Mythark has lived since 2011. So it's been 13 years now. Whoa! Time passes very fast!
What is your favorite instrument to play on?
I'm Guitarist and pianist but I really prefer to play Guitar!
What acts have you played with before if any?
I played only in some unknown local bands before Mythark.
What is the coolest experience you have had as a musician?
Going to Switzerland! We met so many beautiful people and a beautiful place in the world! A great weekend with the band members and a lot of good memories!
What inspires you to keep doing what you do?
Music is a way to help people to leave their real life. For me as an example, music helps me every day to keep focused on what is really important. I'm happy if somebody somewhere is listening to my music and helping him get better.
If you had to name some influences what would they be?
There are some of my influences:
Septic Flesh
Cradle Of Filth
Dimmu Borgir
Bishop of Hexen
Satyricon
Emperor
Peter Gundry
What is your favorite venue you been to or played in?
Le FIL at Saint Etienne in France was the best experience we had. Hope to play it again.
To sum up this interview which website can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine?
You can find our music on all streaming platforms and you can support the band with some merch on Bandcamp.
I would like to tell all the musicians who compose and play original compositions! Hang in there, keep going! Human creativity will save us from nothingness!
Interview with Aldric Kaldt of Windhelm by Daniel Ryan
How long have you been making music for?
I started music in 2013 with my first band called Kaldt Helvete. So it's been a little over 11 years now.
What is your favorite instrument to play on?
I think it's the guitar, it's the instrument I feel most comfortable with. It's the one I started with. Anyway, the guitar is probably the most important instrument when you do Black Metal.
What acts have you played with before if any?
I played with Kaldt Helvete from 2013 until 2023. It was a Black metal band, I was the founding member with a friend. We made our debuts with this band. Today it is split up.
I have Windhelm which is my personal project, I created it in 2016. At the beginning, Windhelm was supposed to be a short-lived band, it was not supposed to last over time. But the situation changed, and today it has become my main band, which shows that you can always change your mind!
There is also Grimdusk, in which I play bass and synthesizers. It is a band that I share with two friends.
I have also had other collaborations but they are more anecdotal.
If you had to layout all the bands in order you played in as a timeline what would they be?
Kaldt Helvete 2013 to 2023
Windhelm since 2016
Grimdusk since 2018
What is the coolest experience you have had as a musician?
I think the coolest thing for me is finding the riffs that are really going to bring out my emotions, when the music writes itself. It's like a state of grace where you feel really in tune with your instrument, your spirituality and your emotions. Like everything is aligned.
I love the periods of composition, that's when your soul screams its pain and anger.
What inspires you to keep doing what you do?
It's about wanting to express my most powerful emotions. Whether it's sadness, despair or hatred. For me, Black Metal has always been an outlet for the world we live in. It's a container for anger and tears. As long as you're guided by your emotions, you can play. But if you have nothing more to say, you have to step aside, it's just wanting to be honest.
If you had to name some influences what would they be?
There are many, but I would say the main bands that inspired me are Mutiilation, Burzum, Emperor, early Dimmu Borgir, Aakon Keetreh. Just to name a few. But to make it simple, it's mostly the Norwegian scene of the 90s.
What is your favorite venue you been to or played in?
I never played live, I never really found the collaborators to organize such an event. Maybe one day...
To sum up this interview which website can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine?
You can buy Windhelm's last two records on the Drakkar productions website, There is Au Crepuscule de l'existence which was released in 2022 and Chroniques d'un non-mort which will be released on November 15 on the same label. Otherwise you can order directly on the Kaldt Helvete and Windhelm bandcamps. For those who don't buy records, you can listen to my music for free on youtube of course. Thank you for this interview.
“May the Night Mother wrap you in her cold, loving embrace”
Based in England, your solo project Oakenthrone underwent a period of experimentation over three demos. Your latest demo “Embers of Reverie” has reached a balance between grim and grandiose moods. Was this search common with English black metal bands or was it more personal for you?
I would say this is much more personal to me, or at least I'm not aware of location being a factor. The way I write music, as the sole member, is in my studio. So once I have finished writing a track I have a demo. Essentially those earlier songs are me showing my working out. You can see a linear progression from the original two “Blood Moon” tracks through “Rune Lord” and “Ashen Ritual”. You can hear all these influences come together finally in “Embers of Reverie”, I hope. Those original demos are important, but for me Oakenthone really became the entity I wanted it to be once I finished writing “Embers of Reverie” and “Communion”.
Could you explain the significance of the name Oakenthrone, if any, in relation to your approach to black metal?
The name Oakenthrone isn't of huge significance. It does loosely refer to the world tree, Yggdrasil, though. Conceptually being a throne for Odin when he was hung and discovered the runes (the concept for the track "Rune Lord"). The Anglo-Saxon Āc (ᚪ) rune, referring to oak, is used quite a lot in my promotional material as well. As for its relationship to black metal, obviously “throne” is a significant suffix, but it wasn't necessarily part of the thought process.
Aside from the "throne" reference, how much study have you given to Norse and Scandinavian folklore and how has it been influential to your project so far?
Some of the Black Metal bands that have had the biggest influence on me are of the Norse mythology/Viking ilk. Windir, Enslaved, Moonsorrow etc. Scandinavian folklore is something that I have a great interest in personally, it's a mythology that is so intertwined with nature; and nature - and its preservation - is incredibly important to me. I am not religious, or spiritual but the stories and folklore do appeal to me. This will obviously find its way into some of the themes of Oakenthrone. It can be seen the most in “Rune Lord” which extracts directly from The Old Norse, Poetic Edda for its lyrics.
Did you learn about Scandinavian folklore via books and documentaries? Which of these would people get the most from?
Quite a lot of books and late night internet rabbit holes! It's hard to recommend, but the two I have to hand for inspiration are a dusty old “Book of Runes” by Ralph Blum and “Viking Poetry for Heathen Rites” by Eirik Westcoat. These aren't education books on the top. The first is purely around the meaning of runes and how they can be interpreted and the second is a collection of ritual poetry in traditional verse.
If location doesn’t have bearing on what you compose for Oakenthrone, would you say there are still no guidelines to writing black metal and extreme metal as some people might think?
Black Metal as a genre can be so expansive and diverse, I think that's one of the reasons it endures as well as it does. There will be more stringent methods of writing certain forms of it, I'm sure. For me though, Oakenthrone is much more of a creative outlet and I find that sticking to guidelines can stifle that creativity. Things only move forward and develop with innovation.
Some people still seem to think every black metal band sounds like Venom or Bathory. And seem to think the genre lacks diversity and innovation and summarily classifies its listeners as idiots. Granted there are some gatekeepers, but how much innovation do you hear?
I certainly wouldn't agree with anyone being classified as idiots for that?! And if so I will proudly be among the idiots. Venom and Bathory are great bands to sound like and there is definitely a place for people continuing in that spirit. Innovation and diversity can include tradition and people flying that flag are just as valid as those that are trying to expand the boundaries. There are gatekeepers in all walks of life and I think that shows what passion and love for this music that there is in this community. But just listen to whatever you want to listen to and create the kind of music you want to create. You will never please everyone - it is much better to be someone's shot of whiskey than everyone's cup of tea.
