Fiction: THE BARN by James Ward Kirk

THE BARN

Fiction by James Ward Kirk

I sit up in bed, my heart jittery, sensing something bad happened to my little brother. I whisper-cry, “Jacob?!” but he doesn’t answer me so I know I am alone.

Touching Jacob’s space next to mine in the bed we share, I feel the wetness so perhaps he’s just in the bathroom cleaning up. I pull the blanket off me and get out of bed. The left side of my underwear is wet from Jacob’s piss spot. I drop my underwear to the floor and pull on my jeans. Cold darkness envelops me, swallowing me like a snake.

 quietly move from our bedroom and walk to the bathroom downstairs. He isn’t there, but the back door is agape. I walk out into the darkness and whisper-shout his name, but all I hear is my own voice coming back to me. It must be midnight as the full moon is high in the sky. I see lightning bugs flash by the hundreds, in symphony with the chirping of crickets; I slap at a mosquito. My fear causes my skin to tighten, pulling closer as if to protect me from something darker than the darkness.

Quietly I return to my bedroom and slip on my sneakers and yesterdays faded-green t-shirt.

I leave through the back door, but now the sun shines so hot. I lift my hand to protect my eyes from the bright light.

Looking around the yard, I still find no evidence of Jacob’s presence. Did he walk down to the creek to bathe, so as not to disturb our parents while he cleaned up?

I cross through the cornfield, cut across the dirt road separating the corn from a soybean field, and keep walking until I reach the next gravel road. I turn to my right and continue down the gravel and hard-dirt road. The creek runs through the fields but reaches its deepest point about a quarter mile from here. The heat of the sun burns my skin through my shirt and my face is sweaty. Sweat trickles down from my nose to my chin. I lift up my shirt and dry my face.

My belly rumbles. Hunger draws my attention to my left. An old barn stands, leaning greatly on its cracked frame, not a part of our familiar landscape. But I am not surprised because now I think I am in hell and it occurs to me that hell holds no surprises. This proved to be true.

From inside the barn I hear Jacob. “John? Is that you?”

His voice is sad, so sad and I start crying but not a simple cry with a crunchy face and tears on my face. I sob so hard the pain brings me to my knees and I vomit bile onto the dirt, lacking undigested food to offer to the demon that rules this realm of hell.

Mara; I hear the name in my mind and ears, and I am as certain Mara is a name as I am Mara aims to hurt Jacob.

I am wrong.

I approach the barn; again, I hear Jacob. “John? Is that you? John, I need your help.”

Now I hear the sob in his voice; and his pain, a hurt greater than mine, resonates into my bones.

I stand outside the barn, my soul screaming, “No, John!” Perhaps this is the moment my soul fled my corpus. I have no memory of one after I enter the barn.

Darkness and cold air flood the barn, drowning and freezing life, turning my sweat to ice. I am blind and I am mute.

I spot a form near the back wall of the barn. To my left and right are stalls, four in all, two to each side, a horse in each stall, each a separate color that I cannot quite make out. The four stallions scream at me in a language I either cannot or refuse to understand. I smell their piss and shit, as each horse spits at me, the globs freezing to my skin, lumps of horror, dread for things to come.

My brother calls to me: “John?”

I move closer to the form holding Jacob in its arms and I finally see my brother, nailed to a cross.

“John, you put me here. You may as well have hammered the nails yourself.”

“I’m sorry, Jacob. I am so sorry.” My voice sounds like ice cracked by the handle of a knife.

“John, please trade me places.”

I cannot deny my brother. “I will, Jacob.”

The sound of the nails tearing through the bone and muscle of his feet reach my ears first, then the same sound as he rips his wrists free and he falls to the ground. I move to him. His body is whole again, un-impaled, tender.

He moves past me, but stops at the barn door and turns toward me.

I know what I must do,

I climb upon the cross. I feel no pain as the nails pierce my wrists and feet, only the cold.

“Thank you, John” He leaves the barn.

No, Uncle Jimmie, do it to Jacob, not me, never again me!

As the darkness becomes complete, I scream, my baptism thorough, and in the first moment of eternal agony, I cry “Forgive me!”

Zine Review: ROUGHDALE #1 and #2

 

ROUGHDALE: Southern Decay in the 21st Century issue #1

ROUGHDALE: Southern Decay in the 21st Century issue #2

Country of origin: USA

Official site: http://roughdale.bigcartel.com

Facebook community: http://www.facebook.com/RoughdaleRocks/

Email: Jcspann@msn.com

This zine is not quite like others in print this year. It’s more likened to how a tour report would read if penned by someone from the beatnik era of the fifties. On Facebook it is simply described as “Southern sludge meets gonzo journalism meets pulp commentary.” It’s sort of vague but still enough to attract people who have taken long trips to out-of-state metal fests. The description immediately following it offers some more potential information. Such authors as Hunter S. Thompson, Charles Bukowski and Bret Easton Ellis (Less Than Zero, American Psycho) are reference points for potential readers, next to Cormac McCarthy and Quentin Tatantino and then the Wu-Tang Clan and Pantera. In this zine there is no empty politically correct preaching about making the world a better place, nor are there moral judgments made about people living their lives outside of the glamor and glitz the media displays on a daily basis. The publishers of Roughdale call it “an exercise in free speech and ignorance” even going as far as to warn readers not to go further lest you grow disillusioned by a journey ultimately presented as pointless. We see a microcosm of society which has lost its meaning, that is if it ever had one to begin with. Depressing to be sure but in its own way it’s cathartic and an eye-opener for those who bought into the idea of the American Dream only to fail to achieve it in the end. The idea has been explored in independent film many times. But this is the first I have seen the idea laid bare in such a brutal manner. The second issue in addition includes poems and album reviews. Both of these issues are offered for free, so contact the editors at the email address provided above. -Dave Wolff

CD Review: NAZGHOR Death's Withered Chants

NAZGHOR

Death's Withered Chants

Satanath

http://www.facebook.com/Nazghor-144957632333284

Death's Withered Chants by the Swedish band NAZGHOR, is one of those black metal albums that you just can't get enough of. The entire album is well orchestrated. Every track is distinguishable, even though each song kind of carries on to the next. The lyrics are dark and delivered with blood curdling vocals. The drums and guitar riffs come together perfectly. Although I enjoyed the whole album, 'Inheritance of the cross' and 'Under a venomous spell' are my personal favorite tracks. After listening to the album in full three times today, NAZGHOR has peaked my interests in black metal. Even if you're a death metal fan, I'm sure you'll enjoy it. -Eric Evers

