Interview with Paul Van Richter of Van Richter Records by Dave Wolff

Interview with Paul Van Richter of Van Richter Records by Dave Wolff

Discuss the beginnings of Van Richter Records, established in 1993, its intended audience, and how you have sustained your activity as a label for over thirty years.

I founded Van Richter Records as I was a huge fan of the industrial music genre and there was a void in the industrial music scene for bands from outside of the USA. Van Richter filled that void with signing and releasing some great bands that were coming out of Germany and Canada that were not getting their music promoted or their music being sold here. At the time the pioneering label in the genre was Wax Trax Records which was on the demise. Ironically the biggest name that was breaking out to the main stream at the time was Nine Inch Nails which Wax Trax had passed on signing. The rest of the bands in the genre never obtained that kind of commercial success as NIN has but have survived with a very small fan base that still carries the flame as we do for the industrial music genre.

Napster was a game changer for all music in every genre as now the fans of music believed music should be free or close to it. It has been a real challenge to stay alive as all the major record stores chains and destination indie stores have shuttered. We saw this coming and therefore went all digital in the early 2000's and have not manufactured any physical goods since that time. We are running lean and mean since then and our partnership with Apple has enabled our label to sustain itself as they actually pay the labels and artists unlike the other streaming retailers out there. Being a digital label also allows us to release music we had in the vault and distribute other artists and labels without the costs, burdens and complications of dealing with physical goods anymore.

What initially struck a chord with you regarding industrial music? Was it the auditory experience and the quality of the musicianship, or was it something more personal to you?

I think it was not only the quality of musicianship but also the angst the spoke to me on a personal level.

Do you recall any of the industrial bands who emerged from Germany and Canada at the time you started?

KMFDM and Skinny Puppy.

Name some physical record and CD outlets that used to operate in your area but have since closed. Are there new stores opening that you’re aware of?

The best friend of the independents artists and labels was Tower Records. Back at their peak Tower had over 100 stores nationwide. Tower Records prided themselves in carrying one of every release and was one of the first stores in the US to have listening stations. It was a game changer when they went under in the early 2000's. I am not aware of any new record stores opening up as it doesn't make economic sense.

I know of local record stores such as Mr. Cheapo, Utopia, and Newbury Comics that continue doing good business. If you’ve seen Tower Records' official site, do you see it still contributing to the industry in any capacity?

I know the owner of Newbury Comics. They have changed their business model a while back to mostly clothing. I don't know much about the other two stores you mentioned as we did very little business with them back in the day when physical sales were booming. As to the Tower Records website someone just bought the name and they are not relevant anymore, just solely an online service.

The spinoff Tower Records online store is owned by a new CEO; I hear the pandemic and new interest in physical media accounts for online shopping. I read a Japanese branch retained the name and is expanding their sales. On this last, does Japan still maintain a market for industrial music?

I believe that Tower Japan was a franchise store that was not affected by the corporate closing of all 100 plus stores everywhere else. We never did any business with that store nor much if any fan base to speak of for the genre in Japan.

Were you in favor of or opposed to Napster when it made news alongside Metallica in the late 1990s? How much more beneficial is it for bands and record labels to operate their own streaming platforms? How much has Apple helped you sustain your label?

I was firmly opposed to Napster who was allowing fans to basically steal music. When they were sued by the Majors and all the indie labels they were supposed to settle with all of us and go legitimate. Instead they filed for bankruptcy and screwed us all. Ironically in the early 2000's some of their staff went to Apple to help launch Itunes. It does not make sense for most bands and record labels to operate their streaming platform as they would have to compete with Apple and Spotify which pretty much own the market. Apple has been a great partner as unlike many other distributors they always pay and their hardware helps drive sales.

To your knowledge, was Metallica the sole band to experience issues with them, or were there other occurrences?

Every band and label had issues with Napster as they were advocating piracy. There is an excellent Documentary entitled "Downloaded" that is spot on as to the long term negative effect Napster has had on the music industry which thanks to Napster is a shadow of its former self,

Streaming services in general assist bands in distributing their music, but would you prefer to see streaming sites provide greater financial benefits to bands?

The streaming business model is designed to only make big payouts to mega artists as the monthly subscription fee is based on pro rata split as to who gets the most streams. There are many articles regarding this issue with Spotify. The subscription model only benefits the streaming company and major artists, not the indie artists and labels.

How much did Wax Trax help industrial bands up until the time it folded?

Wax Trax certainly helped bring Industrial music to more of a main stream audience. They were a victim of their own success as once some of those bands broke out they moved over to the majors. That and trying to expand too big and fast was their downfall.

Trying to expand too rapidly often backfires, while labels that built from the grassroots in the 1980s and 1990s remain active. What do you think accounts for Van Richter's longevity?

There are many labels from our era that went under including TVT Records who had the NIN masters auctioned off for failure to pay back a $30 million loan to the bank. The reason we have lasted is because we adapted to the digital only world and also running lean and mean with minimal staff and interns who work from home.

Which industrial bands have maintained the most longevity with smaller grassroots fan bases?

After NIN there’s a huge drop off in fan base size. The middle tier bands include Ministry and Skinny Puppy then there is drop off to bands like Leaether Strip, Thrill Kill Kult, Oomph and One. There still are plenty of small pioneer bands in the genre with a cult following including Coil, Clock DVA and Swamp Terrorists.

How long have Coil, Clock DVA and Swamp Terrorists been around to date?

These bands were formed in the 1980s.

Which bands have you recently signed that you think more fans of industrial music should be aware of?

Right now we are mainly focused on releasing our back catalog since developing new artists is not cost effective for the reasons discussed in this article as well as the shrinking talent pool. Recent releases include Girls Under Glass’ "Seven", Nice Gods Bleed’s "Nagel Themes" and "The Invincible Sex". We are still open to signing new bands as we curate / influence for Groover.co.

Tell the readers about Girls Under Glass and Nice Gods; their origins, their level of recognition, and your promotional efforts for them. What would make them appealing to industrial music enthusiasts today? In what ways will re-releasing your back catalogue help you financially?

Girls Under Glass has been a pioneering dark wave band since the 1980's. We wanted to honor them with a best of collection plus an unreleased instrumental track after such a meaningful and lengthy body of work. There are fans of the genre that are not familiar with GUG so that release was not only for them but long time fans of the band. Nice Gods Bleed was a one off side project of Myk Jung lead singer of The Fair Sex and Testify. Again that release was intended to fans of those bands. As to releasing back catalog the cost is minimal so there is only upside financially to put it out for us.

What did you mean when you mentioned a diminishing talent pool in industrial music? What do you believe is contributing to this issue?

The problem is most indie bands cannot make a living anymore because of the perception by the public that music itself has minimum or no value because they can get it for free or by an all you can subscription. That is why there are very limited bands coming up.

Being that you’re receptive to signing new bands if it would be cost effective, what unique, innovative qualities would they need to present?

We would be move receptive to signing new bands that have an already developed fan base as well as music we feel is compelling. So far no one out there has fit the bill.

Describe the nature of your working relationship with Groover.co.

We were contacted by that artist platform to curate and act as an influencer for the bands and artists that submit music to them. Our role is to review music that they send us. So far we have reviewed over 1600 songs to date.

Which bands that you have reviewed for Groover.co do you find most promising? Given the current landscape of industrial music, what do you think would define compelling music?

To be honest none really come to mind as we have listened and reviewed over 1600 tracks for Groover. Most bands who come through this platform are doing it themselves and not really looking to get signed.

Would it be financially viable for Van Richter to organize festival shows to help industrial music and promote bands on your label?

The only place that would be viable is in Europe because those countries and fan bases are much more open to counter culture festivals in the genre unlike the US. Also there are huge costs and risks to bring in our bands as they are all from Europe with the exception of DHI who reside in Canada. Tour support for a label is risky enough yet alone putting on an entire festival.