Having watched video reviews of classic metal albums, I’ve gained more appreciation for how much they contributed to underground music in general, rather than just being noise. Not to say I never listen to anything else, but it mostly depends on the mood I’m in.
This circles back to just how diverse a genre Black Metal is. Personally I listen to all sorts in and outside of the Black Metal genre, entirely depending on mood. Some of those influences find their way into Oakenthrone (especially the more funeral doom aspects). I think to confine yourself to just one form of music - and even more so when it comes to one particular niche from a subgenre - is to rob yourself of some fantastic potential influences. Kudos to people who know what they like and stick to it though.
I can listen to Mayhem, Nile, Loreena McKennitt and Sarah Brightman in one day, but never felt my expansion was forced. If people are really open minded they don’t have to shove it in your face. Are there any gothic inspirations in any funeral doom songs you listen to that improve the songwriting?
Yes, exactly that. I'm not sure why anyone would be shoving their music tastes into anyone’s face anyway. I don't think you should give a shit about what anyone thinks about your music tastes. Do what makes you happy. We'll all be dead soon anyway. As for the inspirations you mentioned to improve songwriting; I suppose for me personally it's about incorporating those long heavy chords and not being afraid of taking your time with a riff and letting the melodies do their work. As a guitar player, first and foremost, I think a criticism I could have of my previous writing was that natural sprint to get from one killer riff to the next. I've learned to let things breathe a little more to give a greater sense of atmosphere.
Can you recommend any specific funeral doom bands you've been listening to that have been an inspiration to you?
If you want a perfect example, I cannot think of anything finer than “Stygian” by Atramentus. It's phenomenal. I would not claim Oakenthrone to be in the same genre as them, but it is a massive influence for me.
Is there anything you would like to tell the readers about Atramentus, and why people would be interested in hearing the band if they were fans of funeral doom metal?
The atmosphere in that album is just so perfectly sinister and dark. For me personally it is what I think of when I think of Funeral Doom, but there are a lot of great bands around. I caught Bell Witch play in Manchester earlier in the year and they were brilliant.
What about Bell Witch can you relate to the readers? What aspects of the band would the readers find worth listening to?
The soundscapes they create are so massive and full of atmosphere. Seeing what they can do with just two members is really impressive. I wouldn't describe Oakenthrone as a funeral doom project. But that genre has been a huge influence on my more recent writing, and I think it is that influence that makes “Embers of Reverie” stand out from my previous demos. That's the hope anyway!
In your studio, what is the process for completing a track prior to recording it? Did you select your equipment in order to obtain specific sounds for your recordings?
The writing process and the recording process are completely intertwined for me. I sit down with some ideas, record them, develop them, then chop, change and rearrange directly on the DAW. Once I have that down, everything is rerecorded properly. As far as equipment goes, everything is selected beforehand. Most of my equipment is old, cheap or free. This is very much a home recording set up, but I manage to get some ok tones out of it.
For the sounds they produce in your studio, do you mean to say prefer older, inexpensive equipment over new and state-of-the-art equipment?
Well if I could get hold of expensive state of the art equipment I certainly wouldn't be complaining! But you can have all the gear and still no idea. I don't shy away from using digital amp modellers and IRs. The spirit of these demos is to use what I have available to me and to hopefully rely on my musicianship and engineering capabilities to make the music I want. You don't need the best gear around, especially these days, to make good sounding demos.
What are some ways in which the digital equipment you use enhances what you record with analog, while keeping your desired sound?
It's more about the practicalities of using a home studio. I can refine my sound much easier on these demos with the use of digital equipment as well, but if the opportunity presents itself in the future to go down more of an analog route then I would happily take it. Especially for the low and slow sections, there is a warmth to a purring valve amplifier that can't be replicated through digital means. That being said, for a modern DIY approach to home recording, I have no complaints going digital.
Do you have methods of making songs sound more natural when digitally recording?
Most of the tone in the guitar comes from the playing. That is a hill that I am willing to die on. If you are reliant on effects and equipment then I believe you're looking at it from the wrong angle. These should be tools to enhance your playing and not the be all and end all. The drums are MIDI triggered samples and I do go into very fine detail to manually humanize them and make sure that the velocities and timing are as natural as possible.
What is the extent to which overreliance on effects diminishes the quality of a song or album?
I wouldn't necessarily say that over reliance diminishes the quality. More that I don't see it as a substitute for real skill and musicianship. I think a good musician can make music with whatever equipment they can get their hands on. And in this day and age the means of recording decent quality demos is pretty cheap and accessible to anyone.
What are the pros and cons of recording equipment being accessible to almost everyone? What impact has it had on the amount of new material released?
There should, in theory, be way more bands and musicians self-releasing demos, like I have done with Oakenthrone. So I suppose you could say that is both a pro and a con. There should be way more choices when it comes to finding new music, but that could also flood the market. In the end, I would suggest it is positive though. More choice and more music can only be a good thing.
Is it more or less of a good or bad underground metal (black, death, etc.) has received more mainstream attention than it did previously?
I don't see it as a bad thing. Similar to when we talked about gatekeeping, you always get that in any community. But the more mainstream bands can act as a gateway for people to delve deeper into this world. And that would hopefully only be to the benefit of the smaller independent artists, like myself, ultimately. You would hope anyway!
From your initial demo to your current demo, how would you describe your progression? Is it evident how your material has changed over the sessions of recording?
The first demo [“Blood Moon”] was my first real experimentations with using an open modal tuning (D at the time). It was much “riffier” than the later demos and the style is probably a little more in line with what I now write in my other project, Crown of Ichor. For “Rune Lord” I utilized the simple, epic melodies to a greater extent and put more thought into the arrangement and structure. I feel like Ashen Ritual introduced the atmospheric tones and I started making the most of those huge open harmonic chords you can get from the modal tuning, this track was also the first time I really concentrated on the lyrical themes.
How long have you been working on Crown of Ichor and how do you elaborate on your “Blood Moon” demo in that project?
Crown of Ichor is only around a year old. We have a few tracks out there but it is very much in its infancy. I draw the comparison to the “Blood Moon” demo because both of those are more guitar based and riff heavy. Crown of Ichor is written with somebody else, so I can worry less about the composition as a whole and display a bit more of my technical ability and let loose a little.
Are you still working with your band Acral Necrosis? I heard that they had been on hiatus for some time. Can you tell me what their current status is?
Acral Necrosis has been on an indefinite hiatus since around 2012. We're all scattered around the place now. Al, who co-wrote everything with me, is in New York (his trad heavy metal band Shadowland is well worth checking out) so there's no real chance of a reunion for the band any time soon. I actually kind of went on a bit of a personal hiatus from writing music for years after Acral Necrosis. It was only creating Oakenthrone that properly brought me back into the fold. That's one of the reasons it took a few demos to find my sound, I had to dust off some of the cobwebs! It was a great time with Acral Necrosis though, we were still kids, really, playing black thrash and drinking way too much. Good times.