Track list:

01. Hymnum Mortis

02. Requiem Black Mass

03. Under A Venomous Spell

04. Craft Of The Nihilist

05. Road To Dead Meadows

06. Inheritance Of The Cross

07. Aeternum Regno Diaboli

08. Complete Unholyness

09. Empire Of Graves

10. Death’s Withered Chant

CD Review: ANGAKOK Self-titled

ANGAKOK

Self-titled

Satanath

http://www.facebook.com/angakokdoom

Angakok is a Belgian Doom/Drone metal project based in Liege. "Angakok" is their 2015 namesake release- inspiring and unsettling in its diversity. Commencing with "Perpaluktok Aitut" resonant samples of singing layered with a crackling background set the tone. A sample of a male voice shifts the tone’ multilayered samples create a unsettling yet apprehensive tone. Mid track droning and crackling fades out the voices effectively to combine the background in a musically intelligent and cohesive shift. The doom aspect spliced with rapidly paced samples serve to create a more frantic, chaotic tone. The continual background broken by a gradual shift in pitch and cadence prevents a monotonous tone. The conclusion displays a grinding, relentless feel providing an interesting opening track both abstract and well layered.

"Sacrifice" commences with a guttural, droning background spliced briefly by the drum work. A stark contrast to "Perpaluktok Aitut"- leading the listener to become immediately interested. Heavy use of droning and distortion are consistent throughout the first quarter. An almost depressive element further aided by a discordant riff and consistent musical balance displaying the drum lines prepare for the sudden onslaught of the vocals. An almost vibrational feel to the background music provides an intelligent cohesive contrast. A depressive interval- allows Angakok to display their doom influences, providing a welcome contrast before switching pitch and tone into the next unrelenting section. Timely droning intervals ensure "Sacrifice" remains diverse while remaining consistent to their sound. A slamming percussion section announces the final chaotic and experimental quarter- rife with rapid paced drum lines and harsh screaming vocals. Rapid pitch changes provide an intriguing and experimental track.

"Collapsing" begins with a resonating, well-orchestrated guitar line, providing a coherent contrast to the slow drum beat. Rapidly shifting pitch and cadence ensure the listener is immediately interested. Constant and precise pitch changes combined with an unchanging, consistent drum beat entice. A pitch shift is the cue for the guttural vocals to commence, enhanced by a musically sound background. A lower pitched, close to meditative drone offsets the vocals masterfully, while a brief screaming vocal solo leads into a brief respite. Consistently on point drum lines are of high emphasis. A consistent approach to the musical background ensures the vocal section is the focus of attention mid track. A sample spliced with the instrumental section creates an unsettling tone aided by chaotic yet intelligent drum lines broken by a doom ridden riff ensure the listener is awaiting the next section. Pitch shifts with selectively timed riffs flow seamlessly into an interval with heavy drum lines. A brutal vocal section enhanced by a particularly drone influenced background impresses. Chaotic and distorted riffs with a droning and atmospheric tone conclude this creative, cohesive track.

"Aksarpok" commences with the characteristic understated drone established as part of Angakok's style. Samples spliced with the heavy, distorted drone provide a menacing feel. Pace shifts and the introduction of another sample artfully layered produce a more melancholy feel mid track. A percussion section adds another element. The continuous, consistent approach in "Aksarpok" is a quality to be noted and appreciated. A musical interval free of samples provides a timely interval and announces the vocal section. Understated screaming vocals are cohesively placed at the same level as the background while continuous and flawless pitch shifts serve to provide a tone of chaotic insanity before shifting back. The vocals in the third section produce a raw, mournful experience aided by the background. Pitch changes provide an unsettling tone while remaining diverse and ear catching. Samples and grinding distorted guitars add to the unsettling conclusion.

"Samsara" commences with a frantic drum solo that instantly captures attention. Grinding and groove filled guitar work commences the next section of the introduction while still remaining musically sound to Angakok. Continuous energetic, technical drum lines are musically consistent. A pitch and cadence shift introduces the vocals. A more heavy, doom approach allows the vocals to be the focus of this section while seamlessly shifting into a more distorted drone pitch and slower musical pace broken by well timed, precise cymbals. A drone/doom feel to the musical interlude provides an intelligent contrast to the arrival of the next aural onslaught. A harsher, guttural approach applied mid track by heavier doom displays more diversity. A reflective feel to the interlude provides a cohesive atmosphere. Pensive guitar notes provide a depressive approach to this interval while emphasizing a dramatic feel. Samples add an unexpected layered quality. Grinding, brutal droning offers a dramatic contrast aided by masterfully placed drum solos offer another niche in this track. A brief single note preludes the next vocal section. Harsh screams amid a brutal tone bring about the conclusion.

"Avioyok" commences next with meditative, droning samples combined with samples of running water. Continual pitch shifts and a distinct vibrato provide an intense, cohesive contrast. A brief yet well-constructed, musically captivating track with shamanic overtures. "Dead Birds" begins with a noise groove and chaotic feel while still remaining creative and cohesive. Strong and consistent drum lines enhanced by drone guitar work consistently and continually create a musically cohesive and intelligent sound. Brief intervals broken by screaming guitars ensure a melodic, chaotic experience. The addition of vocals add an extra layer of calculated cacophony. A sudden and abrupt end provides a fitting conclusion.

"Trust my Scorn" commences with a sampled male voice speaking rapidly before the heavy section commences. The vocals add a depressive, mournful tone. Continual shifts in pitch and cadence display the diversity of the vocals and music. A rolling cadence and chaotic feel shifts into a brief doom interval before the next assault. A brief instrumental interlude provides an intelligently timed break allowing the sheer cacophony to envelope the listener before another noise break ends it.

"Empty Cup" commences with a remarkably threatening overture aided by distorted guitar and selected samples. Doom intervals are broken with musically consistent bursts of aggressive drum work. A mid track interval provides a doom-groove approach preparing the listener for the next brutal assault. Mournful screams characterize this section; enhanced by a distinctly depressive background. A brief melancholy riff aids to the interval only to switch back into the harsh vocal section flawlessly. A highly mournful vocal section announces the conclusion seamlessly shifting into a distorted interval. "Sivudlit Nertopok" provides an elegant and contrast track due to the use of layered singing bowl samples and a resonant feel to this concluding track. The vibrato is enhanced by well layered samples of chanting- once again providing a meditative mood. Skillfully layered samples provide a calm conclusion to this release.

