Interview with Altara Blakthorne of Blackened Horde Zine by Dave Wolff

Interview with Altara Blakthorne of Blackened Horde Zine

From what I gather Blackened Horde Zine was on hiatus but you recently restarted it with several new interviews.

Blackened Horde Zine first started as a print zine under another name, then it was changed to a website. I am still re-vamping the zine in trying to find reviewers who are willing to donate their time and opinions in doing some reviews.

What is the purpose of Blackened Horde Zine and what genres does it cover? How widespread is your readership?

The purpose of Blackened Horde is to help promote local and underground bands. They work hard and all deserve to be recognized for their talent. We cover all genres in the Extreme Metal era. Anything from Black Metal to Thrash Metal. I do have another zine that handles all other genres. We are world-widespread, so all countries and then some.

For what reasons did you decide to exclusively cover extreme metal in the zine? How many subgenres has it supported altogether?

Living in Florida which was labeled as “the death metal capital of the world” is why I decided to do Extreme Metal genres. I couldn't even guess an exact number of subgenres; probably around twenty or so.

Did you start the zine independently or with staff members helping you out?

I started it all myself, however, I have always had people doing the album reviews. The main reason for this is conflict. If I didn't like a band but they were friends I didn't want there to be tension in the friendship.

What was your zine first named, and how many issues were printed and released? How long was it on hold and what made you decide to bring it back online?

The printed zine had the embarrassing name of “The Vampiress Chronicles”. There were probably about ten to fifteen issues. I'm not sure exactly how long it was on hold but it was many, many years.

How many copies did you press of each issue of the zine when it was The Vampiress Chronicles? Are any older issues still available?

Not too many actually. It was basically printed on an order basis. And I do believe I may have some of those interviews on my website under “Ancient Interviews”. There are no printed copies except mine that I will always keep. I am thinking about taking it apart to laminate the pages so they don't get ruined.

How many staff writers/contributors worked on The Vampiress Chronicles with you? Did any of them express interest in resuming for Blackened Horde or did you restart from scratch?

I had probably three reviewers for TVC and I was the only interviewer. However, an ex-boyfriend did one interview because he was living with this other band and he thought it would be fun. One of the reviewers did come over to BHZ until he didn't have the time.

We know about Cannibal Corpse and Deicide, but did Blackened Horde cover local Florida bands who weren’t noticed as much by major independent labels?

We have covered Florida bands. Some are bands people know and some are bands people don't.

What lesser-known Florida bands have been featured in reviews and interviews? Is the death metal scene there as active as it was when it started?

Some of the Florida bands were: Impurity, Burning Fair Verona, Armageddon III, Faethom, Markradonn, and many more. The Death Metal scene is definitely still active however with the Covid situation a lot of bands are kinda on hold or not playing live as much.

Going by all the subgenres you listen to, are there still bands expanding the range of extreme metal as a whole, or do most of the bands you’ve heard sound like bands from the 1990s?

I think some of the bands from the 90's were better than and some of the bands now are better. It all depends on the bands. Nowadays they are exploring more options and adding different things into the mix.

Do you also cover black metal and other subgenres of metal in your zine?

Black metal is my favorite in the extreme metal genre. I even did an interview with Boddel from Gorgoroth before his passing. Which I will always keep in the current interview section. You can listen to it here: http://blackenedhorde.com/gorgoroth. If a band is extreme metal they will be added to BHZ, if they are not they will go in my other zine Crimson Moon. That way no one gets turned down.

How much has Blackened Horde’s readership increased since it became an online zine? How long did it take to build the website and is it on your own internet host?

Well, it has definitely gotten a lot more attention. I get emails all the time from bands and labels. My ex did the original setup (coding) for the website. But the input in it was all done by me which took a very long time. Months even. I wanted it to be very well implemented so it was easy for readers to navigate.

Who are some of the bands featured in the Ancient Interviews section? And the bands you have interviewed more recently?

The bands there are Angelkill, Corpsevomit, Fleshgrind, Num Skull, and others. The most recent are Adragard, Messora, Brzask and Goddess.

Do you prefer doing interviews where a band gives brief, to the point answers or interviews where a band gives longer, more detailed answers?

When a band gives short answers to every single question it makes the readers feel like they are rushing through it so they don't want to bother. With that being said some answers will be short.

I saw you post videos on the site as well as reviews, band bios, and interviews. Does this help increase the traffic?

The videos and bios, I am not sure if they increase traffic but I figured it is a good way for people to know a little more about the band and even hear them.

In addition to promotional videos, have you considered posting bands’ Youtube, Bandcamp, and Spotify links?

As for the links, I do add links at the end of the interviews to places people can find out about the bands if they are provided or can be found.

Have you met any writers or prospective writers interested in reviewing for the zine?

I do have some people who are interested in writing reviews. And I am always happy to have more so if anyone out there is interested please email me at summon@blackenedhorde.com. Of course, I will always miss my greatest reviewer of all, Pagan.

Who was Pagan and how actively was she involved with Blackened Horde Zine?

Pagan was a girl I knew from the U.K. and she was an awesome reviewer. She would even send over stuff I didn't send her to add into BHZ. Unfortunately, she passed away from cancer a few years ago. I miss her a lot.

Are you still involved with the radio program you’re doing for Blackened Horde? How long has that show been online to date? Has the staff at the zine also been involved in it?

Unfortunately, the radio station is not live due to circumstances. One is the company that broadcasted the stream no longer exists. And my ex put that up and I'm not sure who else to go with anymore. However, I do keep the website up in case I ever can get it up and running again.

No one from the zine got involved in the radio station since they were not local and I wasn't gonna leave the computer vulnerable to hackers. But I did have a local friend who used to come over and do a radio show sometimes. Great night of metal and Jack Daniels for us both.

What company broadcasted the stream, and how visible was the link or website for listeners to tune into? Was it live at that time or prerecorded?

It’s been so long that I can't remember the name of the company that supported the live stream. It was live and ran 24/7 unless the power or internet was out. The stream was right on the main page so people can get to it when they open the webpage. There were some pre-recorded shows uploaded.

Who was the friend you worked on the show with, and how would a typical session go? Did you ever consider hosting it solo or would you have to work with a second DJ?

My friend that did some show with me was a guy named David. He used that DJ name of Bonechild. We would just play random shit, whatever he wanted to play. However, I did have many shows I hosted. The certain show had a certain type of genre to follow.

What genre or genres were normally spotlighted on Blackened Horde Radio? Who were some of the bands Bonechild would play on the show?

Blackened Horde Radio featured many genres from Extreme Metal, Classic Rock, Hair Metal, Rock, Metal, Punk, Alternative, Grunge, Industrial, Unsigned, and Local bands and anything in between those lines. Bonechild would play a lot of the Florida extreme Metal bands and the popular ones like Cannibal Corpse and Deicide.

How many underground/unsigned bands were aired on the show, bands you couldn’t hear on other programs?

It really depended on the show for how many underground bands were played. I had a show just for underground bands. So however long the show was for it would play that many. I miss doing the shows.

Were any live performances aired on the show, or would you consider airing live shows if you were to start it up again?

Live shows wouldn't really be possible unless I got a bigger studio with more room. However, I have done a live interview with a band in the studio before.

Who was the band you interviewed live and when was the interview conducted? Would you do more live interviews today if you had the opportunity?

The band was called Vital Pain, which no longer exists. I have done others via Skype. I don't do them like that anymore either due to my schedule and the bands' schedule. But if I could I would.

How long have you worked for Crimson Moon Zine and how much does its format differ from Blackened Horde? Was anyone publishing it before you joined or is it yours?

Crimson Moon Zine only started maybe ten years ago. It's always been online, never a printed zine. No one published before me I started it. The format is any genre in the Rock/Metal categories, but no extreme Metal.

When was the latest issue of Crimson Moon released online, and what bands were interviewed?

