the contents of the lyrics as well as the perception of them when visualized. Death and the anti-Cosmic is the foundation that my lyrics originates from, often woven into a theme other than the core itself. Like the album that is planned for release in 2017 that will focus on creatures of the old Norse mythology and folklore.

What was the religious climate in your country when Unhallowed started? Did this have any bearing on your early lyrics? How are musicians in your genre seen by society?
Since the band hails from Sweden, a land where Christianity is fading with every generation. And Protestantism being the state religion, there are no fanatic masses. The genre does not follow the norms of the general population, so naturally there are opinions against it. Mostly from the free churches.

Were your references to Satan in his metaphorical role as opposer derived from Anton LaVey’s writings? Are there other occult authors you and the band most admire?
The words of LaVey’s targets those with low self-esteem that are afraid of being judged. So instead they shroud their anxiety with the word "Satanist", a role to hide behind. It's also perfect for those who just want to justify being an asshole. And since "The Satanic Bible" contains neither Religious nor philosophical texts, and there is nothing occult within it, nothing in the lyrics of Unhallowed nor Wormlight has, or ever will be associated with it. The symbolism of Satan in the old lyrics is that of the orthodox role of Lucifer. Anti-Christianity being the main theme on the "An Ancient Enemy" EP. It's simply that, a hatred towards what God represents, thus the symbolism of Lucifer was used.

Describe the beginning of Unhallowed and how they went on to become Wormlight. How would you define Gnosticism as applied to your lyrics?
The band, Unhallowed, was formed in 2014 by King and the departed Deafeathered. Joined by Lator Mortis and Nordlyst they recorded the "An Ancient Enemy" Ep. After the release Deafeathered left the band Arktos and I joined. We recorded the "Bloodfields" Ep and Nordlyst left the band soon after. This left me in the role of vocalist and guitarist, as well as the main writer of music and the sole lyrical writer. This naturally changed the bands inner structure, as well as the general visions and musical influence of the band. These changes made it clear to us that Unhallowed was no more. Thus Wormlight rose from the ashes.
The Chaos Gnostisism, the Left-hand path and Death are some of the influences that always are present in my creative process, and has always been woven into my lyrics.
The lyrics are written for those that can see past the metaphors used, and for those that don't, the lyrics contains a story to color the music, and for example, describing a being or deity of old.

How long have the members of Unhallowed/Wormlight been in the Swedish underground? Does the band have more interest in black or death metal, or have differing tastes?
The band members involvement varies, some have been in the scene since 2003/04, but listening to black since 1996, others joined later. As for the personal preference in music, most of us prefer black metal over death. But as musicians, we are not bound to one genre. We can appreciate music as an art form that comes alive in many ways.

How was the symbolism of Lucifer used in the lyrics on Unhallowed’s "An Ancient Enemy"? What are the songs appearing on this EP? Are there still copies available?
The first track on the EP "Scourge Of The Parochial" is centered on the slaughtering of angels, which represents God and Christianity: "Worthless flesh, dying breed, sickened, bleak and lying creed." And this theme continues throughout the EP. The title track "An Ancient Enemy" is as the name suggests, Lucifer being the enemy of God. Once again a symbolic use of Lucifer, to represent the fight against the lies of God that was the lyrical theme of the EP. "An Ancient Enemy" was released digitally and has never had a physical release. The EP is available for purchase through our Bandcamp page.

Are you Wormlight’s main lyricist? How long before the band started did you have an interest in writing and playing an instrument? Did you draw on reading material to learn about Chaos Gnosticism and the left-hand path?
Yes, since I joined I've been the main lyricist, I wrote the lyrics for the "Wormlight" and "The Bloodfields" tracks when Nordlyst was still the vocalist, as well as the music. And when I began writing new material for the upcoming full length album, as I was the vocalist, it came naturally that I continued to write the lyrics.
I have always been creative, and music has been one of the outlets. Before I joined what is now Wormlight, I was, and is still, active in Sons ov Omega, a band that I and Arktos formed in 2012. And I have been writing lyrics and music long before that.
My closest brother introduced me to the dark arts and has been my guide through the treacherous roads of the occult. And he awakened my hunger for the knowledge and power hidden within. To take part of it, there is of course many hours spent reading.

Which aspects of black metal does Wormlight incorporate? How does the influence you draw from death metal and other subgenres fit with your influence in black metal?
Black metal is a complex and diverse genre, my mindset in the writing process is influenced by both black and death metal. The lyrics are very much inspired by the atmosphere and mystic that black metal has been able to personify. While I want the music to contain both the spirit of black metal, and the power and force that death metal has perfected. My own musical preference is present in the music I write, and is then coloured by my bandmates interpretation of the individual tracks. And I try to balance the atmosphere of the final product with my vocals that is darker and sharper than my predecessor.