Do you have any other plans for the future of your label you want to tell the readers about?

We are working on a PC video game that we hope to make available in the Steam store in the near future which will showcase our label music image and vision. Stay tuned!

-Dave Wolff

Interview with David Uhrlaub A.k.a Dante DarkChilde of Hypnotic Subliminal Records by Dave Wolff

Photo by  R.J. Sloup

Interview with David Uhrlaub A.k.a Dante DarkChilde of Hypnotic Subliminal Records

You started Hypnotic Subliminal Records to reawaken your local goth scene and became a nonprofit label supporting about sixteen bands and giving them most of the live proceeds. Explain the label’s evolution?

I want to first give credit to its founder Sammy Devil aka Sammy D. He was the one who approached me to help him with this idea. He had noticed that the scene had died down and it was harder for the new goth bands or ones from the U.K. struggled to get hold and traction in the U.S.A. unless they had a label backing them, so he researched what it would take to make a label that didn't need to take the lion’s share from the bands, that we would promote, book, and have a gathered place to put them for others to find. Also how to have area directors that had connections to venues and other bands to open for those from the U.K. and those in the U.K. open for our American and Latin goth bands who we promote and book. I pitched the idea of expanding past just bands and D.J.s to artists, models, sideshow performers, burlesque and Cabaret groups. Sammy D already had our original sixteen bands gathered and our first area directors. He began the first tour for My Own Burial from Barcelona, Spain and brought them here. We never promised them what we couldn't deliver. We made sure they got all merchandise and 80% of the show. The area director kept 20% to some of our cost. We are not in it for the money, we are in it for the community. We are expanding into sideshow performers, models and artists that carry a gothic edge. We will promote their work and sites and book performances and festivals bringing all of the dark decadence of our world to the masses.

What was the goth scene’s level of activity before it started to wane? Did the labels that take the majority of profits from bands play a role? Did other factors contribute to the problem such as lack of advertising or high admission prices?

OK, so the Goth scene was a large community from the early 1990s to the early 2000s. It began its wane in, I would say, 2008. Don't get me wrong, there are still pockets and groups that are strong and out there, but instead of actual full blown goth clubs and gatherings there are some places that have a weekly or monthly goth night. Most of the time it seems that it is mostly DJs or can music playing on those nights, and often you don't see a lot of goth based bands local or otherwise playing in these venues. This seems to come from either the venues or the label charging exorbitant amounts either to the promoter or the booking agent to use their facility. That falls back onto the label due to the fact that it is the label that books and promotes, so it has to come out of the artist at 50%, up to 90% of what a band or entertainer makes. So only those that can pay get to play. Sadly that cuts the throat of great bands. Slowly they lose interest and fall to the wayside or end up only in their local scene. Sure you can put your music on streaming services but that does not provide the experience this generation craves. I do believe the high cost and take from the bands is what has caused a decline in the gothic subculture. As it is a music-based community it stagnated and needs new music and bands to help rejuvenate it. So I do believe the lack to properly promote and book and having to charge high admission prices has created a huge rift in keeping the gothic community alive and thriving. Alongside the elitist mentality that has formed within the community and the lack of wanting to evolve and grow makes it difficult for some of the younger generation goths to want to participate.

How much research did Sammy D conduct while preparing to form the label? What resources were at your disposal to build it from the ground up?

Sammy D, had done a lot of digging and research to see what was going to be needed, and he looked into how some of the groups in the U.K. got their scene to rejuvenate. That was by having people look for venues and bars that were struggling that we could utilize for new bands and places to create goth havens in. That would create a boost in their revenue and pull the goths out into one place to enjoy the scene as it should be in real life. Most of the goths are like bats, we are in some ways very social creatures and like to hang out in what I have begun to call colonies. We noticed these colonies tended to gather around bigger cities. Like in my area you will find pockets around Boise, Salt Lake City, Moscow, Lewiston, Portland, Seattle and many different areas in California. Then you have large areas with smaller pockets that tend to have a very clique-minded situation due to the fact that a lot of those areas are rural and spread at least two to four hours away from those larger colony areas. Often the cost of travel and ticket or cost of entry is not worth the drive, except for the larger label bands that are mainstream and well known. So with this knowledge in our hands we decided to see what we could do to bring new bands into the area and expand out to those smaller areas. This is why we like to create a tour with a U.K. based band instead of a singular show. The bigger areas help bring in larger crowds while the smaller areas provide more intimate venues to help move the bands into the larger colonies. What we like to do is an 80% plus all merchandise to the headliner, then 20% to the area director to help cover the cost of the venue and advertising they do for the band in their area, use our local music scene to bolster the shows and help our local bands with a little for their work. We like to keep our shows all-ages, unless otherwise specified, due to content or location (such as cabaret or adult-themed or a bar of course). What we had at our disposal to start was a simple website Sammy D created. He had already done the work for our first sixteen bands, then got the tour for My Own Burial going here. He reached out to me and tour area directors, and we got things rolling during this time. Sammy D for personal reasons handed the label over to me to take the helm and finish the My Own Burial tour. This was our first run at doing this, and it seems the label has gained some traction. Now I am planning to bring more into play over the next year to continue with Sammy D's legacy and continue to build and grow. And we did this on 150 dollars to start. I am planning to have a new website built by the beginning of March that will be under the name Hypnotic Subliminal Records and Nightside Entertainment, combining the music and entertainment aspects of the label.

For what reasons do you think goths gathered in big cities as well as rural areas? Where does the attraction lie in your view?

I think goths began to gather in larger cities because that is where they were able to find their niche close to where events were going on and a higher chance of finding a group to belong with. As I said, goths are a social group that is heavily music-based, and it is also human nature to like to be close to like-minded individuals. The ones in the more rural areas, I have found, seem to be the ones that either stayed because they have a tight knit group there or because they have work or other reasons they choose to stay outside of the bigger cities but will go to larger events or concerts nearby. I think the attraction truly lies in a social and financial aspect in that situation. I have a home group here in Pocatello, Idaho, friends and other people that are out of state and some that are across the world. I am in Pocatello because of my normal job. As for refueling the Goth scene throughout the U.S., yes that does include creating new communities and helping find new venues in places like New York and New Jersey. In New York I hope to work with already established groups with in the area as it seems to have a pretty solid community same with New Jersey, Colorado and other bigger areas. What I seek to do in those areas is bring new talent and find new talent in the goth scene and give them a taste of new bands and entertainers.

When you began signing and promoting bands, how long did it take to see results for your efforts?

With the My Own Burial tour it seems that there are more asking for another tour and what other shows or events that we might provide. So now I am in the stage that I am looking for new bands, area directors and venues to add to aid in refueling the gothic scene in areas throughout the United States. What we are doing seems to be ringing in a new era to the scene and helping to bring the new and old to common ground.

Does refueling the scenes include building communities in other areas such as the Bible Belt?

New bands and entertainers so that the community doesn't stagnate and continues to draw in to keep the communities fresh and break the gatekeeping within those communities. I plan to have the bands and entertainers stop in some of the smaller areas to create a movement again in those areas. And inspire the new generation to come out and get away from everything and make new groups and colonies that will help shape the next phase of the gothic world. As for the Bible Belt, I will still build there. If I can work around the religious aspects of Pocatello and southeast Idaho then I can take on the Bible Belt. Once you can bring in something like a local band they support, then bring in one of our bands and shows, it seems next thing you know people are talking and soon enough you see a goth in a church, then the church has bats in their belfries so to speak, and we end up with the pastor at a gothic ball. It is great when I see the ignorance of both groups melt away and both aspects appreciate each other.

What is the nature of the gatekeeping you mention having seen in some areas? What steps have you usually taken to lessen it?