There aren't any issues per se of Crimson Moon Zine. It's all under the same format as BHZ where it has “Current Interviews” and “Older Interviews” tabs. However, I recently did two interviews with bands Fore and Ted Axe. But as for older interviews for CMZ I have done Dream Aria, Killerfix, Lestat, Savage, Thirty Silver, Widows, and many more.

Does Crimson Moon have a staff of any kind or are you seeking writers to contribute as well as to Blackened Horde?

Well right now I have two writers interested in doing reviews however I have to go through files to see which is Crimson Moon material and which is Blackened Horde material.

Are you getting offers to write reviews or interviews for other webzines in recent months? Or are Blackened Horde and Crimson Moon your sole publications at present?

I always get emails from bands and labels for interviews and reviews. It's a never-ending process. And then sometimes I will contact a band.

What genres have you not covered in your zines, that you would consider expanding to in the future?

I think we covered every that I would cover between both zines. Its all in the Rock and Metal eras. We will never cover rap or pop types of genres because the readers wouldn't care.

http://www.blackenedhorde.com

http://www.blackenedhorderadio.com

https://www.facebook.com/BlackenedHordeZine/

https://www.facebook.com/BlackenedHordeRadio/

http://www.crimsonmoonzine.com

https://www.facebook.com/crimsonmoonpage/

-Dave Wolff

Interview with Corban Skipwith of Relentless Reviews with Corbz by Dave Wolff

Interview with Corban Skipwith of Relentless Reviews with Corbz

You post music reviews at your Facebook group “Relentless Reviews With Corbz”. Were your earliest reviews of artists you were friends with or artists you found online?

Since I was young I’ve had this obsession with music. I always thought it was normal to study, learn and binge listen to music all day but I soon found out it wasn’t. I started actually three to four years ago just because I knew so much I thought why not!

My first attempt was called “Kaioken’s Knowledge Knock Outs” and the reviews I did were short and really bad. I cringe when I look back at them. Justin Hunte formerly of HipHopDx and The Needle Drop’s Anthony Fantano inspired me. To be honest, when I first started with my amateur take on reviews I was just reviewing the albums Anthony Fantano covered, so essentially I started off as a hack, haha.

Was “Kaioken’s Knowledge Knock Outs” on Facebook or was there an official website?

It was just random posts I made to my Facebook. I’m glad I never made that go viral! Haha.

When did you start “Relentless Reviews With Corbz” and how actively did you promote it?

I don’t remember, but the original name for the current group was “Kaioken’s Musical Debates and Reviews”; something like that. Then it was changed to what you see now.

How extensive was your study of music, and how did it help to satisfy your obsession with it?

I never actually had any official extensive study. All the knowledge I’ve acquired was from self-study, researching different artists and genres, taking time out to watch interviews and listen to new music to broaden my horizon!

How many genres were you studying before you became interested in reviewing? Where were most of the interviews you watched, and what pointers did you pick up from them?

I studied all genres, but the two genres I started off loving was Hip Hop and Heavy Metal. I guess watching various channels and interviews I picked up small stuff like: interesting questions, ability to keep the conversation going, room set up etc.

Were the channels you watched mostly on Youtube and other platforms like Facebook and Reverbnation? Where did you read the interviews you researched?

Yeah, mainly on YouTube. I use to watch everything from behind the scenes footage, interviews, Q and A’s, etc.

The one interview that stood out most to me was this interview with Dani Filth (Cradle of Filth) regarding his latest album (at the time) “Darkly Darkly Venus Aversa”. As the album is focused on the demon Lilith who in some variations of the bible is considered to be “the snake” that convinced Eve to eat the apple and cast her and Adam out of the Garden of Eden.

Anyway, Dani Filth described the album, “Lilith is such an interesting character, in fact religion as a whole is such a fun fairytale”.

Are you self-educated as a writer, or did your formal education in high school and college have a part in it?

I am self-educated, though I excelled in literature in high school which led to my passion for writing reviews down the line.

Who were the authors you were studying most often while taking literature in high school? Where did you make the connection between reading and reviewing?

None specifically. In literature we would write poetry, and the two poets I remember being fixated on most was the lead singer of the Finnish band HIM, Ville Valo, and the lead singer of UK band Cradle Of Filth, Dani Filth. Their various takes on dark poetry fascinated me most and the later one helped me learn new words as that band often uses complicated words.

How many poems did you compose in high school? Do you still have any of them in your possession?

I actually had a whole folder of dark poetry and rap lyrics. If I remember correctly it was all super moody, depressing, purposely controversial content as I was fighting a lot of emotional issues at the time and writing was my escape. I think it’s under my bed somewhere actually, haha.

Any examples of lyrics Ville Valo and Dani Filth wrote that you found inspirational, or do you generally appreciate all of their work?

From HIM it was: “The kiss of vanity blessed me with a spiritual murder/Fed the gods of war insatiable/Your home is where the dark is, I should have told her/Embraced the fire indestructible”. From Cradle Of Filth it was actually the whole song “The Cult of Venus Aversa”, the intro track to their album of the same name.

How did your professors respond to you presenting metal lyrics? Were the songs you shared taken seriously or was there bias to overcome?

I remember the one time I showed the HIM lyrics specifically to one of my teachers she was just confused and didn’t understand it at all. But I remember when I had to write a poem about this book for school the teacher Mr. Davidson said to me, “This wasn’t the format of poetry I was looking for but you have a rare writing talent that not many people in the world have.” I still remember those words to this day, haha.

Did you always want to write exclusively about music, or were there other mediums you were interested in at any point?

This was actually my last option, I originally wanted to be a rapper or a producer. But when that fell short I realized the only thing I was ever good at was writing so I decided to take my knowledge and my literature skills and start writing reviews!

How do you think you would have fared as a rapper if you had pursued it?

I always wonder this, and I feel I would have done horribly. I can only seem to think of one or two creative ideas at a time and I’m super inconsistent on any real material, haha.

Was writing poems ever an option when you were considering long term careers?

No, not really. It was only ever a hobby for me.

How cathartic was it to write the lyrics you preserved in your folder? How do you feel looking back on them now?

I was born into a religious Mormon household so to hear such passive atheism coming from my favorite singer at the time was crazy! Haha. I feel quite cringy to be honest, some of them I think were pretty cool, but a lot were dumb and over the top.

In fact I was so out of touch with reality that one time during this math test I had with this teacher I couldn’t stand I write down absolutely ridiculous nonsense in the answers like “go kill yourself” or “satan is king” which ended up getting me expelled if I’m not mistaken. I was really messed up back then and I’m just happy I grew into my love for writing and turned it into something proper.

How much of an impact did your Mormon upbringing have on you, and why did you feel you needed to rebel? In what ways did that rebellion shape who you are?

It had a massive impact on me, I mean don’t get me wrong it taught me a whole lot of useful stuff like how to tie a tie, wear a suit, how to be polite, manners etc and there were tons of extra-curricular activities that I really enjoyed.

But for me the toughest part was the censorship of everything, I mean we weren’t even allowed to watch ‘The Simpsons’ growing up let alone South Park or Family Guy.

If it had swearing we had to turn it off, so I had many clashes as a teenager with my music and especially as a moody teenager trying to piss off my parents so my music was extra explicit it’s was just a tough time for me (musically) at least.

But now as I’m older, Me and mum and dad have a super strong relationship and I just don’t bring up music with swearing to them or if I write a review or do an interview with someone with heavy swearing I just tell them beforehand not to tune in or read it, haha.

Were Justin Hunte and Anthony Fantano people you knew personally or artists you admired before you started reviewing?

Unfortunately, I had never met them. To me they were and still are rock stars in their own right and I still hope to meet them one day down the line!

You cover rap and metal on your Facebook profile. Since the late 80s/early 90s rap and metal have often crossed over (Anthrax and Public Enemy, Biohazard and Cypress Hill, Slayer and Ice T etc). Do you consider the two genres compatible?

