Interview with Julian Gobz Hill by Daniel Ryan

Interview with musician Julian Gobz Hill by Daniel Ryan

How long have you been making music for?

On and off since about 1988 I think.

What is your favourite instrument to play on?

It`s a split between my Guitars, my Keyboards and Analogue Synths I reckon.

What acts have you played with before if any?

As the original Whores of Babylon were never did that many gigs and never did a full tour and originally there were just two of us upon the release of our first album and then we assembled a band so that we could at least do our stuff live and I don`t remember others we may have played with on the same night and often it was just us apart from headlining a small festival in Portugal in 1995. As Soundisciples we toured with or did one off gigs in support of the likes of Pitchshifter, Paradise Lost, Mortiis, PistOn etc.

If you had to lay out all of the bands in order that you played in as a timeline what would they be?

Whores of Babylon

Soundisciples was basically a rebranding of Whores of Babylon at the time, and then there are my solo/side projects from around 2008 onwards that were/are just me or me and one other (Joe).

from the original W.O.B and Soundisciples days.

Noiselab Project

Corporation of Corpse Stealers

The Drunken Pirates

Whores of Babylon (again, just me and guest contributions)

Soundisciples (again in the mid 2010`s, just me plus Joe from WOB/Soundisciples and a guest singer)

Below is a link to my big Bandcamp page that has everything that I ever recorded on my own or otherwise and finished on there in the form of albums or EPs. Yes I know that Bandcamp is a store but I have made sure that everything can be played many times before Bandcamp has to chime in and ask people to buy anything. And so I see this page as more of a Jukebox or Portfolio.

https://lovegunrecords.bandcamp.com/

What is the coolest experience you have had as a musician?

That would be walking up around the staircase at Music For Nations head office in London in 1998 to have a meeting with them as they were in a partnership and were the main distributor for our record label Peaceville at the time. And as I did that there were gold records etc. on the walls by artists that were released on their label in the UK/Europe in the 80s: Metallica, Megadeth etc. And seeing as I used to worship the record label in the 80s then it was a very nice feeling to know that I was there to actually do business with them myself innit.

In the 21st century, from 2012, as a more hard rock Soundisciples from me and Joe. Our version of “Riders on the Storm” got around 350,000 views on YouTube and that’s with it being hard to find. It was also blocked in some territories for some years. It was/is somewhat similar to the original album version by The Doors but I bigged up the beats a bit from the original lounge music type that they had. We also had a friend do a great job singing on it who sounded a lot like Jim Morrison. For the whole long mid section and end Joe breaks into some really cool Hendrix guitar parts that bring in a special twist too! anyways after years in the wilderness it was very nice to know that so many people got so see/listen to it and lots of people seemed to like our version too which was nice to know at least. Anyways it was uploaded to two different accounts originally. Here it is in the account; Joe uploaded it too:

https://www.youtube.com/watch?v=8YMDv7xhpoU

What inspires you to keep doing what you do?

Genuine interest and the desire to make or build cool things that entertain, like music, very well curated and tweaked custom Arcade/Virtual Pinball Machines and retro themed gaming consoles or artworks.

How are things going in the Shedcade?

The Shedcade, (a 12 x 10 foot shed at the bottom of my garden) started off around 2018 as an on the cheap brik-a-brak arcade put together with some old gaming computer prototype systems that I had. It even got an article in our local cities’ newspaper/website which was nice.

Fast forward to late 2019 and I then started building proper custom Arcade cabinets instead. And by 2021/2022 I had turned The Shedcade into the Shedcade Workshop as a much needed space to work on actual Arcade and Pinball cabinets as I managed to find some decent space in my front rooms for four cabinet builds that I made for myself. I have a fairly new YouTube channel for The Shedcade that I will be using for videos about each of my different types of custom builds Cab or console.

At the moment I have been hard at work this year developing some high end mini retro consoles on the house. Below are links to that channel plus my Facebook development page and also a promo type video of the Shedcade when it was just a brik-a-brak Arcade back in 2018.

https://www.youtube.com/@TheShedcade

https://www.facebook.com/theshedcade

https://www.youtube.com/watch?v=nkFXWIIA7xQ&t=57s

If you had to name some influences what would they be?

Depends on what band/project of mine I guess. For Whores of Babylon, the likes of Sisters of Mercy, Celtic Frost and dramatic film scores. For the original Soundisciples sound, there is more of an influence from the likes of The Prodigy and Metal in there too.

What are your favourite moments about recording? What’s your latest album?

To be honest as I’ve usually always been the engineer as well as the musician at the same time, it’s never been that much fun and just a means to an end. Well the engineering part is at the same time at least.

My latest album as Whores of Babylon, “Dusk” (The first proper Whores of Babylon album since 1996) has been an on and off for a few years, although much has been done for it. I’m pleased with the stuff so far but let’s be honest: there’s no money in music anymore for most of us and I need to make some elsewhere like with the Arcade related stuff, so that takes the preference. In the end finishing the album is just a vanity project for me, because I just wanna entertain as many people as I can with it and don`t expect to make any money from it, although this time for the first time this century I am gonna chuck some money at it in terms of promotion to give it the best chance that I can of getting heard at least. I will probably finance some CDs for it as well as finding a small distributor to manage being on all those digital music sites etc.