Was Acral Necrosis the first band you worked with? What did your experience with them teach you about being a musician?
It was my first serious band, yes. It taught me a lot. My songwriting has developed a lot further since then, but certainly when it comes to playing live and touring. Things have moved significantly since then though, so if I ever do go down that route with Oakenthrone it will be interesting to see if any of those lessons are still relevant. I suspect not!
Do you know whether any of the material you released with Acral Necrois is still available?
I'm not sure where you would get hold of the Acral Necrosis material now. We did an EP and a three way split with Witchtrap and Warfist. I doubt there's any physical copies around now and I don't think Spotify was even a thing back then!
Regarding the two tracks recorded for “Embers of Reverie”, how would you characterize the mood and the impact you wanted them to have?
My aim for these tracks, although incredibly dark and gloomy, was to ensure that they do have a slither of hopefulness. They are structured in a way as to hopefully convey a story with the music alone. The title track, “Embers of Reverie”, for example, starts and ends with the same doom heavy riff, but the melody is altered in a way that there is a little more light amongst the darkness. This is to try and show that even if that heavy burden of negativity we all carry never leaves, you can still see things in a different light and make positive changes despite it. This is always the order I do things, the music is my initial expression of a concept and I tailor the lyrics to fit the themes of that.
What are the ways in which “Embers of Reverie” expresses the concepts you described?
The structure and song writing I mentioned are the main ways I express those concepts. But obviously the lyrics follow suit as well. As I say though, they come after the music.
Do you see it becoming more common to inject funeral doom and black metal with more of a positive/hopeful undertone? Or as still somewhat of a rarity?
I should probably clarify; the hope I mentioned in my music comes from a foundation of utter bleakness. The title track is about finding those last, faint, embers of hope in a vast abyss of despair. It is in those desperate attempts to make the unbearable bearable where the hope I talked about comes from. But whether that is ever ultimately possible is another question entirely. I certainly think it's an area that is worth exploring and I'm sure there are plenty who have before me. But it wouldn't be Black Metal, or Funeral Doom, if it was too positive or hopeful. That hope has to come as a consequence of despair.
What can you tell us about the castle appearing on the cover of “Embers of Reverie”? Does it have a cultural or historical importance people would find interesting?
That is Scarborough Castle. I visited the area for Fortress Festival back in June '24. I wanted something old, abandoned by man and given back to nature. Monolithic, but also a reminder of how fickle life is, and how easily it can be taken away. Ruins are a fantastic reminder of this and suited the themes of these tracks perfectly. So this was more of an aesthetic over any significant heritage.
What is the history associated with Scarborough Castle? Does the castle play a significant role in English heritage?
England obviously has a lot of heritage and we have an abundance of castle ruins. This one in particular is no different to any other the others, and no specific significance that relates to this release. But that is part of why I used it. It all crumbles to dust eventually and is reclaimed by nature.
What is Fortress Festival? Is it a yearly event? Where can people get information about it online if they’d be interested in attending?
It's a black metal festival. It's pretty new but very popular so I imagine a lot of people will be aware of it. Last year was headlined by Wolves in the Throne Room and Tryptykon.
Which bands besides Wolves in the Throne Room and Tryptykon appeared at last year’s Fortress Festival, and what sort of advertising was employed to get word around?
It was stacked. Panopticon, Der Weg Einer Freiheit, Ultha, Thy Light, Lamp of Murmur, Gaerea, Sunken and a ton more. I couldn't tell you about promo and advertising I'm afraid though. I'm just familiar with the promoter and other gigs they put on.
Do you have any musical or lyrical ideas for a future release? When you resume writing and recording, how do you think you'll continue refining your concepts?
My next release is well on its way to being completed actually. I will be following a similar path to Embers of Reverie and releasing a limited cassette with two tracks. I aim to get it out before the end of the year, but I won't rush it. I have stuck with the same style. Hopefully I've expanded on that in interesting ways too.
Tell us about your project's web locations and how we can order and stream your releases online.
The Bandcamp page is the best way to support me. The only social media I have is Instagram. The tracks are available to stream in most of the big sites too.
I have been playing since the age of 14, I started with the classical guitar and for two years I dedicated myself to the study of harmony, sight reading, arpeggios and the study of pieces from the classical repertoire under the guidance of an accustomed teacher to accompany their students to the conservatory.
Subsequently I started listening to hard rock/heavy metal music, and from that moment everything changed!
In fact, I switched to the electric guitar, I changed teachers and I started to follow my passion for the metal genre and therefore to study techniques of the genre. In the meantime I graduated in law, music has never been a job but always a passion!
What is your favorite instrument to play on?
Without a doubt the electric guitar!
What acts have you played with before if any?
I’ve never shared the stage with famous artists, but it would be nice to do so!
If you had to lay out all the bands in order you played in as a timeline what would they be?
I had several projects, I played both in cover bands like Nightwish or Motorhead tributes and unreleased projects.
What is the coolest experience you have had as a musician?
Difficult to choose just one! Probably the satisfaction of writing your own music.
What inspires you to keep doing what you do?
Music allows you to express emotions, sensations, it tells about you and is therefore a side of your personality.
If you had to name some influences what would they be?
At band level I would say Black Sabbath, Opeth, Iron Maiden, Testament, Megadeth (just a few) of virtuosos I would say Joe Satriani, Alex Skolnick, Kiko Loureiro, Guthrie Govan.
What is your favorite venue you been to or played in?
The most beautiful place I've been to is in Japan, I don't remember the name but it was magnificent! The most beautiful place where I "played” (not exactly!) in a stand of Florence Rocks in 2018!
To sum up this interview which website can we find your latest music and any shout outs to anyone for the readers of Asphyxium?
My new single “WINGS OF FORGIVENESS” will be released on Itunes on November 15, 2024! On social media you can find me as MARTA VIX. Here are the links:
We've been running Bethlehem since 1991 = 33 years actually.
What is your favorite instrument to play on?
My favorite instrument is a bass-guitar. I'm playing this instrument since 1981. Additionally I play guitars & Synthesizer.
What acts have you played with before if any?
Honestly said, I don't remember them all. There were many from around the globe.
If you had to lay out all the bands in order you played in as a timeline what would they be?
1) Rest in peace 1981 - 1988
2) Weird Kong - 1989 - 1990
3) Morbid Vision 1990 - 1991
4) Bethlehem 1991 - now
4+) Stahlmantel 1999 - 2008
What is the coolest experience you have had as a musician?
When performing live at the MDF in Baltimore I watched people crying when playing the guitar solo of "Tagebuch einer Totgeburt" on my bass-guitar. That completely blew me away emotionally.
What inspires you to keep doing what you do?
My affinity to music in general. Emotionally as well as spiritually. When we started the band we didn't want to sound like anyone else, so we invented our own style that has influenced countless other bands and still does.
What is your favorite venue you been to or played in?
The Club Gagarin in Tel Aviv - Israel.
