Saturday, April 30, 2016

CD Review: SEDULOUS ROUSE Seasons Of Triumph

Seasons Of Triumph
Cement Injection Records
As revealed when I interviewed them in December of 2015, Adelaide, Australia’s Sedulous Rouse consists of ex-members of local bands Murder Hill, Cloth Tape and Blood Mason. Some of their releases can be acquired from founding member/manager Roly Moore if you read that interview and have any inquiries. Seasons Of Triumph is the first album recorded by Roly, Dani and Brendan. The symbolism suggested by front and back cover photos of insects is a thought-provoking representation of their muic. While ants and flies are small compared to humans and scientific curiosities to be studied, they are not to be trifled with in the insect kingdom. It reminds me of the 1986 remake of The Fly that mentions there are no insect politicians; insects are brutal, without compassion or conscience. Members of the insect kingdom would likely be the only survivors of a nuclear holocaust and its descendants would inherit the earth. If you think about it, the concept fits Death Shall Rise, with its time tested theme of greed leading to downfall. The difference here is the emphasis on hope for the future once the apocalypse runs its course. Many bands are more concerned with letting people know where we are headed. The soundtrack to their concept is oddly arranged thrash with drum fills, bass slapping, some hardcore in the vocals and a hint of 80s Voivod. Harsh and tightly structured, it almost sounds like a futuristic setting that is being encroached upon by small insects like those shown on the covers. Many of the lyrics are of a personal, introspective nature of one sort or another, as on Perpetrator, Enemies, Without Sympathy and From Her To Modernity. The songs are often hypnotically repetitive and take unexpected turns to places not common for bands influenced by 80s thrash. But as with most worthwhile bands, these arrangements open you to new possibilities as to where we can go with underground music as opposed to merely incorporating more melodic or mainstream friendly elements. -Dave Wolff

Track list:
1. Death Shall Rise
2. Perpetrator
3. Enemies
4. Silent Man
5. Funk Til Ya Jazz
6. Without Sympathy
7. Prickles Pickles
8. From Her To Modernity

Thursday, April 28, 2016

CD Review: NEID Atomoxetine

Neid is an Italian Grindcore band formed in 2007 through the dissolving of other projects and a similar musical outlook. "Atomoxetine" is their uncompromising 2016 full length release.
Commencing with "Continuous Use"- heavy distortion provides an aggressive and chaotic feel aided by samples and raised pitch. Almost droning instrumentals are broken by another layer of sound and pitch, providing an almost uncomfortable but intriguing musical approach. Continual shifts in pitch and distortion towards the conclusion enable an interesting, unsettling and enticing feel- leaving the listener in anticipation for the next track. A solid opening track which provides a small insight into what Neid is capable of.
"Painting Death" commences with an aggressive, hard-hitting and brutal approach. Complete with amplified speed, guttural vocals and grinding guitars broken by methodical and intense drum work ensures a commanding track. The use of brief silences to announce the next switch in tone proves to be highly effective- as it serves to leave the next section resonating in the listener’s ears. A pitch shift signifies a more brutal approach- aggressive vocals combined with heavy distortion use and ceaseless drum work mid track ensure the listener’s continual interest. A grinding guitar interval splices "Painting Death” before launching into a brief melodic section and seamlessly shifting back into an instrumental. Heavy with distortion, tempo changes and a rolling cadence broken by inventive and technical drumming provide a tight interval. An aggressive blast of brutal vocals blends cohesively with the musically consistent and brutal approach displayed. A final blast of drum work assaults your ears before a brutal growl announces the conclusion.
"The Failure" provides a blatantly aggressive, intimidating approach. While a grind-groove opening commences this track- the onslaught of the sheer harsh wave of sound in the next section displays an intelligent concept. Slamming guitar work combined with relentless and brutal drum lines provide an ideal accompaniment to the guttural vocals. Continual pitch shifts combined with technical and intense drum lines ensure the listener is left speechless. A riff is indicative to a vocal pitch change and lifts this track into a more relentless feel, heavy with grinding guitars and an unstoppable feel while remaining brutal. The technical and consistent drum work adds an extra quality. The concluding section allows guttural vocals to be the focus with an abrupt ending consistent with Neid's style.
"Virtual Shape" begins with a dramatic ambient sample of orchestral background with a lone chant providing an unsettling start. Blasting drum work combined with distortion heavy guitars announce the customary brutality. Brutal and consistent drum work switching rapidly into equally seamlessly back ensure a relentless quality. Aggressive vocals are emphasized by the rapid drum work. It’s broken briefly by a rapid shift into grind-groove before catapulting the listener into a chaotic mid-section with blasting drum work and fast paced, guttural vocals. Rapid vocal pitch shifts further the sound while remaining consistent to this release. A grinding pitch and cadence shifting conclusion provide insight into the technical aspects displayed.
"Saturated Child" shifts in a slower pace while remaining heavy. A more melodic guitar provides a contrast to the masterful drum work. A vocal section breaks the instrumental- instantly producing the speed and brutality while providing a stark contrast. Brief pauses ensure the listener notices the distinct tempo and pitch changes utilized consistently. The drum section towards the conclusion is a welcome interval purely for the speed and delivery. Periodic pauses between intervals add to the slight anticipation. "Atomoxetine"- the namesake track is a short, sharp and brutal onslaught. Frantically fast paced with a thoroughly chaotic feel. A relentlessly brutal mid-section changes tempo rapidly to add further aggression. A guttural growl and barking, aggressive approach aids the frantic feel.
"New Threat" commences with atmospheric, repetitive echoing vocals. Rapidly switching pitch- the vocals provide a chaotic, frantic yet balanced feel. Accentuated by the hammering background- the use of a discordant riff announces a change into a more chaotic section. A brutal instrumental section displays the sheer speed and technicality. Shifting tempo seamlessly provides added depth. The concluding section utilizes the customary brutal vocals and heavy musical section amplified by the abrupt end.
"Vultures of Incorporation" begins with a slower, more apprehensive feel before ripping into an aural assault. Switching pace and style rapidly and seamlessly display more versatility while remaining cohesive and chaotic. Despite being under a minute in length it is a masterful displa- an attention commanding track which continues to remain consistent.
"Pay Independently" commences with staccato paced dialogue before entering a maelstrom of brutality. Technical drum work sets the tone. A dramatic shift in pace provides a welcome contrast to the brutal vocals while maintaining the cacophony. A mid track instrumental allows a brief respite before the vocals continue- shifting pace and tone into an aggressive shout aided by the insanity of the background. Rapidly shifting styles continually provides a cohesive, intelligent feel. An excellent display.
"Satisfy My Hunger" begins with a fast paced, melodic cadence. Launching straight into guttural growls backed by distorted guitars provides a background for insightful pauses. Continual and consistent in the characteristic speed of Neid ensures "Satisfy My Hunger" is commanding. The switch to a slower, threatening feel provides a musically cohesive background for the vocals and abrupt end.
"Restore The Judgement" commences with a different approach. Timely pauses break brief and rapid paced interludes before the riotous introduction. A slight punk influence is displayed- consistent and fluid switches ensure the listener's attention. Rapidly switching into a frantic vocal section with technically sound drum work provides an adrenalin rush. Continuing to switch styles, cadence and pitch provides an unrelenting, uncompromising and aggressive feel. A bass solo breaks the wall of sound before an instrumental interval largely dominated by insanely rapid drum work. Rapid, aggressive and grinding- "Restore The Judgement" is lifted by harsh and aggressive vocals. The sheer amount of style, pace and cadence changes are enthralling. Concluding with a grind-groove instrumental section with growling vocals provide a catchy end.
"Memory May Kill The Need" throws the listener into a frantic assault, uncompromising as it is extreme. Rapid and seamless pitch shifts accompanied by timely and consistent pauses allow added appreciation. Ruthlessly aggressive and brutal, it provides an insight into Neid's distinctive sound. An emphasis on grinding guitars and a droning harmonic pitch shift indicate an instrumental break mid-section- heavy with the use of pauses to create a menacing feel. The addition of drum work amplifies this section, broken by screaming guitar work. A sample artfully combined with the instrumental creates a distorted element before launching into a brutal and aggressive conclusion. Neid's diversity is something to be admired, their obvious dedication and commitment is displayed in every level of "Atomoxetine". A diverse release that ensures immediate interest. -Sarah McKellar