In the end, though, that album will get finished and I did quite a lot for it already with about six tracks mostly finished and I have more than enough rougher ideas for a whole album in the end. The album is predominately just me doing the music (just like the content on the first W.O.B album “Metropolis” released by Candlelight in 1994) although there are/will be contributions from others in it, like some guitar solos or a rhythm guitar on one track and some extra vocalists on various songs etc. (see the last question here for a link to some of the uploaded unfinished tunes!). One of the contributors is from a universally well-known band, although I don’t wanna reveal more about that until I get around to making sure that the actual album is finished.

What’s life like doing gigs and shows for people? Do you enjoy it or do you like being in the studio more?

I guess that where music is concerned I mostly enjoy being on my own composing with all my gear in my own time. As for doing Gigs, well I haven`t actually done one since 1999 with Soundisciples on the Pitchshifter and Paradise Lost tours, where I even elected not to be onstage but instead sat next to the engineer instead, spinning in and adjust all of the backing tracks that we needed: electronic beats n loops, synthesizers and orchestrations when required. It was that important that they were balanced properly with the band onstage and properly represent our new album of the time “Undefined” and thus bring across our new, cutting edge at the time, crossover sound to the crowds.

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?

As pointed out a couple of questions above, here is the link on ReverbNation to six mostly finished tunes that will be on the new album “Dusk”. The only thing missing from the actual music are some extra embellishments from a lead guitarist here and there, as I only play all the rhythm guitar parts and only one track has any vocals recorded although the others here have had their vocals written and composed but just haven’t been recorded yet.

The influences that I have taken for this new material is somewhat like the old school Whores of Babylon gothic infused sound, although this time I have also taken inspiration from the darker side of the late 70’s/early 80’s New Wave electronic music. And in a few tracks this time I have given more of a direct nod to Sisters of Mercy as an influence as unlike when the first Whores of Babylon album came out it has now been a very long time since that band last made a record themselves innit.

Here is the link for those songs or just search for ReverbNation Whores of Babylon and look for the album “Dusk pt 1”.

-Daniel Ryan

Film Review: "'One to One: John and Yoko' Is a Radical Reminder of the Importance of Protest" by Tony Sokol

'One to One: John and Yoko' Is a Radical Reminder of the Importance of Protest

By Tony Sokol

Scottish director Kevin Macdonald’s “One to One: John & Yoko” details the times and aborted tour which led to the Willowbrook State School benefit concerts John Lennon and Yoko Ono performed with the Plastic Ono Elephant’s Memory Band at Madison Square Garden on Aug. 30, 1972. The show itself is secondary. Neither of the two concerts, afternoon and evening, are shown in full, and no mention is made of the supporting acts. Besides a short set at the Toronto Peace Festival in 1969, the One to One Concert was the first full-length concert Lennon played since the Beatles’ 1966 Candlestick Park show.

For the feature-length documentary, the performance is the ultimate destination of a late inspiration. During an intermittent series of protest performances in search of a movement to launch a proper Free the People tour in America, Ono discovers the story of the Staten Island asylum televised on Geraldo Rivera’s exposé. Lennon had been moving in a more radical direction, looking to directly challenge the U.S. prison system while continuing to be a thorn in the side of Richard M. Nixon’s reelection plans. The Willowbrook School presented a problem which could be solved with pure idealistic effort. Macdonald allows the time-constrained immediacy of the two artists’ commitment to an immediate solution to breathe relevancy into the present.

“One to One: John & Yoko” is artfully edited by Sam Rice-Edwards, who keeps the archives fluid amidst repeated channel surfs through early 1970s American television. The kind of television that turned The Beatles into overnight sensations after two performances on “The Ed Sullivan Show.” When Lennon was asked about his “bigger than Jesus” comments in 1966, he told interviewers it would have meant the same if he used the word “television” instead of “Beatle.” TV has that kind of power, but Lennon wanted a show which is powered by the people. The documentary delivers, but flips the dials.

Recurring montages pause over coverage of protests against Nixon; investigations into the Watergate scandal; and the return from exile of Charlie Chaplin amid locally relevant news like the Attica prison riot; the execution of Mafia upstart Joe Gallo, and Brooklyn bank robber John “Sonny” Wojtowicz, while dialing past commercials, episodes of “The Waltons,” and a contentious snippet of Jerry Rubin on “Phil Donahue.” The selections provide cultural counterpart to the counterculture’s unsteady beat.

Archival footage shows Lennon and Ono appearing on multiple American talk shows at the time, among them a week-long appearance co-hosting “The Mike Douglas Show.” Lennon doesn’t only come across as approachable, but more often than not, inviting, and his curiosity limitless. Lennon shows up on sets and rallies unguarded. Without calling overt attention, a parallel narrative culminates in the attempted assassination of Alabama governor George Wallace. A particularly satisfying moment comes when the channel-surfing catches U.S. Congresswoman and presidential candidate Shirley Chisholm suppress a grin after visiting the stricken polarizing politician.

The documentary’s focus is defined by a specific time frame. It begins with John and Yoko’s August 1971 escape from Britain’s harsh press to 105 Bank Street in New York City’s Greenwich Village, moves through the John Sinclair Freedom Rally to a burgeoning Free the People Tour, which detours to the benefit at Madison Square Garden. Lennon and Ono took on rock star personas of Woodward and Bernstein. Lennon called himself a rock and roll journalist, and his impatience lay with his ambitions. The era in John and Yoko’s journey a continuing one, evolving and improvising. Subliminal flashes of earlier footage fill in the historic gaps, but mainly for those who can make the connections. It takes a knowledge of history to appreciate the subtlest of footnotes.

