Tuesday, November 5, 2024

Interview with Hangsvart Phobophage by Daniel Ryan

Interview with Hangsvart Phobophage by Daniel Ryan

How long have you been making music for?
I started to play bass in 2007 (I was 16) and quickly extended to the guitar. I started to sing soon after. I never took any lessons and learnt bass/guitar and singing on my own. I quickly started to compose my own songs as the bands I was listening to were too underground and extreme to find any tabs.

What is your favorite instrument to play on?
I tried 6, 7 and 8 string guitars and 4 and 5 string basses but I definitely prefer 8 string guitars. Even if I don't shred and that I am not really interested in solo. I also love to play the Mongolian ancestral flute Tsuur.

What acts have you played with before if any?
Beside my solo projects and the bands I have been paid to sing for, I was the singer in Arrant Saudade, Restless and Ancient Lament. The three of them are not active anymore. I helped the band Scorched Earth to start in Toulouse, France, a small local band of Death Metal, as their singer, but I left for personal reasons. I did one album with a friend under the name We Hate You Too, as the singer. I sang a few times for the band Vmthanaachth, as a guest.

If you had to layout all the bands in order you played in as a timeline what would they be?
2013 - Hangvart (solo project)
2013/still active - Abysmal Growls of Despair (solo project)
2014/2015 - Ancient Lament (singer)
2015 - Arrant Saudade (singer)
2015/2016 - Plagueprayer (solo project)
2015/2016 - Ursus Horribilis (solo project)
2015/2017 - Catacombed (solo project)
2016/2018 - Scorched Earth (singer)
2017 - Restless (singer)
2017 - We Hate You Too (singer)
Last album being: Inearthed - Abysmal Growls of Despair - 2024

What is the coolest experience you have had as a musician?
My coolest experience was definitely being the main singer for the Kontakt library Omen - Ritual Voices & War Chants by Silence + Other Sounds. You can check it out here.

What inspires you to keep doing what you do?
I have a need to put into music my inner world. That has always been the big thing behind all my different projects.

If you had to name some influences what would they be? I am inspired by ancient spirituality and ancient wisdom; by the horror of Mankind and by high fantasy and fantastic worlds.
I am influenced by bands like Funeral Moth, Comatose Vigil, Sunn O))), Shape of Despair, The Howling Void, Catacombs, Hate Forest, Amenra, Siebenburgen, Behemoth, Suffocation, Devangelic, Beastcraft, Earth, Immolation, many classical composers and soundtracks... And by authors like HP Lovecraft, Beckett, Tolkien, Steven Erikson...

What is your favorite venue you been to or played in?
I have not done many concerts as most of my bands are solo projects or online bands. I have only played in venues in and around Toulouse, France, in 2016 and 2017 mainly. Mostly with Scorched Earth, but also a few alone and one or two for We Hate You Too.

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 listen to Abysmal Growls of Despair in my Bandcamp as well as on any streaming platform (Spotify, Deezer, Apple, Youtube and such). Thanks for the questions and having me in your zine!

-Daniel Ryan

Full Length Review: Deva Silence "Moon Misery & A Country Church" (The Triad Records) by Daniel Ryan

Band: Deva Silence
Country: Italy
Genre: Metal, doom, prog rock
Format: Digital
Label: The Triad Records
Release date: September 20, 2024
This project made up of 3 Italian members was started during the period of Covid, Deva Silence delivers a hard and brash rock n roll trip that is reminiscent of bands such as Candlemass, Trouble & Black Hole. They play around with awesome riffs and great rhythms that mesh together like old school 70s rock n roll. Hard n Loud is their moniker and they aren’t wrong with that. Italian progressive rock with a really cool edge about it. Vocals that take you on an adventure into their world. Very entertaining and sort of atmospheric in some ways. The band has been very good at making music that makes you feel relaxed and in the moment. For people just getting into Metal and for older heads as well. This sonically rich and diverse group really has what it takes to leave an impressive mark in the rock and metal subgenres somewhere. Check them out! -Daniel Ryan