Angakok's namesake release is well-constructed and diverse in influence and approach. It's obvious immediately to the listener that a large amount of time and effort has been placed into the concept. The diversity throughout "Angakok" is to be admired and displays a clear sense of dedication throughout the entire release. Angakok is a creative force to be reckoned with and I genuinely look forward to hearing more of their material. -Sarah McKellar

Track list:

1. Perpaluktok Aitut

2. Sacrifice

3. Collapsing

4. Aksarpok

5. Samsara

6. Avioyok

7. Dead Birds

8. Trust My Scorn

9. Empty Cup

10. Sivudlit Nertorpok

Fiction: THE ROSE GARDEN by James Ward Kirk

THE ROSE GARDEN

Fiction by James Ward Kirk

Adam Glacies sat in his green plastic chair under the fading sun staring at his dead wife’s dead rose garden. Even though this Indiana May, already too hot, promised a healthy garden for Angela’s flowers, they weren’t taking. The remnants from the hellish winter stood crookedly, faded yellows and reds and her prize whites. Scratching at his graying whiskers with his left hand, Adam lifted the police-issue .38 from his lap, a remnant of his former life, and pointed the muzzle at his temple.

He couldn’t do it. He knew he should pull the trigger, even things out, reconfirm his loyalty to Angela, but he also understood cowardice and disloyalty.

He stuffed his gun into the belt holding his jeans up and walked to his house. The grass needs cutting. The goddamn dandelions are taking over.

In the kitchen, Adam set the table. He loaded his plate with three pork chops, a heaping mound of mashed potatoes, and golden corn. Across the table from him rested a photograph of Angela wearing a white dress with matching sunbonnet, long blond hair framing a perfect face. Her blue eyes and bright smile projected the most pain for Adam. She was still innocent.

Tearing into his meal, barely bothering to chew, never taking his eyes from Angela’s, he finished, then hurried to the sink and vomited everything back up.

His pants fell to the floor. I’m losing weight. Too much weight and it hurts.

Pulling them back up, he turned on the tap water and rinsed the sink, then turned on the garbage disposal. He listened hungrily as his guilt ground in the machine.

After turning off the tap and the garbage disposal, he walked to the living room, sat down in his black recliner, laid his pistol on the table beside his chair and opened the drawer. Removing the half-empty bottle of bourbon, he finished the nut-brown liquid in three long pulls, and fell asleep.

Adam awoke to a low buzzing sound. The room was dark, as was his mood. Becoming a bit more alert, he picked up his gun and, unsteady, walked to the front porch.

Forcing his mind to focus, he saw small furry creatures with big eyes—reminding Adam of chipmunks and apple-head Chihuahuas with antennae—eating the dandelions in his yard. A whippoorwill sounded in the distance.

Adam pointed his .38 at one of them.

No! We come in peace and love. The voice seemed crystal-clear in his mind, at once alien and comfortably familiar, somehow reminiscent of Angela’s voice.

Whatever. Lowering his gun, he walked back into the house, to his bedroom, and fell into a deep sleep, dreaming of Angela’s blue eyes and the lost chirping of crickets in a moonlit night.

Then he dreamed of Eve, and shivered in the heat as he slept:

Eve was the exact opposite of Angela, raven-haired, eyes so dark and large like a starless midnight sky, tall and long-legged, and corrupt. Eve: meth-thin, opposite of Angela’s full-bodied figure, small breasted but a plump ass: Angela’s golem.

A courier, Eve drove a new black Caddy and lived in Gwynneville. Adam drove an unmarked blue Impala and lived in Shelbyville. He waited outside her supplier’s house in Rushville and followed her along State Road 52 with the windows down, enjoying the scent of fresh cut hay, until they reached her home. Eve never saw him coming.

He waited at the corner of her house, registering her sensual walk, noticing her very short blue jean skirt and her pearl high-cut t-shirt and of course the bulging silver purse hanging from her shoulder. When she worked the lock, he made his move.

Just as Eve pushed the door open, Adam hit her with his left shoulder. She went tumbling, dropping her purse, and two kilos of bagged crystal meth spilled onto the floor.

Eve, handcuffed in a matter of seconds, rolled over unto her back. Adam looked down at her, his police badge in hand.

She spread her legs just enough to show her promise of an ebony happy trail. “Don’t do this. I’ll suck you dry. I’ll fuck you dry. I know things.”

Her voice, melodic, her mouth filled with promise, seemed a reward to Adam. He worked hard and played hard, more so than anyone he knew.

He couldn’t deny his erection and didn’t want to anyway. This beautiful woman, impossible to resist, sang a siren’s song. Adam dropped his jeans and straddled her.

“Wait,” she sang, “bring it up here first.” She opened her wonderful mouth.

Eve was not a gift; rather, an addiction.

Adam crawled out of bed, making it to the toilet just in time to empty his stomach. Not bothering to brush his teeth, he walked to the kitchen and started some coffee, standing in front of the machine, motionless, breathing shallowly while watching the coffee brew. He poured some into a cup and walked to the front porch.

On his third sip, he noticed the absence of dandelions. Remembering a vague dream about small furry creatures eating them, and speaking to him, he shrugged his shoulders. I need to cut the grass. He noticed his neighbors’ yards still overrun by dandelions.

He finished his coffee and walked around the side of his house toward the garage where his green lawnmower awaited him. Filling the gas tank, he checked the oil and then pulled it behind him to the smallish backyard. I should probably cut those roses down. His stomach heaved at the thought. Hesitantly, he glanced at the rose garden.

What?

The roses leered back at him in perfect health. Angela’s rose garden could easily grace any glossy magazine cover. They’re unspoiled.

As he approached, their perfume overwhelmed him and he fell to his knees. I’m going insane. Finally.

He finished his journey to the rose garden, allowing his eyes to adjust to the bright hues. Their scent and color made his eyes water. The morning sun, burning without mercy, was unable to affect the tears streaming down his face, as now he cried—no, sobbed.

Birds chirped; a dove cooed. In the distance, a woodpecker worked mightily.

I don’t deserve this. Adam stood and walked to the edge of the garden. He longed to experience joy over the miracle before him, but suffered emptiness.

Angela should be here.

Reaching out to touch one of the white roses, he hesitated. The bed of the garden glowed violet, the deep color a king might wear. I smell... I’m reminded of... manure... but not like any I know... there’s no chemical smell... Adam took three steps backward and tripped over the lawnmower, falling to the ground.

Fuck!

Regaining his footing, he looked all around, and decided to cut the grass. Starting the mower, he began his routine of cutting: familiar squares, rectangles, circles around the two maples. He withdrew into his thoughts.

