Interview with Sebastian Elliott of BRAINDANCE by Dave Wolff

Interview with Sebastian Elliott of BRAINDANCE

Autoeroticasphyxium's first Braindance interview appeared in issue #6, sometime around 2001, if I recall correctly. The band was active for five more years and then took a long hiatus until 2015.
It was a long hiatus for those outside the project, but continuous attention to the many facets of Master Of Disguise within, having worked on the material since 2003, and even performing some of it live as early as 2004. After nonstop grinding since 1992 with the common practice of write, record, perform, repeat, we decided to take our time with this one, and tried very hard not to torture ourselves or fall victim to whatever self-imposed anxiety that was constantly at the gates. This attention to a variety of detail led to a longer maturation period, from the sound and material to the visual concept and packaging.

How many full length albums were released by the band before the hiatus began? Was there anything about the material recorded during the mid 2000s that convinced you to take more time with your latest full length?
Before Master of Disguise, there was 1994's Shadows, 1996's Fear Itself, and 2002's Redemption.  Many factors contributed to us taking more time with this one - attention to composition detail, attention to performance detail, attention to packaging detail, not to mention attention to details that life brings your way while attending to other details.

Did Braindance perform a lot to promote their first two full lengths? What do you remember of the club scene of the 90s?
To answer both questions simultaneously - we performed far more frequently than we do today - largely in part because the club scene in the 90's was quite different. Live music wasn't as affected by real estate constraints, which placed bottom lines above artistic concerns and eventually drove out most of the smaller and mid-level clubs.  It essentially damaged any and all cohesive 'scenes' that had developed and flourished for decades in Manhattan. 
Aside from playing shows at larger venues like the limelight and L'amour, we could expect to regularly headline smaller venues that actually had a built in crowd that was eager to hear new music, and thus, we were able to return to supportive crowds on a more frequent basis.  Simply booking a show with a motivated promoter assigned to a venue seems to be a thing of the past, and now we're forced to actually rent the entire space, and hope that ticket sales and alcohol sales cover the hefty bar guarantee.

I noticed several reviews and articles on the band on their website. Did your 1994, 1996 and 2002 full lengths generally receive positive feedback?
For an unsigned, completely self-produced entity, we've been quite fortunate to have received so much positive feedback, if not from labels who have never known what to do with us, but from fans and journalists who seem to have gotten it in a big way.

Braindance played NYC on the thirteenth of September, at Bleecker Street’s Poisson Rouge. This event was stated to be a headlining event to mark the release of your new album Master Of Disguise. How would you describe the scene at Poisson Rouge, and the atmosphere at that club, to those who haven’t been there?
Overall, it was very successful, given the long absence from the stage, the complexity of the material presented, and the new musicians we're fortunate enough to be working with. Aside from that, the venue is more of a performance space, and staffed with talented people who actually give a shit, so we were treated exceptionally well. Most importantly, people actually showed up and were unusually supportive of the stage show and new material.

Who are the new members of Braindance who worked on Master Of Disguise with you? Was it a long process to find new members who were on the same wavelength as you? How well are the new members working out?
We recorded Master of Disguise with the help of bassist Andy Bunk and percussionist Stygmie Von, both of which assisted on 2002's Redemption. Backing vocalists Beka and Natalia lent their talents, as well as current live rhythm guitarist Tony Geballe, who greatly assisted during the mixing process. Currently, the live lineup joining me and Vora consists of Geballe, a member of the League of Crafty Guitarists, Kenny Grohowski, who's played with the Secret Chiefs and the Pastorius brothers, bassist Eiki Matsumoto, who was with us from 1992 until 1996, keyboardist Mario Pinzon, and backing vocalist Emilie Lesbros.