You can find us on YouTube. Check out our latest album here:
I wanted to do some reading, and although I purchased two new books recently I have been holding off on reading them. I was wanting to read something short! For some reason unknown, I remembered I planned to read Sherry D. Ramsey’s story “Unraptured” before and didn’t. I looked it up on Amazon, and the e-book version was available for under 2 dollars. I thought “what the hell?” and clicked the purchase button!
Overall this is a decent story. It is one of those post-apocalyptic type stories with “zombie like” people. As I do love stuff like this I found it to be an enjoyable read, and after finishing, it made me wish that Sherry wrote more stuff like this. The 40 or so pages that contained the story were the perfect length to keep my attention at 1am on a Friday night (Saturday morning)!
Being woefully A.D.D. I sometimes find it hard to read lengthy novels so short reads that peak my interest are a must. I am glad that I retained the memory of this from the annals of my mind, and all in all I’d be happy to read more short stories from Sherry in the future!
Note: As an added bonus Sherry’s short story “The Girl in the Stones” is available for free when purchasing this and signing up for her newsletter. The only reason I did not do this is because I already read that story, and as I speak to Sherry in the real world if I want to know about her writings I can ask her myself! -Devin J. Meaney
With Branscombe Richmond, Anthony Laurita, Cuan Snyman, Michael-John Wolfe, Pam Renall, Karis Peterson, Heather Strickland
Written by Milko Davis and Michael Mras
Directed by Milko Davis
Produced by Armageddon Films and Retinue Media
Released: April 5, 2024 (USA)
Wanting to watch something cheesy with a Halloween vibe I loaded up Tubi and eventually came to “Killer Witches from Outer Space!”—spoiler alert—this really didn’t have anything to do with witches—but it did bring forth a few solid chuckles!
This movie was by no means “good”—but it was so stupid that it brought itself back around 360 and ended up being something that was at least “somewhat” awesome! This might not be for those that enjoy only blockbuster hits—but if you have a leaning towards low budget cheese that is just silly and over the top you just may enjoy what is offered here!
Overall this was a “colorful” film and the vibes were warm. Again—this is only for those that enjoy trash movies that are comical and a lot didn’t make sense—at least to me. I will say though that the rubber suit alien witch monsters/demons were pretty stellar! –Devin J. Meaney
Interview with Neil Schneider of Vintertodt and Calling of Phasmic Presence by Daniel Ryan
How long have you been making music for?
Oh man, I think my first actual project goes back to when I was 13 years old. Back in the good old MySpace Cybergrind day’s 😂 so just about 18 years now I think? My main instrument has always been drums though and I started playing at around the age of 9 or 10!
What is your favorite instrument to play on?
It’s still the drums after all these years! I’ve tried to learning guitar, bass, vocals, etc. over the years and while I can make some pretty basic tunes with stringed instruments my go to is still forever drums!
What acts have you played with before if any?
Oh god damn, too many at this point 😂 My first serious project was Dawn Of The Hero in high school, then came Palindrone, after that is probably my most well-known project xSPONGEXCOREx, then I have Diplegia, Vintertodt, Calling Of Phasmic Presence, Apastron, Dude Noodle, and I do the studio session drums for Blackbraid along with recording, mixing, and mastering them too! I’m sure there’s more but I can’t remember right now 😂
If you had to lay out all the bands in order you played in as a timeline what would they be?
Well here goes nothing:
Lake of Anal Mucus
Cap Gun Roulette
Dawn of the Hero
Palindrone
xSPONGEXCOREx
Diplegia
Vintertodt
Apastron
Calling Of Phasmic Presence
Blackbraid (session drums)
Dude Noodle
And those are the only projects that have actually released material, there’s plenty more of unreleased stuff from well back in my youth. 😂
What is the coolest experience you have had as a musician?
I really don’t know at this point. They all just keep getting better as life goes on honestly! I think the first real “holy shit I absolutely love doing this” moment was when my first band Dawn Of The Hero played a sold out show with Attila and Born Of Osiris back in 2014, the adrenaline was insane! Shortly after that though came xSPONGEXCOREx’s overnight success. Literally overnight, it was an insane time. I did lots of radio interviews, got featured on some big publications, and sold so much merch during that time it was crazy! After that was probably in 2019, when I landed a mixing/mastering gig with one of my all-time favorite bands! I still unfortunately can’t release the name yet as of 3 years the album is still unreleased, it’s coming out this year though I believe! And then for the time being, the current success of Blackbraid has been fuckin insane. It was just a random run in at an Opeth show where we met each other and chatted for a few minutes and now he’s doing some absolutely insane things and I’m forever grateful to have helped him in his story with Blackbraid, so pumped to see where he continues to take the project!
What inspires you to keep doing what you do?
Ok honestly, it’s for the love of music and continuously getting better at my craft and helping musicians reach their goal. I mainly focus on the production side of things these days and it’s always such a great feeling when an artist or band reaches out and says “this sounds fucking amazing thank you man” it makes it all worth it!
If you had to name some influences what would they be?
Hmmm, there’s a lot! To start off I probably would’ve never started drumming if it wasn’t for my brother Jeff having a drum kit when we were younger, so he and his drum kit were big inspirations. Band wise, I was huuuuuge into In Flames, Slipknot, and Children Of Bodom from the ages of like 9 til about 13, then I found the classic Black Metal bands, Darkthrone, Mayhem, Burzum, Gorgoroth, etc. at 16 I found Opeth though and pretty much listened to Opeth exclusively for like the next 4-5 years 😂 it wasn’t until I was 21 when I dived deep into Pop Punk and at that point for the past 10 years it’s just been a huge mixture of Pop Punk and Black Metal bands that continue to inspire me. I don’t really have any real inspirations for audio production, just certain production sounds that I try to chase!
What is your favorite venue you been to or played in?
I think the biggest one I ever played with The Chance Theater in Poughkeepsie and that place was pretty cool! I played it twice and it’s always been a good time, either that or Northern Lights!
To sum up this interview where can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine?
My project Vintertodt just released our first full length album back in October which you can find at:
My other project Calling of Phasmic Presence is always releasing splits n shit throughout the year, if you like noisy black metal take a listen at: http://callingofphasmicpresence.bandcamp.com.
If you’d like to hear my studio drum work and mixing/mastering, check out Blackbraid at: http://blackbraid.bandcamp.com.
Thank you to anyone who made it this far and if you check out any of my work! I tend to ramble a lot because I like to get my full thoughts out so sorry this was so long! A huge shout out to Daniel Ryan for offering to interview me, these are always so much fun to do! – Neil
Ok, this list is long, but the best were Carnal Remains, Deadfall, Cromlech, Salem Fires, Serpent Speak and Inverticrux.
If you had to lay out all the bands in order you played in as a timeline what would they be?
Ok here goes…
Soul Donor 1993 to 1994
Deadfall, 1994 to 1995
Carnal Remains, 1995 to 1996
Cromlech 1996 to 1997
Salem Fires 1999 to 2004
Eternal Embrace 2004 to 2005
Serpent Speak, 2007 to 2008
Inverticrux, 2011 to 2013
Trenchwalker 2015 to 2016
SqueedlySpooch (grindcore) 2017 to 2018
Salem Fires (version two) 2021 to 2022
What is the coolest experience you have had as a musician?