Nine in the morning on a beautiful Saturday, the breeze perfectly warm, Angela so lovely in her jeans and white t-shirt, hair pulled back, a smile dancing on the edges of her mouth.

“I’m proud of you for donating your time at the Seniors Village.”

“Thank you, Adam. Those people are so fun. I love listening to their stories.”

“I’ll pick you up at four.”

“I love you.”

“I love you, too.”

Watching Angela walking, wondering why Eve’s hold on him is so powerful when Angela is so beautiful. Sex is wonderful with her, and the love I feel when I’m inside her is real.

Driving away, growing hard, not for the moment, but for the moment to come. Naked Eve meeting him at her back door, gone Brazilian, holding coffee laced with bourbon; screwing, drinking, screwing, napping, drinking, screwing...

“Adam! Wake up! You’re late!”

Adam shuddered.

Waking up with my face buried deep in her lap, unable to finish what I started, drunk, feeling Eve’s hands push me and I fall to the floor naked and the bottle of bourbon falls and empties onto my head, rushing to dress, leaving Eve still drunk and already back to sleep...

. . Angela sitting on the steps, smiling at me even though I’m late. God bless her.

Angela getting in and I pull away still drunk, so drunk. I pick up speed, she leans over to kiss me, and, oh, my God, she smells Eve on my mouth and my Angela shrinks.

Leaving Rushville on SR52, cornfields, and tree lines to fight erosion, and I hear her start to cry and this angers me so I smack her.

Picking up speed, turning on my lights, passing slowing cars, and Angela plants a right fist directly onto my right temple and I briefly lose it...

Waking up... my cop friends telling me my car rolled six times and I’m okay but Angela... no seatbelt, thrown from the car. I find her in three pieces: a crimson mess, one leg bled out hanging pale from a tree branch, her trunk all yellow in the flashing lights.

Adam grimaced.

His BAC never checked.

Buried in three days . . . her white sunbonnet . . . Angela gone forever to a blue place where roses grew as big as oaks, a haven he knew he’d never reach.

His first Saturday without Eve . . .

The second Saturday, nighttime, peeping through her window, Eve strung out on meth and whiskey, already another naked man by her side, he slunk away; murder thrumming in-between beats of his heart, never to be.

Adam quivered, released from memory, the tank of the mower empty, and the expected spring breeze still, twilight stars beginning to twinkle in the sky.

How long have I been standing here? He looked around the neighborhood, lights flashing on in homes, cars parked neatly in driveways, dandelions everywhere.

He walked into his home, tugged long and hard on a fresh bottle of bourbon, and fell asleep, feeling death like a kiss on his cheek—and welcomed both.

Awakened by a buzzing in his head, now a familiar sound, a loved one calling out, and he walked out to his front porch.

All of the dandelions gone; no freshly cut grass in his neighbors’ yards, just the absence of dandelions and the loss of night sounds; no chirping of birds, no crickets, no buzzing of flying insects—only the silence of the night exploding in his mind.

Adam left the porch and walked around the side of the house to the backyard.

Gazing upon Angela’s rose garden, understanding now the completed artistry; his memory of this morning’s rose garden incomplete, experienced like the morning before the final brush strokes on the Sistine Chapel, which Angela once told him about.

She should know.

Angela’s roses towered above him, at least fifteen feet tall, and colored like the most beautiful works of art in the world. Adam fell to his knees.

A stirring among the roses . . .

. . . Them.

Watching without fear or anxiety as the beings spread out from the garden, their circle completed. Do not fear, they sang. We offer you Angela.

“How?” Adam felt the dew soaking through his pants at the knees. Honeysuckle scented the breeze.

Come. Stand among us. We will take you to Angela.

Adam stood, entered the circle, and blinked.

And saw the earth below him, as blue as Angela’s eyes.

I’m inside a bubble.

Yes, a bubble.

“You ate the crickets, too.”

Like you, we are omnivores.

Omnivores? I think that means they eat anything. Like an old spider spinning a new web, fear spread through him. I don’t understand.

Adam blinked again. He saw blackness.

We are in galaxy M87, the home of the largest black hole in your known universe.

“Why?”

We are taking you to Angela.

“Why?”

Because this is what you want, no, need.

Adam experienced the reflection of the bubble in a blue star being sucked into the black hole. Other stars moved with him—red, yellow, white— transforming into shapes of monarch butterflies and seahorses and fireflies; and other images he had no words to describe.

A tap on Adam’s shoulder surprised him. He turned.

“Hello. My name is Hieronymus Bosch.”

Adam nodded to the man, but before he could introduce himself the man was no more. What a creepy little shit. Adam blinked.

We are near.

He blinked again and was momentarily blinded.

An O-star, and why it is blue; rare indeed, but quite beautiful, don’t you think?

“Yes.” Why do I deserve such beauty? He blinked. I don’t. “Where is Angela?”

Near, very near; please be patient.

He closed his eyes, then heard Angela’s voice: Adam?

He opened them.

There! You see, Adam?

A planet: one half, the side facing the star, shimmered yellow/red, molten; the side facing away from the star white, icy, stark; and a blue ring around the middle of the planet promised innocence, purity, and a concept for which Adam couldn’t find the word he desired.

This planet does not rotate. The middle part represents where life exists. Angela is there, in the blue ring.

“When do I get to see her?” I have so much to say; especially, I’m sorry.

We are sorry. When did we say you might see her?

“Then what?” Adam, happy for Angela and her blue place, understood now he no longer mattered.

Choose.

“Choose?”

Choose your home: white or lemon-crimson. Free will, Adam, is a promise. One of many.

I should have known. “I always favoured her white roses.”

Adam fell. As he sunk into the planet’s atmosphere, he broke into a million pieces of eternally screaming white ice, the word “Angela” falling like snowflakes, snowflakes the colour of regret.