Can all the tracks from "An Ancient Enemy" be streamed at Bandcamp or just a few? How many people have heard of the band through social media and ordered the EP online?
All the tracks of the EP "An Ancient Enemy" are available on our Bandcamp page and Youtube channel. I don't have the statistics on the EP's sales since it was released before my time in the band.

Was Sons Ov Omega the first band you wrote lyrics for, or were there other bands? How much material does Sons Ov Omega have out? Are they available physically or digitally?
Before Sons ov Omega I wrote lyrics for "Apocalyst", a band that split up in 2010. Sons ov Omega will release a debut album February 18th, 2017 through Black Lion Records, digitally and physically. This full-length album will contain eleven tracks. Its release will be kicked off with a show in Umeå, Sweden, where Wormlight will perform as well.

How much work has been completed on the debut Sons Ov Omega recording? Did the band work on this release independently or did you work with any mixers or masterers?
The album is complete and has been for some time. We singed with Black Lion late last year, resulting in a delay in the release. The album was recorded at Garageland studios by Ronnie Björnström of Enhanced Audio Productions, he engineered, mix and mastered the album. The majority of the album was recorded in the studio, then some details, such as solos and vocals, were recorded by us and added to the mix.

When did you first become interested in learning about the occult? How many books have you read on the subject that you would recommend to people who want to learn occult subjects?
I've known my brother for over a decade, so my interest in the occult started early. Reading a book on an occult subject is one thing, but understanding its content is another. And for that, you need a solid foundation of knowledge that grants you in sight of the use and place within a certain subject. "The occult" is not a subject in itself, the subject is defined by the path to knowledge that one choose. This is achieved by countless hours of research and study that cannot be measured in hours or books.

How long were you in Apocalyst before going on to join Sons Ov Omega? Is this band likewise still active today?
Apocalyst split up in 2010. After that there were some projects that didn't end in a release. Then I formed Sons ov Omega in 2012 in the lack of another band with a stable line-up.

Looking back, what do you personally consider the finest lyrics you penned for Sons Ov Omega and Apocalyst?
Given that my lyrics contain many metaphors used for myself and the enlightened, the content of the lyrics will be perceived differently by the beholder. For me the lyrics are of great importance, but the way it is given life through the vocals and how it's woven into the music and presented is of absolute importance. With that said, choosing a lyric to deem my favourite is a difficult thing to do. But I think that the lyrics role in the end result of "Pandora" the first track on Sons ov Omega's upcoming album turned out great.

How much had your lyric writing improved by the time Wormlight released their first CD?
Considerably, given the many years between when I started writing lyrics until now. The vocabulary, knowledge, inspiration evolves with the years. So naturally the lyrics change along with it. The lyrics will always be mine, whit my choice of word and way of writing, the way I visions the vocals to influence the end result of the lyrics. Depending on what the vision of the band is, the lyrics may change.

Wormlight’s Bloodfields EP was released in 2015 and re-released in 2016 with additional tracks. Why did the band decide to come out with a new version of the EP?
When we signed with Black Lion Records and were given the opportunity to re-release the EP, given the big difference in vocal style between me and my predecessor, we thought it would be fitting to give the listeners a taste of what to expect from our upcoming full-length album. My vocal style changes the atmosphere of the tracks and the way it's perceived. And to represent the true awakening of Wormlight as a band.

Discuss the additional tracks you re-released on Bloodfields in 2016, and if there were any different methods of recording.
The original recording was done in Garageland studios, also engineered by Ronnie of E.A.P. When I recorded my vocals I did it by myself and not in the studio. Then Ronnie mixed and mastered the new versions of the track to make sure it had a unitary sound with the rest of the EP. The new vocals were recorded on the original recording, so the music is the same.

What is the title of Sons Ov Omega’s debut album? How satisfied are you with the job Ronnie Björnström did on it and Wormlight’s releases?
February 18th, 2017 is the release date for "Reign", the debut album of Sons ov Omega. The recording process of a track or an album can be done in many ways, and is colored by the different equipment, hardware, software, that is used as well as the experience and preference of the engineer. But the recordings are mostly colored by the choices the band makes in sound and their performance. So for us it is an experience that will grow with every record. Seeing the result of a choice, and learning from it. We did many different mixes of the album until we got to the end result. The band was present during the mixing, which gives us the possibility to shape the sound through Ronnie. And the more we work with him the more we understand his way of working, and he understands our visions of sound.

What band has Ronnie worked with before Wormlight and Sons Ov Omega? How many mixes of the debut S.O.O. album did you and Ronnie undertake before you were all satisfied?
Ronnie has worked with a lot of bands of different genres, like Aeon, Sorcerer, 220 Volt and Volturyon to name a few. I think we did three or four mixes in total. The last one being the mix that was mastered. During the different mixes we added vocal parts that had to be implemented in the earlier mix.