Getting to play the Science Fiction convention “Arisia”, in Boston in 2001.
What inspires you to keep doing what you do?
I eat, sleep and breathe music, so I forsake all other hobbies besides hiking!
If you had to name some influences what would they be?
Samhain, Emma Ruth Rundle, old Christian Death (Rozz era), the Cure, Slayer.
What is your favorite venue you been to or played in?
I loved playing the Sky Bar in Somerville, that place felt like home to Salem Fires! We miss you, Anderson Mar!!
To sum up this interview which website can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine?
My music can be found on YouTube, and some demos for Salem Fires are on Soundcloud! I want to shout out to Erik from Ancestral Shadows, Emily and D McGillivary, Rhys from Lovers/Deceivers, and a big thank you for this interview!! Have a killer day!
I grabbed myself a copy of “Slimer” by Harry Adam Knight. I’d go into more detail about who “Harry Adam Knight” was (pseudonym) but I figure if you have interest that can all be found with a quick Google search.
I will start by saying I picked this up because in my childhood I was (and still am) a large fan of the movie Carnosaur. Harry wrote the original book that movie was based off of, and after reading it, I figured I’d look into seeing what other pieces of his work I could find. Most of his writings are long out of print and very expensive, but they did do re-issues of Carnosaur, Slimer and The Fungus.
Back to Slimer—as for this book I found it to be highly enjoyable. Aside from a handful of very forgivable typos, I can say that this was a refreshing blast of cheesy British B horror. The only thing I will add is that there was a lot of graphic sexuality, and if it didn’t exist within the pages of the book, Slimer would be more accessible to younger readers. With that said, I do understand it is acceptable to have things “just for adults” and overall I will say this was well worth a read (or two?).
Slimer was the basis for the movie “Proteus”—so I will need to look into giving that a spin. Next up—The Fungus! -Devin J. Meaney
With Matt Sampere, Monique Parent, Alan Maxson, Delian Lincourt, Hunter Kohl, Ian Brown, Elise Rackemann
Written and directed by Matt Sampere
Produced by Bloody Disgusting and Samfear Productions
Distributed by Cineverse Entertainment (USA, 2024)
Released in the US September 10, 2024
After watching the movie “Creeping Death” I was pleasantly surprised. I viewed it on Tubi, and although Tubi is a great resource for B horror some of the films can sometimes be passé. This however, was not!
The script was a bit amateurish along with the acting, but in a charming way. Creeping Death was indeed a B- movie, but it wasn’t even nearing Z- territory. The gore was well placed and not over the top, the filming was excellent and the creature effects were more than passable. The story was pretty neat and the overall experience was “warm and dark” with a handful of laughs thrown into the mix—and there were even a few touching moments!
As the story takes places on Halloween night this would make for an excellent viewing on All Hallows Eve with friends and a bucket of popcorn. I don’t drink anymore but I can fathom a guess that this would go over well at a festive party!
I’d suggest that the people involved with this film keep at it, as I did really enjoy this and I’m sure other people would too. I can make a stab that other releases from the same actors and company would be just as intriguing! I was already in the spirit of spooky season—and this film just made me more so!
All in all—this was pretty great, and I may even watch it again sometime in the future! -Devin J. Meaney
Interview with Daniel Klyne Octy Octy Bo Bocty of Appalachian Winter by Daniel Ryan
How long have you been making music for?
Something like twenty-five years. I remember walking into my guitar teacher's recording studio when I was seventeen (I'm forty-two as of 2023) and realizing this is what I wanted to do with my life.
What do you think of LOD music networks stance on cancel culture?
Looks pretty solid. Trying to de-person someone for having diverging opinions is lame. Weak and cowardly people censor. Authoritarians censor. Genocidal psychopaths censor. Criminals censor. Censorship has no place in a decent world and is not perpetrated by decent people. I feel I'm preaching to the choir, though!
What is your favorite instrument to play on?
Playing favorites is difficult for me. I have times where it just feels good to rock out on guitars and drums, but sometimes playing bass in the pocket is also just what the doctor ordered. Sometimes playing banjo, mandolin, or ukulele hit's me where I need it. Piano, though, is special. I'm always in the mood for piano, so that instrument edges out everything else out just barely.
What acts have you played with before if any?
I mostly do solo stuff now. I'm best known for Appalachian Winter, which aside from a couple albums has been me solo. I have other solo stuff too - some of which I've been working on for well over a decade, and adding real drums to everything has been my toughest challenge as a musician. I had Guardian Eagle with a friend which was the final name for a long-running project, I have the Stereoplanetary Audio Construct with a couple other friends. I've done studio work for other solo projects. My goals now are to divest myself as much as possible from collaborative efforts and focus on getting my projects done, and including real drums.
If you had to layout all the bands in order you played in as a timeline what would they be?
That would be a disaster. I can barely remember what I had for lunch let alone my complete musical history.
What is the coolest experience you have had as a musician?
Easily it's been learning to play and record real drums. It hasn't been easy. Appalachian Winter faces delays while I try to figure stuff out and hone my skills on less demanding projects. But it's so worth it.
What inspires you to keep doing what you do?
I have no idea why I do this. I just want it in ways I have never wanted anything else. I'm a middle-aged man. I threw out all of my comfy furniture to have a drum set. Just wanted those drums more. I can't explain it.
If you had to name some influences what would they be?
Moonsorrow, Wintersun, Ensiferum, Borknagar - at least for Appalachian Winter. Other projects would have different influences or goals, but until they have some accomplished presence, I'd like to keep silent on them.
What is your favorite venue you been to or played in?
I don't play out. I don't deal with people or places. I hate travel. I just record at home and enjoy life.
To sum up this interview where can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine.
https://appalachianwinter.com/ will have everything for those who are interested in that project. I'm going be silent about other projects until they are ready to be heard - but there is a lot more going on. Appreciate your time!
Interview with Brett Miller of 1-900 by Daniel Ryan
1. How long have you been making music for?
Almost my whole life. I started playing guitar at 10, so now it’s over 30 years later. It’s not going to stop, either!
2. What do you think of LOD Music Network's stance on cancel culture?
It’s refreshing. I find it ironic that many of the Metal bands that used to hang their hat on “rebellion”, “fight the system”, etc. don’t seem to have much to say about all of this push towards censorship in the culture generally, and music in particular. A lot of ‘em even seem to embrace it, whether it’s humiliating and kicking out of a show someone with a shirt they don’t like, or canceling shows in an entire city or area because of some local law they don’t like. It’s pretty pathetic and weak, actually - definitely not Metal. They think they’re counter-culture, but they’re just doing what giant corporations, totalitarian states, brainwashed “academics”, and huge investment firms want them to do, which is to shut up, cave to some kind of mob and destroy and divide the United States into fractious political and racial groups. If you don’t like someone's music, just don’t listen to it. That’s what I’ve always done, anyway. And if someone has paid to support your band in some way, then don’t kick them out because they’ve got a shirt on you don’t like. If it’s super offensive to enough people, let everyone work it out amongst themselves. Common sense. But it ain’t too common these days.