Graphic novel review: SHADOWSIX Issue #1 (Liam Anthony) by Dave Wolff

SHADOWSIX Issue #1

Story by Liam Anthony

Artwork by Anne Morrison

Cover by Zachary Smith-Cameron

Zerstor Comics

You may remember when Liam Anthony appeared in AEA as editor/publisher of The Fallout Magazine (which spotlighted Australian extreme metal) and drummer of the Australian thrash band Malakyte. One of Liam’s latest projects is the first chapter of an ongoing graphic novel series based on an original story conceptualized by him. The interview in which he discusses it and the Dampman comic he is working on, along with his new bands Elkenwood and Dragonsmead, can be read elsewhere on this blog. The Shadowsix are a group of vigilantes-turned-super heroes who roam Maldoran city searching for criminal elements while having to contend with the cops (think Paul Kersey meets Batman). The central character and leader of the group is Shadowmoth, otherwise known as Ant Collins. The villain of this chapter is Maldoran’s mayor Alistair Kriegan, rumored to have ties to the city’s criminal underground. The tale begins with him abducting city governor Derrick Livingstone for unknown reasons, after he exposed the mayor’s shady dealings. Upon being caught by the Shadowsix Kriegan reveals he has rigged enough explosives to level the entire city. Meanwhile someone is watching from the shadows, revealed to be Redeemer, member of the Shadowsix and chief rival of Shadowmoth. It is he who puts a permanent stop to Kriegan as the comic establishes him as a foil to Collins. For information about all of Shadowsix, there are bios provided at the end of this issue, following a cliffhanger for the next chapter involving Collins’ brother. The storytelling wastes no time getting into the action and establishing each characters’ personality immediately after you start reading. The chase scenes, fight sequences and the introductions are all fast paces and visceral, making it hard not to imagine you’re there watching everything unfold. I felt swept into it instantly and wondered how Shadowsix would pan out as a miniseries on Syfy, or perhaps internet TV. Also included here is a preview of Dampman, Liam’s other comic. Shadowsix updates are consistently being posted at its Facebook community page. -Dave Wolff

Interview with Erik Martin and Otto Kinzel of SKIN DRONE by Dave Wolff

Interview with Erik Martin and Otto Kinzel of SKIN DRONE

Skin Drone are preparing to release their debut recording Evocation online in June. I reviewed it and got an impression of how unorthodox it is. What can you divulge to us about the songwriting process?

Otto Kinzel: I think we get those unorthodox compositions because we literally do not have any rules or agenda when we write. It's a true collaboration between Erik Dismembered and I, and neither one of us is afraid to try something that may be a bit "out of the box' so to speak in terms of how we think of heavy music and approach it. When we first started writing together, we were both very cognoscente about keeping an open mind and really listening to each other's ideas. We realized very early on in our partnership that as songwriters we both had very different influences and a very different "head space" in which we found inspiration, but at the same time those spaces were both really cool. So it seemed a natural fit to make it work.

Otto and Erik were involved in separate projects before collaborating in Skin Drone. Was there anything that told you something could come from you working together?

Erik Martin (Erik Dismembered): For me there was a lot of pressure with that first song and really having to knock my audition out of the park. I listened a lot to Otto’s solo music and instantly became a fan. He was also someone that I grew to respect quickly, so when I was approached to work with him on this project, it would have been rather stupid of me to say no and not learn from one of the best.

Otto: That’s high praise Erik! From my standpoint, I was equally inspired by Erik’s work with Critical Dismemberment. His vocals and lyrics really spoke to me and I could easily envision his DNA mixed in with my guitar riffs. Erik is being modest but I’ve found lots of inspiration in the ambient-noise type parts he creates. He comes up with this really dark, avant-garde type stuff that is very similar to his solo material & it really helps to get my creative juices flowing.

Does Erik’s band Critical Dismemberment have any material available on Otto’s record label Bluntface Records? How big a response have they gotten through advertising and distribution?

Erik: We have our debut EP “Feel My Wrath And Tremble” and our split Halloween EP “Home For The Helladays”. Critical D has gained a lot of success through networking and promoting throughout the underground. Even though we are on hiatus, we are still getting played like crazy, especially our older Nintendocore stuff. Home For The Helladays also won Album of the Year on Metal Devastation Radio for 2015, which was a gigantic “didn’t see that coming” moment.

I talked with John Nelson about Nintendocore when interviewing him in December/January. We talked about new bands and how well known the genre is on social media.

Erik: The new wave of NxC bands that are what I would consider the “Godfathers” are She Wants The D-Pad, A Challenger Approaches and Unicorn Hole. What they are doing with the genre will cement it as a permanent genre of metal and eventually out of obscurity. There is also a one-man project called Chainsaw Massacre Party, that is very experimental and he is doing some crazy stuff as well. There is a lot of promise and talent in the scene; Chase and I are working our asses off to get these guys noticed.

How much effort does Erik and Chase put into promoting Nintendocore bands? Who is involved in Chainsaw Massacre Party and why are they worth checking out?

Erik: Chase and I try and support everyone as much as humanly possible. It’s a tight knit group and with the amount of support everyone gives each other, the underground should really be taking note; these guys are doing it properly. CMP is a one-man band ran by Haylow Black. He has a unique approach to writing and arranging Nintendocore elements with various genres, it is very refreshing to hear experimentation start to take hold in the younger guys’ music. It gives hope that the current blandness in metal in general will hopefully and eventually cease.

How long has Haylow Black been doing CMP? Does this project have any material available for streaming or ordering?

Erik: Haylow has been doing CMP for two years. He actually had two EPs before “Radiation Zone” but decided to use them as learning experiences. He takes his time when writing and recording so everything always comes out naturally and isn’t forced for the sake of releasing something. I respect him a lot for having this approach. We share a lot of the same views when it comes to the quality of the music being released. You can check out and download for free his debut EP here..

Is Lavender Conspiracy Records exclusively supportive of Nintendocore, or do bands of other genres release through them? How long have they been streaming their bands on Bandcamp?

Erik: LCR is open to anything that is in the electronic realm, metal or not. It’s mostly experimental so far. LCR has been streaming since January of this year. It will probably be some time before I can fully devote time to it, but everyone understands Skin Drone is my primary focus.

How prominent and influential do you think Nintendocore can become in extreme music?

Erik: It will get bigger and more recognized, but it will be quite some time and a lot of hard work to become both prominent and influential. These guys like being in their own corner in the underground, and I don’t see that changing any time soon.

How many similarities existed between your compositions, and where did you see your creations could fit?

Otto: For me I write a lot of heavy music, but I also do a lot of dark ambient type stuff, and there are clear parallels between both of those styles I do on my own and Skin Drone. The first song Erik and I worked on together, which became Witching Hour, was based originally on a set of riffs and drums I had written for a separate project that never panned out. So it was a perfect way to ease our way into this new adventure.

What would you say was “cool” about your head spaces? “Cool” is a subjective term; how would you further define your head spaces?

Otto: Maybe we each think about music in a different way? I’m not sure I can really answer that without sounding like a pretentious douchebag, haha.