Pretty much others saying you’re not a real goth or being nasty bullies to baby bats that are new to the subculture. So now I will take my moment on the proverbial soap box. To all the elitists out there, time to wake up and shut up. The gothic community is like the Visigoths, they helped fall the Western Roman Empire through art and free thinking. Wait, sound familiar like us? The gothic subculture fighting Rome, our music and fashion have influenced society’s music and fashion. We even inspired the emo scene subcultures. I really don't see why in some ways we hate our own children. We inspired some their music and their fashion. Even our own styles and tastes have spread from Victorian Goth to pastel goth. So in many ways we have success in what we have sought to do. We are found in every scene, we are found even in the corporate world, and even all of us are different in one fashion or another. You will find at least Paramore or Within Temptation, and on about every girl’s playlist you will find bands such as Type O Negative or one of our bands that happened to go mainstream on playlists… oh wait Marilyn Manson there you go right there. You find our fashion on runways all over the world and movies in theatres. So honestly gate keepers shut up, sit down, realize that we have done our job and help make sure our youth are not sucked into the trash of the community that seem to like to prey on the newbies. Introduce them to the seedier side of our community as in any other community, yes we have one. Do I like that fact? No. Can I do something about it? Yes, by working with the youngers and helping them navigate the scenes safely and leave that final choice to them. Usually I use a dose of education and snark to end a gatekeeper’s tirade.

Are there sufficient goth communities in Bible Belt states to form a larger community capable of maintaining contact with those in other states?

As for the Bible Belt, there are already gothic groups and of course the Vampire community that thrive. The only problem I have really seen in that area is the fracture and lack of willingness to work together at times within those larger groups. So I figure I will work with these groups to see if I can give them something to get behind rather than fight over. I also know the political garbage that can happen in these areas. It can be a challenge to navigate but I do believe this can be done. Our scene seems to be taking what I have begun to call the reawakening with Wednesday and other gothic toned shows. We are slowly coming back from the Columbine High fiasco where our community was harshly scapegoated by the media. It will take some time to get the scene unified again. But with great shows in some of the venues and maybe some of getting together and opening a few venues of our own to propagate our subculture and create a pipeline again, I believe that unification can happen. As for examples, there are resources out there for advertising such as New Goth City website and soon the website where those people could easily put their clubs and venues and shows etc. It is just about leveraging these resources. I plan on doing so in the upcoming year.

How much did media sensationalize the Columbine High incident to the point of prejudging the goth community who had nothing to do with it? How has goth positively influenced mainstream culture?

The Columbine incident was massively sensationalized with the gothic scene in its prime. All it took was the fact that these kids listened to Marilyn Manson as did most of the teenagers back then, wore all black and wore trench coats they labeled them as goth. In doing so it caused a pandemic of judgement and prejudice of kids that followed or were a part of the goth scene to include their friends, parents and even churches to even further push these kids away. It caused law enforcement to start to profile goths and make it hard for us to gather together and hang out in larger groups, thus making it difficult for events and goth based clubs to remain open, especially in smaller rural areas. It pushed the U.K. scene further from America. Even with all of that, we were still able to influence music and fashion, now even becoming a trend. We are starting to see a gothic renaissance form, with the Munsters movie, Wednesday and other gothic icons reemerging into the spotlight. Also we see the goth influence in a lot of the newer bands in dress or in musical inspiration. So in many ways we have paved the way for so many other alternative lifestyles to form, such as emo and scene and smaller subgroups that could all fit under the goth umbrella.

Are there other goth icons who cast the lifestyle in a more favorable light, besides Christina Ricci, Ditta Von Teese, Fairuza Balk, and WWE wrestler Paige? How do you see this contributing to a better understanding of goth?

You will find Jennifer Ortega, the newest incarnation of Wednesday Addams, and of course the upcoming new Crow movie with Bill Skarsgard as Eric Draven. These with the old ones such as Elvira and so many others have been well dug up by the new baby bats and we are starting to see an uprising not only in goth but in many other scenes the goth lifestyle had spearheaded. I see these individuals bringing an understanding of goth to the younger generation, and help the other alternative groups realize where their roots come from.

Who are some of the bands you have gotten in touch with lately, who are interested in working with you and being booked for performances?

The bands I am working with for shows are My Own Burial, Trobar De Morte, The Vaticants, The Acid Bats, Hideous Monster and others I am in negotiation with. On the entertainment aspect we will be getting Dead City Side Show and others to come and help bolster events. So instead of just a concert you get a show.

What led you to the bands you’re working with, and how strongly would you recommend them to newer fans? What’s currently available on the New Goth City website.

I was brought on to the label and Sammy D had me listen to the bands. I would recommend them to those coming into or already part of the gothic subculture. New Goth City was created by William Wells to help promote and tell people where shows are in the USA. it is a promotional tool for bands and events in the USA to help get information into the hands of fans of the subculture and help inform people of the groups out there working to make our scene just as strong as it was during the 1990s.

Can you tell the readers how well known you hope the label and website you are working with will become? In the future would you like to spearhead major music festivals and national broadcasts? Would you eventually want to involve gothic metal bands in your promotions?

I hope that our label and website becomes strong enough that not only pulls the goth but also the mainstream together and becomes a place respected for its shows and events, that we are the go-to name for events in the gothic community. Not only here in America but also the funnel for the U.K. goth scene to help influence the scenes of both areas. We do plan on spearheading major festivals and we are working now on our broadcasts for the Gothic scene. We want to include all gothic entertainment and bands within our label to help promote the scene as a whole, from the post-punk roots to the evolution of our music and fashion.

For your work and involvement in goth communities, how would you most like to be recognized and remembered?

Honestly how I want to be remembered is as a forerunner to keep our beautiful lifestyle alive, and someone that helped make the scene grow, helped bring it back to the frontlines and helped bring new bands to the scene.

-Dave Wolff

https://www.hypnoticsubliminalrecords.com/

Interview with David Uhrlaub from January 2018

Interview with Billy Nocera of Razorback Recordings by Dave Wolff

Interview with Billy Nocera of Razorback Recordings by Dave Wolff

Razorback Recordings started in the late 1990s and remains active to this day. Present some history of the label and explain how it lasted this long.

The label started with Jill Girardi and me in 1998. She was doing Mortal Coil Records and I was doing Be A Freak Records. We just decided to combine both together into one label that was more focused on death metal and grindcore music. Our first release was by the Portland, Oregon band ENGORGED and we also did two compilation CDs that were pretty popular at the time: GORE IS YOUR MASTER and A HOG-WILD TALE OF TERROR. The label has since done 87 different releases, all on CD format. It's a miracle it's still alive today because it's almost impossible to sell music these days with all the digital and streaming web sites basically offering music practically for FREE now. The label was on hiatus since 2016 but I recently released a new CD by my own band HEADLESS EYES through it and here I am today still going with it. My other focus is my horror publication EVILSPEAK MAGAZINE which is currently being worked on for its 7th volume in book format.

Why did you and Jill decide to exclusively support death metal and grindcore? Did many labels support those genres when you founded Razorback?

I wanted a specific type of death metal, not just any one. I was more into AUTOPSY, REPULSION, NIHILIST, early-CARCASS, and especially IMPETIGO. I wanted all the releases to be inspired by horror movies, books, art, comics, etc. That was a must for me. Jill and I both agreed that was the direction and we were very successful with it. It took a while for people to catch on to what we were doing because in those early days of the label the metal scene was more into technical/slam type of death metal. So it took a while to get our concept out there to those that later appreciated it. Lots of hard work in those days with mail, packages, promotion, etc.

Do you remember the bands that appeared on Gore Is Your Master and A Hog-Wild Tale Of Terror after all this time? Are any of those bands and/or Engorged still active today?