Track list:
1. Continuous Use
2. Painting Death
3. The Failure
4. Virtual Shape
5. Saturated Child
6. Atomoxetine
7. New Threat
8. Vultures Of Incorporation
9. Pay Independently
10. I Hate Work
11. Satisfy My Hunger
12. Restore The Judgement
13. Memory May Kill The Need
14. Breed To Breed

Monday, April 25, 2016


Hellwarriors Arise/Untitled
Horns & Hoofs Records
Charlie Infection and I go back to the first print issue of Autoeroticasphyxium, for which I interviewed him for Gonkulator. In those days I was arranging interviews with bands and zine editors I met at shows and through snail mail correspondence. I came into contact with Charlie when his black metal/grind/noise outfit Gonkulator played the Spiral with the New Jersey black metallers Abazagorath and a few other bands. If I remember correctly the show was arranged by the staff of Endemoniada zine who booked quite a few shows in the 90s, including the Black Mass of 1997 at The Bank. My review of it for Good Times can still be read at Endemoniada’s old website I think. I also recall he was GG Allin’s drummer on Freaks, Faggots, Drunks & Junkies, as his band Psycho was GG’s backup ensemble (as Bulge). Fast forward to today and Gonkulator are still actively recording and promoting material through Infection Distro. Their spilt seven inch release with Ukraine’s Necrocannibalistic Vomitorium was released in 2015 and is a prime example of how underground networking has remained unaffected by the gradual homogenization of the music industry. These two bands are pure cacophony, definitely not for the fainthearted. The two songs by Gonkulator and the three songs by Necrocannibalistic Vomitorium sound recorded live during band rehearsals, which for the purposes of this release contributes to the rawness and intimacy that many bands seek to put across on split releases like this one. I’ve heard several releases with this kind of sound and always felt I was there as the band were rehearsing or playing a small, intimate club. That is the sort of feeling you get from hearing these songs. You perceive the energy output from the stage and the jostling bodies. Even with its rawness, you can hear each instrument clearly enough as opposed to everything being just a blur. These qualities give the split an honest feel all around; it’s in no way like a band whose founding members are practicing in their rich parents’ home or trying to pass themselves off as a garage band. -Dave Wolff

Track list:
1. Hail The Baron (Gonkulator)
2. Hellwarriors Arise (Gonkulator)
3. Gas Attack In The Nunnery (Necrocannibalistic Vomitorium)
4. Muzzle Orgy (Necrocannibalistic Vomitorium)
5. Latex Gift Of God (Necrocannibalistic Vomitorium)