The documentary finds a treasure trove of personal phone calls made by Lennon and Ono while planning the tour, curtesy of the paranoid Nixon administration, which plots to deport the radical rock star causing so much trouble. Outside threats infiltrate the optimistic planners. Previously unheard phone conversations, recorded by Lennon in the event defense required proof, are introduced in the discovery of FBI surveillance. If Nixon’s henchmen are recording taps, Lennon figures he should have his own copies, just in case he needs them. The phone conversations also provide brief but illuminating snatches of tour planning. With scratchy transcripts running against a black background, negotiations repeatedly provide evidence Lennon continues to push limits one step over any line. This kind of commitment let to some of The Beatles’ greatest innovations. Lennon’s commitment to political movement was a major contributor to the band’s breakup. Lennon always brought immediacy to his work, writing songs under tight deadlines for Beatles’ releases.

“One to One” is extremely revelatory in unexpected ways. The planned Free the People Tour was far more radical, and yet more practical, than we’ve been led to believe. A conversation between Lennon and Allen Klein about the penal system shows a far-reaching vision for the ex-Beatle. Lennon’s insistence on including the song “Attica State” at The Free John Sinclair Freedom Rally is actually met with resistance by the New York lawyer acting as musical manager. The aftermath of the rally’s success affords Lennon the opportunity to solidify the overall theme of continued performance and prisoner release. In each town the Rock Liberation Front plays, money will go directly to the bondsmen to post bail for those who can’t afford it. The film appears to show the seeming practicality of the former Beatle’s plan.

The self-surveillance also captures Bob Dylan’s personal garbologist, activist A.J. Weberman, getting tamed by Ono. She concedes the point Dylan could be seen as a multimillionaire hypocrite, but insists if the new superstar singer-songwriter performs at the “Free the People” concert in Miami, it will be a step towards the folk legend reclaiming his revolutionary leadership. This is before the rally changed course. Lennon’s ultimate demurral to perform at the protest against the Republican Convention in Miami is an example of one consistent tenet of his political stand. When The Beatle’s “Revolution” was blasted by the revolutionary voices of 1968 because Lennon sang “out and in” to violence, Lennon said he was ambivalent because he hadn’t decided. His mind was made up by “Give Peace a Chance,” and the growing call for violent confrontation at the Miami convention does not fit with Lennon’s mission statement: “Free all prisoners, everywhere.”

As to the concert footage, it is clean enough to sound dirty, but not in the muddy sense. The original recordings were done by Phil Spector, and it was a rushed affair. The remixes catch the power of the band, the crunch of the guitars, the insinuations of the saxophone, and provide both Ono and Lennon with profound on-stage moments. Lennon, of course, undercuts his with self-deprecating humor, keeping a running tally of all the mistakes he’s making, and mangling lyrics and explanations with the mad genius of his ad hoc off the cuff delivery. It’s just a shame the full concert is not presented.

The documentary keeps a laser focus on John and Yoko. I wish about five minutes could have covered the other artists who played the Free Sinclair Rally and the One to One concerts. All we see is Stevie Wonder, Melanie, and some of Shanana urging the audience to “Give Peace a Chance.” There should be a few nods to the musical circle beyond Jim Keltner.

In spite of arguments to the contrary, John Lennon and Yoko Ono warrant additional documentations of their careers and influence. Changing political landscapes provide opportunities for deep, long-form, journalism aimed to deify the artists’ progressive achievements or demonize their human rights accomplishments. “One to One: John & Yoko,” which opens on iMAX on April 11, lets music speak truth to power, and redistributes the power to the people.

Full Length/Demo Review: Sectarium "God’s Wrath" (La Caverna Records) by Dave Wolff

Band: Sectarium

Country: Cuba (early), Switzerland (later)

Genre: Death metal

Full length/demo: God’s Wrath (reissue)

Format: Digital,. CD (limited to 300 copies)

Label: La Caverna Records (Colombia)

Release date: March 7, 2025

The death metal band Sectarium was founded in Cuba around the beginning of the 1990s. Despite their lack of activity, La Caverna Records decided to give them greater visibility this year by re-releasing their 1993 cassette demo "God's Wrath". Even for the most devoted dealers, this tape is said to be extremely rare and difficult to find.

"God's Wrath" was also recently reissued as a double CD with an homage to the band by Mephisto, Helgrind, Dying Forest, and others by the Mexican label American Line Productions. Starting with a unearthly, avant garde keyboard intro that flows into the first song, the songwriting and dark, slightly disorganized production are wildly reminiscent of classic Beherit, Blasphemy, Sarcofago, and Mystifier, from a period when death and black metal bands were free to draw on their obscurity and create esoterically themed music for a niche audience.

This mysterious quality is further demonstrated by the lyrics, which frequently extol the Lovecraftian demon Yog Sothoth and his judgment of humanity. They introduce you to forbidden ideas that acquaint you with impermissible awareness that changes your perspective on the cosmos and what awaits the unwary in the afterlife. As per most of the death metal released at the time the demo was released, these lyrics, written in long sections that show much individualized research, paint a picture of a fate both hidden and inescapable.