I definitely think they can be! My top picks are normally Run DMC/Aerosmith – “Walk This Way” and Jay Z/Linkin Park – “Numb Encore”. I feel they showcase the best of both!

What about the way rap lyrics are penned speak to you? Are they similar to lyrics by metal bands?

I’m more fascinated by the wordplay aspect of rap. How many words can they fit to one sentence, how complicated can they make it? How creative? There are just so many ways a rapper can manipulate and work the lyrics; with Metal I’m always interested in the story aspect.

What kind of overall story or vibe can they give off? Cradle Of Filth did an excellent job at conceptual albums by telling these fairytale like fantasy stories in the albums with every song building the narrative stronger! HIM had the best “vibe” incorporated what they dubbed as “Love Metal” by making a name for themselves with moody, larger than life goth ballads. They really spoke to me with how much emotion was made in each song.

How do listeners of rap and metal respond to your reviews? Do you think you’re bridging the gap between both “camps”?

I feel they are very positive! When I write a metal review I tag and share it to all metal communities, but since my group is filled with a mixed bag of tastes you get the occasional reaction or share on a post that differs from their own personal taste! I chalk it down to out of support for my writing, but they could just like to be diverse so there’s that possibility.

Can metal and rap cross over today as when those songs by Run DMC/Aerosmith and Jay Z/Linkin Park were recorded?

I believe it can more than ever! I mean look at artists like Ghostmane, Scarlxrd and Denzel Curry to name a few who are making a career combining the two styles in various ways and it works! Plus you have the “Soundcloud era” of music which often features metal and hip hop influences!

Who are some of the artists you recently reviewed for your profile, and how much notice have the reviews gotten since they’ve been posted?

There was this one duo called Brick Da Foundation. I reviewed their album “Bell X Brick”. After a few days of the review being out, they said, their album appeared on the Apple Music charts! Not sure how much I had to do with that, but they seem to think it was a lot so I’ll take the compliment haha.

Have you considered starting a blog to post your reviews, and possibly expanding to interviewing bands and artists there?

I’m working on a podcast with a close friend who’s also a rapper, so there’s that. But I’m not sure yet I’m always down for anything!

Is there anything you can reveal to the readers about the podcast you’re working on? Is this podcast streaming now or is there a launch date? How did you come up with the idea and what will be aired on it?

At the moment not really, it’s really super into it. All I can say is that it will be featuring a guy called Bailey McLean. He’s a hip hop artist that goes by the name “Bayza” who is an Australian hip hop artist on the rise and a close friend of mine!

How well known a rap artist is Bayza in his home country? Are there sizable rap scenes over there?

Not too well known yet, but big things are on the rise for sure! It definitely has a cult following the Australian Hip Hop Scene, if I had to compare the sound it would be a combination of West Coast production mixed with UK Grime vocal performances. Definitely an acquired taste.

Which internet platforms are you considering airing the podcast on?

That I’m not sure of yet, we will have to wait and see!

Though writing poems was a hobby, if you were to start again, would you consider publishing them in a book or magazine?

Yes, I don’t see why not! If they were good enough, I haven’t tried writing poetry in a while but I’ve always had this concept for a book with this premise: A mysterious foreign man visits a town and comes across a woman who has a whole lot of troubles in her life, and he makes it so that she vents to him and he acts like her psychologist. After every session he converts her troubles into a musical overture, then at the end of the book he presents to the whole town his grant musical overture representing her life, troubles and redemption!

Do you ever think you would start writing that novel you described? Do you know of any publishing companies you would take the finished book to?

I hope I have the opportunity in the future, I would currently say it’s just a pipe dream but I never know what the future holds! And no I haven’t thought that far ahead with it.

You told me recently you’re writing an article to land a position with a major music magazine. Is there anything you can fill the readers in on about this?

Yes! Well I have the possible opportunity to be a freelancer for Rolling Stone Magazine if I can nail this article. It’s a big order but all I can do is put my best foot forward and see what happens!

https://www.facebook.com/groups/1895065347422117

-Dave Wolff

Interview with Mr. T of Lights Go Out Zine by Devin Joseph Meaney

Interview with Mr. T of Lights Go Out Zine

Greetings Mr. T! Please take a few moments to introduce yourself and Lights Go Out Zine?

Hey! So yeah I’m T, I write the ramshackle punk rock based zine lovingly referred to as Lights Go Out. The zine has its roots firmly in the punk scene, but with a healthy love of old indie too, as I grew up listening to it. But I don’t limit the zine to just music, in fact to keep it interesting we quite often put out issues that differ from the normal stuff. In the past there’s been movie issues, 24 hour issues, themed issues (that have included Star Wars & The Karate Kid), year reviews of gigs, other zines, generic questions and once we even put out a colouring book. In fact thanks to this whole lockdown thing I’ve been working on some regular and also some different issues, helps to keep things interesting… definitely for me, hopefully for the readers too. Introducing myself… well I’m T, I’m in the UK, and I have three wonderful daughters (aka The Spuzz Trophies) and also three wonderful furry daughters (aka, the cats!). I think this could be where I am supposed to say things like I enjoy long walks on the beach.

How long have you been running Lights Go Out? And what kind of attention do you believe it has achieved?

In 2008 I decided to put my own zine out. Around 2001 I’d written a zine and put out maybe 5 or 6 copies, it was called FPM and then changed to Touching Cloth, but I think people who bought Touching Cloth were disappointed it was a music zine, a whole different type of shit than they were expecting. I’d been writing for a few other zines & publications and just thought now is the time to go on my own, the passion was back. I flogged a Marshall 4x12 cab to pay for the printing costs and the rest as they say is history. Attention wise, we have a very decent and loyal following, it’s equally wonderful to see new names on the order list as well as seeing the same names each time, so I’d like to think we’re doing something right. I would like to see people who buy it ‘cause their band is in it to become regular buyers, something that does happen, just not as often as I would like. I guess when I started the zine I was just wanting to have fun with it, if it ever stops becoming fun then the zine will end, simple as that. Some have said I should do 99 issues and stop one short of 100 as it might annoy people…. It’s tempting ya know… but we’re into the 80’s now and have no plans to call time on Lights Go Out right now. In fact the lockdown here in the UK has helped me write more issues and probably also helped to keep me sane.

I know you play music! Please take a few moments to tell us about your current and past musical output!

Well I used to play music! So the band is on hiatus right now, like the whole music scene is it seems. Long story short… I played guitar (and screamed backing vox) in a skate punk band called Second In Line. The last few years have been more hassle than it’s been worth with various band members, so in November last year we went on hiatus after a sour experience with the bass player, he’d joined another band, then we saw on Facebook that he was going to play shows with them, even though we had committed and booked a tour on those dates. He screwed us over big time and it didn’t then and still doesn’t sit well with me, a total lack of respect for his band mates. Also I had a hardcore band called Just Add Monsters, I was on throat duties for that, pretty proud of what that band achieved from an idea I had and just went with it. There’s been other projects over the years sure. Currently I’ve been enjoying the time off, I needed it. Interestingly enough though in the last couple of days I have had an offer to join up with a band to play some guitar, so that could be happening, we’ll have to see how it goes… stay tuned for more news, maybe?

Aside from music and zine creation... what do you like to do in your spare time?

Hang on… spare time? What’s spare time? You did read that I have three daughters yeah? Ha ha! In all seriousness though other than the zine I am always busy. Normally I could talk band stuff, nothing to tell right now. I also run a little record label called Back From The Dead. The idea was to find releases that were in the archives and bring them out, a new lease of life, hence the label name. But it soon moved into a label that releases new artists as well. It’s been a lot of fun so far, great to be able to give records a new audience and also it’s great to be able to bring some ace punk & hardcore bands’ music into the UK. Other than that I like watching movies, a lot of movies. Oh and I make badges (pins) for bands or anyone who wants them.

Who is someone (it could be anyone) world-wide that deserves a shout out? Show them some love!