CD Review: POST MORTAL POSSESSION Forest Of The Damned

Forest Of The Damned
Post Mortal Possession is a Pittsburgh based death metal project formed in 2013. "Forest of the Damned" is the 2015 released 7-track EP that displays musical versatility as well as a high emphasis on precision and switching styles at a breakneck speed and flawless musical delivery.
Commencing "Forest Of The Damned" is "Enter" beginning with samples of footsteps on gravel- accompanied by the eerie sounds of a nocturnal insect cacophony provide an effective and understated background. Leaving the listener with a certain feeling of isolation- while the footsteps rapidly increasing pace adds a more urgent feel to "Enter". Drone samples add a frantic element to an urgent and unearthly feel- while a final bang adds a final and sudden conclusion to this track. A interesting and commanding track that immediately intrigues interest.
"Skinwalker" begins with a catchy yet heavy guitar line- a stark contrast to "Enter". The aural onslaught of hammering, grinding guitars and relentlessly consistent drum lines provide a perfect contrast to the blackened screaming vocals. A brief break shifts rapidly into a slamming, unrelenting death metal sound- complete with growling, harsh vocals. A break of harmonised guitars combined with a precise and brutal approach to the drum lines off-set the pared back vocals- allowing the emphasis to be placed upon the music mid- track. Shifting rapidly and flawlessly back into the harsh growling vocals accentuated by the frantic and brutal approach musically to this section of "Skinwalker" ensures a musically diverse track. The vocal range and diversity is admirable- as are the rapid shifts in pace and cadence in combination with the insanely intense drum work. A shift towards a more blackened death feel towards the conclusion of the track provides a hectic and chaotic experience. Shifting back into the brutal technical death metal conclusion complete with screaming, intense riffs and an abrupt brutal end leaves the listener awaiting the next track.
"Gallows Hill" does not disappoint- commencing forcefully and instantly into this track with a literal, brutal wall of sound beginning the aural assault. Drum lines are both technical and masterful in their precise approach while understated guitars with their heavy use of distortion contrast the guttural vocals- making it musically precise and cohesive. Rapid shifts between brutal musical interludes provide a chaotic and unrelenting feel to this track-now determined to be characteristic of "Forest of the Damned". Continual shifts between brutal death and blackened death metal serves to aid in gaining intensity mid-track. After once again shifting into a brief death metal refrain- a rapid switch to a blackened death feel and returning to the chaotic death metal equally as flawlessly ensures the listener is captivated. The switches is musical style throughout this track- while still remaining melodic, technical and intense- is admirable and is reflective of the dedication of the musicians in the form of a comprehensive and brutally technical track that is "Gallows Hill".
"The Evil That Surrounds" commences with a grinding, brutally insane death metal approach- the guttural growling vocals complimented by the droning and melodic guitars provide a brutal and technical approach. The use of rapid switches between musical styles and pace characteristic of Post Mortal Possession's adept ability to combine technical death metal and blackened death metal flawlessly and intelligently is to be admired. Technical drum work combined with aggressive guitar lines provide a fitting background to further amplify the vocal styling. The brief but technical instrumental provides a welcome interlude before once again commencing the technical brutal insanity that is typical of Post Mortal Possession. A chaotic and oddly melodic refrain provides a musically intelligent and cohesive contrast to the abrupt conclusion of "The Evil That Surrounds".
"Devices Of Death" commences with a rapid blast of drums shifting into an onslaught of guitars and guttural vocals, now further reinforced to the listener as part of Post Mortal Possession's characteristic musical style. With a more rapid cadence and pace to "Devices of Death" ensures an attention-grabbing track through it's sheer brutal and technical insanity. An unrelenting brutal assault- "Devices of Death" is a masterful and technically consistent track. A rapid shift into a more blackened death feel provides added intensity and an insight into the musical diversity displayed within this release and proceeds to reach a new level of brutality while remaining consistent to the concept of "Forest of the Damned". A mid track instrumental interlude provides an insight into the sheer speed and musical cohesiveness of "Devices of Death". Masterful in it's technicality, this track is absolutely ear catching and genuinely enthralling. Aggressive and unapologetic for being so- combined with rapid tempo shifts serve to remind you of a musically diverse, technically talented and intelligent release.
"Implements of Hell" commences with a blackened death feel to this track while refraining the brutal style prevalent throughout "Forest Of The Damned". Switching rapidly to a brief, guttural vocal interlude spliced with a roaring, aggressive approach combined with an uncompromising and unapologetic brutal intensity complete the feel to this track. Calculated, chaotic and forceful- briefly split by technical interludes broken by rapid shifts into a guttural vocal section proves to be both brutal and commanding. A melodic and chaotic musical intensity provided by the precise guitar and drum lines provides a musically cohesive and balance to "Implements of Hell". Mid track continual shifts in tempo add to the chaotic element while providing the brutality the listener has began to expect of this release. Intense, grinding instrumentals provide a blackened death feel with splintering screams. Interspersed between guttural death growls- a chaotic and intense instrumental interval launches the listener into a blackened death concluding section. The sheer brutality, aggressiveness and forcefulness of the conclusion of this track proves to be a musically cohesive and precise conclusion.
"Forest of the Damned" begins with the rapid, cohesive and technically intelligent drumlines consistent throughout the entire release- serving to lift this track further into a niche of its own. The listener gains the feel that this is a band uncompromising to the extreme- judging by the particular intensity displayed within this masterful and brutal track. Howling guitar riffs complete the unrelenting feel, aided by the guttural growls accentuate the chaotic vibe to the namesake track of this release. Nothing is understated about "Forest of the Damned"- legitimately intense with constant tempo changes ensure a musically sound and consistent concluding track. The mid track instrumental interval displaying rapid and technical drum and guitar work show the musical consistency of Post Mortal Possession. The blackened death interval complete with tortured black metal screams shifts seamlessly into an intense death metal aural assault serves to display the musical diversity of this track. An aggressive guitar interval leading up to a technical and rapid paced drum section leads straight into the next death metal section.
"Forest Of The Damned" is characterized by technical death metal styling aided by an uncompromising technical aspect and an unapologetic approach to the sheer intensity displayed. Shifting cadence rapidly into a more melodic but still grinding death metal approach broken briefly by bursts of drum work and shifting swiftly into a blackened death feel. Technical and intense intervals provide a welcome interlude with black metal screams aiding the slightly mournful yet aggressive feel. A blackened and distorted feel brings heed to the conclusion of this track with a riff and intervals switching between brutal and frantic sections provide a fitting and cohesive conclusion.
A musically masterful release by Post Mortal Possession- "Forest of the Damned" is a release that instantly commands your attention for the technical aspects. The musical diversity displays an obvious devotion to Post Mortal Possession and their trademark brutal sound- the proof being in the rapid shifts between technical and blackened death metal is to be admired. Sheer and intelligent brutality at its finest with every aspect of this release being musically tight, cohesive and technical. "Forest of the Damned" proves to be a release that is both intelligent and brutal- I look forward to hearing more of Post Mortal Possession. -Sarah McKellar

Track list:
1. Enter
2. Skinwalker
3. Gallows Hill
4. The Evil That Surrounds
5. Devices of Death
6. Implements of Hell
7. Forest of the Damned

Sunday, April 24, 2016

Video Review: SICKNESS IN THE SYSTEM Disappointed by Dave Wolff

This is a band I haven’t heard from in some time; I interviewed them for the print zine a few years ago; but they have remained active and Robbie Manus passed me the Youtube link for this video with a couple updates (an anthology coming in June and a new release coming in July). Disappointed was released as a promotional video and single in April and shows another side to the band, from what I remember listening to around the time I interviewed them. Their past releases Veins and The Scarecrow’s Lament (both released in 2015) had their elements of thrash and death metal but worked toward establishing new frontiers within those subgenres in their own way, whether approaching certain verses or choruses differently or just going all out to shatter the mold. This new track takes a radical turn from those, venturing into goth-like territory with austere, weather-beaten illustrations to associate with it. The development reads like an internal confession that makes Nine Inch Nails comparatively sound cheerful. The video is shot in a grainy black-and-white style that was in some ways similar to E. Elias Merhige’s film Begotten in terms of production. We see an isolated suburban house, a series of shots depicting people traversing abandoned roads and other settings like empty parks and graveyards. There are three nameless characters we see in the course of this video, and it seems deliberately ambiguous as to their relations to each other. It’s mostly for you to decide who finds each other, or experiences fear of growing close to each other, or decide to break things off. You feel the weight of what’s bearing down on them, and it is left open as to what happens between them once the song ends. At least this is what I get from watching this video, and it strikes me as effective filmmaking with much potential. -Dave Wolff