Lineup:
Deva Silence: Bass, rhythm guitar, vocals
Alex Nespoli: Lead and acoustic guitar
Massimiliano Martellotta: Drums

Track list:
1. Dream Wolf
2. Bad Smell
3. Black Star
4. Moon & Misery
5. Dirty Love
6. Call Me
7. Hide The Dark
8. Slave Of Doom
9. Notice Of Death

EP Review: Bloodbath "Survival of the Sickest" (Napalm Records) by Daniel Ryan

Band: Bloodbath
Location: Stockholm
Country: Sweden
Genre: Death metal
Format: Digital
Label: Napalm Records
Release date: September 9, 2022
This band I been listening to for some time has changed dramatically over the years still puts out killer OSDM with frontman Nick Holmes and company. Production wise very solid album with many riffs to keep you entertained. The flow of the album is changing track to track and gives you a sense of dread throughout. It offers a brand new take on Bloodbath of old but still sticks to its roots. The nightmarish sounds of this band are pulverizing and soul wrenching. For fans of Morbid Angel, Obituary and Death these guys are the kings of old school death metal through and through. I have to say that Zombie Inferno is my favorite track of the bunch. Deadly and vicious this band will not be overlooked. Check them out! –Daniel Ryan

Lineup:
Nick Holmes: Vocals
Anders Nyström: Guitars
Tomas Åkvik: Guitars
Jonas Renkse: Bass
Martin Axenrot: Drums

Track list:
1. Zombie Inferno
2. Putrefying Corpse
3. Dead Parade
4. Malignant Maggot Therapy
5. Carved
6. Born Infernal
7. To Die
8. Affliction of Extinction
9. Tales of Melting Flesh
10. Environcide
11. No God Before Me

Full Length Review: Nocturnal Breed "No Retreat No Surrender" (Folter Records) by Daniel Ryan

Band: Nocturnal Breed
Location: Oslo
Country: Norway
Genre: Black thrash metal
Format: CD
Label: Folter Records
Release date: February 25, 2019
With their extreme intensity and urgency to attack you with supreme thrash metal that you have to hear for yourself Nocturnal Breed never fails to amaze me on No Retreat No Surrender. The band consistently is on point and in your face. They bring a lot to the world of extreme metal these days while also never forgetting where they come from. You know you’re not going home tonight after hearing this album. The volumes and punch of it all swiftly throws a juggernaut of death evil and darkness your way. What I find most interesting about their album is their ability to nail down everything in awesome destructive filled passion. More energetic and fluid they are from song to song you can recognize that they were made with a group of people wanting to make music that is more than thrash with its blackened elements. For fans of I would have to mention bands such as Mercyful Fate, Slayer, Sabbat (UK) & Necrodeath. The rage of it all never ends and is enjoyed by lethal doses of aggressive force radiating in one’s head. From the depths you will never find anywhere else you can smell that this one is burning filled with millions of miles of trenches. Never missing a step this album truly takes a life all on its own which is why I decided to review it in the first place. There is not many records you can put down and say it has changed one’s life. As the old saying goes… metal to the bone! And stay true to the legions of speed. Thanks for putting out this record and let the blood flow…for all eternity. -Daniel Ryan

Lineup:
Destroyer: Vocals, bass, rhythm guitars
I Mastor: Lead guitars, rhythm guitars, acoustic guitars, backing vocals
Ed Damnator: Rhythm guitars
Tex Terror: Drums, backing vocals

Track list:
1. The Artillery Command
2. Thrash The Redeemer
3. Warhorse
4. Killernecro
5. No Retreat... No Surrender
6. Beyond Control
7. Sodomite
8. Fist of Fury
9. Under the Blade (Twisted Sister cover)
10. Roadkill Maze
11. Possessed
12. Armageddon Nights
13. Insane Tyrant (Outro)