I’ll keep this on the scene, topically. There’s loads of people I’d love to give a shout out too, sorry if this is a bit long, also sorry to anyone I forget about… but here goes… Zine wise we have some awesome music zines here in the UK, Marv who writes Gadgie, Neil from Issue Punk Zine & Russell from Lunchtime For The Wild Youth all need massive shout outs. Also to Positive Creed, One Way Ticket To Cubesville, Perfect Day – these zines also rule. Music wise, to the DIY labels and bands out there that help to keep the scene here strong… label wise: Disconnect Disconnect, TNS, Brassneck, Lockjaw, Speedowax – all of these do wonderful things. I’m sure there are others that have slipped my mind. Ah Horn N Hoof Records… that’s one! I couldn’t even begin to name the bands and also the promoters that deserve a shout out. What people need to realize is without everyone involved in the scene, there would be no scene. It’s not just about the bands, it’s everyone, from the labels, the promoters, the sound engineers, the zine writers, the PR agents, the photographers, the graphic designers, everyone. They’re all important parts of the process and everyone should be appreciated!

What were some monumental releases on Back From The Dead Records, and what bands (even if the chances are slim to none) would you like to see in your catalogue?

Well obviously I am proud of every release we’ve been involved in, but the one that stands out is that we were able to release a compilation of rare, long out of print tracks by UK punks, Eastfield. This took nearly a year to make happen, from getting the tracks, compiling, cutting, remastering – a lot of hours but damn it was worth it as Eastfield are bloody awesome, also it’s sold really well as I thought it would when I approached the band with the idea. With regards to bands we’d love to release, even with slim chances, the obvious ones would be my favourite punk bands, Strike Anywhere, Face To Face, Avail, Raised Fist. It won’t happen, but what the hell I might as well throw it out there, if any of them are reading this, get in touch, let’s make something happen.

Did you ever/have you ever thought about putting out a compilation album for an issue of Lights Go Out?

Absolutely. I constantly come up with ideas, some happen and some are plain idiotic. I toyed with the idea of a cover mount compilation and then having a label with the LGO name involved but then binned the ideas off. I’m not saying that it won’t happen in the future, but right now there are no plans… but saying that if we reach issue number one hundred, maybe… just maybe we could do something special. We’re into the low eighties, so I have a little bit of time to think of ideas and then have to rethink them cause they’re too silly.

Back to Back From The Dead... what formats do you release? CD? Vinyl? Tape? Floppy disc?

The label is CD and download only. The cost of vinyl is insane. A band mate and I did the vinyl label, put I think three, maybe four 7” singles out, which went really well but with costs spiraling it’s just a lot to commit too. With a CD we can do a smaller run, less upfront costs and weirdly people seem to still buy them. Though if I am honest, I don’t buy them myself, strictly a vinyl man me. With the cassette, I’ve never been a fan myself. Sure I like the ease of them, just dub them and back in the 80’s and even 90’s, the cassette was the best way to swap music and discover bands. I also used to work on a stall on the local market where we sold bootleg cassettes of bands live gigs. My middle daughter has been getting into them as well, she has her first Walkman I picked her up a couple of months ago and loves the format, she has been asking for a VHS player recently too. I guess the reason I didn’t buy cassettes was in case they got chewed up. I could buy the record and copy it onto a cassette to play on my Walkman or in my car back in those days. Then if that got chewed up, I could just go ahead and copy another one. I did toy with one idea of releasing a cassette actually, now I know you’re a fan of the format, so you can have this idea…. You release a cassette and it comes with a label name branded pencil. ‘Cause being of that era I fully appreciate how important a pencil can be when you have a cassette with the tape hanging out…

You are based in the UK. Do you get much exposure in other countries? Just curious!

Label wise or zine wise? The zine does ship out to various places, mostly across Europe. But label wise we do really well in spreading out globally, I think as I try and help bands get into the UK musically, they also then spread things out in their country so it’s been really cool to be able to release some seriously rad bands.

From listening to your music... I have learned that someone named Kelly has issues. But for the sake of entertainment, spend some time telling me WHY Kelly has issues? Haha.

Ha ha, fucking hell that song will never die. So I wanted to scream in a band and play more hardcore, I formed Just Add Monsters, we started as a three piece with myself also on bass. So after the first rehearsal we went to a local pub and this crazy drunk lady wouldn’t stop chatting to us. Being sober we have to just nod and tolerate the verbal onslaught of slurring that she aimed in our direction. She was called Kelly and reckons she was in jail with notorious serial killer, Rose West. She was banging on about pets in there and she ended up being the inspiration for a new song, hence Kelly has issues. Crazy, drunken, Kelly.

Any final comments?

How can you not get excited when the keyboard kicks in at the start of ‘The Final Countdown’ by Europe….? “We’re leaving together….”

www.lightsgoout.co.uk

www.facebook.com/lightsgooutzine

www.backfromthedead.co.uk

www.facebook.com/backfromthedeadrecs

https://backfromthedead.bandcamp.com

Thanks T. Keep on doing your thing!

-Devin Joseph Meaney

Interview with Jorge Trejos, editor of Bleeding Noise Fanzine by Dave Wolff

Interview with Jorge Trejos, editor of Bleeding Noise Fanzine

How long have you been publishing Bleeding Noise Fanzine, and how well known has it become in your country and across the world? From where does your most active correspondence come?

I have been doing this fanzine printed and digitally approximately since 2008, though the project was brewing in my head since 2005. The first interviews I did date from 2006 or so. More or less I have been involved in BNF for more than a decade now. I have always liked to write; even in my teens I wrote some “poetry” but I quit hahahaha (in fact I still have a notebook with a cool Superman cover where I used to write my poems and even draw some ideas). Later, in high school, mathematics did not go well for me, nor chemistry or trigonometry, but curiously, I did well with the letters (don't get me wrong, I was not Gabriel García Marques or anything remotely close; still pretty far). I wrote my essays and short stories without the teacher on duty ask me twice. It's just that writing is among my tools of the trade. As for whether BNF is popular in my country, I would say not exactly, but somehow it has managed to open the way to elevate the minds and fill the hands of our readers who still appreciate the smell of paper and ink in the morning (well, not exactly like that but, you know). BNF has always made the way to reach the right hands, managing to exhaust the stocks of the first issues and the need to reprint some of the later issues. Doing that in a country with one of the lowest reading rates in South America makes me reconsider the idea that some metal bangers might know us a little more than I expect. Finally, I have had epistolary communication with fellow editors from other zines, fanzine collectors, music traders, or malicious entities from different parts of the world. The most regular contacts have generally been people from the States but I have sent packages or correspondence with peers from countries as far away as Estonia, the Philippines, Japan, Australia, Germany, Norway, Sweden, Chile, Mexico, Bolivia, Peru, Ecuador, and many others.

How did you come to name the zine Bleeding Noise and how does the name let the readers know what to expect?

I wanted to merge two ideas that reflected the editorial word-craft: among topics like extreme music, gore, trash aesthetic of b-series movies, I add some stories about true crime or serial killers, as well as some nudies printed in some key pages, and things like that. That's how I believe the name B.N. Fanzine came out, Letter B and letter N stands for BLEEDING NOISE. I'm not sure if it is grammatically accurate but I think people get the point. Hahhahhah

How many issues of the zine have been released to date? How many copies do you normally print of an issue?