Erik: What is cool about our headspaces is that while we have the same “center” if you will of what we want music to sound like. Our other influences are the opposite end of the spectrum, for example, there were cases on this album where I matched Otto’s very heavy song with a very non-metal approach to layer it, like The Faceless meets Tyler Joseph… it shouldn’t work, but our attention to detail allows us to create things “normal” people wouldn’t usually think of.

From what I heard of Evocation, it seems to incorporate elements of death metal, math metal, black metal, goth metal, thrash metal and several other subgenres. Did this progress naturally or did you set out to combine these influences?

Erik: The process of smashing genres together and essentially making our own was something that came naturally as we got more comfortable writing together. I was inspired by what Otto was throwing at me musically and vice versa that we decided to run with it. I think it adds an element to our music that is hard to capture. Every song has a life of its own and a vibe of its own. All that came together as we continued writing. Our influences musically smashed together make for some monster songs and unique perspectives on what can be incorporated into extreme music.

You would say the more comfortable you became playing and practicing together, the easier a time you had melding these influences and letting the chips fall where they would?

Otto: We’ve never actually been in the same room together. Ever. I live in New Hampshire and Erik lives in Arkansas so we’ve always had to practice and hone our craft with each other remotely. But I do think it helped both of us stay disciplined when it came to writing and recording. Both of us knew that because of the distance we couldn’t afford to waste time. We both had to bring our “A” game to every session, every time.

Early death metal involved a combination of science and philosophy; Skin Drone’s music by contrast is like the soundtrack to losing one’s mind. How accurate a description would you say this is of the band?

Otto: I would say it’s a fairly accurate description. Certainly, it is not the only influence but it is prevalent. So much of the music was inspired by chaos, no only in our personal lives but also from experiences we’ve both had. The idea of schizophrenia and paranoia is a common theme in the music and lyrics because it’s a common theme in both my life and Erik’s as well. We are writing from our own personal experience and trying to exercise these demons.

What bands do you know of that touched on schizophrenia and paranoia before you began pursuing those subjects?

Otto: Although not in the literal sense, I do think a lot of Mike Patton’s more experimental stuff has that feel, like one of his solo albums Adult Themes for Voice. Also John Zorn and most of his catalog. Its so “out there” that I can’t help but feel like mentally they are in such a different place.

Erik: I actually found those themes common in The Plot In You and also the vocalists solo project. Landon Tewers “Dead Kid EP” blew my mind. Even though he was in the midst of a bad addiction, the feelings of paranoia and confusion came across so real, it was very profound and almost hard to listen to.

I remember King Diamond touched on the subjects of paranoia and schizophrenia on a couple of his albums. What do you recall from those days?

Otto: He gave substance to these issues and gave people a reason to care.

With death and black metal having five different types of blast beats, and the discipline required by the vocals of death and black metal, how much have you seen extreme music as having matured over the last two decades?

Otto: Oh god, it has matured significantly. Each generation has found inspiration in the previous generation’s music and used that to help evolve the genres within Extreme Metal and push it forward. We all stand on the shoulders of the giants that came before us. It’s about trying new ideas and pushing the boundaries; not being afraid to take chances by using different (or “non-metal”) ideas and instrumentation. You have to evolve or you get left behind.

Which bands are the best examples of the evolution and maturity of extreme metal these days?

Otto: I love bands like Gorguts, Obscura and Gojira. All of them take big risks with their music and push the boundaries of what extreme metal CAN be. Especially Gorguts on their Colored Sands album. That is a huge influence on me. It’s more than just technical wizardry; its got so many different elements and dynamics that they blew the doors of what technical extreme metal “should” sound like.

Erik: The biggest one for me is Vildhjarta. They do some pretty crazy time signatures and chord progressions. Along with the atmospherics, they create some rather unusual and dark music. Persefone is another. Both bands are so technically proficient, there really isn’t anything they can’t get away with.

Did you hear anything by the Japanese band Sigh? Their releases Hail Horror Hail, Ghastly Funeral Theatre and Infidel Art pushed the boundaries of extreme metal and you had to really be open minded to appreciate them.

Otto: Sigh is not an easy band to “get” into. They really tested boundaries and challenged the listener to dive into the deep layers of their sound with them. Highly experimental, which is something I’ve always been fascinated with.

From my interview with Erik for Critical Dismemberment, I remember they composed their songs through the internet. Is Skin Drone doing the same? How do you work out the songwriting process from your respective locations?

Erik: It is exactly the same. The only difference being that I am more involved with the writing and arranging of music on Skin Drone than I was with CD. There’s a lot more to Otto and I writing together because of that. Our music is also a lot more experimental and complex than CD, so we have to make very clear when talking to each other what we are trying to achieve sonically. It works better in the long run because we cannot afford to have a mis-step, which makes us better musicians and songwriters. I would imagine there is going to be more Skype session when we begin writing record #2 simply because our goals for this record, especially ones I’ve set for myself will require us actually talking it out face-to-face rather than a 2500 word essay on Facebook messenger.

Do you see more bands emerging whose members collaborate on the internet?

Erik: I personally haven’t seen an uptick in that respect but I have seen a lot more one man projects spring up over the past few years. I would like to see more internet type projects, I just think with the live show being the ultimate goal, it probably won’t gain any more attention.

How many single member projects have you seen on social media since more people began recording independently a few years back?

Erik: I’ve actually seen quite a few, most of them really good. The bedroom studio for all its downfalls has also let the guys with talent in places where there is little to no scene to get noticed. Pink Carnage, Aberration Nexus, Ashen Horde are some of the cream of the crop when it comes to one-man bands.

Are the single member projects you have heard generally able to record and release well-produced material?

Erik: There are the good and the bad. Some guys know how to produce, some are learning and others haven’t quite figured it out yet. The talent is there in all aspects when it comes to the material, and I honestly haven’t heard any poorly produced records from underground artists in a while, hopefully that trend stays course.

The band’s motto reads: “A compliment from a true underground metal fan trumps the praises of an MTV/Viacom groupie every time.” What does this mean to you and why have you made it a rule to reject mainstream standards?

Erik: For the band in my perspective, it means continually thinking outside the box. Doing things that that would scare other bands and facing those challenges head on. We stand true to what our label stands for, representing the bands that don’t fit in or do things differently and could care less if the bigger mainstream media and radio show interest or not. The music and staying true to who we are as a band and people is what matters most.