Monday, November 4, 2024

Full Length Review: Cancerslug "Alabama Bloodbath" (Slugcult Records) by Daniel Ryan

Location: Huntsville, Alabama
Country: USA
Genre: Garage punk, death rock, hardcore
Full length: Alabama Bloodbath
Format: Digital
Label: Slugcult Records
Release date: March 9, 2000
Alex Story and company have always intrigued me being a sort of gloomy death rock outfit that you can’t find anywhere else. From Huntsville Alabama their style reminds me of a few shades Samhain and Misfits. Each song as lost and without a cause like the other you can really jam to this album knowing you will be in for a very bloody time. They’re the essential death rock band and have a fury that cuts the tension with a knife.
Being a force of nature Alex Story brings each song to life with the most violent lyrics he can come up with. Great music also to skate and bike to. This album really shows us all that something’s can get very interesting when you just put all the horror and stage floor excitement together. I have to say my favorite song on the album is Gone. Simple and to the point. Nothing more to see here other that a murder scene.
Check them out! -Daniel Ryan

Lineup:
Alex Story: Vocals, guitar
Cassie Baher: Bass
Jade Jones: Drums

Track list:
1. So Many Dead
2. If I Should Die Tonight
3. The Beyond
4. Waist Deep In Blood
5. Gone
6. 3 Days She Bled, 3 Days I Bathed
7. Stalker's Rage
8. Succubus
9. Death's Call
10. In The Graveyard
11. Nadia
12. In Dreams
13. Nora
14. The Sleep
15. Nothing
16. Retroabortion
17. The Raven
18. My Black Angel

Demo/EP Review: FistBanger "Invaders of the Thrash" (Skullcrusher Distro) by Devin J. Meaney

Band: FistBanger
Country: Brazil
Genre: Speed/thrash metal
Demo/EP: Invaders of the Thrash
Format: CD
Label: Skullcrusher Distro
Release date: September 2013
I haven’t done any music writing in a while, so wanting to put forth a bit of effort in that direction I hit up YouTube in search of some thrash metal to review. After a quick search I found “Invaders of the Thrash” By FistBanger! This was officially released in 2013 so I am a bit late to the party. With that said, this is quite the solid little blast of fret-blurring thrash!
The guitars are fast and immaculate (both the lead and rhythm) and the drumming is on par with bigger names from the genre. The vocals are decadently 80’s (even though this came out years later) and the overall vibe is pounding, metallic and elegantly vicious with “more than” decent production!
There are five tracks on this demo, and each one is pretty great. I won’t spit forth any more word vomit—just head on over to YouTube and give this demo a listen. Fans of thrash old and new are sure to enjoy what is offered here (a friend of mine would refer to this as “meat and potatoes” thrash) and I can say that the 16 minutes I spent listening to this demo was not wasted! -Devin J. Meaney

Track list:
1. Intro
2. Invaders of the Thrash
3. Merciless Death
4. Welcome to Hell (Feel the Pain)
5. Fighting for Metal

Saturday, November 2, 2024

Interview with Deva Silence by Dave Wolff


Interview with Deva Silence by Dave Wolff

When you formed your self-named project, how did you intend to have your own sound, and how did you intend to represent it on your debut album “Moon, Misery and a Country Church”?
The sound of the band stems from experiments with other bands I've had in the past; let's say it's the result of those experiences. The sound of the album is inspired by the dark hard rock sound, such as Black Sabbath, Candlemass, the early Death SS, and 70s Italian progressive rock. On the album, I simply wanted to blend all these ingredients to achieve something very “old school”, and judging by the results, I'd say we succeeded!