It's hard to remember every band, but I actually do think most of those bands are long gone. Engorged was the very first Razorback band but hasn't been active in a long time.

How many mailings did you and Jill do for Razorback per month? How much advertising in zines was done at that time?

Impossible to remember that, honestly. We did a lot in those older days. It was a different scene back then. More about physical media and physical promos. Now it simply costs too much to do that. Lots of fanzine advertising in those days for sure. That's all it was before the internet took over completely. I miss those days! 

Why did Razorback go on hiatus, and what made you decide to restart it? Are you remaining in touch with Jill today?

Jill is one of my best friends ever and we are collaborating today on the label along with Evilspeak Magazine! I brought Razorback back to release the debut HEADLESS EYES album and I have a few other things in the works. I just felt like it was the right moment though it will never be what it used to be. I'm doing it for fun more than anything else.

How has advertising and band promotion changed since you founded the label in 1998? Does the label stream their releases and offer them in digital format? If so, how much does it help keep the label above water?

Back in the old days, it was more about sending physical CDs to actual zines, but those days are long dead now. It's too expensive to ship CD's out to zines all over and zines hardly even exist anymore. I still offer digital but my main thing is physical media always. If I didn't do physical media, then I wouldn't do music at all. Digital sales are not that great as most people download illegally for free anyway.

Aside from ads, promotions and digital streams, how has fandom for underground/extreme metal changed since the late 90s? For example, do you consider aboveground exposure to be better or worse for the genres?

Aboveground exposure hasn't really done much for the underground. It probably ruined it? It's hard to say really. I guess it has benefited some bands but those are usually the sellout shitty ones that always wanted to be "big" so it's not really shocking. What sucks is that some of the bigger labels gave up supporting underground labels by refusing to stock their releases anymore. I guess every label has to do what it needs to survive, but that really helped kill a lot of labels struggling to get their stuff out there. In the end though maybe it's for the better as a lot of stuff is more obscure now ironically and that might add to the charm, who knows.

Black metal seemed to thrive on that obscurity in the 90s and to a point it still does. Also, a greater amount of smaller labels and obscure bands are promoting their own releases independently. Do you think this would attract new would-be listeners?

I guess it works differently for each band/person. Some are successful, some are not. It's really hard to make a name now with a band or music. Most people just don't give a fuck anymore about music or actually buying a copy of a CD or whatever format. For some, just hearing it on Youtube is enough. You have to tour or make a lot of band merchandise to "make it" but even live bands don't really do that great either. It's a shitty time for music now and it doesn't seem like it will get much better.

Did you keep the printed fanzines you collected in the 1990s? Do you know of zines that are still in publication now?

I still have lots of my old fanzines, but mostly the ones from the early '90s. I can't think of a single old fanzine that is still being published today for those days, honestly. That's kind of sad, but just how it goes I guess.

How long has Evilspeak Magazine been in production to date? Who have you interviewed since the first issue was released?

The first issue came out in 2013 and it's still going. It takes a long time to get an issue out because I publish it in a book format and we have a lot of different writers so it just takes a while. I don't like to rush them at all. It's mostly articles about old horror and cult exploitation films, not really interviews though I have done interviews with Chris from Autopsy and David Gregory of Severin Films.

How long does it usually take for an issue of Evilspeak to be completed and published on average?

The past few years it has taken a long time. Much longer than I want but I'm so picky about what goes into an issue now and I always want it to be a book so I want more material in it. I'm always looking for more stuff to put into it so it's hard to settle on when it's ready to come out.

Where do you take completed issues of Evilspeak to be copied when it’s ready for publication? Do you go somewhere to keep costs down, or are you printing it on your own?

The first two issues were printed by two different printers, and now I use Amazon's printing company to get it done.

What did Chris of Autopsy and David of Severin Films have to talk about when you interviewed them? Have you interviewed other bands besides Autopsy or do you mostly interview film companies when you do interviews?

I spoke with Chris about horror movies more than metal. Severin was all about their Blu-ray releases and all the cool stuff they have coming out. That’s been the only band interview but it wasn’t really a traditional band interview. Just with Chris about movies! Great guy!

Why did you decide to publish Evilspeak as a book instead of publishing it as a zine? Was this intended to earn a larger readership or because there is so much material included in every issue?

I feel like it stands out more as a book and you can also display it on your shelf with a spine showing the title and everything. You can also fit a lot more material and I love that. I’m more of a book collector than a magazine collector also so it’s a personal thing as well. 

How many writers do you have on the staff of Evilspeak at present, and what does each staff member do?

I have a lot of freelance writers so the number of is different each issue. Everybody contributes articles and interviews. Lots of variety and fun stuff. No issue is ever alike. 

Who contributed to the current issue of Evilspeak and what are some of the articles appearing in the said issue?

The current issue is volume 6 and you can read what's in it at this link.

What eras of horror cinema are most often covered in Evilspeak? Which of those genres do you most prefer?

Anything from the '60s, 70's, 80's, and some 90's stuff. It's rare to feature anything modern or new. My favorites are Italian horror from the '60s, '70s, and '80s as well as the Hammer horror films, along with Spanish horror such as the films of Paul Naschy and Amando de Ossorio from the '70s.

What movies from the Hammer era would you be most likely to recommend, along with movies from the Italian and Spanish industries?

Billy: Horror of Dracula, Curse of Frankenstein, Brides of Dracula, Vampire Lovers, Lust for a Vampire, Twins of Evil, Countess Dracula, Vampire Circus, Hands of the Ripper, Horror Rises From the Tomb, The Vampires Night Orgy, The People Who Own the Dark, Night of the Werewolf, Werewolf Woman, House By the Edge of the Park, The Gates of Hell, New York Ripper, Suspiria, Night of the Devils, Hunchback of the Morgue, and so many more that I could go on for the rest of my life haha!

Does the magazine cover any movies from the Japanese horror/gore/splatter industry? Many people have heard of Guinea Pig and Flowers of Flesh and Blood; are there others you know of that are worth mentioning?

Billy: I love a lot of those films but so far Evilspeak hasn't really covered that genre yet. Evil Dead Trap is amazing also! I haven't watched those Guinea Pig films in a long time. I remember they are mostly just shocking for the sake of shock basically. I prefer more actual films with stories than just being "gory".

What appeal exists in those indie and foreign horror movies you cited as recommendations that you find missing in today’s horror movies from Hollywood?

Good creepy atmosphere, better set designs, and authentic locations, better acting, old-school hand crafted FX, and no digital or CGI. I like a few newer horror films today but compared to the old stuff it's just not the same anymore and hasn't been for decades now.

Are there any recent mainstream or indie horror movies you saw as worthwhile as the older movies you still appreciate?

I really loved The Witch a lot. That's been my absolute favorite newer horror film in the past few years.

How long has Headless Eyes been active? Discuss the making of your debut CD “Horrorpilations” and how well it has been received to date.

It all started in April 2020 actually. My other bands Surgikill and Vaultwraith both broke up so I wanted to keep doing music. My good friend Willie (from Vaultwraith) and I wanted to keep working on music so we started up Headless Eyes and immediately started on the album. We skipped doing a demo because there's really no need to do demos anymore in 2020. It's all bullshit. Better to just do an album since I was releasing it on my own label anyway! The response has been great so far and we're already working on an EP and then eventually the second album!

When before Headless Eyes was Surgikill and Vaultwraith active? Did those bands release anything that can still be ordered by snail mail or streamed online?

I was involved with those bands for the past five years. There's still some more releases coming out from them that were recorded later. Yeah, you can get VAULTWRAITH stuff from Hells Headbangers. They have t-shirts as well. Most SURGIKILL stuff seems sold out but still floating around various distros, Amazon or eBay.

Is Headless Eyes just you and Wille or are you working with other musicians? How do you go about composing songs?