How many vocal parts were added to Sons Ov Omega’s debut? In what ways did they enhance the songs?
The lyrics and the vocals were decided beforehand, so we did not add or change anything in that aspect in the studio. I can't recall exactly how many, most of the vocal tracks we added to the mix were added to enhance the original tracks, or to record it again on parts that we weren't pleased with. Anthropos added some choirs, backup for the choruses on some songs. We changed one word in the lyrics on the track Brainwave Zero.

How would you rate Garageland as a studio, regarding the equipment at the bands’ disposal? Would you recommend this studio to other bands seeking a recording location?
Garageland Studios are no more, it closed shortly after we were done recording, due to schedule demolishing of the building the studio was located in. So Ronnie and E.A.P now operates from "Ballerina Studios". I have not had any reasons to complain about the equipment that Ronnie has to offer for the band, an as for his hardware such as preamps, compressors, mixing board and whatnot, I'm not the best of judges as I have little to compare them to. But Ronnie is easy to work with and is present during the recording and offers great insights and solution to situations that might occur. Wormlight plans to record our upcoming full-length album at Ballerina studios, which gives us the possibility to try the new studio. Once again with Ronnie as engineer. So yes, I would recommend him for other bands.

What equipment are your bands currently using to practice and perform with? Was it a long process to find equipment you all felt comfortable working with?
In Sons Ov Omega we are currently using two Engl Powerballs as guitar amplifiers and 7 stringed Ibanez guitars with bareknuckle pickups. I use my ENGL in Wormlight as well, while Lator uses a Blackstar series one amp and an Ibanez XG307-BKF with Seymour Duncan Nazgul pickups. Arktos plays a 5 string Warrick custom, fretless bass. I and Anthropos use the classic, Sure Sm58's for the vocals. When I formed Sons Ov Omega I played bass-guitar. So when I switched to guitar I went straight for the 7strings, since Mors had already started to implement it in the writing process, And an ENGL Powerball, to be Able to build a solid union sound between the amps. My main guitar is now an Ibanez Rgd with Barenuckle Juggernaut pickups. The juggernauts provides great tone separation without sacrificing the power. The first 7stringed guitar I bought and the one I used to record Reign and the Bloodfields Ep was an Ibanez S7420 With Dimarzio D'activator pickups that has a deeper and rounder sound. I have always preferred Ibanez's necks so when I was trying out for a new guitar I naturally went for an Ibanez this time.
[Mors (Sons Ov Omega)]: "I bought my Engl Powerball when I was 18 with the money that was supposed to get me my drivers’ license. It was the first tube amp I ever tried I think, and I can’t see any reason to ever switch really. So the journey for my perfect amp ended even before Sons’ journey begun.
In the beginning of Sons ov Omega we played 6-string guitars, but I had always been intrigued by seven-stringed guitars. A couple of months into rehearsing/writing, I got myself my first seven-string. A LTD AW-7 and implemented it in our already written songs, such as nuclear salvation, which just made it so much better. So finding use for the extra string was never an issue.
Through the years I have tried a bunch of different 7-strings with different pickups. My favorite right now, which we recorded ‘REIGN’ with, is the Ibanez RGD 2127z equipped with Bareknuckle Juggernauts. I like this guitar the most because it has a slightly longer scale length that gives you some extra string tension which tightens up the low end a bit without sacrificing comfort, the pickups also have that really tight low end bass response and really sharp, defined mids which then goes into the high-gain mid-monster known as the Engl Powerball.
There are many different bands that influenced my/our sound. When we started playing I listened a lot to bands like Periphery, which had a sound I tried to mimic at the time. That evolved through time to become what our sound is today. More recent bands I have started listening to that have had an impact on our sound is Feared. Ola Englund really knows how to dial a tone; Furor 2013 is a perfect example of a bone smashing sound/mix."

How does the equipment you and Wormlight choose to work with help the band achieve their desired sound?
It gives us the means to try different alternatives, and pinpoint what we want to change. There are many things to experiment with when it comes to sound. The amp, pedals, pickups and so on effects the sound and can be changed in the search for the sound we look for. The coming album will be recorded on a sound we have already chosen, but things tend to change in the setup between albums.

What aspects of old Norse mythology and folklore are you drawing inspiration from while writing lyrics for the new album?
The writing of the upcoming Wormlight begun when I had just joined the band. So the lyrical theme was chosen at a time where I was unsure what I wanted the band to be and represent. So it fell on a neutral subject that is of personal interest to me. The beings of the Scandinavian folklore that I've heard or read about. The folklore, having its roots in the old Norse beliefs, although the origin has been forgotten by the masses, as they too has been adapted to fit Christianity, to make way for an easier transition. During the writing of the album the essence of Wormlight and the plans for future releases took shape.