Like the realms they write about, the atmosphere surrounding the songs come across majestic and void. Yog-Sothoth is claimed to be omniscient, understanding all space and time, therefore he sees the souls of all humans and no secrets are kept from him. This makes writing about him more than appropriate for the music. Although the band was never given a chance to develop, their independently released album "Ad Infernum" is available, and I wouldn’t object to checking it out in the near future. –Dave Wolff

Lineup:

Franto Paul Hernandez: Bass, vocals

Abel Oliva Menéndez: Guitars

Duviel Quiroz: Drums

Track list:

1. Intro / The Breath

2. Into The Carrion

3. Furies

4. Souls In Pain

5. Abominable Cult

6. God's Wrath / Babylon Fell

7. Perpetual Ice

8. In the Storm

9. Outro

Interview with Cristian Tricarico of Nexxt by Dave Wolff

Interview with Cristian Tricarico (vocals) of Nexxt

In 2023, you released your second full-length album, "Spiritual Survivor". How does the follow-up to your 2007 debut "Addicted to Sin" reflect the growth you've made since then? Why is there a sixteen-year gap between albums?

Cristian Tricarico: "Spiritual Survivor" represents a new beginning for us. Back in time, due to job reasons, three original members were replaced by Paky and then by Alex, so finally the new lineup was put together. The new entries brought new life and ideas into the band and allowed us to work strongly on the arrangements of "Spiritual Survivor", a work that - we guess - embodies the synthesis of our philosophy: never give up, be reborn from your ashes stronger than ever with new ideas. Indeed, during the making of "Spiritual Survivor" we dared more than the usual, technically and musically, experimenting new approaches in the studio. One of the most particular aspects of the making of "Spiritual Survivor" was to use different studios. This experience made us grow a lot on an artistic and also human point of view.

As a band we have always had to face difficulties. Unfortunately the area where we live does not offer many career opportunities, and for this reason many young people have to leave our home town. This is why we have had numerous lineup changes. For the record, our first album, "Addicted to Sin", was recorded 14 years after the band was founded in 1993. The delay was basically due to economic hardships. However, we still managed to raise the budget to make two EPs, "Apparent Control" (2003) and "Strength of the Rooted One" (2005) which contain some of the most representative songs of the band. The period between "Addicted to Sin" and "Spiritual Survivor" was really a rough time. I suffered the loss of my son and thus I was forced to a long period of inactivity. In addition, those years were tough to get the chance to play live. We even tried to include some 70s and 80s covers in our set list, played in our own way obviously, just to be able to play more, but it didn't last long. And so we immediately started working on new songs.

In 2015 we recorded a four-track EP, "Arise or Die". We recorded it ourselves. Despite the raw quality, these four songs played damn cool and powerful. After a while three-fifths of the band left Nexxt. This stalemate lasted until 2020. Currently our lineup is strong and stable, which allows us to work harder on new material with greater determination.

From the time of your formation (1993) to the release of your debut album (2007), did you play shows consistently, finances allowing, and experiment with different sounds?

In the early years we played a lot of gigs and we were really determined as we are today. We are always immersed in everyday life focusing our attention on real problems, social inequalities, wars (past and currently ongoing) and this has greatly influenced our listenings and thus our sound.

Among the covers you added to your set list, which most helped the band develop its own brand of thrash metal?

Even nowadays in our set list we play "Territory" by Sepultura, a band we pay much respect to and consider very close to our way of conceiving life and music. It's not just a cover, it's a flag to stand behind.

What about Sepultura's "Territory" made you want to cover it during your performances? How much of the band's creativity went into covering it?

Sepultura has been an icon of thrash metal for us with their unique style in which we sink our roots. Territory is a scream against war and its propaganda, not by chance it is included in our set list at the end of our live shows after "Air Raid 1943" which is about the bombings suffered by our city during the Second World War. The peculiarity that we gave to "Territory" is in the outro, where we do a medley with the final riff of "Domination" by Pantera, something always much appreciated by our audience.

Does Sepultura's proto death metal era, tribal metal era, or groove/thrash era speak to you and the band most? Or does it vary depending on the song?

Sepultura have basically influenced my singing more than Nexxt's style. I first heard Sep around the time of “Arise” and that influenced me a lot in my vocal approach.

How did you, as a vocalist, find inspiration in “Arise”? How do you feel about their older years and the broadening of their perspectives?

As a singer (but also as a fan) I consider Max Cavalera's voice a real trademark of Sepultura. "Chaos A.D." and "Arise" represent a real meeting point between the old school and the new trends of metal. Just like Pantera.

Which aspects of Pantera's legacy have left a lasting impression on the mainstream and underground of metal? How much influence do you believe they have had on new bands?

Pantera rules! Their influence was fundamental in defining the entire subsequent course of metal. The two fundamental elements of Pantera: power and irreverence. Their influence is still felt today. They were and remain a fundamental chapter in the entire history of rock and metal.

Pantera's transition from hard rock to heavy groove thrash was quite drastic. How can you explain this having such a significant effect on mainstream industries?

It was a drastic and not at all obvious change and it's really hard to explain. "Power Metal" and "Cowboys from Hell" do not seem to have been conceived by the same band. I think that the reason for their success was precisely this definitive break with the old glam metal. "Cowboys from Hell" represents a turning point for the entire scene.

How much of a setback was each lineup change, and how long did it take to find new members who shared the same vision as you?

Despite all the lineup changes, we didn't have any problems. Each new member brought his own contribution and ideas. Before being a band we are a group o

f friends. So respect and empathy are fundamental. Indeed, one of the songs on the new album, entitled "Nexxt", talks exactly about this: whoever passed through Nexxt still left their mark.

While the band was in its early stages, what real-life problems were they most focused on? How did it impact your choice of influences and the development of your sound?

At the beginning we were focused on building a band with a strong identity, considering the experience and musical inclinations of the members, but right during the construction of this work my first child arrived, along with the consequent marriage which significantly limited the live activity of the band.