Yeah just Willie and I. For the album I wrote all the lyrics first and then Willie wrote the music around the words. It worked out great. We're working on a new EP now and this time he's coming up with the music first and then I'll work the lyrics into the music. It's a great collaboration and Willie is a great friend of mine.

List the songs on “Horrorpilations” and describe what they are about. Your song “Long Live The Skincrawling Flesh” was released as a single five months prior to the album; how much interest did it build in that time?

1. LONG LIVE THE SKINCRAWLING FLESH is like our theme song! Just saying we will tear you apart and we don't give a fuck!

2. PHANTOMIZED is about a horny fucking ghost!

3. MURDER HOOK MANSION is inspired by the film Scream Bloody Murder from 1973.

4. COUNTESS LOBOTOMY is inspired by movies like Faceless, Lady Frankenstein, and bands like Venom/Ramones.

5. WASTE CITY is a fun song about where all the characters of Headless Eyes dwell!

6. A BONE TO PICK is inspired by the film Frankenstein 1980.

7. HORRIPILATIONS is an instrumental.

8. WINTERBEAST was inspired by the film with the same name

9. MEAT OF THE MATTER is a total fucking splatter gore metal song!

10. AN OLD FLAME RETURNS is inspired by Hello Mary Lou, Prom Night part 2

11. ENTRAIL CLOAK is inspired by Mardis Gras Massacre from 1978

12. SKULL SPLITTING HEADACHE is inspired by Blue Sunshine from 1977

13. LADY MAUSOLEUM is inspired by the film Mausoleum from 1983. The "single" was just some advance promotion, but it had a good word of mouth for sure. We were really happy with it.

In light of the situations with your previous bands, do you intend for Headless Eyes to be a long term prospect?

Yeah this is the only band I'm doing now. I have no interest in doing anything else musically.

Podcasting has been growing in metal communities the past few years. Is this something you would be interested in doing for your band, label or zine at some point?

I doubt I'll ever do that but you never know! I've thought about it sometimes. 

How soon do you expect to record another Headless Eyes release, interview again for Evilspeak or sign new bands to Razorback? Where can parties interested in being interviewed or signed contact you?

I'm not looking for bands for the label anymore as I basically plan to reissue older stuff. Evilspeak will continue to be mostly articles. We're planning the second Headless Eyes album right now actually! Looking to work on it in 2021 for a 2022 release!

-Dave Wolff

Interview with A and L of ETERNALLY COLD RECORDS by Sarah McKellar and Dave Wolff

Interview with A and L of Eternally Cold Records

We were fortunate enough to interview the founders of Port Macquarie’s only raw black metal label, A and L. I thank them very much for their time and generosity, not to mention the brutal and hilarious conversation that continued. Enjoy and embrace the burning of the Black Flame!

SM: So what started you both on your musical journey? What were your primary influences?

A: Well my primary influence was I wanted to make filthy hatred music and keep the black flames alive. I started when I heard Black Sabbath; my father loved the hard rock of the 70s and 60s. Then my love for metal grew and I got my first metal tape when I was ten: Metallica’s “Reload”. From thirteen onwards I wanted heavier and rawer stuff like Deicide and other death metal bands. From sixteen onwards I got into the rawer stuff like Darkthrone, Mutilation, Satanic Warmaster and Vlad Tepes which just kicked off my love of black metal.

L: Like A, my father and uncle were my biggest influences as a child. Ever since I learned about the performing arts I loved acts like Gorillaz and Daft Punk. As I hit puberty at thirteen I became heavily involved in the underground scenes of 2009 which helped me establish myself as an independent artist. Evolution took hold of me naturally so my angst craved heavy brutal tunes. I craved darker and heavier music. Bands such as Aborted, Thy Art Is Murder, Cattle Decapitation, and Death were my biggest inspirations.

DW: What interested you in extreme music at such a young age? Many of the bands you mentioned continue careers well into their forties. How do you account for this music having such a profound effect on people?

A: I like death metal and black metal because it speaks to my heart. It gives me goosebumps with the tone of the guitars and deep and high vocals. And I think people like it for those reasons as well.

L: For many reasons: the biggest one being its better than Justin Bieber and Britney Spears!

SM: You’re both from quite a diverse musical background. What drove you to start your record label?

L: After I moved out of my home, I lived with a mate who was heavily into Black Metal, which is where I met A. When me and said friend made a project, we were looking for labels to release the CD for us, but after a while, I decided to do it myself naming it after the album, Eternally Cold Records. A came on board shortly after the first release, helping me with the second release, using methylated spirits to strip the cassettes of their prints so we could put our own on it. The label only really began when we both worked together.

SM: When you started the label was it to produce your own projects as well as side projects? Do you currently have any side projects going?

The purpose of the label was to release our own music and occasionally other Australian acts, in their own demos or in a split. Due to the nature of the music, we do not make music like “normal" bands do time-wise. So for some, you could say all our side projects are defunct or on hold, but all these acts are somewhat active, always fermenting in themselves. With that, we will always be making music under different names with the same cause of hate, filth, and depression that is the black flame. Any signs of us stopping is incorrect.

DW: What resources did you have to start with when founding Eternally Cold Records? What means did you have to spread the word through advertising?

L: When I first started the label, I had next to nothing and a job in which I worked two days a week. All the info I had was from the friends around me to help get the label to the right people, and it eventually did via forums and online groups.

A: After the first release I came in and used my contacts, then the rest is history. Because I was in the scene for a long time, I had influential underground contacts.

DW: Tell the readers about your musical project that you distributed through your label. How many releases does it have and how many copies were made?

L: There are a lot of bands that are under the Eternally Cold banner and they are exclusive to us. A lot of the releases are demos and are released in limited quantities.

SM: Tell me about the black flame. How did this concept come about?

The black flame represents the fire of what we stand for as a group. A dark essence that lives in us all, that needs to come out when it has to. And that is what you hear in our music, the black flames leaving our body into what you hear as the music. The Black Flame sigil stands as a symbol of our dark Brotherhood. When the cloaks go on, it doesn't matter how you look from your day to day life, you are a faceless worshipper to the flame.

The term “keep the black flames alive” is for all that follow the black flame in the world. Anybody can use that phrase in terms of filthy raw black metal as we have seen in the last years.

DW: Besides your musical projects, what bands have you released material by? Are you primarily streaming your releases or do you press CDs and/or cassettes?

L: Bands in the past we have released, that haven't been under our sign of hatred, have been ones we enjoyed. Black Legion (Italy), Barabbas (USA), Advanced Hatred (Australia) and Vrag (Australia). We have produced CDs before in the past but have no interest in the near future to press them.

DW: On which streaming platforms are you sharing your releases? Provide any appropriate links the readers should check out.

A: L and I recently started putting our releases on the Eternally Cold Records Bandcamp page.

SM: Is your label currently active and are you looking for any new releases?

A/L: The label has been on hold for over a year now, while we have been gathering ourselves. But as 2020 draws its first breath, the flames will arise from their slumber with a few new releases.

DW: Why has Eternally Cold Records been on hold for the past year? What are you planning to release once you resume activity?

A/L: We have been on hold solely due to personal reasons. But, we are gathering dark energy and resources to return strong in 2020 with additional extras to keep the label's fire burn bright. As of now, we have a few releases ready to be pressed, but you'll have to wait.

Keep the black flame alive.

https://www.facebook.com/eternallycoldrecords/

https://eternallycoldrecords.bigcartel.com/
https://eternallycoldrecords.bandcamp.com/

-Sarah McKellar and Dave Wolff

Interview with Jane Orpheus of FUNERE RECORDS by Dave Wolff

Interview with Jane Orpheus of Funere Records

How long have you been managing Funere Records? What is the purpose and goal of the label?