Braindance has been part of the NYC club scene for a long time. What changes have you seen due to rising rents and the suburbanization the city is currently experiencing? What nightclubs are around these days that you would consider worth mentioning? I’ve been hearing a lot about new clubs opening in Brooklyn over the past several years.
Certainly a reduction in mid-level venues from when we first started, not to mention a massive reduction in what might be considered an actual hard music scene. Although the scene was always partially fragmented and compartmentalized, there was still a scene nonetheless, and you could regularly jump from one spot to another to hear live music or just hang out with actual regulars who belonged to a scene, much like the hard music scene in Los Angeles, which is still a living, breathing entity. The NYC goth/EBM/darkwave scene still appears to be relevant, and continues to bring quite a few attendees to events, but i can only imagine how the aforementioned rent hikes and gentrification has affected promoters' bottom lines. Having said that, it's still difficult for me to assess every aspect of this progression, as I work practically every night, and don't spend nearly the same amount of time hanging out or frequenting establishments as I did twenty years ago.

When was the last time you were in Los Angeles? Which clubs there are most actively supporting goth, darkwave and EBM?
I try to go out to Los Angeles as much as I can, though the interesting thing is that depending on where I go usually dictates the scenes that I’m exposed to. For instance, if I go to Las Vegas, there’s a 99 percent chance that I’m attending dance venues - anything from tech house to vocal house to trance to classics to dubstep to what’s considered progressive house and EDM, simply because my social circle in those locations gravitate to that scene. The same pretty much goes for New York and Miami as well; however, in Los Angeles, most of my friends are immersed in the metal scene, and that’s usually where I end up gravitating to when I’m out there. For me, it’s the social connections that come first, since I can always listen to what I want at home. Having said that, I’ve heard good things about Bar Sinister and I like the Shrine Shop on Melrose.

How would you describe the Shrine Shop having been there? Are there other cities in the U.S. and abroad you have visited or would like to visit?
Kind of like a lot of shops that used to be on Saint Mark’s Place in the East Village, or similar to the excellent Gothic Renaissance shop on 4th Avenue. I’m no fashionisto, but from what i understand, they make their own line of clothing and supply the world’s dark shops with higher end garments. As a band, we haven’t visited anywhere outside the U.S. but would certainly love to do so, as long as there is a comprehensive marketing strategy in place. I don’t mind losing a bit of money if the opportunity for exposure is there.

Who wrote the lyrics for the songs appearing on Master Of Disguise? What are the songs inspired by and what is the intended meaning of the album title?
I believe in a good measure of ambiguity when writing lyrics. Naturally, the themes have specific meanings for me, but I try not to assign definitive conceptual values to our material, because I believe listening should be somewhat interactive. Insofar as everyone's experiences are different, so should their interpretations be. Whereas I might see despair and desolation, someone else might see chicken cutlets. 'Master Of Disguise' is most definitely a 'concept' album which draws upon solid ancient Egyptian and Mayan themes within the setting of a parallel universe. As with previous Braindance material, there are definitive topics contained within each track that I can closely identify with emotionally, however they are communicated within a (hopefully entertaining) science fiction or fantasy framework that runs parallel to the emotional underpinnings.
For example - without giving away too much - the sixteen page comic contained within the packaging of 'Master Of Disguise' tells the story of a powerful pharaoh-like being who had everything that anyone could ever want. Upon the discovery of an ancient relic - the Braindance amulet - he ends up questioning his beliefs and eventually destroying everything around him.
Obviously, I am not that individual (at least in my present incarnation), and have never experienced what our aforementioned protagonist has, however I think all of us can relate to the concept of questioning one's beliefs, feelings of hopelessness, identity confusion, and of becoming lost within one's self amidst a plethora of history and information.