Our influences have never been univocal, in the sense that each member of the band prefers, for example, some more death, some more thrash, some more heavy metal, etc... This has determined a fusion of influences that has naturally shaped our sound.

Did those experiences have bearing on the lyrics you wrote for your songs? Who is the band's lyricist and what topics does he tend to write about most frequently?

Our lyrics are written both on personal experiences and on social, historical or literary themes. For example we composed "The Master and Margaret" taken from the novel by Bulgakov or "Uqbar" by the Argentine writer Borges, or for example "Taste the Flowers" about the plague of pedophilia, or "Sacrifice in the Struggle" on the fight against exploitation. The lyrics are usually developed by me, but there are several lyrics also written by the bassist Michele Speranza and the former guitarist.

Besides the social issues you mentioned, is there any genre from your country or area that has served as inspiration or partial inspiration for you musically?

I'm not a big fan of the music produced in my country. It doesn't represent us and it's far from our world. Luckily our underground metal scene has lots of bands, both recent and historical like Necrodeath, Bulldozer, Unreal Terror and many others. But also other bands from the new wave and punk rock scene like Litfiba, Ustnamò, Disciplinatha, CCCP and many, many others. Basically our inspiration is more related to the approach than to the music itself.

What do you mean by the approach those metal, punk and new wave bands you cited made to their music?

The influences of the bands I mentioned before are not only about the musical aspect, but also about the approach in terms of honesty and coherence. The sound of Nexxt has always been free from trends and tastes and we want to remain free. Influence is not only made by music, but ideas as well.

What prompted the band to release a live album ("Live at Teatro Mediterraneo") immediately following the 1996 release of your debut demo? At the time, did it accurately depict the band's live performance?

The live show at Teatro Mediterraneo was our first performance on an important stage, supported by a professional technical staff and a big audience. It was a festival for young bands, financed by the municipality of our city, which you could access through a selection process by sending your demo tape. It was an incredible experience because our performance was acclaimed by the audience as an established band even though we were only at the beginning of our live experience. The live show was recorded and we decided to ask the sound engineer for a copy to release our first live EP.

When “Addicted to Sin” was released, how was it received? In your opinion, how much room for improvement did you see in your work musically and lyrically once it was out?

The release of "Addicted to Sin" was greeted by our audience with an enthusiasm that we did not expect, I was struck by the comment of one of our historical fans who, in a post on social media that remembered that album, wrote: “Addicted to Sin” was for us kids of that time, the “Master of Puppets” of our band. “Addicted to Sin” represented the end of a long phase for the band, a work that reached a compositional and experimental maturity. Since the album was released under a label we had a boost in international distribution, but unfortunately we did not receive the same promotional support from the booking and promotion agency.

After “Addicted to Sin” was released, what steps did you start taking to improve your sound?

Basically our sound has always been very personal and, during these years, we worked to harden and define it further. After “Addicted…” there was the first turnover. With the arrival of our new drummer (Paky), Nexxt gained more groove. Then, in 2021 our new guitarist (Alex) joins and we go back to one guitar (he plays one guitar as two. He plays one guitar as two. Such a hard work) It's a kind of return to the origins.

How does returning to a single guitar represent a return to your origins, and how did this impact your material?

Nexxt was born with just one guitar, that's why I was talking about going back to the origins. To be precise, "Arise or Die" was recorded with two guitars. On "Spiritual Survivor", instead, we went back to just one guitar and this brought us closer together.

Discuss the recorded tracks for "Spiritual Survivor" and their lyrics. Did you channel as much feeling into them as into your music? How are the lyrics relevant to our current times?

The lyrics for “Spiritual Survivor” were treated with the same attitude. They the songs embrace various themes and moods, including contemporary ones such as “Silence Outside” itself, written during the pandemic, used to suppress the freedom of individuals and leaving individuals to die in deep loneliness; or “Jester’s Court” which deals with the dynamics of corporate hierarchies that tend to create divisions and discrimination against those workers who do not align themselves with corporate propaganda; or like “Limits Inside” which deals with the theme of today’s society that solicits a petty competition between individuals, which often pushes them to cross the threshold of their own limits, both moral and attitudinal.

Back in 1997 you included the song "Controlla L'Assoluto" on a compilation called "A.K.O.M. Sampler 6." How did the band get its name and content on this release, and how much did this inclusion help? Were there any other compilations you appeared on?

It is actually a matter of homonymy because I don’t think it’s us, because even though it is associated with our first studio EP “Apparent Control” (2003) the release date doesn't match. There have been compilations in which we have been included, but they were usually made by self-produced fanzines. The most relevant compilation in which we have been included is that of a well-known Italian journalist and talent scout (Red Ronnie) who invited us to perform in a project he made in television studios with different bands and a compilation distributed nationally was published.

How would you like to proceed with your next release? If not already underway, when do you expect to begin working on it?

We have just completed the recording phase of the new single that we will release soon. It is a song written at the origins of the band and then revisited over time and we decided to give it a new life because we believe it is a song that fully represents our past. At the same time we are already projecting ourselves for the next album that we hope to be able to realize within the next year.

Where are the best places online where people can discover new information about the band and keep up with its progress?

Our always updated channels are Facebook, Instagram. Our entire discography is available on all platforms.