CD Review: CEPHEIDE De Silence et de Suie

De Silence et de Suie
Well, well, what do we have here? This is another impressive atmospheric black metal band, delivering a high quality demo full of depressive guitars, doomed melodies and melancholic auras. France is been the cradle of many black metal entities lately and I think that the genre found new cold breath here. These guys formed the band in 2013 and recorded a four track demo in July 2014. If you ask me, I must say that I heard the entire demo three times by now, and I'm still finding more dark elements inside layers and layers of open-chord guitars, as well as aggressive structures. I liked how they create violent passages like a trip into one’s inner thoughts. Many sections are 100% atmospheric, and almost hypnotic. But you will not lose the line as everything is tied with a dark and expressive shadow of melancholy. Also, I barely can hear vocal lines, which definitely are not to be detrimental. Beyond that, guitar riffs and drums set formed a poisonous abyss within the grey walls of intense black metal. This is pure emotional black metal, recommended for those who are looking for new names in the genre and for those who like to close their eyes and let the soul flow in sharp and holocaustic guitar chords. It’s a gem from the French underground metal scene. -Victor Varas

Saturday, April 23, 2016

Interview with Tom Kelly of BLACK DAWN by Dave Wolff

Interview with Tom Kelly of Black Dawn

Black Dawn has been active on Long Island since the mid 90s. How many changes have you witnessed in the scene since you started playing shows, as far as venues and audiences go?
Many things change in any local scene in two decades. We have seen plenty of Long Island and New York City bands and venues come and go in that time. Some places closed that we really miss playing in, like CBGB, the Continental, Castle Heights, and most recently, Even Flow in Bay Shore. There are also other venues that we regret never having had the opportunity to play in, such as the Roxy Music Hall in Huntington. Our first live performance ever was at the Right Track Inn in Freeport. That place is gone too. People get older, get married, and have less time for shows. People you used to always see in front of the stage don't go to the shows any more. They eventually become replaced by new faces.

Does anyone playing in the band today balance private lives with playing in a local working band? If anyone in the band is married, do their families support their careers?
All band members are married and have careers, which is why we do not tour. We have a lot of support from our families and friends, which is what makes it possible for us to continue doing this.

Some clubs have stayed open and several new clubs have emerged in the last ten years. With that in mind, what made you want to continue with Black Dawn all this time?
Mainly because I know that we have songs that are worth sharing with everybody, and I know that there are plenty more songs to write. I don't know how long we will keep going, but we aren't thinking of stopping yet.

Black Dawn recently played a show with Long Islanders Voodoo Storm. It was at this show we met up and traded zines for CDs and shirts. Was this the first show you played in 2016 so far or were there others before it?
Our first show of 2016 was at Blackthorn 51 in Queens, NY on Friday, February 5. We opened for Whiplash that night. Other bands on the bill included Magus Beast, Lost Legacy, Paralysis, Sycarian, Bad Groove and Bestial God.

How can you say the Whiplash and Voodoo Storm shows went? How many shows have you played besides those in 2016?
Both the Whiplash and Voodoo Storm shows went well. We had good stage sound and a zealous crowd at both. We had a lot of fun. Aside from those two shows, we have only played one other so far in 2016, which was at the "Backstage Pass" in Ronkonkoma. It is located right across the street from the Ronkonkoma train station. Our friend Mike Eisemann (vocalist of "Armed and Dangerous") is the manager. He invited us to play the show with "For the Kill". Great stage and sound system with a kickass bar and kitchen. I recommend checking out the place and watching their calendar for your favorite local bands.

Are Magus Beast, Lost Legacy, Paralysis, Sycarian, Bad Groove and Bestial God local bands from Long Island? Are you friends with any of those bands and perform with them often?
They are all local bands from New York and New Jersey. I am acquainted with certain members of most of those bands. I either see them or play with them every once in a while. We are playing with Magus Beast again on May 7 when we open for Prong at Revolution in Amityville.

The first time I saw Black Dawn was during the Long Island Music Festival hosted by Good Times Magazine around 1996 or ’97. How many Good Times hosted festivals have you played?
I can't believe you remember that! Maybe we did that festival one other time? Kind of difficult to remember. At that time, we had only a six-song demo released even though we had more songs written. We had been playing shows only a couple of years with cheap amplifiers, playing the songs 100 mph with the guitars out of tune. Thankfully we have improved since then! Equipment has been upgraded too, except for my sunburst Les Paul and Randall 4x12 cabinet which I still use on stage today, as you may have seen at the Crooked Rail show a couple of weeks ago.

How many metal bands were involved in those music festivals around the time you took part in them?
As I recall, there were a few metal bands. Much of the time at those festivals, it seemed like our music was the closest to heavy metal out of all the bands there. I think we are closer to hard rock than heavy metal.

What memories do you have of appearing at the venues you mentioned earlier in their heyday?
Just the thrill of playing in those places is what I remember most. I still think it's great to be able to tell people that we played at CBGB. So many other stories. We were booked to play a festival upstate in the late 90's on the site of the Woodstock festival in Bethel. Matt had a very bad toothache that morning, but insisted on playing the show. He had an ice pack on his jaw for most of the ride up there. We arrived at noon, only to find we were not going on until 8:00. I have no idea how he did it, but he lasted the eight hours and then belted out those vocals on stage. You would never suspect he was in pain. There was a massive crowd that we could only hear from the darkness in front of us. We only got to play two songs that night because the sky opened up and let out a massive downpour while we were on stage.

Who were the other bands playing that festival in Bethel? Did you get to meet with any of them? How well did the audience appreciate those two songs you played?
Because the event was multi-genre, I had no genuine interest in the bands we played with at that show, as talented as they all were. I am sorry to say that all I even remember of the other bands from that show was one song from a band I do not remember the name of, which might have been entitled "I Smoke the Sinsemilla, I Don't Sniff the Coke", and I remember a very talented man who played an electric glass (or plexiglass) violin. As far as our set of two songs in the middle of a downpour, they seemed to like us from the cheering I heard in the darkness. I find shows that focus as close as possible to one genre to be far more beneficial for everybody.

Has Black Dawn played any fests outside of New York/Long Island? I’ve heard of a few including Maryland Deathfest where death and black metal bands perform.
In 2000 we played a show in LA that was technically a festival in that bands from all over the country were invited to play, but it took place in about a dozen venues around town. Small places. I don't think the Whiskey was on the list, but the Viper Room and the troubadour were. We played in a place called the "Coconut Teaser".