What gave you the idea of including a comic in your new full length to help tell the story? How many elements did you borrow from Egyptian and Mayan history while compiling it?
As you can imagine, since the release of Redemption, there have been quite a few developments within the recording industry, most particularly with regards to physical distribution. Album sales have dropped like a stone - and although I’d like to think that the majority of our fans are still the kind of folks that have the desire to digest a larger experience (and purchase albums) - I nevertheless wanted to provide a tasty reward for those fans, like myself, who consider the packaging and associated imagery to be an integral part of the experience.
Although we’ve been doing this on our own for so long, I still think it's important to listen to what others with varied experience might suggest. A good friend (and unofficial advisor) of ours, whose opinion I hold in high regard, took a look at the completed five panel foldout illustrated by Joe Simko, and strongly suggested I take the artwork further in order to give the fans something special. One thing led to another, and the entire packaging concept fell into place over the next few years.
For Master Of Disguise, I did quite a bit of research on the history, religion, architecture, fashion, and overall culture of ancient Egyptian and Mayan civilization and society. I also spent a lot of time reading up on the history of written communication, from cuneiform and Egyptian and Mayan hieroglyphs and pictograms to Asian scripts, Cherokee alphabets and Anglo-Saxon and Nordic runes, and spent as much time reviewing archeological artifacts from around the world and their associated inscriptions. In particular, I focused on religious practices, burial techniques, and theories on the afterlife from ancient Egyptian civilization, drawing regularly from texts such as the Book of the Dead.
I spent of lot of time researching these different areas, because I wanted to convey the concept of identity loss and confusion under a simultaneous barrage of apparently unlimited information, or dense communication. I wanted to convey those ideas visually wherever possible, and in as many creative ways as possible. By creating an alphabet from every alphabet ever created, by re-creating recognizable archeological artifacts within the packaging, and by creating a story in the which there existed a parallel society whose nature of communication was as perplexing as identity loss is, I felt that I paid attention to the underlying emotional challenges as well as presented something unique that draws the viewer (or listener) in, and makes it interesting enough to stay for a while.
For the 'Golden Glyphs', I researched 60 alphabets from the very beginning of recorded time and chose five characters per alphabet to replicate in order to create a 300 character custom designed alphabet. These characters, visually presented in random (or not so random) order could easily be taken at face value as solely a form of hieroglyphic communication (and perhaps a moderately attractive visual effect), but the message behind choosing a visual comprised of a multitude of apparently non-compatible glyphs - and a main theme running through the entire album - again, is one of identity confusion amidst information.

It’s good to hear there are still artists who care about packaging despite lower album sales. And there are still fans who prefer to have something physical to listen to rather than downloading it. Do you hope other bands will follow suit?
Not sure if I feel any sort of way about other projects following suit, and given the expense, I’m not sure I’d recommend it. If it works for them, then by all means, I’m supportive. I certainly spend money on music, however, it’s been awhile since I’ve purchased something from the hard music, metal or progressive sub-genres. Having said that, if there ARE leaps in packaging, my instinct tells me that it will most likely come from projects belonging to one of those sub-genres.

How much more attention to detail did the band pay to their work compared to their previous recordings? Do you remember any specific quotes from local or national reviewers who appreciated your early material?
It’s hard to say. I’d like to think that we’ve always been overdoing it from the beginning. Master Of Disguise just takes it a bit further, and the timespan allowed us to go more in depth, certainly with regards to the packaging. We’ve gotten quite a few nifty reviews from journalists, some of which have been supportive from the very beginning. Check em out: progressivedarkwave.com/brainpraise.html.

Describe in some more detail how well the band was treated by the staff of Poison Rouge.
It was fantastic. Aside from the fact the Operations Manager is a longtime pal (and a Braindance fan!), the entire staff - from the general manager to the promotional team to the sound and lighting crew to the help we received from all staff was simply incredible. Our last show was nothing like that, and in fact, I can’t recall if ever there was a more comfortable and professional environment that we’ve been in in our entire 20+ year live career. My friends told me from the start that it was a performance space that is founded and run by musicians and artists, but I had no idea that that’s what it actually was. Plus, it’s in my neighborhood, and a good fit overall, since our crowd is generally responsive to that kind of environment - and who wouldn’t be?