3. What is your favorite instrument to play on?
Really all that I play for real is Guitar and Bass. And on the 1-900 stuff, DD shreds the bass way better than I could. There’s a lot of keyboard parts and stuff like that in the music, which I write and play, but it’s usually either written out in the DAW (like writing on a music staff), or I just play it in chunks. Same with the drums; I write most of the drum parts from scratch, or will use a part or fill from an EZDrummer library and then edit it manually into exactly what I’m looking for.
4. What acts have you played with before if any?
I’ve released a number of solo records, just under my name (Brett Miller). It’s instrumental Metal Guitar stuff. The way I’d describe it is sort of a heavier version of Joe Satriani or Steve Vai (who were both huge influences on me, by the way!) with a bunch of orchestral elements in a lot of it. The last full album was a while ago, called “Oath Of Dagon”, which is a concept-type record, totally based on the work of H.P. Lovecraft. I partnered with an amazing artist in Argentina named Marcelo Orsi Blanco, and we released the record along with an artbook of Lovecraftian paintings that he did, and crowdfunded it on Kickstarter. Right now though, and for the foreseeable future, 1-900 is my main musical project. I’m very happy with the music, and also love working with the other two guys involved with it. There’s a comic book aspect to it as well, but this time an actual comic - a fictionalized steam-punkesque story, set in the ‘80s and involving the band fighting bad guys.
5. If you had to layout all the bands in order you played in as a timeline what would they be?
A handful of bands in my 20’s that never amounted to much. Brett Miller solo stuff, a side project with a bass player, called Men Of Letters, composing video game soundtracks, that sort of counts, a short-lived death metal band called Sacrificial Damned. More Brett Miller stuff: 1-900
6. What is the coolest experience you have had as a musician?
I’ve had a lot of cool experiences in my life that weren’t necessarily related to being a musician, but specifically music related? Honestly, it would be the compounded coolness of helping all of my Guitar students over the years. I’ve taught a lot of people, all across the World, and that’s been a very fulfilling experience. On a more selfish note, one of the experiences that I enjoy the most is taking part in just pure jamming with people, where you just plug in, look at each other, and go. I haven’t found a ton of people over the years who can or are willing to do that, but it’s a lot of fun, and exciting. Also, I really enjoy the experience of listening to a final master of a song or record, after all the time and effort that goes into making it.
7. What inspires you to keep doing what you do?
Not to sound all pretentious, but as an artist, it’s like you simply can’t not do it. It’s non-negotiable, so that’s the first thing. It’s also a combination of wanting to create the type of music that I would enjoy listening to myself, so why not just create it, and also the thrill of the chase at this point - the challenge of taking the music that we’re proud of, and trying to get more and more people to hear it. With the storytelling aspect of 1-900 as well, the comic books and everything, there’s also this added element of wanting to get that story out there. Because, as fun and ‘80s-inspired as the story is, there are definitely some parables lurking in there about the dangers of the types of insanity that we’re going through as a culture nowadays, the phones, the advancing technology, etc., and how to fight back.
8. If you had to name some influences what would they be?
Here’s a list, non-exhaustive, but off the top of my head: AC/DC, Pestilence, Steve Vai, Joe Satriani, Carcass, Coroner, Dream Theater, Megadeth, Testament, older Meshuggah, Symphony X, Death, Cynic, Thor, older Devin Townsend, Chris Poland, Hammerfall, Pantera, Manowar…I’d better stop there, or it’ll just keep going! And that doesn’t even include composers like Sibelius, Scriabin, etc.
9. What is your favorite venue you been to or played in?
My favorite venue right now, honestly, is the Sosnoff Theater up at Bard College. It’s a world-class concert hall, and they have a great orchestra there, both professional and student. They perform major orchestral works, operas, etc. I’ve never performed there of course, but it’s such a great venue, and it’s not too far from where I live.
10. To sum up this interview where can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine
We want everyone to join the Phone Fighting Force! You can do that over at https://HyperRotComics.com and get access to a lot of cool, behind the scenes stuff as we create the upcoming comic book “Band of Heroes”, as well as the new EP that’s coming out. We just released a new single, ramping up to that, that’s on all the streaming services. It’s called TouchTone Attack, and is pretty representative of what we do, if people want to check it out. For shout outs, I’ll just say thanks Dan, keep spreading the awareness of all these cool bands!
Omar Guerra, a Texas native who has worked with bands including Dirigiri, Iniquitous and K.O.D. and is currently president and CEO of the indie label Conjuring Records, is one of the co-founders of Sledgehammer Guillotine with Carlos Cereceres.
As his band’s name and the title of their EP suggests, the foundation of “Death by the Hammer” is mostly based on classic/old school thrash, with note progressions constructed similarly to those of Destruction and Kreator in their early years. Sledgehammer Guillotine’s range as a band doesn't end with German thrash, however.
The Mike Sifringer/Mille Petrozza-inspired riffs are given a certain degree of groove by the frequent breakdowns occurring in between the semi-chaotic thrash sections. There are other places where you can hear blast, motifs of power and prog metal, dissonant guitars and tremolo picking, and the ominous undertones of early Death and Pestilence.
The EP's atmosphere brought back memories of when I first saw horror and gore films from the 70s and 80s while discovering thrash bands, and I was reminded of going to a club to see a local band for the first time. This was most likely the subject matter of zombie apocalypses and premature burials, and it brought back memories of seeing local band in clubs. This was probably the theme of premature burials and zombie apocalypses, as well as the cover of Kreator’s “Under the Guillotine” included at the end.
“Cadaver Waltz” features a chorus evocative of early death metal, discordant black metal and a breakdown akin to old Kreator. The musicianship strikes a nice mix between tightness and dirtiness, with the drums contributing linear relentlessness. “Buried Alive” and “Brain Stomp,” in which the vocals at times remind me of Geoff Tate (Queensryche) and King Diamond (Mercyful Fate), are examples of their inspiration in power, prog and American thrash while they enhance their cover of “Under the Guillotine” with blast.
Although Sledgehammer Guillotine is a local band signed to a relatively small label their work goes well beyond that. If they continue to integrate and tighten everything while making it more uniquely theirs, it has the potential to become lethal. –Dave Wolff
Music has often been a reflection of societal changes, and the closure of taverns and dance clubs has profoundly impacted its evolution. These spaces historically served as breeding grounds for creativity, where musicians gathered to collaborate, share ideas, and draw inspiration from one another. With their decline, opportunities for spontaneous performances and communal experiences have diminished, leading to a homogenization of musical styles. Instead of the diverse sounds that emerged from vibrant local scenes, we now find a more commercialized musical landscape. The isolation of artists limits their ability to innovate, suggesting that the heart of music's evolution lies in community interaction and cultural exchange.
Welcome to this month’s Dark Moon ritual. from 2021 repeat she is not able to create one this month but will soon ... and so ... for This month finds us in Libra, which means you might be feeling more talkative and social. Libra is a sign with many positive traits and beneficial energies, so kicking the month off with a healthy dose of Libran energy is not a bad thing.