Nexxt official site

Nexxt at Youtube

Nexxt at Bandccamp

Nexxt at Instagram

Nexxt at Facebook

Nexxt at Spotify

-Dave Wolff

Full Length Review: Three Sixes "Call Me the Devil" (Independent) by Dave Wolff

Band: Three Sixes

Location: California

Country: USA

Genre: Industrial thrash metal

Full length: Call Me the Devil

Format: Digital, CD

Label: Independent

Release date: January 29th, 2025

As on their 2014 album "Know God, No Peace," Three Sixes are honing their craft at relevant lyrics, presenting their thoughts and attitudes toward world events with a relentlessness reflecting their horror-themed industrial thrash roots, albeit more straightforward and aggressive. They’ve come a long way from writing about hell and damnation, shifting to social issues, media censorship, climate change and large scale geopolitical conflict.

Their realism fueled, socially conscious topics center in particular on religion and government, church and country, increasing both the drive to think and increasing the intensity of their musicianship. Issues that concerned people since the 2000s appear to have escalated in recent years, prompting more people to raise awareness. The line "I'll sell your soul, to give you hope" seems to fit a society increasingly reliant on TV and social media and less likely to ask questions or conduct responsible research.

Additionally, Three Sixes honors bassist Johnny Cardenas, who passed away recently following a lengthy illness, with their determination to move forward and effect change. "Call Me the Devil" opens with a vivid mental image of the media's pervasive and overpowering brainwashing. Kind of similar to movies like "The Man Who Fell to Earth" or "1984". It raises the question of why more people just don't grab their remote controls and switch off the television. Or at the very least, choose for themselves what they choose to view on the relevant platforms. It would be a start.

There are not as many electronic sounds here, but time shifts and experiments with robotic guitar and bass sounds and percussion like a digital hammer persistently emphasize direct speed and heaviness. These produce something sounding as ruthless and frigid as the brave new world they portray. Besides complacency and a propensity to believe anything you're told, the album portrays an over reliance on technology and artificial intelligence that, if allowed to continue unchecked, could consume us.

Concept albums, in one way or another, have long forewarned of the possibility of such a fate becoming reality. Three Sixes supports the notion that bands may still make powerful and relevant statements with "Call Me the Devil." Emphasizes individuality and the human element, it can be seen as the equivalent of Dylan Thomas' poem "Do Not Go Gentle into That Good Night." –Dave Wolff

Lineup:

Damien: Vocals

Killswitch: Guitars, bass, backing vocals

Blake/John Cross: Drums, programming

Track list:

1. IndoctriNation

2. Welcome To The New World Order

3. Reject Control

4. They

5. Call Me The Devil

6. Where Evil Lies

7. Anticipating Death

8. Watching The God King Bleed

9. Sheol

10. Unflawed

11. Anti-theist

12. All In God's Name

Review of "Know God, No Peace" by Dave Wolff, March 2015

Review of "Unit 731 [2019 Version]" video by Dave Wolff, January 2019

Interview with Damien LaVey by Dave Wolff, January 2015

Interview with Damien LaVey by Dave Wolff, October 2016

Interview with Kill by Dave Wolff, October 2016

Interview with Johnny C by Dave Wolff, November 2016

Interview with John Cross by Dave Wolff, November 2016

Article: "Pagan-Themed Science Based Meditation" by Goddess Rosemary Sahjaza

Pagan-Themed Science Based Meditation

"Harmony of Nature and Cosmos"

by Goddess Rosemary Sahjaza

Find a quiet, comfortable space where you can sit or lie down. If possible, surround yourself with natural elements—like plants, crystals, or candles. Close your eyes, and take a few deep breaths to center yourself.

Meditation

Grounding with Nature:

- Inhale deeply, visualizing roots growing from the base of your spine into the earth. Feel the solid ground beneath you, the heartbeat of the Earth, alive and vibrant.

- Exhale slowly, releasing any tension or worries. Imagine them sinking into the soil, nourishing the ground.

Embracing the Elements

- Bring to mind the four elements—Earth, Air, Fire, and Water. With each element, connect it to a scientific principle:

- Earth Visualize soil rich with nutrients and micro-organisms, understanding the ecosystems that thrive beneath surface.

- Air Feel the oxygen flowing into your lungs, the invisible yet vital gas produced through photosynthesis by plants.

- Fire Imagine the warmth of the sun, the nuclear fusion that powers it, allowing life to flourish on our planet.

- Water Contemplate the water cycle, recognizing the importance of this precious resource in sustaining life, and its molecular structure as H₂O.

Connecting with the Cosmos

- Expand your mind’s eye beyond Earth. Visualize the stars suffused with vibrancy, each representing different galaxies and billions of years of cosmic history.

- Reflect on the Big Bang, the beginning of time and space, and your unique place within this vast universe.

Unity with Nature

- Affirm your connection to the natural world. Repeat silently: "I am a part of the Earth, the elements, and the cosmos. I honor this connection."

- Feel the energy of the universe flowing through you. Recognize that you, a being of matter and consciousness, are composed of stardust.

Gratitude and Intention

- As you draw this meditation to a close, express gratitude for the beauty of nature and the wonders of science. Visualize how your intentions harmonize with the world around you.

- Formulate a clear intention related to your journey—whether it's healing, understanding, or connection.

Returning to Awareness

- Begin to bring your awareness back to the present moment. Wiggle your fingers and toes, gently open your eyes, and take a moment to appreciate your surroundings.

- Carry the peaceful energy of this meditation with you into your daily life, feeling anchored in the balance of nature and the cosmos.