What sort of fresh elements to the new band members bring to Braindance that were previously absent? How does your live show reflect the concept and imagery of Master Of Disguise?
I wouldn’t necessarily say the last incarnation (Mach III) was absent or lacking in any way - all of them are great players, and I still keep in touch. This time around, though, I think that we built the live show up around the finishing of the new release, so naturally, we utilized what was happening successfully, and hence, the rhythm guitar/programing position was created - Tony is such a pleasure to be around, and such a powerhouse, not only musically - but personality-wise, energy-wise, and just overall coolness. He’s been a big part of getting things to this point, live-wise. Since we decided to break up the keyboardist/backing vocalist position into two separate roles - we brought on our longtime pal Mario Pinzon to run keyboards, and then Emily Lesbros on backing vocals. Both are totally focused, and fantastic performers. Emily has a great voice, picks up on things super-quickly and is great work with. Ken is just a fucking powerhouse and is exactly the kind of drummer I’ve always dreamed of working with - a brilliant, hard-hitting, jazz, fusion and metal player that I was lucky enough to be referred to. The guy can do anything. He’s kind of like a superhero amongst percussionists. You’ll have to see it.

How much longer is the tour supposed to take place in support of Master Of Disguise? After the tour is completed, what does the band plan to do next?
I’m not sure that what we’re doing would constitute being on tour. Until we’re able to link up with another project or supportive label, we will continue to perform locally and semi-locally until it’s time to write and record a new album. I’m always thinking of possibilities, but I want to be both realistic about what actually can and can’t be done, and I certainly don’t want to create anxiety commonly associated with adhering to big plans that are usually dependent on unforeseen events.

Braindance official site

-Dave Wolff

Interview with poet CORALIE ROWE by Dave Wolff

Interview with poet CORALIE ROWE

What inspired you to personify the darker sides of humanity into your poems, and what inspires the darkness in your verse?
I really don't know why I choose to write along the darker side of the imagination. I find the lyrical sense of the dark descriptive words to be enticing, they have such a great sounding flow to them, little small rhythmical nuances all of their own. I do believe that in itself is high on the list for the way I write. I also like my poetry to give the reader a sense of scenery and a storyline to follow… even if it is a completely bizarre twisted story and a bit scary. I admit I don't necessarily see the depth of darkness that some people have told me I am writing. I am creating poetry that is dark, yes, but to me they are words just telling a rhythmical story. I also dabble in other genres of poetry including children's, nature, emotions, really whatever comes to me in the moment. Though I do tend towards the darker verse.

Were there poets you read when younger whose work leaned toward darkness? Did reading their work make you want to do something similar?
Not really… I sadly will admit that I am not well read on classic dark poets or really any poetry bar childhood nursery rhymes and Dr. Seuss. It wasn't really something that was taught when I was in high school. I really have very little literary knowledge of poetry (now I feel like an imposter)… so I've thought about it and I would have to say my "poets" were more listened to than read. I would say my influences were brought about more by musicians.

How deeply do your readers perceive the dark themes you express through your writing? Are you generally surprised to hear about the depth they see in your work?
I have received some comments on a few poems I have posted on Facebook, majority of it is good but I do get the occasional reader that I guess takes it a bit too seriously and then asks why I would write a poem where some guys eyes pop out of his head… I write what comes to me… I honestly don't sit down and think hmmmm I might just write a poem about crushing a guy's skull, my writing process doesn't work that way, it's just what my imagination reveals to me as I write. The way the words work. I have learnt that people will read what they want, into anything, not just dark verse. What I intend for the words to say, others will read differently. Every person has their own interpretation, each has their own reality. I used to be surprised by certain comments, but they were generally the encouraging ones.

How important is creating scenery in your poems. In what ways does doing so enhance the stories you capture on paper and make your verses more enticing?
I enjoy creating a sense of the surroundings, I feel (well, I hope) that it makes it easier to visualize in the reader's mind what is occurring or about to. I don't want to write something and portray some guy just standing in a boring graveyard. I like to visualize it, how the trees would be swaying, and the effect of the shadows that are being cast on tombstones by filtered moonlight, the strange surrounding noises from the dark that send shivers up your spine. I like to believe it makes my verse more enticing to the reader by allowing themselves to immerse themselves fully in the scene I'm setting, to be able to sense that chill fickle breeze playfully teasing across their skin, while they are standing in the middle of a dark and foreboding place. Some of my poetry is quite basic especially the earlier stuff I wrote, though I do feel I have grown more elaborate with my poetic style over the past eighteen months that I have been writing.