Otto: To me it means never being satisfied with just going through the motions and producing contrived shit. The “popular” mainstream type music that gets the majority of the coverage by these Clear Channel owned radio stations is so unoriginal, so uninspiring… it all sounds so formulaic and unoriginal. Listen to any random song from Justin Bieber, Beyonce, Megan Traynor, and Kayne West… the production is all the same. The programmed drumbeats and the syncopation of the drums are all the same. The song structures are all the same. It’s just a recipe major producers use to “write” songs. And people who don’t really give a shit about music eat it up and praise these dolts. Those people are entertainers, but no way in hell are they fucking musicians. I NEVER want to be that. Sure I assume the money, the fame and all the stuff is probably really great and is good for the ego, but for me it would NOT be good for my soul. Fuck that.

How do you account for generic, reconstituted music being widely accepted by the masses? Why do you think fewer people aboveground care to listen to something original?

Otto: I have no idea. I mean, if I actually knew the answer to that then I would be able to write a bestselling book about marketing to the masses, haha. I think the majority of people just do not care to be honest. They have lots of stuff going on in their lives and just aren’t as passionate about finding more indie or underground type of artists. Or they’re too quick to disregard those underground artists. Getting into any type of medium that is not “popular” or easily accessible takes work sometimes, and many people do not want to do that.

It seems more people have just become lazy and don’t want to try anything different. How much more important does that make it for those of us still creating original music?

Otto: How else are you going to stand out from the pack? I don’t ever want to be part of the preverbal “herd”. Even if people are not into my individual stuff, I still want to strive to be unique and different. If you’re happy to just be generic and sound like everyone else who came before you then I think that’s a sad indictment on your artistic integrity.

It seems pop punk, screamo and most nu-metal is now part of the Clear Channel-ruled system. Mallgoth culture centered only on fashion has had no understanding of goth culture since the mainstream turned into a marketing ploy. How much does this undermine punk and metal’s original idea to shatter complacency?

Erik: I think there will always be those bands that will always be anti-establishment and will always strive to buck trends and do their own thing. It’s prevalent in the underground much more than in the mainstream. Breaking Benjamin comes to mind when talking about nu-metal. Even though it has that “sound”, the man is still a monster composer and lyricist. While I agree that the Clear Channel system is oversaturating the market, there are still some guys that will stay true to who they are, and that is an inspiration for those of us still working to achieve the next level.

In what ways does Breaking Benjamin differ from nu-metal bands? What about his songwriting sets him apart from the rest of the genre?

Erik: Ben is how I learned to write with a certain atmosphere in mind. Albums like Phobia and Dear Agony really showcased his ability as an artist to have the tone of the lyrics match the music perfectly. He’s also the one of the few not to rap. His lyrics reflect exactly what he was going through at that point in his life and is unafraid to bare his soul. It’s not cliché; it’s real. It gives a level of connection with the people who listen to music for substance more so than those that listen purely for a good time.

Does Breaking Benjamin’s lyrics differ from those penned by most nu metal bands? How do his lyrics speak to you?

Erik: Ben writes about things very personal to him. It’s not the cliché rapping/singing nonsense. It’s upfront and personal, which is something not a lot of guys do, if at all, in the genre. I highly recommend Breaking Benjamin simply because of the emotion and lyrical to music genius he brings to the game. It’s not super heavy or technical, but he always finds a way to speak to you, whether it be positively or negatively.

Are there any examples of BB songs that resonated with Erik? Quote some of the lyrics to these songs for the readers?

Erik: Too many to list, but there are gems such as Dear Agony:

Dear Agony

Just let go of me

Suffer slowly

Is this the way it's gotta be?

Don't bury me

Faceless enemy

I'm so sorry

Is this the way it's gotta be?

Dear Agony

There’s also Breath:

You take the breath right out of me.

You left a hole where my heart should be.

You got to fight just to make it through,

'cause I will be the death of you.

Another one that resonates with me is “Give Me A Sign”:

Dead star shine

Light up the sky

I'm all out of breath

My walls are closing in

Days go by

Give me a sign

Come back to the end

The shepherd of the damned

To open up a song with lyrics that painful just gives me goosebumps. If I had to choose, Dear Agony would be my favorite and had the most profound influence on me, that whole record is so dark and full of pain, Phobia is a close second. Songs like “Dance With The Devil” and “Had Enough”, an example is the chorus in Had Enough:

You had to have it all,

Well have you had enough?

You greedy little bastard,

You will get what you deserve.

When all is said and done,

I will be the one to leave you in your misery and hate what you've become.

I have a very similar writing style lyrically to Ben (not on purpose) so I always naturally gravitate to his music for inspiration.

What are the most prominent similarities between Erik’s and BB’s lyrics?

Erik: On this particular record, not much. Overall, there is a lot pain, anger, confusion and everything in between. I learned very early from Randy Blythe of Lamb of God “I write what I know, and right now, I know a lot of fucked up shit”. I just write about what has happened to me, once I finish the song, that chapter closes.

Despite the turn the mainstream has taken, underground communities seem unaffected as more bands and labels have more creative control. How far has social media gone toward helping unsigned underground bands get their work out there?

Otto: It has helped so much, and come so far since Myspace was first created. It’s given an unknown act like ourselves a chance to have a voice; a chance to connect with other music fans who otherwise wouldn’t even know we existed. It’s like the old tape-trading scene but streamlined 100%. Music fans and people who are passionate about helping underground artists gain exposure have always existed. But now the tools to do so are so much better.

Independent radio stations such as Brutalism and Deviants Underground Radio have been giving more unsigned bands a chance to be heard by listeners in other countries. Do you know of any that readers would want to seek out?

Erik: Metal Devastation Radio is probably the biggest and best when it comes to supporting the underground. Their website is setup like a social media website, which allows you to promote and support the underground and musicians in it efficiently. Digital Revolution Radio, specifically the shows JustINsane and The Killogic Effect have been HUGE supporters of the underground and giving bands opportunities that normally wouldn’t present themselves.

How much have these independent shows helped unsigned bands that otherwise would not be noticed get fan support?

Otto: Tremendously! I’m not sure you can really measure just how valuable they’ve been for the underground.

Has Skin Drone gotten much exposure on internet radio so far? How about the other bands you both are involved in?

Erik: Skin Drone has torn up the exposure front on internet radio. From Witching Hour all the way to God Complex we have received nothing but love from underground radio. Critical D has received the same spoils; we stay in regular rotation on a lot of different radio stations. Essentially, both bands help get the other exposure.

How much support and exposure has Metal Devastation Radio offered the band so far?

Erik: MDR has been amazing. We have multiple interviews with various DJs, we are being played around the clock on autopilot plus in the shows. We also have a contest set up with them for fans to win free CDs, they have been an integral part of helping us get the word out about Evocation.