The goal of this meditation is to create a profound sense of connection and understanding between the underlying principles of pagan theology and the wonders of modern science.

Goddess Rosemary

Sahjaza Meditations

3/23/2025

Full Length Review: Karla Kvlt "Thunderhunter" (Exile On Mainstream Records) by Dave Wolff

Band: Karla Kvlt

Location: Hamburg

Country: Germany

Genre: Experimental sludge

Full length: Thunderhunter

Format: Digital album, vinyl/CD bundle, vinyl

Label: Exile On Mainstream Records

Release date: February 21, 2025

Alternative and grunge may have been turned into a fleeting fad in the mid to late 1990s, but bands like Melvins, Unsane, Swans, and Cop Shoot Cop, among others, survived to inspire new bands like Eisenvater, Rossburger Report, and Karla Kvlt, who released their debut album last month.

"Thunderhunter" is the logical progression of where grunge was going before it broke aboveground and the mainstream realized they could cash in, with the mysterious and slightly dangerous post-punk street rhythm that would eventually fill the gap left by generic hard rock and glam metal when it imploded.

Karla Kvlt, led by Eisenvater's Markus E. Lipka, moves beyond the pre-mainstream vibes of grunge to explore the capturing and channeling of emotion, as well as the space between what is understood and what is unknown. It forges excursions deep into the subconscious mind and whatever link it may have with the infinite, exposing what one may discover, whether light or dark.

"Thunderhunter" frequently approaches the subterranean grittiness you'll find in experimental stoner, becoming repetitious enough to induce a natural high. With Black Sabbath/Trouble/Candlemass vibes, ethereal guitar and bass passages, apocalyptic dirges with distant keyboards, hauntingly monotone vocals, atmospheric bell effects, mystical sounds and thundering, booming percussion, it all creates an existence that deviates from how we anticipate rock to sound, thus it appeals to your sensibilities.

Following the DIY recording method, this album goes on to piece doom, drone, post rock, sludge, and noise into the puzzle, becoming an immense statement that’s evocative of a waking dream state. We've all heard how much leaning toward one or more genres of music helps shape one's own individual character. Deconstructing, recreating, and transmuting the mind while blurring the lines between live performances and rituals, "Thunderhunter" exemplifies the letting go to rediscover oneself.

The album is described as devastating one moment and an example of beauty the next, compared to a flowering plant pushing upward through a slab of concrete, or to tides flowing, ebbing, and flowing again. Since those waves progressively undermine your ideas of what grunge, doom, or sludge should be, I can most easily identify with the latter description. Karla Kvlt’s talent lies in finding the connecting spaces between musical genres thought of as being incompatible. –Dave Wolff

Lineup:

Markus E. Lipka: Guitars, guitar soundscapes, voice

Teresa Matilda Curtens: Bass, vocals

J. Victor Wientjes: Heavy drums, synth soundscapes

Track list:

1. Karma

2. Temple

3. Swallowed

4. Magna Mater

5. Mun Kvlta

6. Hekate

7. Thunderhunter

Full Length Review: Yelena Eckemoff "Scenes from the Dark Ages" (L&H Production) by Dave Wolff

Artist: Yelena Eckemoff

Location: Manhattan, New York

Country: USA

Genre: Progressive jazz fusion

Full length: Scenes from the Dark Ages

Format: Digital, double digipak CD

Label: L&H Production

Release date: March 28, 2025

As I listen to this double album I find it hard to believe it was recorded in only three days. It sounds more like something that took a few months to complete in the studio, with its quantity of instruments and the subtlety in its arrangements.

Yelena Eckemoff, a well-known and prolific musician who has been playing piano since she was four and recording since 2009, once stated she dreamed of being born in medieval times; her romantic vision of living in that era is evident in every hue of her latest work. I've been reading about where her devotion to music has led her and what I've discovered is inspiring to say the least. She studied music theory and music literature, trained with notable classical musicians, gained versatility in her profession, and launched a career from scratch, leading one to wonder why she hasn't received wider mainstream recognition.

"Scenes from the Dark Ages" is a surrealistic blend of prog, jazz fusion, world music and classical with something to offer fans of Led Zeppelin, Yes, Jethro Tull and prog rock/metal/jazz bands like Gordian Knot and Sons of Ra. It’s important to emphasize that Eckemoff did not produce a standard reconstituted jazz fusion album; rather, she created something unique and trailblazing by fusing the structure of jazz fusion with the rhythm of world, classical, and songwriting brought into being from her own mind. Her albums are characterized on her official website as being focused and compelling, and her profile states that each has its own unique concept to expand on.

One theme that appears to remain consistent is the humanity she sees in nature, as evidenced by her romantic depiction of medieval life. Granted, this is based on modern-day reflections, but she and the band she assembled compose music to make this vision compelling to contemporary ears. Eckemoff based "Scenes from the Dark Ages" on a concept album she prepared independently called "Medieval Symphony" that she shelved because she felt it needed more than just midi and synth.