So far BNF is at issue #6. Runs are generally around 200 to 500 copies per issue. Naturally I have had the opportunity to learn from my mistakes while trying different print formats over the years. For example, issue 1 was professionally printed in A5 size; it looks not so much like a fanzine but more like a pro magazine format. It has some color pages and a poster of the movie Maniac (1980) as well. I think you have a copy of this. As for issues 2, 3 and 4, the format changed again to double letter (tabloid) and the printing was completely in XEROX (photocopy) like the old Fanzines. With issues 5 and 6 we moved to letter format and digital printing. I like all these formats but if I had to choose one to work with it would be the Xeroxed one since it gives you that indie and retro fanzine look. But since I'm the one who manages the resources for production, I am forced to stay in the current format, since for costs it is the most appropriate to take care of my pocket. Currently, issues 1, 2, 3 and 4 are out of print. Issue 5, a special about the Manson family, has already sold out the first print run. However, as I always get asked about this one, I have been working on Print on Demand orders for issue 5. It does not come the same way as the first printed, due to respect for those who acquired a copy of the first edition. Likewise, BNF is still an extremely limited underground fanzine. In addition to the printed version, we also have an internet presence through the zine’s blog, bnfanzine.blogspot.com, where I post reviews, articles and interviews more regularly. Since it is a virtue of virtuality when you work as an independent media, it makes it possible to update or produce content more often than the printed version. Taking up what I said about the exploration of formats, with issue 5 I printed a 350-page book/zine, which seems to become a popular format nowadays thanks to zines like Gallery Of The Grotesque or those superb reissues of legendary fanzines like Izten Fanzine or Metallion Diaries: The Slayer Magazine. I wanted to try something like that, but among the possibilities of my very limited budget. Furthermore, with issue 6 I decided to stay in this format of the book/zine and concentrate my efforts on producing thematic numbers from now on. This time, all the editorial energy was focused on the legendary band Incantation, to whom we dissected their discography, history and interviewing their founding members. In addition to this, there are interviews with bands, writers, and filmmakers and an unpublished interview with Quorthon from BATHORY was included. It is an issue I am very proud of and it’s still available... 120 pages to read at maximum volume.

Why was your interview with Quorthon unpublished at first, and what made you eventually run it?

Actually, that interview was published unexpectedly. One day a friend of mine from Ohio named Charlie Taylor who I interviewed in the past for BNF issue 3 (I believe) on the occasion of his DEATH tribute band INFERNAL DEATH (now dead), posted on an internet forum that he had an interview with Quorthon from the 90s that was never published due to a flood. Apparently, rain goddess Hyades had mercy on that piece of history so I asked Charlie to let me publish it for issue 6 and he accepted on the sole condition that I interview him again but this time with his new Celtic Frost tribute band: CULT OF FROST (people who had seen them live said they're quite good). It was a piece of cake and the rest is history. I transcribed and translated the interview with the mythical Quorthon in Spanish. Curiously, it will not yet be published in English, so the only way to read it is in Spanish.

Talk about the other bands you’ve interviewed for BNF and what made those interviews unique to the zine.

I’m so grateful to have interviewed each and every one of the bands that have appeared in the printed version or on the internet blog of BLEEDING NOISE through all these years. For BNF it’s always an honor to be able to support and spread the underground, even on a very underground portion, although I believe at the end of the day it worth it. I think the best interviews we've published have been with bands that on the one hand, I adore and on the other, they're bands that have a very solid and constant career. Colombian bands like MASACRE, WITCHTRAP, AMPUTATED GENITALS, TWILIGHT GLIMMER, NOCTURNAL FEELINGS, among many others. Perhaps if I had to do a TOP on the most detailed or memorable interviews I would choose in no particular order the interviews with Frank Hartroom from GOREFEST, Paul Speckman from MASTER, Bruce Corbit (rip) from RIGOR MORTIS, KILLJOY & ISCARIAH from NECROPHAGIA, Katherine Thomas from THE GREAT KAT, John Tardy from OBITUARY, David Vincent from MORBID ANGEL, Kam Lee from BONE GNAWER / MASSACRE, Mark from IMPETIGO, Jon Tardy from OBITUARY and TARDY BROTHERS, Sabina Classen from HOLY MOSES, AC Wild from BULLDOZER, Blaine Cook & Terry Butler from DENIAL FIEND / DEATH / MASSACRE / THE ACCUSED, SINISTER's Aad Kloosterwaard, DARKTHRONE's FENRIZ, INCANTATION's John and Kyle, MACABRE's Corporate Death, and many others to name. Like I said before, all those interviews were so special in one way or another, I always going to be honored to have so many legends and also some new fresh blood from the extreme music spectrum. Thanks to all the fellows who made it possible. Skol!

Why does there remain a need for print zines, especially in countries with low reading rates like Colombia and countries where you have the most readers?

I'm not sure, but maybe it's because humans need to touch and feel. The sensation of tact is primitive and natural; once you hold it in your hands it becomes real. Besides that, holding, manipulating and exploring with your own hands is a habit that seems to have stayed with reading culture as much as we’ve lived as human species. Although digital has taken away certain points in recent decades, I think printed fanzines (regardless of subject or content) will continue to exist in one form or another thanks to the tireless work of independent editors, artists, and writers who keep the cauldron boiling for the sake of this culture. Now, about why zines are still made in countries with low reading rates like Colombia? I think there should only be two reasonable explanations. The first is that you have to be really screwed in the head (sometimes I lean towards this one). And number two, you have to be a person with heart, spirit, creativity and altruism, or a mix of all that. You might need some balls too and never lose your sense of humor. Finally, where people read us the most? I can tell you there are people from all South America and even some bilingual readers or dedicated readers with the intention of transcribing BNF on Google translator, because I have sent zines to countries where Spanish is not spoken. It is curious how I shipped more than twenty orders to the States (something very unusual) of issue on The Manson Family, a 350-pound mammoth beast. It seems they love to collect all the Manson stuff or something.

What efforts do you make to help validate extreme metal in general with BNF? Has this been appreciated by zine editors, collectors and traders?

I think the editorial work of BNF does not intend to vindicate anything. Our point of view tries to be as impartial as possible without losing objectivity. Even if I am the main man pulling the strings in 80% of the fanzine. BNF just wants to provide selfless support to bands, artists and labels and other independents who do honest and dedicated work. Our editorial line incorporates bands of all extreme metal styles, good people out there that need to be heard and discovered. If you can help with any of that, you're doing it perfectly fine. On the other hand, I don't think I am the best person to say why BNF is appreciated by editors, readers and traders. The truth is I always try to give the best I have, and every time I try to take things a little further. At the same time I try to make the hard work of researching, writing, editing auto-publishing fun, something that is always done from the inside out. I believe people notice that. Add that in everything you do, regardless of whether it is successful or not even more when you know there are moments in life that are shit and do not turn out as you expected.

Do you ever consider publishing your old poems in the zine, or if not, releasing them in a separate anthology? How do you think readers of BNF would receive them?

I'd be lying if I told you I haven't thought of that idea. But to be honest, I don't see more value beyond the personal or anecdotic one. Perhaps it would be good to scan the original notebook, and release it as an "art" fanzine. It’s handwritten and includes some drawings I awkwardly scrawled. It’s more like a childish thing than a serious effort I’m afraid. I even should include a warning that reads: "Beware, several misspellings and typos." What do you expect? Those were the days when electric typewriters were more fashionable than computerized word processors. I even dared to write sonnets about the readings I did, some walks in the woods, things I love like films, occultism, magick, nothing far removed from what a teenage heavy metal fan would do at the age of thirteen or fourteen. Finally, I have no idea how BNF fans would receive a book published with my pubescent sonnets, they'll probably think I'm a fag or at worst, a poser. Hahahahah

It seems in the last two decades poetry, at least dark poetry, is more accepted by listeners of extreme music. Do you see any examples of this in other zines?

Metal owns a wide source of dark, occult, evil lyrics, seems natural dark poetry also attract extreme music listeners or even some independent editor willing to put out sick and evil witchy spells. Regarding if I see any example of this in other zines, I think I don’t. It seems it’s not something that is done very often, at least in extreme metal zines. Nowadays it seems poetry is more accepted in other type of fanzines like art fanzines or literature and the likes.

Considering that most people feel drawn to pursuing a career in their early teens, would you consider resuming painting and writing poems as an adult?