As you are not influenced by any specific poet, do you feel your writing is something more original?
I really don't think I'm qualified to answer that question… I hope what I write, and the way that I write is different. Going by the other poetry that I have seen on Facebook since I started posting my own rambles, I can see that I have my own style but how original it exactly is… is kind of a moot question for me, as I am the person creating it, you would have to ask other people if they find it original… I will say that there are a lot of fantastic writers I have read on social media, since starting to write my own poetry, and all have their own unique style. I have always just tried to be true to the way I want to write, to pen it how I want to read it. And if others enjoy it as well … that's an added bonus.

How have musicians influenced you, and what are the reasons bands are more inspirational to you than poets?
I guess by growing up listening to what I consider to be a lot of great bands and musicians… there is poetry in lyrics, just as poetry can be quite lyrical in its own right. Musicians such as Janis Joplin, The Doors, AC/DC, Pink Floyd, Metallica, Iron Maiden, Guns N Roses, Led Zeppelin, Jimi Hendrix and many more have all the rhymes and nuances that poetry can have, though it is set to some cool music. Listening to all these different artists, the music, the words, the different styles and meanings of the lyrics… how could it not be inspirational.

I can see how those bands inspired you, especially The Doors, Pink Floyd and Led Zeppelin. But they all had lyrics that were thought provoking and encouraged your imagination. Jim Morrison always wanted to be known as a poet more than a singer. Does any line written by him and the other bands you mention prove particularly inspirational?
Are you saying my poetry isn't thought provoking or encouraging to the imagination? Hahaha. Maybe it isn't, unless you want bad dreams. I don't feel that it is any particular line of lyrics, more so the whole effect of certain songs, like Riders On The Storm. The lyrics are dark, but it is the combination of his words with the rainstorm effects collaborated into the actual song that brings it to a whole different level. The combination of elements is what speaks to me, the passion that they have/had for their work. The depth of what can be portrayed through all the different sounds. I know poetry is more limited in that aspect but I try to make my poems sound as rhythmical as I can.

Was Riders On The Storm the first song that you found more visual? Did you discover others that had the same effect on you
Yes and no, I'm sure there were plenty of others. Just that particular song was the easiest to pick to explain my thoughts on the different conceptual ideas in music and how they can be used. One other song that always stood out to me is Metallica's "One". Such a brilliant way to show the atrocities and heartache of war, and what is left after the fact. They depict it so well, not just with their lyrics but all the elements that they use in that song.

One was also a landmark video, as it was released in a time when most bands were filming “titties and beer” videos. Metallica added a touch of reality to metal videos and it has remained influential to this day. How did the video speak to you?
The video is mesmerizing, I was about fourteen when I first saw it and it really touched me. What they portray is an extreme end result for some poor young soldier… but it made me wonder how many soldiers actually ended up in similar (though not quite as extreme) situations. Not only being burdened with physical injuries, but also the sense of being trapped mentally. It is a brilliant song and powerful video.

Who are the writers whose work you have read on social media, and what speaks to you about them?
There are so many writers on social media, when I first started posting my own words I used to read a lot of different poetry (but there is sooo much). Some are amazing, a lot are mediocre. But I don't think it is my place to judge what other's write, poetry is a form of expression. Yes, some are more eloquent in the use of their words, but even the most badly worded poetry means something, even if it is only to the person who wrote it. I guess because of my own style I prefer rhyming verse, more so than prose, and the writes that I like show some of the writer's soul in them.