What drew you in to classic doom bands like Candlemass and Sabbath? Which bands from the current generation of doom, stoner rock, sludge metal, or drone metal would you rank on a level with doom bands from the 1970s and 1980s?
I was definitely attracted to the “heaviness” of the sound and that slow, raw progression mixed with an esoteric and mysterious atmosphere, ever since I discovered it as a child. Currently, there are many valid bands in the genre; I mainly follow classic doom, and in Italy, we have several, like The Ossuary and Messa, just to name a couple, as well as American bands like Pallbearer, Crypt Sermon, and Briton Rites, to mention a few current ones, and I could keep going!

If someone were to hear about Death SS, how would you characterize their brand of “horror metal”?
Death SS has been a very important band for me that defined the “horror metal” genre, which many, including myself, have drawn from. I would consider them essential for doom, especially in the early part of their career because they blended horror themes inspired by old horror films and esotericism with doom. Then, the natural evolution of things and experimentation led them to move away from the genre, understood as doom, while still remaining a cutting-edge band in the realm of “horror metal”!

What distinguishes Death SS from the majority of doom bands and horror-based bands of their era in terms of their approach to horror metal?
Well, when they started, it was very challenging, especially here in Italy, to propose both Doom and have the visual impact they presented and still present. They certainly stand out among the first to evoke a truly "horror" feeling, with theatrical scenes taken from vintage horror films reproduced during their live shows. During their performances, it genuinely feels like living inside an old horror movie! Their musical contribution has been fundamental for the development of horror metal!

Which horror film era did Death SS draw inspiration from for their songs? How did esotericism and that influence contribute to their own atmosphere?
The horror cinema that inspired them came from Hammer Productions and the B-movies of the 70s. Those settings, combined with a strong esoteric component, of which they are connoisseurs, created a uniquely distinctive genre in their music at that time. So I would say that the esoteric element was crucial for the birth of the genre. Before them, others had tried, but not in such a decisive way.

If you’ve seen Death SS live, either in person or on video, how would you describe all the elements they bring to the stage while performing?
I had the chance to see them a few times. The last time was in September of this year when they performed a double show live, which was truly beautiful! I would describe the elements they bring to the stage as certainly original and brilliant! They were practically the first to do it with a really serious attitude; others, a few, had proposed something similar until that moment, but in an ironic way. I believe that the serious approach and the ability to transform the show into an immersive experience can truly make a difference and capture the audience's attention.

I hadn't heard of many progressive rock bands based in Italy. At the moment of writing, which of them are in demand?
Since I was a kid, I have always been drawn to progressive rock, which has a strong tradition in Italy. Regarding the progressive aspect of my album, I have been inspired by bands like PFM, Goblin, Le Orme, Il Balletto di Bronzo, Area, and Banco del Mutuo Soccorso.

I’m familiar with Goblin since they’ve worked with Dario Argento on films like “Profondo Rosso”, “Suspiria”, and “Dawn of the Dead”. How would you rate the soundtracks of those films? Are you familiar with their more recent work?
The soundtracks of Dario Argento's films performed by Goblin are true masterpieces! As a kid, I listened to them a lot, so much so that in my experiments with past bands, there were many influences of this kind: just think of Simonetti's keyboards, which have a unique and unmistakable style, just as every single instrument in their classical lineup is distinctive! Currently, they are all engaged with their solo projects stemming from the name Goblin, where they are revisiting the soundtracks that made them famous. However, I have only had the chance to listen to Simonetti's Goblin, who present their successes in an “almost” progressive metal style, which is nothing short of fantastic! As a fan, I hope for a reunion of the original lineup, although I know it will be very difficult.

In what ways does Simonetti's Goblin compare to the original Goblin that recorded those classic soundtracks?
Simonetti's Goblin differs from the originals in terms of sound but also in style; they are more metal-oriented, and the sounds are modern and less 'vintage!' Being a long-time fan, I really appreciated this version.