Oh not at all. As I said, that was something more personal and not something with artistic values that are worth being exhibited beyond the anecdotal. Otherwise, I was tempted to write fiction long ago. At the university I wrote two chronicles my journalism teacher liked very much, so much so that they were printed in a local newspaper. I also enjoy the genre of the biography, musical or film profiles, though I would like to try a series of short fiction stories to see what happens. I want to explore fantastic themes, horror, and true crime, I would like to base myself on local stories true or fiction from my hometown. Let's see if I manage to torch this impulse-idea. I'll hope this to take up sooner or later.

In addition to metal and writing you have an interest in movies. Do any of your published issues include film reviews? If so what movies do you write about? Do you or would you interview people involved in local indie films?

Oh yes! On our back issues and same as the blog, there are lots of b movies, horror, music biopics and DVD concert reviews, to many to list here. However, we’ve had run interviews with horror filmmakers like Chuck Parello director of some cool serial killers flicks like Ed Gein (2000), The Hillside Strangler (2004) or the not so well know sequel of Henry: Portrait of a Serial Killer 2 (1996). Also, on issue #4 we published a cool interview with the Father of Gore Himself, Mr. Herschel Gordon Lewis (RIP) as well as a detailed article on his gory filmography. Besides all that, I did one special interview with a Colombian indie horror and fantastic film director name Jairo Pinilla. It’s so funny how often people get to compare him with Ed Wood, calling him the worst director of Colombia. But please allow me to speak on his behalf, let me get this straight for once, I invite your readers to check his films on YouTube (yes you can watch some of them for free, I think a few include English subtitles) like Area Maldita (1980) whose plot gets a snake possessed that leads the reptile on a killing spree, biting anyone that smoke pot (yep, that was enough to fill a movie for our dear Jairito), then we got: 27 Horas con la Muerte (1981) whose story get to mix a tale of supernatural horror, with people falling almost dead on a suspended animation and returning back to life after 27 hours, his films weren’t all just bad, he still a craftsman, he made his films out of nothing, with none existing budget and end up making a genuine underground and trashy gem like Funeral Siniestro (1973) a truly suspense lost forgotten masterpiece (a la Hithcock) on the top notch of the almost none existing south American horror on the likes of great Coffin Joe (rip) or the Argentinian Emilio Vieyra. You can also find this movie on YouTube, it’s filmed on 33 mm. and it captures a truly horror aesthetic that is long forgotten, you just don’t get to see films simple and effective like this anymore. 

For people who haven’t read the issue you dedicated to the Manson family, can you describe all the information that was included in this issue and how you compiled it?

The Manson issue was something that changed my life as a writer, editor and journalist. I spent three years researching the subject until someday I was overwhelmed by the numerous characters and references that were part of this kind of never-ending criminal dark saga. Before continuing, I want to add that though I have always been fascinated by stories of true crime and serial killers, Charlie Manson had never really caught my attention, since I saw nothing special in a hippie, ex con man and wannabe rock star who caused young girls to murder a pregnant movie star and her friends at the Hollywood Hills. It should be noted that the purpose of the issue was not to talk morbidly about the Tate/LaBianca crimes, but rather to point out all the connections that surrounded the United States' favorite boogeyman and how he became an icon of evil, a scapegoat or even a consumerism product, etc. Anyway, during that quest (so to speak) I tried not to leave any stone unturned and interviewed many people as I could that were related with the case. The best interviews were published in the same issue with True Crime writers such as Adam Gorightly, John Gilmore, indie filmmaker John Aes-Nihil who is well acquainted on the case and he’s a collector of murderabilia related to the Manson family case. Also a dude call Stoner Van Houten, who made tours to locations related to the case. Somehow I keep skipping the Charlie issue because I felt he was a chicken. After all, he didn't dare get his hands dirty. However, as I stated earlier, every time I was reading or taking notes for other projects, Manson's story kept coming and going, when I least thought, I saw how this case involved a wide range of connections and shades inevitably seductive for me: from countercultural movements, beatniks, hippies, rock n roll, cinema stars, psychedelic drugs, the Vietnam War, shamanism, even satanism, occultism, sex, conspiracy, religious cults, politics and a very long etcetera. Somehow, I ended up having about four notebooks and dozens of pieces of paper with notes on this case, connections that seemed revealing to me in one way or another. I just feel a need to tell people some of the clues that I thought weren't much known at the time. I started to think about structuring a story. Thought about the characters, situations, how many chapters do I needed, plots and so on. That was how my research ends up in Charles Manson: Anti-Hero Of 1000 Faces. In that process, from investigative journalism I made many contacts and new friends, I even wrote Charles Manson a letter but never got a response. To this day I do not know if he received it or not, since Manson is (or was because he passed away like three years ago) one of the inmates who received a lot of correspondence a year. Curiously enough, regarding this same topic, one of the sources interviewed for BNF#5 related a story about Manson, in which he allegedly had inmates who were in charge of checking his correspondence and filtering the most relevant letters. Charlie called them his X-Men, but not because he had any reference to the popular comic or film franchise, but rather because of that anecdote during the trial in L.A.'s palace of justice in the early 70s when Manson walked the stand with his head shaved and with an X on his forehead, which he carved with a razor blade to symbolically exclude himself from society (The Establishment) that intended to lead him to the electric chair. To conclude this answer, I had the opportunity to interview Herlaka Rose from Laredo, Texas, a fellow journalist and fetish model whom Charlie regularly called from Corcoran prison. Rose told me that she had spoken to Charlie about my editorial project, as well as a chance for interviewing her for my fanzine as well. According to what Rose told me, Charlie asked her to call me to make sure that my name was not David López and that I did not work for Vanity Fair Spain; it seems this guy (David López) interviewed Charlie and misquoted him so badly. I remember Rose called me and made me swear I was not that dude from Vanity Fair Spain. That was intense, strange but fun, fun, fun. I do it again.

Are there other serial killers you would consider dedicating a future issue to?

If I ever try something like that again, I would like to attempt something with Colombian serial killers like Luis Alfredo Garavito aka El Monstruo de Génova, or Pedro Alonso López aka La Bestia de los Andes, Daniel Camargo Barbosa aka El Sádico de Charquito. In Colombia there is so much violence of all kinds but curiously these cases are not as well-known as they should be. Among Garavito and La Bestia de los Andes, they hold the infamous record of the biggest infanticides in the history of humanity, only one of them killed more than 300 girls; I invite you to do the math and you will be shocked at the result. Curiously enough, Lopez ran away from prison and he was never caught or seen again.

Are you planning to release another print issue of BNF or do you intend to keep it strictly an online zine?

Of course, as I pointed out earlier, the idea is to keep putting out thematic numbers, so the next BN will be a special featuring the legend of NECROPHAGIA's KILLJOY and his many other musical projects and film connections to gore cinema. Unfortunately Frank Pucci, real name of the mythical Westville Ohio musician, passed away prematurely at the age of 46, BNF considers that his legacy is enormous and many times he is not given the credit that he may have earned by right, KILLJOY and NECROPHAGIA are co-creators of Death Metal together with DEATH, POSSESSED, DEATHSTRIKE, SAVAGE DEATH and many others, NECROPHAGIA is one of the first bands to incorporate elements of horror into music, for which the specialized press has hung them the poster of: creators of horror metal. Anyway it's a long story that I hope will be told in the next BNF printed assault, we hope to keep you posted.

https://bnfanzine.blogspot.com/

http://www.facebook.com/bnfanzine

b.n.fanzine@gmail.com

-Dave Wolff

Interview with John Sorrell of Morgue Rot Magazine by Dave Wolff

Interview with John Sorrell of Morgue Rot Magazine

You are currently working on the debut issue of Morgue Rot Magazine. The title of the zine has an old school death metal feel. Was this the angle you were looking for while choosing a name?

As a huge fan of 80/90's death metal, I wanted a name that screamed death and gore. At the time, I was listening to Morgue’s “Eroded Thoughts” quite a bit. So there's an obvious influence on the name. Morgue Rot was the first thing that popped into my skull. And it was available.

When did you first get the idea of publishing a zine? Were you inspired by any zines you were reading at the time or was it from a desire to support extreme music?