Whose poems specifically stood out to you when you began posting your work on social media? On which social media sites do you read the most engaging poems?
Three guys really stood out to me… DS Scott and his page 'Sulphur & Silk', Chris Hewitt, and his page 'Chris's Delusions' and last but definitely not least… Lemmy Rushmore. Their writing styles were well versed with not too bad of a meter… though Lemmy is fantastic with rhyme and meter, DS has some nicely twisted writes and Chris does a range of dark and thoughtful poetry. As for the media sites… there are just so many, and a lot of the other writers on Facebook especially tend to post to multiple groups, so you get to see a wide range of poetry (some engaging… some not so much) on any site you go into.

Did you feel inspired to contact DS Scott, Chris Hewitt and Lemmy Rushmore after reading their work?
I honestly didn't hold myself in any comparison to their writing and I'm not the sort of person to approach people. We were all in similar poetry groups on Facebook and would comment and like each other's poems, after a few months they contacted me.

Would you say movies are influential to you as well as musicians, horror, gore, slasher or otherwise?
I'm actually not a huge fan of horror movies, yes I have watched a few and some are okay, others are just a bit too far-fetched for me. I don't mind the blood and gore parts so much, but it needs to have a decent storyline itself otherwise I lose interest.

Name some of the horror movies with storylines that have kept you interested? When you watch horror movies, what do you look for in a storyline?
I don't watch many but a couple that come to mind that I have watched recently, are… Last House On The Left, the storyline itself was a bit brutal but realistic, loved the ending of that one, so funny. And the other is Rose Red… I love the house, and I find the existence of ghosts to be more believable (but not so much a house consuming them), I like Rose Red for the visual aspect of the home as much as anything else. I love old decrepit houses, they seem to have their own tales to tell. If I watch horror movies I prefer if the storyline has some sort of realism to it, not just a chop and kill theme.

What do you remember most vividly from the house in Rose Red? Are there houses in similar movies that made an impression on you?
The presence… I know atmosphere in movies is created by special effects, music and the rest, but certain homes, buildings have a presence. I was once able to walk through an old mental hospital that was to be demolished, (my partner's job) No, I didn't see any ghosts, but I certainly wasn't comfortable… some of the rooms, those ones with bolts on the heavy doors, the walls with only a tiny slit of a window set high above anyone's reach, they seemed to emanate a very angry presence. Also in what I guess would have been considered the common room, there was an atmosphere of sadness. Even though it had very large windows and was quite sunny, it was cold.

Can you quote some of the more memorable feedback your poems have received from your readers?
The most memorable are for the wrong reasons… once I was accused of plagiarism in a poetry group on Facebook. I had worked extremely hard on this one particular poem inspired by the most magnificent picture I had seen, I emailed and sent messages to contact the artist to ask permission to use his picture to accompany my poem and waited weeks for a response and was extremely happy when he agreed I could use it. Then this guy reposted my poem saying it wasn't mine that he had already seen the same post before by another. After a lot of drama and conversation he admitted that he was wrong and apologized, that was definitely a learning experience. I had only been writing for maybe four months when that occurred.
The other, a lady told me that she hated to "burst my bubble" but was appalled at the bad grammar I had used in my poem and that as an English speaking writer I should know better (but put much less politely than that)… I thanked her for her comment and then informed her that there was no "bubble to burst" as I don't consider myself to be a professional writer. I write what I feel, whether it is grammatically correct or not… She actually inspired a poem, not that she knows that… and it was truly grammatically incorrect.

Who was the artist whose picture you based your poem on? Was you correspondence with him just one-off or are you still in touch with him?
Igor Zenin is the artist, and the picture I requested to be allowed to use is called "Dancing Trees”. The correspondence was with his sister and only once off. I have recently seen some new art by him as I still follow him via Facebook, his work is so beautiful and unique.

In what ways are Igor Zenin’s pictures unique alongside others who work in his field? Does he have any pieces you would particularly want to describe?
I personally just like his work. It's beautiful photography sometimes with a twist. My favourite picture of his is the one I wrote the poem for, you can see bare trees in the background shadowing through hazy muted sunlight and in the foreground you can see silhouettes of women in dance, the bodies of the women are the trunks of the trees which continue to grow out of their heads, they have branches for arms yet the rest of their silhouette, the legs and torso are completely feminine.