The label was founded on September 9, 2018. Its goal is to release doom metal. For me, it's not the amount of bands that matters, but their quality. I want to help musicians realize themselves so the world can hear them. I do everything I can. I always listen to my bands and their wishes. It seems to me that in 2019 Funere has moved forward and developed more and I want to do better every time. Everyone should know about my bands.

Were there projects you were involved in before Funere Records, or is the label your first contribution to the underground?

Once I was a guest vocalist on a song from the ambient funeral doom band Songs From A Tomb. But of course the label is my first serious contribution and I’d like to do it more.

Where is Funere Records based and how would you describe the underground in your home country? Are there bands, zines and labels/distros people around the world should take note of?

The label is Armenian, but it is based in Russia where I live at the moment. Of course, there are bands in Armenia, but not on the same scale as countries in Europe for example. I don't know of any labels or zines; as for bands, I don't really listen to them as they mostly play black metal.

How recently did you relocate to Russia and what was the reason for the move? What is the underground scene in Russia like compared to the scene in Armenia?

I’ve lived in Russia for a long time; the reason for moving was personal. The metal scene here is more developed than in Armenia, and I think there are more opportunities.

Do you run Funere Records on your own or does a staff assist you?

I run the label alone. I make layouts of booklets for CDs and flyers, and I premiere video tracks. I send material out for reviews, advertising, etc. If a box with CDs weighs ten kg for mailing, my husband helps.

Do you ever consider hiring a staff to help out with the label or are you able to handle the responsibilities independently?

My label is small and developing. At the moment, I want to do everything alone. Maybe someday if I really need help, though I doubt it because I'm very picky when it comes to doom metal.

Why did you decide to exclusively support doom metal, funeral doom metal and doom/death metal on your label?

The first subgenre of doom metal I heard was funeral doom. Doom metal in general is closer to me in spirit; it’s a whole world to me. And I want to help musicians give it to the world. I think doom/death and funeral doom are better than black/doom, sludge/doom, stoner/doom, etc. I don't really like those mixes. But of course, in any case, I will consider and listen to such a project and draw conclusions. Doom metal of all the subgenres of metal has the most rich and beautiful emotions.

Do you design and print layouts for CD booklets or do you have them printed professionally?

It happens in different ways. If a band does not have anything, I develop layouts myself. If you need a cover there are artists who can draw; make sketches of the logo for example. If the musician has everything ready, he does it himself. The layout can include anything you want, depending on the preferences of the musician and the label. Everything is mutually decided. This can also be for photos, lyrics, words of gratitude, etc. I can make a pit-art in the form of a band logo or a picture. When everything is ready, I send the layout to the factory.

How do you define quality over quantity when it comes to supporting bands? How much input do your bands have in that regard?

The main thing is I should like the material. When a band writes to me and sends me music to listen to, I listen to them several times. If a band is another genre (for example, black/doom), I do not consider them. If I don’t know whether I like a band or not, I turn off the music, go back to it later and then decide whether to release it.

I try to do good promotion so my bands are heard, listened to, and known. I do advertising, track and album premieres on various metal sites, and reviews. All I need from bands is good music, and I put everything else in.

Do you prefer to advertise through email and social media or by placing ads in printed fanzines and mailing fliers through the postal service? On which formats do your releases get the biggest response?

I do advertising through magazines, flyers, the Internet, promo CDs, etc. Most of my releases are in CD format. Some of them are in digital, but there are more on physical media. I also put flyers with my releases in package along with orders or mailing lists for reviews. I think this is good, because after that, often people buy CD when they see ads.

Name some of the websites you have advertised your bands on, and indicate how often you correspond with them.

I make track and album premieres on No Clean Singing, Metal Injection, Decibel Magazine, Freidhof magazine, Indy Metal Vault, Subterrãneo Webzine, etc. We communicate whenever there are releases. The guys are doing well and I thank them for their help!

How many bands are currently signed? Do you mostly get into contact with bands or invite them to contact you?

I had two official reissues by bands from CIS countries, Mournful Congregation and Evoken. From the rest of the world I have Sinister Downfall, Ornamentos del Miedo, Evadne and Vofa. Contact happens in different ways; I write the bands or they write me.

What releases by your signed bands are available for streaming? How many downloads have they gotten since their release?

My digital releases are Sinister Downfall’s “Eremozoic”, Vofa’s “Vofa”, Evadne’s “The Dethroned of Our Souls” and Ornamentos del Miedo’s “Este No Es Tu Hogar”. Downloads vary; I get about nine to thirty. But I don't think it's important; it's important that people buy CDs and support their favorite bands.

How many opportunities do you usually have to be interviewed? I noticed on your Instagram page you were interviewed for a couple of zines. How much exposure did those interviews get for your label?

I get few requests for interviews. Only Atmosfear magazine and the Mastersland website were interviewed. I just had questions, then we had a conversation and got an interview. I think they learned as much as they were interested in learning.

Have reviews of your label’s releases been favorable? What zines recently covered your bands?

As far as I remember, all the reviews for my releases have been good. We should not forget that everyone has their own tastes, but I'm glad that I hear positive feedback for my bands. Ads for my bands and reviews often appear in Atmosfear and Encomium magazines. My friend Lucy SD helps a lot by reposting my releases and has a radio station where the songs of my bands.

Can Lucy SD’s radio program be heard online? How long has she been helping the label? Do you help spread word about her show?

Lucy has a Facebook page where she places all her info. I guess I’ve known her for about a year; I'm grateful for her help. She also likes doom metal. About spreading word of her show, I do if it has something to do with my releases.

You recently signed two new bands to your label. How soon do you plan to release their material?

Let's start with Evadne from Valencia, Spain. They play melodic doom/death. I’ve loved their music from a long time ago; even when I didn't have a label I wasn't unfamiliar with them. I thought for a long time of how offer them cooperation. I wanted to release them but I was a little afraid to offer, haha. But I was happy when they agreed. It’s a double joy when you release a band you love and listen to for a long time. The next band is Vofa from Iceland, a new band playing funeral doom. The members prefer not to name themselves in favor of being anonymous, and I respect their decision. I know and often hear from people they were able to win the hearts of many with their talent. The guys have a lot of experience and have created a beautiful style of funeral doom; you need to listen to it. It is not yet known whether these bands are planning to record an album this year. But if they want to release their work with me again, I will always be happy for them. My label is home to my bands.

Are you looking for new bands to support at present? Have you gotten into contact with anyone who you’re considering signing?

Most bands find my label and write themselves. I plan to release new bands this year, but this is still a secret and we are in the process of discussing it with the musicians.

Are there countries with doom metal scenes not as well-known you would like to help get more exposure?

I think doom metal is everywhere, it's a genre that probably not everyone understands, and there are people that find it difficult to listen to. The only thing I can do is release bands from different parts of the world.

In what countries would you like Funere Records to become more well-known?

Any label wants to be known in all countries, and I'm no exception, but it's more important that everyone knows about my bands.

https://www.facebook.com/funere/

-Dave Wolff

Interview with Silvio Novelletto of NAILED NAZARENE INDUSTRIES by Dave Wolff

Interview with Silvio Novelletto of NAILED NAZARENE INDUSTRIES

Nailed Nazarene Industries is an indie label supporting Harsh Noise Wall, Dark Ambient and Extreme Anti Music, that had over three hundred releases this past year. How do you account for the level of dedication that fuels your label?

I believe that when you do something from the heart with no behind intentions and deliver what you promise, creating a link of friendship with every artist, never looking if it is one new project or an big name on the scene, everyone has the same promotion and dedication from us. We dig like miners every day, looking for somebody with potential but locked in just one space. We contact bands personally asking for their work. This simple action made some artists we work with try to reach something greater and believe in themselves. That’s what we are looking for. If we lost this we can be sure we will be out of the game. Underground labels start every day and close every day. And we know that noisers tend to be introspective people. I fight every day to show bands they can trust us and will be part of a noisy nailed family!