Discuss some of the old folklore tales you are basing your lyrics on. How much research have you done on them?
As many of the tales of old has been perverted to fit Christianity, many of the old tales now centers on the "need of burial in sacred ground", a Christian cemetery. Though it is not the origin of the tales. Some of the beings I've chosen to use for the lyrics, are Vittra, Night Mare and Myling. The Vittra is an obscure and complicated being to describe a ghostly being, a race existing our world and in their own, separate by a thin veil from us. The Mare being a shape-shifting female that is to blame for all nightmares, henceforth their name. And Myling being specters of the nameless. The murdered or stillborn children, abandoned by their mother. A vengeful spirit, that longs for retribution.

Which of those old tales have been "revised" to sound more like Christian legends?
Majority, if not all of them. It was not in the culture to write down tales and folklore, they passed it on with the spoken word. The texts that we have from the era is written during the conversion, thus written with a Christian undertone.

What books would you recommend for research on the Vittra, the Mare and the Myling?
To research the folklore is a struggle, since little is written down because it wasn't a part of their Kultur to do so. The few genuine scripts we do have is influenced by Christianity. The books I've read is mostly old Swedish books from and before the beginning of 1900, as well as modern sources with different interpretations. And I have not yet found a genuine book on a specific subject, as the beings is mostly mentioned in shorter pieces of texts.

How did you manage to track down those books published in Sweden before 1900? Did you search for them on the internet or a local library? Which of those books do you want to cite?
I mostly searched the material on the internet, for sources. Most are to be found on eBay in PDF format.

What other material on the Vittra, Mare and Myling did you find on the web worth looking into?
It's easy to find modern takes on folklore, much inspired by the fantasy genre. Many of them can be found in different fantasy novels, games and movies. My goal was to find an authentic source. I succeeded on some, and not on others. But in the end, I chose how I want to portray them as I vision them, and hopefully I have managed to do just that.

How much of the new full length has been completed at the time of this writing? Are there any songs you want to mention?
Because of a technological meltdown we have to start over and record it anew, from scratch. We enter the studio to record the guitars. When the guitars are done, I'll record the vocals by myself and Arktos will lay down the bass. In the meantime King will record the drums in the studio. Some of the new material is available as live performances on YouTube.

Can you describe the quality of those live videos? How have audiences responded to them?
The live clips are mostly recorded by people in the audience, so the quality of the audio is that of the recording device they have used. But the quality has been acceptable, so we decided to upload them.

Is recording for the new album the same as before or are you approaching it differently?
We were going to try a new way of recording the guitar. But because of the unfortunate events that forces us to start record it anew, the old plans for the recording will have to wait. We’re recording the guitars and drums in the studio, the vocals and bass will be recorded by ourselves. And when all is done, we'll go back to the studio for the mixing/mastering process.

Describe the amount of experimentation you planned in preparation for the next album.
We were planning to "pre-amp" the guitars by recording them as a clean track that could later be re-recorded as a real solid track. But due to some difficulties, those recordings are now lost. So we recorded the guitars the classic way. But we tried some new studio gears. When I write the material I envision the end result in my head. So to get there I have to try things out, to find what I'm really searching for. Even if I'm not pleased, I have learned from that and try something else.

What is the new studio gear you are recording with and how is your method panning out?
I used my Ibanez Rgd 2127z and my Engl Powerball for the guitars. And we use a Two Notes Torpedo live, as a digital cab simulator. Just to try and see what we could do with it.

Would you consider using the “pre-amp” method again, even if it didn’t work out this time?
It was a time-consuming process as I become a perfectionist since you hear every single fault. But I will definitely try it in the future. But I prefer the classic way of recording guitars.

Did the band hire someone to mix and master the tracks after they are recorded? Are you working with the same people you worked with before or are you hiring new talent?
We are going to work with Ronnie from E.A.P on this record as well. He will also be our sound technician during the recording of the guitars and drums. And when the bass and vocals are done, we will go back to his studio and begin the mixing process.

Are you releasing the new album on your own or are you considering independent labels?
We have signed a deal with Black Lion Records for the upcoming album, so we will continue our cooperation. For future releases, time will tell.

Is the band planning an ad campaign for the next album, and will live shows be involved?
I'm concentrating on getting the album finished. In the meantime, we're brainstorming ideas for the PR, but we take one thing at a time. When the album is done, I can put all my attention on the next steps. We are of course planning for a live show when the time has come for the release, but no concrete dates as of now.

-Dave Wolff