Quote a few lines from your poem based on Dancing Trees and explain how they fit the imagery in the graphic?
Igor Zenin’s picture is called "Dancing Trees", the poem I wrote is titled "Do Trees Dance?"

These are the 4th and 5th stanzas…

Long elegant limbs
Now empty and bare,
Still sway with the winds
With unabashed care

When a playful breeze blows
They move and they sigh,
Is this because they can't
Dance under watchful eye

In a way I'm just trying to capture an essence of what I see in the picture… the silhouettes are the trees caught in their pose, their arms as limbs with the bare remnants of leaves scattered on them. The female form of the dancers is the main part of the tree, with their legs and feet captured in a moment of dance as well. In the picture to me it looks as if they are almost playing musical statues and someone stopped the music so they are then frozen in time, yet you can still sense their desire to sway and dance.

Was your collaboration with Igor Zenin the only one you worked on, or were there others you were involved in?
That was the only time I have written to one of Igor's pictures. I was so inspired by it I just wrote what I felt, but as I had only been writing a couple months I honestly never believed that he would agree for me to use his picture with my poem. So I was and am extremely grateful that he allowed me to do so. I have noticed he has a new line of pictures out, which are fantastic. I need to go and look closer at them though to see if any inspiration comes to me.

Where can Zenin’s new photos be viewed on the web? So far have you found anything you could base some verses on?
He is on Facebook, but you may also view his work and the products he sells them on via Redbubble. I have seen many that have caught my attention. I really do love the pictures of the trees that he takes. I like the stark contrasts that he manages to capture, how the darkened wood is twisted and gnarled, creating unusual shapes within themselves, set against different backgrounds of sunsets, water, and snow. There are many pictures of his that I would like to try to write to, but I don't like to force my inspiration. I take it as it comes to me.

How visual and descriptive were your earliest poems when you made your first attempts to write?
I feel my earlier poems were still descriptive, just in a different way. A more simplified way. My vocabulary has grown so my writing naturally has grown as well. I look back at some of my earlier writes and see a lot of things that I wouldn't do now… but that is part of the learning process and finding your own rhythm.

How long did it take you to find your own rhythm and convey your thoughts more descriptively?
I really couldn't say. I didn't necessarily notice the change as it occurred, I just feel what I write now is better than what I wrote when I started. I don't think my style as such has changed that much, though now I do tend to elaborate a bit more. Try to set more of an atmosphere especially if I am writing a darker poem. To me, it is more just the placement of words in their lines and how I read them back to myself, like in my poem Do Trees Dance? In the last stanza which I showed earlier. Now when I read it back to myself I think I would change the placement of one word in the last two lines… “Is this because they can't/Dance under watchful eye” to “Is this because they can't dance/Under watchful eye.” It's not really anything big, just small changes like that.

Which of your poems do you remember from when you started writing? What about those poems did you decide you needed to improve?
I read back over my poetry occasionally, I have a few favourites. I didn't necessarily decide that I needed to improve or change the way I write, it just occurred the more I wrote. When I read my earlier poems, some I still really like, others I can see where I would now change the line ends and the placement of certain words. I guess as I wrote more my meter and rhythm improved and I can see the difference to my early work.

Which of your older poems are still favorites, and which do you think could have used improvement?
I think they are all favourites in their own ways, some have more meaning to me than others, but one of my utmost favourites would be 'Wickee The Unicorn" it was inspired by my daughter. She heard the song Women In Uniform by The Skyhooks when we were driving one day and she got so excited that it was a song about a unicorn, it inspired me to write a poem based off her translation of the song's title… and the song will forever be Wickee The Unicorn from now on. As for improvement in my poems, I find fault in nearly all my poems after I have posted or published them. As I reread them I sort of think I could have made that flow better or that word just doesn't sit the way it should, or the fact I've used the same descriptive word more than once. Just little personal quirks.