What was the scene in LA like when you played there? Of the venues where the band got to perform, which was the band’s favorite? How were your audiences out there?
The crowd was very receptive of us. We made a bunch of new friends and fans. Overall the scene was not so dissimilar from New York. There were a bunch of venues ranging from small and shitty to big and nice. Where your band gets to play is all a matter of how hard you work for it.

Getting back to local bands in the Long Island scene, what bands besides those we discussed are most active these days? How often do you get to see Borgo Pass, and do you remember the band Spiders N Pigs?
One of the most active is a band called "NFU" from Suffolk County. Those guys must play about three dozen shows per year. Bands like Borgo Pass and Killcode just keep kicking ass. I’ve seen Borgo Pass probably since the 90's off and on. I always enjoy their shows. I haven’t heard Spiders N Pigs but I will check out their songs if I can find them.

How many releases does the band have on CD altogether? How many full lengths have you released since the beginning?
Including the aforementioned demo, the band has four studio albums out as of now with a total of thirty-one songs between them. The fifth album is now in progress, and it will have five songs.

How much distribution did your demo receive when it was released? Was it passed around Long Island and New York or did it make it to other states in the US?
As I recall, the demo made its way around the US and into parts of Canada through a radio campaign at first. I remember that it was available for sale on the band website and through our online merch store. There may have been some other outlets. I know our albums are now sold on ITunes, Amazon, CD Baby, etc, but that demo is not available anymore. I still have some in my closet if you want one, but I think it sounds like shit.

What songs do you remember recording for your debut demo, and how did they represent the band at that point?
The six songs on the demo were: Thoughts Of Yesterday, Hindu, Goodbye, Drift, Man In Rusted Chains and I Am Who I Am. At the time (1996), these songs were the very best from a young band of very limited means. "Thoughts of Yesterday" has been recently re-recorded for our currently unreleased album. "I Am Who I Am" was re-released on "Age of Reason" in 2004. I, for one, would like to re-record all those tracks and just forget that demo ever happened.

What contributed to the demo’s less than average production? How would you have done it differently? Who wrote the lyrics to the songs on the first demo, and what inspired them lyrically? Who is the band’s main lyricist?
If we had the money to spend back then, we would have gone to a better studio and used better equipment, at least a pair of tube amps with a lot of gain. I would have also used a metronome to record if we could do that again. Matt wrote all the lyrics to every song in our catalog. His lyrics usually come from personal experiences that are both profound and likely to have relevance to certain others.

Being that Matt’s lyrics come from personal experiences, can fans who might feel the same way relate to them?
I would think so. Many of the lyrics are about others close to you (parents and other family members, friends, lovers, or people who have passed on that you wish you could have back).

When was your first CD released? Were any songs from your demo re-recorded for it or were they all newer?
Our first album after the demo was "Absence Of Time" in 1999. Nothing on the demo was re-recorded on this album, although it does include "Hostile Intentions", which was re-recorded on "Age Of Reason" a few years later. It also includes "Bill's Song", one of my personal favorites. While I do not like the sound of this album either, it was definitely an improvement over the demo. Because of a disagreement between the band and the studio, we were forced to switch studios halfway through the project. In my opinion, this contributed to the album's poor quality.

In how many different ways did you subsequent albums mark an improvement in the band’s sound on the first? Were they improvements in songwriting or equipment or both?
As time went on, we were able to afford better equipment, and we also learned how to write and perform better.

How does the band go about composing material during practices, and choosing songs to appear on your albums?
It begins with riffs that Matt brings in. We work on the arrangements from there. The only reason we would withhold a song from inclusion on an album is if we just felt that it could have been recorded better overall, which we have done.

What songs from your most recent full lengths would you recommend the readers check out any why?
I would recommend two songs in particular from our most recent release "Until We Meet". "I Wanna Fly" has a groove that I really get into on stage. It's one of my favorites to play live, and it has been played at every show for over a year. "Pray For Me" is the closing track on "Until We Meet" and starts off with a pre-recorded intro that begins with a pair of voices vocalizing very softly. This transitions into a plethora of machine gun fire, mortars, rockets, and bombs. I had considered playing this recording when we play this live, but it would really make the venue sound just like a war zone. This recording transitions into Matt's clean-channel intro. Then comes the carefully palm-muted repeating triplets of notes that comprise the signature riff. Definitely another one of my favorites to play live. We usually close our set with either this, "December Moon", or "Dangerous".

How much of your past material is still available, along with merchandise such as shirts?
We currently have one shirt, but I am going to have another design printed up soon. All albums except the demo are still available.

Tell the readers about the show you have coming up with Prong, which you referred to earlier.
I have been waiting for this for months. So psyched to see Tommy Victor perform up close in Revolution Music Hall in Amityville, much less play the show with them! In addition to Prong and Black Dawn, the lineup includes the aforementioned Magus Beast, The Hard Way, and One More Breath, all of whom are local Long Island/New York City bands that I would highly recommend checking out. We still have some tickets for this show, and we always sell for less than what the venue or ticketing services will charge. Anyone who wants to purchase tickets can e-mail me directly. 

Is Black Dawn planning to release new material in the coming year? What do you plan to do once the new material is out?
We just put what will hopefully be the finishing touches on the tracking to our next album, tentatively titled "On Blackened Wings". We are aiming for a release later this year. Once released, we will offer a new line of merchandise and play the songs live as much as we can near and far to promote the album. We will, of course, also have massive radio and press campaigns for the album.

How many songs do you have completed for the next full length so far? How do these compare with your past releases?
We recorded six. Of these, five will be included on the new album. I think it is a little of something for everybody. One song has a really slow and heavy feel like Type O Negative. One of the longer songs features a guitar solo in the middle that goes on for almost two minutes, which is uncharacteristic of prior releases. I think it is an interesting next step for us.