While I'm no expert when it comes to modern jazz fusion, the addition of a full band and Eckemoff's use of synths and sequencers give "Scenes from the Dark Ages" an affectivity that's spontaneous and transcendent. A vibrant, omnifarious record that musically conveys a tale, or a sequence of stories, as powerfully as a poem or a novel, it is intended to enthrall the listener, relying as much on context as melody, with each instrument playing a part in putting the songs across. Accessibility for prog rock fans and a flair for conveying complex arrangements makes this a special recording. -Dave Wolff

Lineup:

Yelena Eckemoff: Piano, organ, clavichord, celesta, synths

Riccardo Bertuzzi: Electric guitar

Carlo Nicita: Soprano, alto, and bass flutes

Eloisa Manera: Acoustic and electric violin

Riccardo Oliva: Electric bass

Trilok Gurtu: Drums, percussion

Track listing:

Disc 1:

1. Pilgrims

2. Village Tavern

3. From Peasants Life

4. Spell-Bound Fortress

5. Monks In Scriptorium

6. Cathedral

7. Legends Of The Castle

Disc 2:

1. Adventures Of A Knight

2. Battle

3. Chivalry

4. Tournament

5. Masquerade

6. Alchemist

7. Quest

8. From The Life Of The Lords

EP Review: Seventh Station "On Shoulders of Giants" (Layered Reality Productions) by Dave Wolff

Band: Seventh Station

Country: Slovenia

Genre: Progressive metal

EP: On Shoulders of Giants

Format: Digital, jewel case CD

Label: Layered Reality Productions

Release date: February 21, 2025

Seventh Station was started by Dmitri Alperovich and Alexey Polyansky, students at the Rubin Academy of Music (later the Jerusalem Conservatory of Music and the Jerusalem Academy of Music and Dance). There must have been serious, intense studies, because their joining spawned wide ranging explorations of prog rock and metal. “Between Life and Dreams”, their 2016 debut, was operatic expansion comparable to Queensryche, Megadeth, Dream Theater, Frank Zappa, Yes, and Steve Vai. Probably too cutting edge for conventional benchmarks since it transgressed categorization, it attracted the curious with classically trained innovation.

One album (“Heal the Unhealed”) and one EP (“On Shoulders of Giants”) later, Seventh Station is still making their mark in an industry where no rules exist and there's always room for creating and experimenting. This EP has fresh perspectives from musicians from countries with different musical development periods: Israel, Slovenia, Turkey, and Ukraine. This cultural balance mixed with intricate songwriting and complex arrangements appeals to listeners everywhere from the U.S. to Europe to the Middle East to Slovenia.

From some of the band's lyrics, I gather the reason for their radical advancement is because they look deep, within and consider how to channel their collaborative ideas and genre-crossing bond. “On Shoulders of Giants” takes a huge step in that direction. While “Heal the Unhealed” leans closer to metal and rock, with industrial and operatic themes, pays greater attention to its classical features, including refashioned works by 20th century composers. Pushing the “artistic resistance” of underground music, the band choose composers who were musical dissidents.

To say the band has taken their unconventionality up a notch is an understatement. This time, they really went out of their way to create something as far from what we know of metal as they’ve gotten. The material, described as “free thinking art metal” is designed as an alternative reality to the collectivism and extremism we see in news and on social media. Since their first album, their composition has become much more theatrical, incorporating time changes and off-tempos with lightning precision and transitions from contemplative moments to soaring emotional intensity and heaviness. Davidavi Dolev in particular contributes with his ability to draw inspiration from Geoff Tate and David Bowie.

However, there are only a few examples of the band's skill and ability. If I was to discuss every nuance brought to these five tracks I would need an entire page to do so. Suffice it to say that this album has more tempo, theme, and mood changes than I've heard from an album of this kind. Additionally, the cultural backgrounds of the band members are given more weight than usual because each member seems to have contributed to the composition and been given reign to flavor the songs. Most likely the most boundaries I’ve heard crossed this far. –Dave Wolff

Lineup:

Dmitri Alperovich: Electric and acoustic guitars

Eren Başbuğ: Keyboards, editing, programming

Davidavi (Vidi) Dolev: Vocals

Alexy Polyanski: Bass guitars

Grega Plamberger: Drums, marimba, percussion

Track list:

1. Three Days in Dresden

2. Seid nüchtern und wachet... : VII. Es geschah

3. Tropical Limbo

4. Melodia Sentimental

5. Nagasaki Kisses

Article: "Meditation March 4 2025" by Goddess Rosemary Sahjaza

Meditation March 4 2025

Article by Goddess Rosemary Sahjaza

Starting with a quote:

“Sounds like science fiction, but "memory reconsolidation" is a promising new strategy that combines memory reactivation and the beta blocker propranolol to make traumatic memories less painful.” *

Meditation and information

Memory reconsolidation sounds like science fiction, yet it represents a groundbreaking advancement in our understanding of the human mind.

This innovative strategy involves reactivating traumatic memories while administering the beta blocker propranolol, which dampens the emotional intensity of those memories. By engaging with the experience of a traumatic event during therapy, the neural pathways associated with that memory can be altered.

This process allows individuals to recontextualize their memories, rendering them less painful and more manageable.

As we delve deeper into the intricacies of memory, this method offers hope for countless individuals grappling with trauma—transforming distressing recollections into less impactful echoes of the past.

Memory reconsolidation not only challenges traditional notions of memory but also signifies an evolving landscape of psychological treatment, bridging the gap between cutting-edge science and emotional healing.

In an era where mental health is increasingly prioritized, such innovative approaches are truly illuminating pathways toward recovery.

Goddess Rosemary

Sahjaza Meditations

* Quote by Dr. Elizabeth Loftus, a prominent psychologist known for her research on the malleability of human memory. She has extensively studied memory reconsolidation and its implications for trauma and recovery. If you're looking for specific sources or works by her, I would recommend exploring her published research articles or books that discuss memory and trauma.

Visit Temple House Sahjaza Artifacts to purchase jewelry and benefit animal rescue. -DW