How much did you get to talk about the band when MDR interviewed you? Who on the show conducted the interview and what sort of questions was he asking about your background and your direction?

Erik: As of May 7 we have only talked with DJ Metal Craig. We do have two more on tap with Grace and Mike Mosall and also Zach Moonshine. Craig asked us the usual questions regarding our background, themes, how we write, why we write etc. I’m sure as we dig deeper with the various DJs the questions will get more diverse.

Getting back to Skin Drone, how was the band named and how does the name Skin Drone relate to the band’s music?

Otto: The name is a statement on what we talked about: people who are too lazy to try to be different in their music. Alternatively, in any aspect of life for that matter. It’s an indictment on people who are all too happy to play things “safe” and let life pass them by. They’re just walking zombies for the most part. The name and our music are cohesive together in that we do NOT want any part of that in our art or our actual lives.

Does Otto and Erik share lyric writing for the band? Are the lyrics written similar in style to your other respective bands?

Erik: I did all the lyric writing on Evocation. Otto did however, throw some stories at me like the Mason Verger story to use for inspiration and it was also a subject matter he was interested in writing a song about. The lyrics on this album are very different to what I have written for previous projects. Almost all the songs are just stories I came up with, I did incorporate some personal aspects but I kept them very subtle. I wanted to push myself as a lyricist to be a storyteller and not write every song that was straightforward personal. I ended up intermingling the two, but it worked out perfectly for the overall atmosphere we were trying to achieve. This was the first time I wrote each song specifically for the music that was written. I have notebook after notebook of lyrics, but the songs wouldn’t have flowed as well if I was just sticking lyrics to songs that didn’t flow properly. It forced me to write lyrics out of my comfort zone and I became a better lyricist for that. (Another achievement thanks to Otto!).

What is the story of Mason Verger that Otto filled Erik in on? What are some of the stories Erik based his lyrics on?

Erik: In a nutshell, it’s the story of a man who was given copious amounts of drugs, took broken glass, disfigured his face and fed it to his dogs. I put a twist on it and instead of Hannibal being the culprit, I made it seem like he was having a spiritual delusion, hence why I repeat “God told me to do it”. He had to cleanse his soul by mutilating himself, purge himself of sin through excruciating pain (which I got from reading The DaVinci Code). I based the other lyrics on the supernatural, occultism, paganism and witchcraft. I made up my own stories, rituals and nightmares. That gave the album an overall conceptual feel without actually being a concept record.

From where did Otto first hear the Mason Verge tale and what made it one of his preferred folk tales?

Otto: I’m a huge fan of the Silence of the Lambs franchise, and Hannibal is where my first introduction to the character occurred. It also didn’t hurt that Mason was played by Gary Oldman, who is one of my all-time favorite actors.

What about The Silence Of The Lambs and Hannibal appeals to you?

Otto: The character development is big. Hannibal is more than just some cannibal-bad guy. They really explore the character and as a viewer you can’t help but feel engaged to him, and root for him. I’ve always thought he was more of a tragic hero in the series. Even the traditional antagonists like Jame Gumb or Francis Dolarhyde in Red Dragon; they have their own story and you get to see the journey they took, and how they came to be the people they are. Really good storytelling throughout.

Reading about how you based a song on Mason Verger, I remember an independent movie called Begotten (directed by Elias Merhige who directed Marilyn Manson’s Antichrist Superstar). In the first scene of that movie God Himself commits suicide as a means of giving birth to a new world. Have either of you seen it?

Otto: I just watched Begotten recently actually! At first I was bored with it but there was something there that made me come back and watch it again. It has a very disturbing quality to it that can really unsettle you. But it’s also visually beautiful, in an ugly, gritty type of way. I don’t know; it’s hard to describe. I can see why so many film critics hold it in such high regard. Merhige is a great director and a great visionary.

I always wondered what it would be like if a metal band did a concept album based on Begotten. How do you think an idea like that would pan out?

Otto: I think that, if it’s done right, it could be a huge mind-fuck for the listener. Something that really challenges you to listen deeper to the music and force a reaction from the listener. After all, all great music does that one way or another.

I noticed Otto has been promoting the impending release of the first Skin Drone album Evocation on social media. Is this generating interest?

Otto: We have been getting a ton of interest! I think Erik and I are both surprised by the level of excitement that metal fans, and our friends/contacts at all the various radio and press outlets we work with have been anticipating it. I mean, we know we made a good album. We’re very proud of our work and we stand behind it 100% but with all the other releases that happen in the metal underground on a weekly basis I was figuring we’d have to fight tooth and nail to get any attention. We still have to work hard to get our name out there and get people to pay attention but having people like yourself, who not only took the time to listen to Evocation but also review and then off us this interview, is a huge blessing.

What songs from Evocation are personal favorites of Otto and Erik, and why?

Erik: My top two are Ghost Reflection and Salvation. Ghost Reflection is such a powerful song. All the vibes and chills we were able to create, there’s just something about it, I get goosebumps every time I listen to it. I love Salvation simply because it combines so much of what Otto and I worked toward; months of evolution rolled up into one song and truly is an epic song. The overall vibe and fight with heavy and soft is blended well with the story, it gives the ultimate listening experience.

Otto: For me it’s Ghost Reflection, hands down. It makes the hair on the back of my neck stand up every time I listen to it.

How many reviews has your first album gotten since promotion began? Do your reviewers generally understand what the band is doing musically and lyrically?

Otto: Reviews so far have been great! And surprisingly most critics have understood what our lyrics and music are about. And that’s really satisfying; that people who are knowledgeable about music and metal can “get” what we’re trying to do and convey that to their audience in return.

How aggressively will you be promoting Evocation when it comes out? Will you be promoting it through physical fliers as well as on the internet?

Erik: We are promoting it aggressively as we speak and will continue to do so until all outlets are exhausted. Fliers would make sense if we lived in the same area, but we will continue to promote this full blast until there is no stone unturned.

If Evocation does well upon its release, will there be a second full length from this band? If so, in what ways do you think it will be an improvement from the first full length?

Otto: I think the chances of us making a second album are good, regardless of how well Evocation does. We love writing and recording together and that’s at the core of everything we do. We’ve both had so much fun making this album that I think it’d be impossible not to make another one. We’re already tossing around some preliminary ideas for the concept and direction of the next album. So although nothing is ever guaranteed, I’d say that it’s a pretty safe bet.

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-Dave Wolff

Interview with Erik Martin of CRITICAL DISMEMBERMENT from February 2015