-Dave Wolff

CD Review: LIMB FROM LIMB Delimbed By The Minions

Delimbed By The Minions
This three track EP by the brutal death metal outfit Limb From Limb hailing from Australia had indeed made me feel "Delimbed". From beginning to end it is a constant onslaught of brutal and heavy. The production on this record is decent, which really allows for the heaviness to shine through. For example on "Rise of the Rotted" there is for lack of a better word "breakdown" and it is very clear and concise and just all around heavy. The vocals in places will remind you of some black metal type screams when they get high, but for the most part very typical of you would find in a really brutal death band. All in all, even though this EP is short, it packs a very big punch for its size and has memorable moments that will have you going back to headbang over and over again. -Erik Martin

Track list:
1. Rise Of The Rotted
2. Relentlessly Beheaded
3. Man Shall Abolish

CD Review: LIMB FROM LIMB Delimbed By The Minions

Delimbed By The Minions
I had the opportunity to review the Limb From Limb's newest offering not too long ago for another Zine. As it goes, sometimes you discover a band after they've put out a few releases, and if you're like me, chances are you'll find yourself digging through their back catalog. So, when this one came up on my radar, it was after hearing their newest material first, and then I back tracked to the band's first album called Rip Him From His Fucking Throne. As of this moment, it seems the new album is set to release soon. So, on the band's Bandcamp, this EP is the other part of the Limb From Limb equation (thus far). What is great about this band is the fact that they seem to manage to step things up with each subsequent release, and that is by no means saying that they didn't start out with an impressive debut in the first place (because they absolutely did). This EP is but a small taste of the band's progress and perhaps a hint at where they are headed as well. The band seems to push things just a little further each time, and may be more refined (so to speak), but never at the expense of the brutality. In other words, even though this EP gets in and gets out at just under 10 minutes, it definitely still packs a hell of a punch. If you're familiar with the band, you won't leave disappointed. If you're just hearing of them, and you like you're Death Metal on the brutal side of the spectrum, these guys might be right up your alley. So far, in my opinion, they've offered up a solid slab of Brutal Death Metal every time they've put something out there. This EP is no different, and the new album will likely leave your jaw on the floor, or wind up painting your walls with your skull matter. 8 out of 10 -Alan Lisanti

Track list:
1. Rise Of The Rotted
2. Relentlessly Beheaded
3. Man Shall Abolish

Thursday, April 21, 2016

Podcaster Interview: Angel St. Savant of ANGEL'S ASYLUM by Dave Wolff

Interview with Angel St. Savant of ANGEL'S ASYLUM

How did your regular internet talk radio program Angel's Asylum get started? What did you have to work with in the beginning and how did it grow since then?
I was an admin to an online horror hosting site and the gentleman that owned it, a horror host himself, had a show on Blog Talk Radio. I didn't even know this existed! I loved hearing people in the horror hosting field come on the show to speak about their lives both on and off their shows. The guy who owned the show asked me to come on as a guest. It was thrilling, both funny and serous at the same time. I was hooked and after being on the show a few times I decided to start my own Blog Talk Radio show. Since I was already immersed into the horror genre from being involved in the website with both a chat room and a hosted movies playing on the site, there was no shortage of guests who wanted to be on the show. I have now moved to other aspects of horror as well to keep diversity flowing and make the show as fresh as possible to keep my listeners engaged. I still ask people to be guests, but many times they write me to be on.

How long have you been a horror fan, and what made you want to pursue a career in the field?
I've been a horror fan since I was a little kid. I especially love the black and white films. Doctor Madblood was my local horror host and because of him and The Bowman Body, another horror host from the central part of Virginia, I was a fan for life. It is amazing how the actors actually made themselves so believable without CGI and gore. I enjoy the Universal Monster Army movies and characters. I don't see them as monsters, I see them as victims of circumstance and they are trying to cope with what's happened to them as best as they can. The only movie that scares me is "Night of the Living Dead". I recently watched the documentary about this film and it was wonderfully explained and amazingly made. Still scares me tho! If you had told me a few years ago that I would be speaking to and actually meeting AND being on a hosted horror show I would have called you crazy but it happened. I think the internet and the people of horror making themselves available to fans was a tremendous turning point for the horror industry. I love the creative minds and hard work that goes into making this industry what it is and just doing it for the love of it. When I heard my first podcast about horror and horror hosts I was completely into research about it and how I could be a part of it.

Night Of The Living Dead was the first horror movie I watched all the way through when I was seven or eight. What speaks to me about it now is its allegory on human greed. What messages about society do you get out of it?
I never really thought past it being a situation I would never want to be in. I think as far as greed is concerned you see different levels of greed, but the way the movie plays out it shows how it means different things to certain characters. Like barricading yourself in the cellar to protect your family versus being on the outside and wanting to use the cellar as well. Is the father greedy or was he justified? I was horrified at the ending as I think many were. The good guy loses his life after such a hard battle. Sadly it happens more in our society than it should. It still makes us feel a variety of emotions. If it had a different ending it may have just been another scary movie and not the icon it became.

Dawn Of The Dead and Day Of The Dead touch on similar issues of greed and self-preservation When George Romero made Land Of The Dead he widened the scope and made a statement about terrorism and Bush America. What did you appreciate about his making movies as a vehicle for what he had to say?
First of all, I don't think Mr. Romero is shy about saying and doing anything! I think that's what partly made his movies so great in the sea of horror movies. They all had shock value of course, but storylines were a great part of his movies which gave him the freedom to give his take on issues.

Around then there was a program airing Saturday nights called Chiller Theater that I was able to watch once or twice. Did you ever get a chance to see it?
I lived in Virginia, I had never even heard of Chiller Theater until I started my show. I've had many guests bring it up and I did look at the opening of the show online.

What were your impressions of watching the introduction of Chiller Theater? Did it interest you in watching a few episodes?
There are so many! A couple of intros are quite scary but some are funny as well. I didn't know there were any episodes online but I will look them up. I love watching horror hosts and I have seen quite a few. I know Chiller Theater had cool guests on, those clips I watched and enjoyed a great deal. I will defiantly look up and watch episodes!

Your description of Universal Monster Army reminds me of Troma Entertainment’s horror/comedy The Toxic Avenger. Like the characters in the UMA pictures, Toxie is also a victim of circumstance who makes the best of his situation.
It's been a long time since I watched it but it wasn't his fault he became the Toxic Avenger. I liked it and I think it's great most horror fans know about Troma and Toxie. He is a memorable character.

Why do you think the Toxic Avenger resonates with so many fans of independent horror movies thirty years after its release?
It's just so over the top! One minute you are laughing and the next watching in astonishment with the insane violence exploding on the screen! You know it's fake but the look of it still makes you cringe. Plus I think everyone loves to see the nerdy abused guy get his revenge and this is the perfect movie for that. And the genius of Lloyd Kaufman is brilliant. Toxie will never die. New generations of movie fans are keeping him alive!