What about the other prog bands you mentioned as influences speaks to you? How do they sound different from rock bands in the U.S., and how much influence do Deva Silence take from them?
The difference mainly lies in the cultural context; here in Italy, it was characterized by a strong musical and poetic tradition influenced by classical music, folk, and singing in Italian. Bands like Premiata Forneria Marconi (PFM), Le Orme, and Banco del Mutuo Soccorso integrated these elements while addressing existential and social themes. In America, it stemmed from a fusion of psychedelic rock, jazz, and classical music. Bands like Yes, Kansas, and Genesis, which, although British, also had a huge influence in the USA, focused on complex musical structures and instrumental virtuosity. The lyrics often dwell on fantasy themes.
Moreover, the musical style of Italian progressive rock tends to be more melodic and lyrical, with a strong emphasis on vocals. Acoustic instruments and synthesizers are frequently used, creating a warmer and more organic atmosphere. The influences of classical music are very evident, and a strong theatrical component is often heard in performances. In America, the style often embraced a more “hard rock” approach, with a strong use of electric guitars and heavier rhythms. The music of Deva Silence has had the right weight, inspiring me in various aspects of the album; I intended to give it a progressive imprint, but not only that, so I used it in just the right measure. I hope I succeeded!

If someone is interested in knowing more about Italian progressive bands, what are some good online and social media resources?
I know there are many websites and forums; I think of “Progressive Music Planet”, “Prog Archives”, and various social media pages featuring numerous bands from the present and the past, as well as different playlists on YouTube and Spotify.

Although they’re not based in Italy, did you hear of a band called Coven who played acid rock and proto-doom and started releasing albums about a year before Black Sabbath? If so, what do you think of their contribution to doom and prog?
I know Coven very well! Their bassist was named Oz Osborne, and the first track of Black Sabbath's debut album, you know sometimes I don't believe in coincidences, but I think all of this is crazy! I believe that Jinx Dawson has a fantastic voice that reflects old-school doom. The contribution of Coven to the doom and prog scene is significant for me. With their psychedelic influences and esoteric themes, they paved the way for many of the sounds and aesthetics that would become common in metal and progressive rock in the years to come. Their ability to blend catchy melodies with unsettling atmospheres has influenced later artists and helped define the sound of an era.

From what I see, Coven still performs shows and at underground rock and metal festivals. By to the videos I watched, they exude the same esoteric/psychedelic aura they had in the sixties Would you like to perform on stage with them at some point?
It's interesting to see how the genre of occult rock continues to evolve and influence new generations of musicians. Coven, with their esoteric and psychedelic aura, have left a lasting legacy that is reflected in contemporary artistic practices. The possibility of performing with them would indeed be fascinating, considering their historical impact on music and culture.

I found a number of occult rock bands after hearing Coven. Bands like Astaroth, Bedemon, Black Widow, and Image. If you’re familiar with these or other bands, why do you believe the genre was so enigmatic and is currently experiencing a resurgence with new bands?
Bands like Astaroth, Bedemon, Black Widow, and Image have certainly drawn inspiration from the '60s and '70s, when themes related to the occult and esotericism began to permeate rock music. The resurgence of this genre today can be attributed to various reasons: a nostalgia for an era of musical experimentation, interest in esoteric and spiritual themes, and a desire for artistic innovation. Additionally, the revival of vintage aesthetics and the accessibility provided by the internet allow emerging bands to find listeners who are interested in these sounds.

What are your thoughts on bands like Ghost who have recently been rising in popularity?
As for Ghost, they are a great example of how occult rock can resurface and gain popularity in today's music scene. Their ability to combine catchy melodies with a theatrical aesthetic and dark themes has attracted a wide and varied audience. Their music manages to capture the attention of both rock enthusiasts and those seeking something innovative and provocative.