How long has Nailed Nazarene existed, and how many independent labels have come and gone since you started?

Nailed Nazarene started in January of 2019 as a DIY label. We were blessed with the support of the former label KV & GR / RECS and our first release from Tim Noiseguy, who is now the owner of Imploding Sounds, and who had already been in the scene for a while. He kind of adopted NNI, sent material of his project, TAB IN/TAB OUT and helped us get in contact with Protomit from Russia. We also released a split.

That support showed us we were going in the right direction. We started contacting some projects in the very beginning and suddenly were releasing artists we were fans of, like I’Eternal & Specimen by Eric Jovet and Hana Haruna by Ken Jamison (co-owner of KV&GR, now Basement Corner Emission).

The scene has its own hierarchy. Many labels are able to release physical releases by prestigious artists like Vomir, Richard Ramirez and great Italian artists. But most labels work hard to get free downloads, using Bandcamp or Archive.org to promote their artists. All of them basically work for free for the passion of it. Sometimes it takes much more time than we have available.

It is natural that some of them stay behind or decide to stop. It becomes daily work to research new artists, looking all over for material to release and places to promote. Facebook is breaking lots of labels by blocking material as spam, so we have to find other ways to promote.

Why was the name Nailed Nazarene chosen for your label? Does it stem from your personal views on religion or is it for shock value?

I think the name was chosen for two simple reasons. First, if a person is offended by it, he is not the type of person we would be interested in having his work released. So it provides a free environment to release projects of any kind of genre.

The second reason is how contradictory the name is. Because the only thing that make Jesus act with rage was when he saw how the temple was turned into a market of offerings and greed. Sometimes we need to put anger away. In a world where every single word is distorted and everybody is offended so easily, my label would be the place to people find a safe place to release his internal demons. Of course, even here we avoid three themes: Nazism, pedophilia and animal abuse. Why? Because considering publicity, Facebook would block it anyway. I don’t take political sides, I am a father and I love animals, so there are other labels that accept this kind of material. 

Where is your label based? What is the current state of the underground and what subgenres are most popular there?

Nailed Nazarene is based in Brazil. But I must admit I am completely out of the local scene since I am the kind of person who is a hermit. As I have a regular 8 to 17 job, I use all my free time to dig, make new friends and discover some lost pearls. After a while, when the label started to come out with regular releases (mostly two per day), I felt confident to offer space to local projects.

I came from the local Black Metal scene. Metal and punk were always strong in Brazil, but the noise scene is long-standing with artists such as Rot and New York against the Belzebu. I just started listening to noise thanks to Gnaw Their Tongues (Maurice de Jong is GOD), that opened my mind for a more incredible world of insanity and filthy noise aesthetics. The first HNW I loved was Hana Haruna, which possibly gave me fresh ears to the genre. Now we release local artists and help promote them with the labels we are friends with. Interzona, Bushido and the side projects of Vitimas do Crack like Me Desculpa and Te amo Porra are some examples. Today I have my own projects which I prefer to release on other labels so they don’t take the space of a new project that I can help to spread to the labels we are friends with. The only one of my projects I still release on NNI is FERRA-RETO because I make splits between it and other artists who I can and later release on albums.

With all the bands you are supporting worldwide, do you have a staff helping you out?

Not as label employees. I use the term “we” because Nailed Nazarene was able to reach so many artists thanks to other label mates, artists and groups that accepted our support. They became what I call the Nailed Family. This also included the very first projects who believed in and supported the label in the beginning, like Llur, Istochie, Mokeru, Goth Girl and others, but they unfortunately stopped activities.

How would you describe Harsh Noise Wall and Extreme Anti Music? In what ways do these genres differ from more familiar genres like black, death and doom metal?

Harsh Noise Wall and Anti-Music are more experimental, with no preoccupation with a melodic aesthetic. Harsh noise works straight with pedals, effects, modular filters and overdubbed loops. The theme is just a direction to some painful feeling, a way to transform internal demons into a senseless mass of noise, but it’s a creative redemption from anxiety and depression by finding the perfect release. Anti-Music can be free improvisation, musique concrete, in a dark sense, dense and sophomoric, sometimes bizarre or cacophonic and not so light as free-jazz or ambient. Or it can be noise genres, like noisecore, shitcore or grind. We also release some black metal, dungeon synth and dark ambient, like Enbilulugugal, Nothingness, Verminking and Pessimista. We are open to these styles as well. The problem is that metal is a step above in underground music. Bands are always looking for physical releases and that is not what we have to offer.

Is it easy for you to balance your married life with your support of underground music? Is your wife supportive of your work?

I already had a radio show, crust/hardcore punk and black metal bands and blogs. Since we started dating in the end of the eighties I was involved with music, so we have been together thirty years. On my regular job I always have to travel or work late at my home office, so weekends and holidays are the time we have to disconnect from everything.

How long were you doing a radio show before you started the label? Were any of those shows taped and uploaded where people can listen to them?

This radio show happened when the internet started to have mp3 pages. I don’t do it anymore. I've been in the underground scene for over 34 years, so I always was involved with underground music, as well as having done djing, radio, zines, blogs, reviews and playing so I decide to work with the label. In 2020 we are introducing a new label Herd Of Swine that will release one album per month at my choice.

We got a manufacturer deal to sell physical CDs (Jacket cover only) for US $2 (shipment not included) & NO PROFIT INVOLVED For releases in 2020.

If an artist wants physical copies and approve the label no profit deal policy, he just needs to ask me to upload his release to CD. If not, we release it in digital format.

I deal to no profit, so the artist can sell it at his site: 1) with the lowest price straight from the link I will send you or 2) at the price he wants, buying straight for the link at the lower price possible.

How soon will you start signing bands to Herd Of Swine? What genres will you intend to support through this label?

Herd Of Swine’s first release will be available on January 17. I choose to start with a new and brutal Harsh Noise Wall project named Gnawing the Flayed – Militant Nihilism. This label will release projects that are impressive at first listen, and can be considered above average The genres it supports will be Harsh Noise Wall, Black Metal, Power-violence, Dark Ambient, Industrial and Power Electronics. We already contacted the project KHMER for a February release. It is exceptional visual-art and amazing harsh drone noise.

Who are some of the bands you have contacted recently?

For 2020 we contacted Falalisté, Resist Concept, Toothkicker, Com-Formed, Om Ra, (2), Cop Stench, {AN} EeL, Mexican Noise, Gnawing the Flayed, ᴛʀᴀɴsᴏʀɢᴀɴɪᴄ ᴛᴇʀʀᴀғᴏʀᴍᴀᴛɪᴏɴ, Spacial Absence that was their first time with us. We keep supporting projects we released last year and have new material, Like Solypsis, Three Moon (a new Project from a great friend from Serbia), Narcotic4 , Noize Thing and Sound Wave Attacking Nothing

How well do you hope this manufacturer deal will benefit Herd Of Swine and the bands you will be working with?

It will benefit everyone mostly because artists will have access to quality physical material without expenses of most manufacturers that is too high for underground labels and artists.

At what point after Nailed Nazarene was founded did you start supporting bands from other countries?

I can say Nailed Nazarene is a label of phases, because we first looked for American artists, then we had a strong European response. This led us to a strong Italian phase, we are ending a huge Russian phase, and next year we want to reach the South East Asia and Japan. Brazil is already part of our cast so we are open and confident to offer a higher level of exposition. That is how we grow, like that WAR board game, going for specific areas till we reach world domination. Also discovering new ways to promote our artists.

Who were the American bands you began promoting through your label?