The Toxic Avenger was another movie meant as an allegory on society. This one was about Americans’ obsession with body image and fitness, in addition to the obvious statement about the environment. How ironic do you find it that the least “beautiful” character becomes a monster hero?
I think most of us know someone who is gorgeous on the outside but ugly on the inside. And not so attractive but with such a wonderful heart. Rooting for the underdog, abused and bullied is an everyday thing. I like how the poor janitor who unfortunately works at a health club with the perfect people gets his revenge even if it came at a huge price. I'm sure it's something we have all thought of once - irony is what makes this movie a timeless classic and will always be!

Do you ever attend horror conventions and meet people to interview? What local shows are held in your area?
I have attended a few. My favorite con is Monster Fest held in Chesapeake Virginia located in the Chesapeake Public Library on Cedar Road. Run by Rob and Phyllis Floyd, it's a smaller con but more like family and I think that makes it special. You can usually find the likes of Doctor Madblood and Uncle Felonious Madblood along with Debra Burrell who is the Script Continuity Director, The Bowman Body, along with a changing list of horror hosts and horror related authors, film makers and vendors. It's a free event. Unlike some of the larger cons, this one is friendly and engaging. This is actually an all-day event but when night falls the convention turns into a movie marathon where movies, snacks and door prizes are featured.

When it comes to horror, do you prefer supernatural themes or gore/splatter themes?
I appreciate all forms of horror and the hard work that goes into them. I do lean to the supernatural. I think blood and gore has its place in horror movies and always will. But as I stated before I enjoy mostly black and white horror films which typically don't use much.

Would you rather watch a movie with CGI or matte paintings and physical sets? Can CGI be overused in a movie, to the point where it becomes overkill?
Since I love black and white movies, I’m really not a big fan of CGI. It helps get entertainment value made into a big budget film, but I want to see an actor act with his abilities not just props and computer images. Ah yes overkill. I went to see Abraham Lincoln: Vampire Hunter and although it was a good film, the CGI used was so intense I had trouble watching it. The artists who work their magic are amazing to create such fantastic but believable images and they deserve credit for such talent. Physical sets and beautiful natural landscapes are great assets as well. My favorite non horror movie is Doctor Zhivago, set during the Russian revolution. Expansive landscapes and hardships help tell the tale. Horror Express comes to mind as well.

What spoke to you about Doctor Zhivago when you saw it for the first time?
I was a small child when I saw it on TV. It was something about Russian scenery and the story placed in the Russian revolution that even as a child lured me in. I've always been interested in historical movies and TV which made me a huge Downton Abbey fan.

What about Horror Express resonates with you in terms of its physical sets?
The train cars were very realistic to watch as the passengers moved from car to car. It was very easy to get caught up in the story with sets and props so attuned to the time period.

What are the advantages of running your own podcast instead of doing a show on traditional radio? On net radio there are fewer restrictions; how does this benefit the show?
The benefit of using a podcast service verses a traditional radio broadcast is tremendous. In a podcast you may set your own time of broadcast as well as record an interview before an actual air date and time and upload it to your service and set the time for broadcast. I can screen my callers before I allow them on air. This is a service available on most regular radio services but the screening is usually done by others before they hit the air. I prefer doing that myself. Now I may remove them from the air and if they come in the chat room I have the ability to block them as well. Also I may set the rating of the show to as high as explicit if I expect things to be a bit more adult than normal. But if you have ever listened to my show, you know things can go crazy very quickly. The shows are archived as well so you may listen at your leisure. As I always say on the show, “I’m open 24/7 for your listening pleasure". Regular radio for the most part is a one-time deal. If you miss it, you may not be able to ever hear it again.

How many podcast sites did you look into before you decided on Blog Talk Radio? How many are out there these days?
There are tons of sites. I couldn't even begin to know how many exist. I only knew about Blog Talk Radio and didn't even look into others because I didn't know anything else, but I know people who do a stand-alone podcast now. I would consider leaving Blog Talk due to the technical problems I have encountered with them if I found something better. But considering they are nationally and commercially stable I want to stay with them. After some guests have been on the show, they have started their own shows and it makes me so happy that the guests had such a great time that they asked me questions and I helped them start their own podcasts.

Where on social media do you get to advertise your podcasts? How many people tune in after hearing of your shows?
Usually Facebook and Twitter but I also send out notifications on Blog Talk and email. It's thousands and lucky for me they share my shows. And all over the planet. Sometimes they write me to introduce themselves. It's crazy to see but I’m lucky to have the best listeners in the world!

How many personalities did you know in internet broadcasting around the time you started? Who were your earliest guests on the show?
I only knew one person doing an internet broadcasting show at the time and that's where it all started. Some of my earlier guests on my show included Rich and Lora Lee Orth and Demon Boy, the late Curt Morley, a hypnotist among many other talents, who performed a fantastic hypnosis show on the air live, horror hosts like Ormsby Host and Nigel Honeybone, ghost hunters, filmmakers, actors like Christopher Inlow and Danny Donovan who really are jacks of all trades in the entertainment industry, and recently Debra Burrell who works on the Doctor Madblood show along with her husband Craig T. Adams. Doctor Madblood has been hosting horror movies for 40 years! Recently Jessica Cameron called in while she was visiting Disneyland! There are so many to mention and they have been wonderful to me and my listeners. I can't thank them enough.

Tell the readers some more about the Doctor Madblood show and the movies that are featured on it?
There is a gentleman named Jerry Harrell who would invent a television creation that has lasted forty years and became an icon for those of us in the area of Hampton Roads. That icon is a retired mad scientist from 13 Idle Hour Road at Madblood Manor in Pungo, Virginia by the name of Doctor Maximillian Madblood. In the early days he would come on after Saturday Night Live on WAVY TV and for Madblood fans even though SNL was funny back then, it was just the show that came on before the good Doctor. It was Doctor Madlood we really wanted to see! The theme song was a popular one at the time, Green Eyed Lady by Sugarloaf. We just thought it belonged to the show and even today many of us think of Doctor Madblood when we hear it. He had a gang of characters who would drop by and brought with them hilarious antics. If this show had never been available, I would have missed being exposed to the Universal Horror Army and could not have fallen head over heels for black and white movies. I like all horror movies and I appreciate them but for me the black and white movies are so pure. Doctor Madblood went on to many other outlets and continues today with a yearly Halloween show shown on WHRO TV. I was lucky to be in the last two tapings! You can catch them online at Also visit for all things Doctor Madblood and crew. Thank you Mr. Harrell for giving us this wonderful gift.