Back to your career and your experimenting with previous bands, how much have you done? Did the bands you collaborated with play similar or different genres? To what extent did you contribute to the songwriting process for each band, and how did the experience benefit you?
In my musical career, I have had the opportunity to experiment a lot with different bands, ranging from Primus-inspired funk mixed with doom to Italian prog, from classic metal to extreme metal, always maintaining a unique personality. Clearly, this has allowed me to play different genres, which has been a real school and provided me with the necessary background for the development of what I compose now. Each band has added something to my experience, from simplicity to technique to different ways of singing and composing. All this has become a real advantage because it facilitates the process of musical composition as you draw from diverse experiences. I also consider this album important for what I'll be doing in the future, which will undoubtedly be more perfected and mature.

Describe how you developed “Moon, Misery and a Country Church” with the jhelp of your band experience. To what extent did the album match your original vision?
The lyrics for “Moon, Misery and a Country Church” were written in 2010; it was a concept originally planned to be sung in Italian, but it was then shelved. After many years, it resurfaced; I revisited it, revised it, and began writing some riffs. When I recorded the pre-productions for guitar and voice, I contacted Massimiliano Martellotta, who, besides being an old friend of mine, played drums in several bands from my past, and we began recording the drums and reworking some sections. I wanted an album that, in my way, would be first and foremost “personal” and “doom”. Later, purely by chance, I met Alex Nespoli, who completed the album with his lead guitars. Initially, I envisioned it to be more minimal, more stripped down, but then we enriched many parts with arrangements that highlighted the various nuances each of us has. After all, it's normal; every musician contributes to personalize any piece with their own background of influences. I let these two excellent musicians express their best on my compositions. The result, as you can hear on the album, I would say we succeeded!

What was the basis for your idea for “Moon, Misery and a Country Church”? Why was it put on hold for some time?
“Moon, Misery and a Country Church” is inspired by a true crime story from Italy. It was written as soon as I learned about it; it's a concept that addresses pedophilia from both the perspective of the pedophile and that of the victim. The album, I only had the lyrics for it, was casually set aside like many other tracks and albums I've written simply because it wasn't the right time to work on it. However, at a certain point, it came back to me, I revisited it, elaborated on it, and composed the music.

How much more fulfilling is it to write about real-life crimes as opposed to fictional ones? What effects does writing about actual events have on your music?
Writing about real crimes can have a significant impact, both emotionally and artistically, compared to fictional ones. Reality brings with it a certain gravitas and authenticity that can make music more powerful and engaging. Writing about real events can evoke deep feelings and connections with listeners, as it touches on genuine experiences and suffering.

How differently would the lyrics have come across if you had sang them in Italian as originally intended?
In the past, I also experimented with singing in Italian, but it lasted a short time; “Moon, Misery and a Country Church” was written during that period. Over time, I realized that my native language doesn't fit well with the proposed genre, so I opted for English with the intent of crossing foreign borders as well. This is also part of experimenting.

How difficult was it to convert the lyrics from Italian to English while still making sure they rhymed and matched each verse pattern as you wanted them to?
Translating lyrics from Italian to English is always a challenge, especially when trying to maintain rhyme and rhythm. It is essential to find a balance between the original meaning and the sound of the new text. Often, compromises are necessary, perhaps simplifying some ideas or searching for synonyms that better fit the new context, all while keeping the essence of the message alive.

When it came to simplifying ideas or finding words that fit while keeping the original meaning, how much effort did you have to put into telling the tale in English?
In my experience of storytelling in English, simplifying ideas while maintaining the original meaning certainly requires some effort. It’s important to choose the right words and construct sentences that resonate with the audience without losing the intensity and passion of the original message.

From what you heard, what are some other languages that sound difficult to apply to metal (for example, Spanish, Norwegian, Russian, Japanese, etc.)?
When it comes to languages that may be challenging to apply to metal, some might include Spanish, where the musicality of the words can influence the rhythm and cadence of the songs. Norwegian and Russian, with their unique grammatical structures and sounds, can also present challenges. Japanese, while being a very expressive language, has a completely different culture that might make it difficult to convey typical metal themes.