Dark Moon is the time for closures, to rid yourself of the bad energies of the past weeks and only take what serves you in the future. If you haven’t cut cords, please do so. It truly is a lifesaving practice.
A Libran influence is typically one of balance and peacekeeping. It is the sign represented by a set of scales after all. If you've found yourself struggling with a work/life balance, or with setting boundaries amongst your relationships, this Dark Moon marks a point of reset that will help you recalibrate. It will push you to weigh the value in the things and people around you and find a better alignment in your own life. I hope by now that you all accept that it is truly okay to cut toxic things and people from your lives.
Of course, there is always a flipside of which to be wary. Libra is extroverted, chatty and highly social. With Mercury currently in retrograde and confusing our lines of communication, now is not the ideal time to be embracing the overly talkative or even gossipy sides of ourselves. More than usual, things can be taken out of context. So, while you may feel more inclined to make a snide comment, for the next few weeks, it's best to live by the idea that if you don't have anything nice to say, don't say anything at all.
For our meditation, I feel the need to go deep inside and search for those cords that need to be cut. As you do this, focus on loving yourself. Be confident that you deserve the best, and therefore need these cords to be cut. As you cut them, focus on resetting yourself. Think of how much better your life will be without these negativities. Stand strong in your power as you place personal boundaries wherever you need them. If there are people you must be around even after cutting them loose, learn to just not react or feel anything when they are around. Yes, you can train yourself to do this. They do not deserve the energy you put into being bothered by them, and you deserve better. Lift yourself up, hug yourself.
Thank you all for sharing this event with me. Much love and dark blessings.
Jack stared out into the liveliness of the street with disdain. As all the kids walked by in their colorful spooky costumes he couldn’t help his hateful writhing. It was true that if it wasn’t for those kids he wouldn’t be here—as he didn’t “come to life” until he attained his “true” face. But oh—how the knife hurt as his crooked smile and triangular eyes were cut and widened, the hacking and slashing of the plastic orange blade plummeting deeper and deeper with every twist and turn of their wretched little wrists. The kids laughed with festive glee as they carved him into existence for another year, and although Jack’s screams were silent he could hear his own bellows ringing within the confines of his freshly birthed mind right from the start.
Oh, how he wanted them to pay for his suffering. Just like his true face and the sentient existence he learned to hate, if it wasn’t for those kids he wouldn’t have a hot seething flame burning within him.
Jack wondered aimlessly.
What the hell kind of name is Jack anyway?
They gave him the same name every year and placed him on their front porch as a decoration, and as more and more children came to collect the offerings of the night he continued to get lost in his own little world. He couldn’t move and he couldn’t speak. He was nothing more than just a festive ornament, his mind and his thoughts meaning nothing to the oblivious tricksters and treaters of Halloween. He wanted his torment to end, but as the night progressed the chaotic whirlwind that swirled within his fleshy orange cranium continued to seethe and boil as the dim light inside of him flickered on, orange shadows dancing in the blackness that consumed the front porch and all that surrounded it.
For hours his plague pushed forth, and just as he was reaching the peak of insanity, his personal hell nearing completion, he saw three older youths approaching the porch. He knew what was coming next. His mind teetered into a frenzy.
Do it. End it quick, you little wretches…
They picked Jack up from the front porch, and with a symphony of dark cackles they smashed him into the ground. Three good well placed kicks ended him, his vibrant orange guts spilling out into the street. He would be left to rot until he was cleaned from the pavement, and just as his mind flickered back into the direction of non-existence, his hatred exploded into his thoughts just before they were snuffed out for another year.
…Lights out!
But on an endless cycle, he would return the very next year. Year after year his curse continued, and just like the spirit of Halloween, Jack’s seething soul would never truly die—nor would it ever truly “live” again…
Interview with Leonardo Serrini and Donatella of The Beatersband by Dave Wolff
“Bad Girl”, a posthumous tribute CD to Joey Ramone and Ronnie Spector was released by The Beatersband in September. Who thought up the idea and what made the band follow suit? How were the tracks selected for inclusion?
The original idea was Donatella's (voice and guitar). The rest of the band liked both Ronnie Spector and Joey Ramone and immediately agreed, thinking it was a great idea to honor their friendship and mutual respect. The nine songs have been put in the playlist in chronological order from 1962 to 2006, referring to the recordings performed by Ronnie.
The Beatersband records a lot of iconic rock and punk songs from the 1960s and 1970s. Do you perceive any stylistic similarities between both periods?
Listening to songs by artists such as Ritchie Valens, you immediately get the perception of his being one of the forerunners of punk. If you listen to the Misfits you understand they were inspired by the music of those years. Michale Graves (Misfits) has often included songs like “Tears of My Pillow” by Little Anthony and The Imperials in his live performances. Even Glenn Danzig, founder of the Misfits, was inspired by Elvis Presley of whom he made a cover album entitled “Danzig sings Elvis”.
“When You Walk in the Room” by Jackie DeShannon was covered by The Searchers, even “If I Had a Hammer” by the American singer-songwriter and folk-singer Pete Seeger was covered in 1964 by the Italian singer Rita Pavone.
What made you decide to form a band covering punk and classic rock? Is there a local market for punk and pop punk scene in your area in Italy?
The idea was born from Donatella (voice and guitar) who has listened to 50s and 60s music since she was a child, thanks to her father who passed on this passion to her. The project was born when she met Leonardo (bass), who already played in a punk rock group (Latte+). The two decided to merge their musical acquaintances.
The punk scene in our area is not very active, especially since after Covid they closed a few clubs. Those still active can be counted on the fingers of one hand, and this also applies to the rest of Italy.
Since there’s not much of an active punk scene in your area, how much work did you have to put into advertising and promoting?
We had to dedicate a lot of time to it. Luckily social media exists, without which it would have been difficult to advertise.
Do you always distribute your albums and singles independently, or do you sometimes collaborate with local indie labels to promote your releases?
We are an independent band. We distribute and promote our music independently all over the world, although for some shipments abroad we collaborate with the American labels Smelly Rick Record, River Monster and Outloud Records, and with Discos Polo of Palma de Mallorca (Spain).
Could you describe your relationship-building process with the labels you identified for distribution and promotion? To what extent do they help the band spread word of their releases?
Our relationships with labels were born through social media, simply by sending our material to be listened to. Their help is important, they manage to promote our music to a wider audience.
You can stream the majority of your work at Bandcamp. To what extent does this site aid the band's outreach outside Italy? Do you also stream on other net outlets?
The distribution of our music is mainly with Bandcamp, It’s helping us substantially. Even the labels listed above do it. It’s also possible to find our songs on Spotify and the best streaming platforms.
The band's approach generally seems to lean towards the ferocity of punk bands such as Sex Pistols and Bad Brains, as well as the Ramones. This is largely due to the drums. In the studio, how much focus and energy are you giving the drum tracks?
The drum parts are a fundamental part of the recording. If the drums didn't play with that sound and intensity we wouldn't be able to give a punk rock mood to the songs since they’re from the 50s and 60s.