Anything interesting happen when you appeared in the last two tapings of Doctor Madblood’s show?
Everything surrounding it is interesting! It was surreal to be dancing with people I grew up watching on TV (I'm in the dance scenes). To watch how it's made in bits and pieces and put together so beautifully is a testament to the loyalty of the Madblood crew. So there wasn't anything in itself interesting but the entire experience is a pleasure and a privilege and an honor!

What did you and Debra Burrell discuss when she was interviewed by you?
She graciously called in when a guest didn't show. She and Dale "Uncle Edward" Strebe are such fantastic listeners and call in when a guest doesn't show or it's a call in. Debra and I discussed how filming has changed since the early days of horror movies and public domain issues plaguing horror hosting today.

Talk about some of the work Ormsby Host and Nigel Honeybone have done in the field of horror hosting.
Ormsby Host is a horror host from Mastic, New York; his show is called Cinema Insane. Touted as an "internet sex symbol", Orms and his right hand man John Sheehan have been good to my show. We have had varied topics such as cities that have tried to ban Halloween. It's always a great show when Orms and John come to the Asylum. Ormsby talks about Clone 13 and his mother a great deal when on the show. They have a Youtube channel where you can watch the mad scientist in action! Nigel Honeybone is a dapper horror host from Australia with a show called "The Schlocky Horror Picture Show" created by Graham Garfield Barnard. He has been kind to call into the show all of the way from down under. People love Nigel and he is very knowledgeable on movies and tidbits of trivia and uses it during his shows. He is all you could want in a skeleton - handsome, regal, intelligent, well dressed and well versed in horror!! Both Nigel and Ormby are on Facebook so look them up and enjoy their shows and tell them Angel sent you!
Did you have Rich Orth and Lora Lee Orth on the same podcast? What were the topics of discussion on that show?
Rich has been on a few times with other guests and twice with Lora Lee. The first time they were on we spoke about Rich's book POEtry Girls and hockey. Rich and I were friends on Myspace because we both love Flyers' hockey. Then when Facebook appeared and we met again through hockey we continued the friendship. Rich and Lora Lee are such big hearted and genuine people and it shows in their interviews. We have spoken about a number of subjects including Rich's poetry, hockey, Lora Lee's movie role, Demon Boy the entertainer, and sadly our last show together was used to help their beautiful dog Gia who needed medical help. I would have them on a million times if they would allow it.

How often have you seen your guests go on to start their own podcast shows? Do you have any personal favorites when it comes to Rich’s poems?
There are three right off the bat I can think of. But there are others. My favorite Rich Orth poem is actually a song he did with Demon Boy called "Cemetery Girl". There are many that are phenomenal but that's my all-time fave. He is such a talented person. I encourage everyone to check out his works. He has a love of writing like no other.

How many other poets have guested for interviews whose work you would recommend to the readers?
There may have been other guests that worked on poetry but I didn't realize it since it wasn't their reason for being on the show. There was just one guest that I was aware of that had a poetry show on Blog Talk as well. That guest is Christopher Inlow who had the brainstorm of starting a naughty poetry online show called 2 For Nantucket. It starred Mr. Inlow and someone named Angel Blue - me! It's not really something to read although Christopher does write other types of poetry. This is a show where we write and read naughty poetry and encourage callers to do the same. We have a few shows available and plan to make more in the future.

How long have you and Christopher Inlow done 2 For Nantucket, and where can it be heard on the internet? What sort of racy poetry is read and how many callers usually phone in?
We did a few shows but hope to bring it back. It's at It's usually in the form of a limerick, like "There was a man from Nantucket..." but anything was acceptable we just wanted it funny. There was no usual number of callers; with a show like that you never know.

How many musicians and performing artists have been interviewed by you? When interviewing bands, do you usually play some of their songs?
I've been doing this for five years so there have been many. I do ask them to send samples of their music so the listeners can hear it and purchase it if they like it.

How many bands have sent you samples of their work for your listeners to check out?
Too many to mention. It's such a great vehicle for bands to get their sound out and for their fans to get an inside look into the band members. Please check my archives; they are all listed.

What other guests of note have you interviewed on your show, and what do you and they discuss?
There was a unique and wonderfully entertaining glass artist named Anthony D'Amico from near Washington, D.C. His creations are beyond anything I had ever seen. His interview was something I had never experienced before and haven't since. When the interview began, he spoke as a character he created to give his latest glass show a back story. His art pieces are emotional and disturbing and reflects life at its core. He makes you face reality in a glass piece created to make you feel every part of humanity. Beauty, death, sadness, joy, remembering horrible images we want to forget. Large gummy bears representing the Columbine tragedy, some with guns embedded. 9/11 images hard to see. One of his last creations were a large pair of beautiful wings donated to a charity. His interview is my highest rated show. You can hear his interview on my site in the archives and on his website, He has a show coming up that is not for the faint of heart. The Corning Museum of Glass named him one of the "Top 100 International Glass Artists". And with good reason. Once you see his amazing works of art, you may never think of life the same way again.

Did you and Anthony D’Amico discuss what inspired his extreme and rather controversial art? The Columbine and 9/11 pieces sound like something he had to approach carefully.
I believe it was partly church experiences with stained glass and a person very near to him that had lost his sight due to an illness. His creations were made so that his friend could touch them and the images were raised so he could "read them". Mr. D'Amico is fearless when it comes to his art pieces. He provokes emotions we try to hide away but his works of art won't let you. His work is who he is. He opens himself up and gives us all there is.
Do you get more of an audience when interviewing musicians, artists or poets? Or does it vary according to who you feature?
It varies with the guests. Some that are well known of course bring higher listens but for the most part the listeners enjoy my show so they listen anyway. I've had all types of guests but categories don't seem to matter.

Is there anyone you would like to have as a guest on future podcasts? What are your immediate plans for the show?
Anyone is welcome on the show as long as they are not threatening. I haven't had any sports figures and I would enjoy that so much! Hockey is my favorite sport but I love it all. Maybe anyone from The Walking Dead or Stephen King or just the guy who loves horror and has a great collection. You don't have to be world famous to be on the show and I'm always looking for guests. Contact me on Facebook (Angel St. Savant) or Twitter @sweetvoiceangel and join me. My guests say they have a blast so come join the fun! I want to continue the show as long as I keep it interesting. I'd love to get into voice work and expand my show. I've had some offers but it wasn't the right time. You can hear my previous shows in the Blog Talk archives 24/7 for your listening pleasure. If you have any ideas let me know.

-Dave Wolff