In addition to those languages, what other languages would present similar challenges in terms of communicating feelings and ideas?
Arabic might also present similar challenges. These languages have grammatical and lexical structures that are very different from Italian or English, and they may require additional effort to express complex concepts or emotional nuances. Additionally, different cultures can influence how certain feelings are expressed, making direct translation difficult.

Are there other actual events you would conceptually base upcoming releases on? What sources do you look to for subject matter?
As for real events to base upcoming releases on, there are countless inspirations from history, current affairs, or even personal and social experiences. Sources like documentaries, newspaper articles, history books, and even conversations with people who have lived through specific experiences can provide valuable inspiration. The key is to find a narrative that speaks to you and that can resonate with others, transforming facts into emotions through music.

In your search for new stories to tell through your music, have you referred to any documentaries or printed materials?
When it comes to seeking new stories for the music, documentaries and printed materials are definitely a good source of inspiration. They provide context and depth to historical events or contemporary themes, which can then be reinterpreted through metal.

Are there any documentaries or printed materials you've perused to base new concepts on?
I have recently consulted several documentaries on the doom and hard rock music scene. Furthermore, I am reading articles and specialized magazines in the field that explore the evolution of the genre and historical influences. These materials have provided me with a new perspective on the themes addressed in the album, such as depression and inner struggle, offering me insights for new lyrics and sounds.

Do you have any musical ideas for songs for your next release, or does your focus primarily revolve around promoting the new album?
As for musical ideas for an upcoming album, I'm also dedicating time to promoting the current album. However, inspiration is always present, and I like to jot down ideas for future songs as they come to me. Creativity is an ongoing process, and I find it important to keep the inspiration alive, even while working on current projects.

In what ways do you anticipate Deva Silence to progress and grow in the near future?
I foresee Deva Silence evolving toward an even more mature and distinctive sound, exploring new musical horizons while still maintaining our doom/hard rock roots, in order to offer listeners a unique musical experience. Additionally, we aim to enhance our live presence, as this has not been possible until now due to multiple factors such as the closure of many historic venues and a generational shift that is indifferent and disengaged. We also plan to work on visual productions that accompany our music, creating an immersive experience for the audience. Innovation and connection with fans will be at the heart of our future growth.


-Dave Wolff

Interview with Julieanne Dous by Daniel Ryan

Interview with Julieanne Dous by Daniel Ryan

How long have you been making music for?
I’ve been singing pretty much my entire life, playing piano since I was 5, and writing songs since I was 12. I went solo at age 19.

What is your favorite instrument to play on?
Piano.

What acts have you played with before if any?
Inner Mission, Marienkind, Nymph Imprint, The Rose Mortician, Next Echelon.

If you had to lay out all the bands in order you played in as a timeline what would they be?
1993-1997: Inner Mission; 2003: Marienkind; 2000-2014: The Rose Mortician; 2000-present: Nymph Imprint; 2008-present: Next Echelon.

What is the coolest experience you have had as a musician?
Living and performing in the Boston music scene during the early 2000’s.

What inspires you to keep doing what you do?
The songs.

If you had to name some influences what would they be?
Tori Amos, Kate Bush, Ben Folds, The Beatles, Queen, Bjork, Garbage, Smashing Pumpkins, Lady Gaga.

What is your favorite venue you been to or played in?
Hot Monkey Love in San Diego, California.

To sum up this interview where can we find your latest music and any shout outs to anyone for the readers of Asphyxium zine?
You can find me on Facebook via the tags here and hear my music here: https://soundcloud.com/wqZxn9uTdv4Rrkc8A

-Daniel Ryan

Thursday, October 31, 2024

Interview with Vidark of Mythark by Daniel Ryan


Interview with Vidark of Mythark by Daniel Ryan

How long have you been making music for?
I personally started making music 24 years ago.
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!
Thank you again!

-Daniel Ryan

Interview with Aldric Kaldt of Windhelm by Daniel Ryan

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”
Aldric Kaldt

-Daniel Ryan