Originally, the idea was to release a small art book, showcasing my artwork alone. But, after discussing the idea with my wife, the suggestion of additional content arose. In the beginning, I planned to write a few album/film reviews myself. I really had no intentions of working with anyone on this. After I decided on the name, Morgue Rot, I posted on social media what my intentions were. I just wanted to create a little hype for my project. Almost instantly I was receiving messages from friends who wanted to help out. Shortly after, the bands started sending me their works for review. It quickly started to take its own form, and over the course of a week, a rough version of issue 1 had been planned. Promoting my artwork was the only real inspiration I had at the time of conception. Everything else just fell into place.

How long have you listened to eighties and nineties death metal, and what attracted you to it?

I discovered death metal around 1995, I would have been fourteen. I always had an interest in metal, I had been listening to Megadeth and Metallica for a few years. I think I was eleven when I picked up my first Metallica cassette, “Master of Puppets”. And it was life changing to say the least. Anyways, I found a metal mag at a local book store one day. I don't remember the names of either. But, the mag came with a sampler cd which included the likes of Dismember, Sinister, Six Feet Under and others. Needless to say, this was a game changer, and so my quest for death metal began. As for what attracts me to this music... death itself. I've always had a fascination with the morbid and macabre. Death Metal is the perfect soundtrack to my life.

What fascinates you about the morbid and the macabre? How and why do you relate to the subject matter of death and black metal, etc? What bands would you cite as examples?

It's something that I have no control over. The darkness called to me at a very young age, five or six years old. I clearly remember the first time I saw an image of the grim reaper; I was mesmerized. I couldn't look away from it. It's hollow, lifeless eyes spoke to me on some level. By age eight, I was watching every horror movie I could find. I began trying to recreate these monsters, killers and demons on paper. I was obsessed. “The Gate” was a very influential film for me. It triggered an interest in Satanism and the Occult. This presented a bit of a problem as my parents were devout Pentecostals.

And while my love of horror was supported, that is where it would end. Keeping my new found “faith”, or lack thereof, a secret was challenging at times. There was no internet for me back then, I was left at the mercy of the church library. I managed to find a few books that touched briefly on the subject, but always in a negative light.

It wasn't until my 18th birthday, that I finally acquired a copy of the Satanic Bible. After reading it cover to cover, multiple times, I knew the path that was before me. I'm thirty-nine now, and nothing has changed. I still find comfort in the darkness, peace in death and power in the Devil.

I wouldn't say I relate to the lyrics of death metal really. I think that's reserved for serial killers and the like. Ha ha. Black metal, however, is very spiritual in nature and so for obvious reasons, I can relate to the content. As for bands/albums that I can identify with... I don't know, Bathory’s “The Return of Darkness and Evil” comes to mind first.

What spoke to you about The Satanic Bible when you read it? Did you look for other published works by Anton LaVey and/or other occult authors afterward?

From the beginning of the bible, with the Nine Satanic Statements, everything that Satan represented rang true with me. This was the person I was struggling to accept due to my religious upbringing. Through those few words, I found liberation. And after reading “The Book of Satan”, I found my fire. I knew who I was now and I embraced it.

I soon became aware of LaVey's other works but never had any luck finding them. Today, copies are readily available, but at that point in time, I was limited to the "religion" section at the local book store. In that book store, I learned of other occult philosophers. Crowley, Nietzsche and others. But none of these held my attention the way the Satanic Bible did. You have to remember, I was only eighteen at the time. And "real" Satanism was new to me. So I was content with LaVey's teachings.

As an adult I have read all of LaVey's works and a few by Michael W. Ford. Most of what I read is on the history of the occult, by various authors, covering a wide range of topics.

When did Michael W. Ford live and what books on occultism did he write in his lifetime?

Michael W. Ford is alive and well. He's a Luciferian author and the master mind behind the U.S. black metal band, Black Funeral. Some of his works include “The Bible of the Adversary” and “Apotheosis”, among others.

What is the difference between Satanism and Luciferianism? How much of an understanding of Luciferianism do “The Bible of the Adversary” and “Apotheosis” provide for interested readers? Also, is Black Funeral still active?

Satanists are mainly focused on the physical nature of man. They are content to explore and enjoy that nature and typically reject endeavors to rise beyond it. Satan is an emblem of carnality and materiality.

Luciferians view Lucifer as a spiritual and enlightened being. And while Luciferians do embrace the enjoyment of one's life, they accept that there are greater and more spiritual goals to be had.

Many do see Satan and Lucifer as being different aspects of the same being, the carnal, rebellious and material Satan vs. the enlightened and spiritual Lucifer. The Apotheosis is a beginners’ guide and may be more ideal for someone that's interested in Luciferianism. Both books are essential reads and offer a great understanding and direction down the left hand path.

Black Funeral I believe is still active. Their latest offering, “Ankou and the Death Fire” was released in 2016.

In what ways was “The Gate” influential? Did it make you interested in watching more occult based horror movies? If so, were most of them at least partially accurate or Hollywood schlock?

Seven year old me thought the one kid Terry, played by Louis Tripp, was just the coolest. Ha ha. I watched this film not long ago and I was like, what the fuck? These kids are fucking nerds, ha ha. But back then I wanted to be one of these guys. I wanted to play records backwards and summon demons through a hell pit in my backyard. That sounded great to me. Of course everything turns to literal shit in the film, but I never focused on that part ha ha.

I definitely wanted to see more occult themed horror after watching “The Gate”. One of my favorites from 1993 is “Warlock: The Armageddon”. It's a cheesy flick, but I love it. I've seen it countless times. I feel the subject matter was handled well in the film. This would also be the first time I heard the band Nuclear Assault. Their track “Something Wicked” plays during the credits. It's really hit and miss, some films get it and others don't so much. A prime example of an occult film done properly is Polanski's “The Ninth Gate.” The film coupled with the score, is a work of dark art in my opinion. Probably one of my favorite films of all time.

I didn’t see “Warlock: The Armageddon” but I saw the first “Warlock” on cable TV many years ago. I thought it leaned more towards shlock but was entertaining, especially where Julian Sands’ performance was concerned. Did you ever catch it? How about “Rosemary’s Baby” and “The Devil’s Advocate”?

I've seen the film a few times. Overall, I don't care for it much. It is shlock. Maybe the second is too, but it's much better in my opinion. The remainder of the series, without Julian Sands, is utter garbage.

“Rosemary's Baby” is an occult classic for sure. The only other Polanski film I've seen is “Frantic”, with Harrison Ford. I can't say any of his other films really interest me. I first became aware of Roman Polanski after reading “Helter Skelter”. He was married to the late Sharon Tate, victim of the Manson murders.

“The Devil's Advocate” is a good film, overall. Al Pacino's portrayal of the Devil is perfect. Animalistic and powerful.

Since you have been a fan of underground music from your teens into your adulthood, how do you respond to people who say the music is an adolescent fad to grow out of? Do you think the genres have grown with you over the years?

I think that if you “grow out of” metal music, then it was never really meant for you to begin with. I've heard that shit my entire life and it's never happened to me. Never will. I think my musical tastes have grown over the years, I don't know about the genres. I guess there have been a few groundbreaking albums but none come to mind. The number of bands in the underground scene have grown for sure.

In your opinion is extreme music as valid as classic rock from the sixties and seventies, in spite of preconceptions about the talent required for the music, lyric writing and vocals?

I think extreme music is just as valid, if not more so. There's no denying that we wouldn't have the bands of today without the bands of that era. But, I feel the influence is not as great as it was previously. Extreme music from the 90's seems to be the formula that today's bands try to emulate. As far as talent goes, if you think that extreme music takes no talent, then I wouldn't even waste my time on you. I know people think that, and it's fucking ridiculous. I think maybe these kids playing one chord in their mom's basement are giving hard working bands a bad name.

While most bands today are emulating the 90s sound, have you heard of any taking extreme music in different directions? Is it still possible for underground bands to do something original?