Vger (Colorado), suffer永遠に (Pennsylvania), Temporalhaze (Michigan), DropWeapon & A.R.C.∞ (Massachusetts) and Z23 (Arizona) to name some of them. We promote every project through social media and invite them to be released by other labels with whom we are friends. I believe it is another difference for Nailed Nazarene. We network to help band with more labels, different audiences and more promotion.

Who are the bands from Italy and Russia you have most consistently supported through the label? Where else in Europe have you sought bands to promote?

From Italy we released I Corpi Presentano Tracce di Violenza Carnale, Attualità Nera, Paure, Vuoto Parciale, Sexy Crocodile For Dinner, fragile, Maria, Bug Catcher, tormentor of limbs, to name a few. From Russia we released Istochie, XVII.III.MM, Obscure Heaven, Шумоизоляция, Deddom, Rådiövölnå and much more. We also released bands from Spain, Finland, Serbia, Greece, Belgium, England, France, Netherlands Romania and Switzerland. From South America, from Central America, North America, Asia and Japan. So from everywhere a nice project was promoted by us.

Name some of the labels you are corresponding with and where they are based. Do you do any cross promotion with those labels?

From Russia, we support and are supported by Broken Teeth Records and Noise Jihad. We made splits with the Russian label Monolithic Discipline Recordings, E.S.O.D. Production. From the UK, Shrouded Recordings, from Canada, Mapawi, from USA, Imploding Sounds, Wound Botulism, Basement Corner Emission, from Brazil Sattvaland, Plataforma Records, in Italy, Sputo Records, Purewoolgarden, Formalhyde Production, Malaysia, So Fuckin Noise, Kalamine Records from France, and we send material to be included in compilations.

Are all your releases on social media/streaming sites, or are they also available in physical format (CDs, cassettes)? Have you released or would you release any of your bands on vinyl?

Nailed Nazarene Industries releases are all on digital format. This year I will begin to release compact discs on my experimental/electronic/ambient label Maaninen Henki Records. The price will be the costs of Kunaki.com. No profit involved. Unless the artists ask to raise the price, for now it would be US $7.00.

Horror Italiani will be released in physical format by other labels and our double debut release will be self-released in physical format by Horror Italiani Records, that will be a label focusing on horror soundtrack releases.

The other two projects will be released in physical format, but I prefer to keep people in suspense until they’re released. 

Name some of the compilations your bands have been featured on, and indicate where people can order them online?

They’re on Ferra-Reto: from Tides That Grind: Vol. I (Cancer Island), 4 Way Split Vol.5 (Brain Ticket Death), Soundscapes Throughout The Global Consciousness: Volume 7 (So Fuckin Noise), Harm Reduction Saves Lives (Wound Botulism Records) to name some.

Santa on Vaara are on I Love Cows (Throne of Bael), Storm Area 51, They Can't Stop All of Us Compilation (Muteant Sounds)

Fumetti Per Adulti are on For All Saints (The Noise Syndicate), Memory to Jessica (Pötögiikräz & Prospekt Borschevikov & Fumetti Per Adulti & Agonizing Bodies & Coprohammer).

Describe Ferra-Reto. How much material has this project released, and what bands have splits been released with?

FERRA-RETO is a project in which I try more harsh tones and pedal effects. It was my first attempt to have an HNW project. By watching pedal configuration videos I learned about digital effects and that opened the door for several projects be released. We made over fifty splits; 45 in two months, so every day there was a new split with FERRA-RETO. Then I settled down and could make splits with artists I was a fan of, like Hana Haruna, Begraved, Monolithic Torment, TAB IN/TAB OUT and Extreme Kindness for example, and discover some great artists that maybe wouldn’t be possible without the project, like Mowlawner, Snuff Reel Projectionist, Nightmare Park, XVII.III.MM and BRTHRM. BRTHRM was such an enjoyable pleasure to work with that Bianchi and I now have a project creating dark soundtracks for classic Italian horror movies, named Horror Italiani. 

How long has Horror Italiani been active? Can you name and describe some of the independent horror movies you have contributed soundtracks to?

We started working together in September and have three deals to release our material on three different labels. We create new soundtracks for Italian movies we like. “Torso” will be released on December 31, “5 Tombe Per Um Médium” in February/March and “La Casa Dalle Finestre Che Ridono” in June/July. Every step is being made to learn more about the movie scene. We are contacting directors and screenplayers, getting their blessings for our projects. This is just the beginning of our entrance into the independent movie industry.

What are the storylines of those movies? Will any of them be released in the U.S.?

All these movies are classic Italian horror movies from the 60’s and 70’s. They are called Giallo Movies, and mix horror and sensuality. They are all available on DVD/Blu-Ray and some are available on streaming channels, like Amazon Prime or Netflix.

What we intend to do is change that funky, psychedelic soundtrack which is peculiar and dated to a darker vision, thrilling the audience through the whole movie.

Torso is a slasher movie with beautiful women being killed by a masked man. La Casa Delle Finestre Che Ridono is a masterpiece of Pupi Avati and real insane. You just understand what is happening through the whole movie. Very horrifying deaths, but an intense turn around ending. 5 Tombe Per Um Médium is a tribute to the amazing actress and gothic diva Barbara Steele. It is about a cursed house that was a leprousarium, a dead doctor and corpses returning from the grave.

How did you hook up with the producers of those three films? When you and Bianchi were composing them, did you look for a certain tone based on the atmosphere of those movies?

I did research on the movie and the director or screenplayer. In the case of Pupi Avati I got his e-mail through his son and then I asked Bianchi, who speak Italian as first language, to contact him. I found Ernesto Gastaldi on Facebook and checked with his book editor. So it is with a little luck and a lot of lack of shame.

Bianchi is a much better musician than I, so I made the base layer, made some experiments with orchestral music and he improved it mixing, mastering and including layers on the track. I watch the movie while preparing the base on it. For all the scenes we make a flowing track, and Bianchi makes the cuts and divides it into single tracks.

Are you seeking other movies to compose soundtracks for after “Torso”, “5 Tombe Per Um Médium” and “La Casa Dalle Finestre Che Ridono” are released?

We will start working in mid-2020 on a movie that is over its time (1970). It is about a disturbed family and the deaths they are involved in and keeping a secret. It’s mind-blowing and full of unexpected turns, a real psychological thriller. Incest, decapitations and cyanide baths, concentration camp flashbacks. The critic was shocked by so much bizarre behavior. I think it is one of the best movies I watched while doing my research. I already had watched more than thirty movies. When I saw this one I stopped looking for the next Horror Italiani release. Sergio Bergonzelli in the director and this is his first thriller movie.

Besides your labels and musical projects, do you have plans for the future you want to share?

I just got a deal with a publicity video maker site to create simple videos and vignettes. It will be another way to promote our artists. Depending on how Herd of Swine grows, we think we’ll make limited vinyl editions.

Also, I will try to restart a project I started last year named The Noise Syndicate, a joint venture with selected labels to create a safe place to expose artists in one place. One Facebook group to publish without being blocked. Before I had a hacking problem and people didn’t know while I was out making choices that didn’t serve for what I had in mind. So I will come in with another name and am already looking for some sites, exploring the material we will be able to promote.

We would like to thank you, Autoeroticasphyxium Zine, because our new priority is to be known outside the labels circle and have our label spread by mates like you that work hard with zines and also your readers. I thank you for your time and space you allowed me to explain our goals and missions. We can with hard work change a scene and achieve higher levels for artists and labels.

Where on the internet and social media can Nailed Nazarene be found? Do you offer information about the bands on your roster?

Bandcamp: https://nailednazareneindustries.bandcamp.com.

Youtube: https://www.youtube.com/channel/UCrTRQuGMIc6qfgAZuNbCjuA.

Soundcloud: https://soundcloud.com/nailed-nazarene-industries.

I try to add information on our Bandcamp page. People in the noise scene normally don’t mind sending info.

-Dave Wolff