How much more challenging has it been to promote your live performances than your recordings? Did Facebook and other websites help you spread the word more quickly?
They are both important. Being a totally independent band we have to look for places where we can perform on the one hand. On the other we try to give new life to songs that are now over sixty years old trying to keep their soul intact. As I answered previously Facebook and other websites have helped us a lot. The internet gives everyone the opportunity to be heard and known all over the world in the shortest time possible.
Were you attempting to recreate the vibe of Ronnie’s songs or incorporating your own style?
We have been rearranging songs since we formed in September 2018, even the songs from “Bad Girl” are rearranged in our style, trying to keep their soul.
Producer Phil Spector has worked with Ronnie and Joey. What would you say about his early contributions to rock music? What personal resonance does his production work have for you?
Phil Spector was certainly a questionable person on a personal level, but nothing takes away his great contribution to rock music, of which we follow the same trend.
Phil produced the Ramones’ album “End of the Century” which was met with mixed reviews. What do you personally think of his work there?
“End of the Century” is in our opinion a great album, even if obviously it has a totally different sound from the previous albums, the hand of Phil Spector is felt being the creator of the Wall of Sound.
Were there any songs Ronnie and Joey collaborated on? What was the extent of their friendship?
They recorded the mini album “She Talks to Rainbows” together in 1999, they were very good friends, Joey Ramone, who loved the female bands of the 60s, and in particular the Ronettes, tried to lift her up when she had been overshadowed by the figure of Tina Turner who was debuting in the same period.
Are you familiar with the song Ronnie recorded with The Misfits for “Project 1950”, namely “You Belong to Me”? Who else has she worked with to your knowledge?
It is a beautiful reinterpretation, we know this album very well. We’ve also rearranged four songs from it, including “Donna”, “Diana”, “It's Only Make Believe” and “Runaway”. Ronnie also duetted with George Harrison and Bruce Springsteen.
You released a cover of Blondie's "X Offender" in 2022. Debbie Harry's original atmosphere seems to be evoked by Donatella, and the version combines pop elements with a street-level punk energy. Why did you decide to cover the song?
It was one of the first songs by Blondie brought to CBGB and it is less inflated than their other songs, such as “Maria”, “Heart of Glass” and “Call Me”. We like it a lot.
The second song on the Blondie single is a rendition of "I Only Want to Be with You" by Dusty Springfield, which is also on your album "Vol.Tre." There's a similar punk vibe to the tracks. To what extent did you work on the album?
It was born as the conclusion of the three albums “Vol.Uno”, “Vol.Due” and “Vol.Tre”. It should have closed the circle of our project of 50s/60s covers.
Do any of your CDs feature covers of The Beatles or Bruce Springsteen? Or maybe any recordings from the late 1960s?
No, but we have in common with Bruce Springsteen the fact that we covered “Then He Kissed Me” by the Crystals. Our CDs are mainly rearrangements of songs from the 50s and 60s, but we have also made a tribute CD (EP) to the Misfits, and “Goodbye Eddie Goodbye”, a song included in the musical “Phantom of the Paradise”.
What was the plot of the musical “Phantom of the Paradise” and how were you inspired to cover a song from its soundtrack?
A young naive singer-songwriter, Winslow Leach, is tricked by the legendary but unscrupulous music producer Swan into sacrificing his life's work. In revenge, the composer dons a new and menacing personality and begins to terrorize Swan's new concert hall, insisting that his music be performed by his most adored singer, “Phoenix (Jessica Harper)”, directed by Brian De Palma. The inspiration and idea came from Timothy, the owner of the label Smelly Rick Records (Arizona/Texas) who wanted to make a compilation tribute to the musical, coming out soon on CD, vinyl and digital format on his label.
Who else is on Smelly Rick Records' compilation honoring “Phantom of the Paradise” besides the Beatersband? What is the anticipated date of release?
We know that the other bands are mainly American but we don't know them, the release date is unfortunately not certain yet.
Do the members of the band watch a lot of musicals? Do other musicals inspire the band to cover songs from the soundtrack?
Donatella watches musicals. The inspiration for the soundtrack of the musical was born from Timothy the owner of Smelly Rick Records.
What songs appeared on your tribute album to the Misfits? Has it been received well since it came out? Are there other punk bands you’ve considered tributing?
There are four, specifically “Saturday Night”, “She”, “Nightmare on Elm Street” and “Some Kinda Hate”. It was well received both for sales, positive reviews and many passages on the radio. At the moment we have not considered other bands, even if the Ramones are present in the album “Bad Girl” and in “Danny Says” also re-recorded by us.
Ringo Starr once said the Beatles were the punk rock of their time in their early years. He said the soundtrack of the film "Backbeat" was recorded by bands that reflected the type of band the Beatles were when they started. Have you seen this film? If so, what are your thoughts on it?
We haven't seen this film, but we will watch it under your advice, you've intrigued us.
Little Steven's Underground Garage, which airs Sunday nights at undergroundgarage.com/, is another good source for information about rock & roll’s punk roots.
We know SiriusXM well even if we can't listen from here to Rodney Bingenheimer playing our songs on the radio. However every now and then we manage to listen to Little Steven's podcasts.
Do you have recommendations for obscure bands that helped pioneer punk in the sixties and seventies? YouTube has a number of videos highlighting these bands.
Little-known bands, they don't come to mind offhand, but we know that punk is an evolution of garage rock that developed in America in the early 60s, later towards the end of the decade garage rock took another turn by exaggerating the salient features of the genre, the epicenter of this music was Detroit where that trend that was called proto-punk was born. Among the first groups that can be considered precursors of punk we think of the Kinks and the Troggs.
Would you recommend material about the history of punk to people who may not have seen them?
We read some books about punk, and specifically we would recommend Johnny Rotten's autobiography, Marky Ramone's “Punk Rock Blitzkrieg”, Dee Dee Ramone's “Blitzkrieg Punk”, Will Hermes' “New York 1973-1977”, Dave Laing's “Punk” and Monte A. Melnick's “On the Road with the Ramones” and the documentary “The Great History of Punk”. The books are still easy to find, and they tell in detail what they want to explain, each with its own point of view. 35) I think punk will have its ups and downs as it always has.
Has the band covered any songs recorded by Patti Smith? Would you be interested in songs recorded by Runaways, Pretenders, or Siouxsie and the Banshees?
We haven't recorded anything by Patti Smith even if we like her, we would like to cover songs by the Runaways. Pretenders, why not!
Does the mainstreamization of punk from the nineties to the present, from grunge to pop punk, have more positive or negative aspects? Since major labels began signing bands, to what extent has the genre retained its sixties roots? In what direction do you think underground punk will go in the future? Do you see punk scenes continuing to grow and inspire more people to form bands?
Punk at the time was much more motivated, it was born as a form of protest and was a way to convey various issues of the time, compared to that of the majors which is much more driven by economic ends. I think punk will have its ups and downs as it always has.
Are you planning to release a new full-length album in the near future? Or do you have ideas in mind for one?
In the future we have the idea of doing something of our own. For the next album we are thinking of making our own songs.