I haven't heard many. The most recent would probably be Craft’s “White Noise and Black Metal”. I think it's a good example of keeping extreme music fresh. I love that the bass is audible in the mix, which is rare for black metal. As for originality, I think so, it's just about finding a new approach to old ideas.

Judging by your correspondence with people, are there more or fewer print zines these days? What do you think are the pros and cons of running print zines, web zines and video channels?

I couldn't tell you for certain. I know there are not many physical zines, that I'm aware of, that interest me. Most of them are strictly reviews and a little boring. I'm trying to do something different with Morgue Rot.

I'm going to have stellar content and be aesthetically pleasing at the same time. Some of these zines are lazy when it comes to the visuals. I can promise that with Morgue Rot, that will not be the case.

Any time you’re doing a physical release, the cons are many. There's no guarantee that you will recoup the funds invested. And if you consider the amount of time spent, there is virtually no profit to be made.

It is a labor of love. Web Zines and Video channels are a much safer route. You've nothing to lose but your own personal time. I chose print because I'm a physical media junkie, not because it was the smart thing to do.

Who do you plan to interview for the zine, and what genres will it support? Do you have a staff or are you publishing it on your own?

I already have a few interviews done for issue 1. Most recognizable would probably be Voltaire, the front man for black metal titans, Deiphago. Morgue Rot will primarily cover black/death/grind acts, however, I'm a fan of all metal so nothing is off the table.

I don't have a staff really, but a very small group of content contributors. Sarah McKellar and Devin Joseph Meaney are both supplying reviews and interviews. Artist Alaric Barca (Goat Metal Comics) will be a regular contributor as well. The design and layout is being done by myself. And of course, I have the final say as to what sees print.

Did you contact Deiphago when you first sought out bands to interview? How many bands had you contacted by then and what made them want to do an interview with you?

I've been Facebook friends with Voltaire for several years. Never talked to him before though. Initially, I was looking for bands to appear on the compilation CD I'm releasing with Morgue Rot. I had four or five bands already, and was feeling brave, so I reached out to him and asked if Deiphago would be interested. He responded with great enthusiasm. Originally, we discussed an obscure Deiphago track being on the comp, but Voltaire decided to talk to the label, Hell's Headbangers, and got permission to use a track from their latest offering, "I, The Devil ". He volunteered for an interview without me asking, which I thought was pretty cool of him. As to why anyone wants to be associated with me or Morgue Rot...I don't know. I must be doing something right.

Who are the other bands you have interviewed this far? Is there enough information about them so readers first hearing of them will get to know them?

Other than Deiphago, I have a short Q & A with Cody Black of Throne and an interview with black metal musician, Cernunnous. I believe there are two or three more that are still being finalized. I would say the interviews are fairly personal and should give a look into the artist's mind. They are short, but insightful.

What other genres would you consider featuring in Morgue Rot? What would you say is your purpose in publishing a fanzine of an exclusively underground format?

I love all sub genres of metal and also listen to a lot of goth rock and industrial/ebm. I would be open to covering any type of music that I feel embraces the dark side of human nature. As for my purpose, it's fueled by an undying passion for underground art and music. The mainstream gets plenty of attention and while I do enjoy some popular bands, it's just not what I spend my time listening to. I'm not trying to get famous here, this is a representation of what I love.

I noticed a few artists posting on your profile on Facebook. Are you searching for artists to do the zine’s cover and possibly some art for the pages?

I'll always be searching for artists, however, issue 1 is nearly full in that department. The great Silvano Calligari will be illustrating the cover and I have a handful of artists that will be featured in the "gallery". But yes, I am currently looking for artists for issue 2. So if anyone is interested....

How did you hook up with Sarah and Devin for interviews and reviews in the zine, and Alaric Barca for art contributions? Are you still looking for writers to submit material?

I've known Sarah for several years. She friended me on Facebook because she enjoyed my artwork and has always been very supportive. When I announced I would be doing Morgue Rot, Sarah was the first to volunteer. I met Devin through Sarah not long ago. He's a great guy with a lot of talent and we hit if off immediately. In addition to reviews and interviews, Devin is contributing a few short stories, and his band Nosebleed Section has a track on the comp. Alaric and I have known each other for a long time. I don't even remember what year we met. We've been supporters of each other’s art and I've done some graphic design work for his comic company, Goat Metal Comics. And yes, I'm always looking for writers to contribute their works. I plan on doing this for a long time.

Do you contact labels for physical or digital promos for review, or do you search social media and streaming websites?

Yes to all of the above. Although I have to say that 90% of the artists and bands that will be in issue 1, contacted me first. Same applies to the bands on the compilation CD.

Tell the readers about this compilation CD you have been hinting at. Will it be released to coincide with the first issue of Morgue Rot? Are you at liberty to name the other bands you’re including?

The compilation will be included for free with Morgue Rot issue 1.It's entitled “The Coroner's Playlist Vol.1”. I fully intend on releasing a new comp. with every issue. I do have ten bands / tracks confirmed at this time. With three more up in the air. So far the lineup is: Throne, Deiphago, Sun Descends Black, Hate Doctrine, Tanatos Mundi, Process of Suffocation, Cernunnous, Nosebleed Section, Teratos, Sebum Excess Production.

What was your basis for selecting the bands to appear on the compilation? How do you plan to print it as well as the zine?

Well, I wanted a decent mix of black and death metal. I know several local bands, so I knew I wanted them on the comp. for sure. Other than the Deiphago track, the rest were submitted for approval. If I liked it, they were in. I'll be printing the compilation CD myself. Initially, I planned to print the zine in house, but changed my mind and will now have a printing company handle the task. I don't really feel like printing and assembling fifty copies to save a couple of bucks. And in the end, the quality will be better than what I planned to do.

How many printing companies did you search for before settling on one? What format will the first issue be printed in?

I looked into several companies before making a decision. The format will be standard magazine style. I wanted something with quality, while still having a zine feel. There's not a publication out there that I'm trying to emulate. I want to do something different with Morgue Rot.

Would you consider doing the zine online, or will you publish it exclusively in print? What response do you hope for the first issue?

I'm actually looking into an online version as well, but I'm not certain if it's something I will do. Print is my preferred format. Obviously, I hope Issue 1 sells out and generates a great response. So far there has been a lot of interest, so hopes are high.

Will you consider live, book and/or movie reviews in future issues of the zine? Anything else you would consider adding?

I very much want concert reviews to be included in the zine, and after live shows resume, I'll be working that section in. Book and movie reviews are something I would like, but honestly don't have the time to do. I would definitely be open to contributions in that department. Beyond that, I'm not really sure. I'd be open to any ideas.

About how many copies are you printing for this issue? How will you price the zine so it makes up for printing costs while making it affordable for zine readers?

The first issue will be limited to only fifty copies and will be $5.99 + shipping USD. At that price point, I can stay in business and still have an affordable product.

What are the things you most want to accomplish with Morgue Rot Magazine? Do you want to see it succeed in the mainstream?

Exposure for underground artist is the main focus. So as long as I'm doing that, I'll be happy. As far as "mainstream " attention, I'd rather avoid it, but if the opportunity presents itself it will be on my terms.

Tell the readers about your artwork and graphic design company Fallen Asylum. Do you provide artwork for bands and zine editors, and if so in what formats? How long has this company been active and how many clients have you had so far?

I started Fallen Asylum in 2015. In the beginning, I mainly did flyers and album layouts for local bands. In the last year I have started doing custom stickers and that has been going fairly well. I've made over 1000 stickers for multiple clients. The future for Fallen Asylum is custom screen printing, which should be up and running this summer. I've only worked with a handful of bands, and that is something I hope will change. It's been a challenge to find new clients as the market is oversaturated. Everyone is an artist these days haha.

http://www.facebook.com/morguerot

http://www.fallenasyluminc.com

http://www.facebook.com/fallenasyluminc

-Dave Wolff