Do you have an intuition that these small changes will make the poems read better or are you just tightening them up?
A little bit of both, I'd say. Changing the placement of the words definitely changes the way I read a poem. I am really trying harder to make my poetry flow better, so as you are reading them you get caught up in the rhythm of the words as much as the actual story or subject itself. I personally find when I do read other people's writes that if I struggle to find the rhythm in their words, I don't enjoy the poem as much. I guess that is why I favour rhyming verse to prose, I like the melody that a good metered rhyme shows.

How closely did your poem based on Women In Uniform fit your daughter’s interpretation of the song?
Well she was only four when she heard the song, so her thoughts were only that it was a song about a unicorn. My poem is based off the title she gave me. I think it is a lovely little children's poem about a shy unicorn that would only sing when he was alone, but one day a friend hears him and encourages him to share his talent with others. Which he does and realizes it isn't so scary. It is my poem to my child to encourage her to do the same... to be true to herself, to have belief in herself and be proud of what she can do.
 
Can you describe what your poems are intended to evoke in your readers?
I really don't intend to evoke anything in anyone, I write pretty much for my own amusement or sanity, depending how you wish to look at it… if what I write touches someone that is great but not something I actually aim towards. My darker poetry I don't write to scare or inflict negative thoughts, it's just what comes to me. My more emotional/feeling writing has sometimes been based on friends, sometimes myself, sometimes just a random thought. I don't believe that what or how I write is really that great, but others seem to like it.

What frame of mind do you have to be in to write your darker poetry?
Strangely enough just my normal frame of mind, (not really sure what that says about me though). Random words just seem to pop into my head, a couple sentences that I'll think of, and then I just continue on from there. I never really know where I'm going to take my poems they tend to just come as I write. I have written to prompts... a picture or for an anthology… and even with them I don't have any set story line in mind when I start, I create as I go.

Have you written any poems for anthologies, or submitted any? If not is this something you’d do to reach more readers?
I have had seventeen poems published in five different anthologies and three poems in another yet to be released. One of which is the opening poem for the book (very proud of this fact). Most of my published work has been through JWK Publishing and JEA Press, and all of it has been darker/horror poetry. The majority of my published work is rhyming poetry but I do have a few prose works published as well. My favourite anthology that I have written for so far would have to be 'Toys In The Attic'. It's a beautiful collaboration of a lot of different writers and each poem and story has a corresponding picture to suit. And they specifically wanted rhyming poetry, which suited me just fine.

Name the anthologies your work has appeared in and explain how you published them through JWK Publishing and JEA Press. How much have all of them gotten around and attracted a readership?
Okay… the first anthology I was published in was just a small collection of poems put together by Patrick Royal, called Poems of the Horror Society III. It was a collection from writers in the group 'I Am Poetry' on Facebook. Then came Bones III, Hell II: Citizens, Cellar Door III: Animals, Doorway To Death, Toys In The Attic and the one yet to be released is Suburban Secrets: Ghosts And Graveyards. A friend got me onto the submission calls... the publishers send out the call saying what the subject matter is, how many words etc. I really wasn't that interested to start with especially after several rejections early on, but I persisted and obviously have succeeded on a small scale. I have absolutely no idea if the books sold well or not, or if they attracted any new readers to my writes. I do have a small Facebook page but I couldn't say if those books brought any new members or not.

Who are the other poets published in those anthologies with you? Where can those publications be purchased?
Lori R. Lopez, Mary Genevieve Fortier, Lisa Dabrowski, Mimi Rogers, Howard Carlyle, T.s Woolard, Lemmy Rushmore, David Schutz II and DS Scott to name but a few. There are also numerous authors and artists included as the anthologies are not just poetry but include great short stories and amazing illustrations. I know they are all on Amazon but which other sites, I'm not really sure.

How did it feel to have your writings published with so many authors? Which of the other writers are personal favorites?
Surreal and humbling, I really don't see myself as a poet or writer and to have my mere rambles published alongside so many other writers, is and was quite amazing. I am slowly coming to terms with the fact that I must have a small amount of talent when it comes to poetry, but it is still hard to believe that I have accomplished what I have without intentionally meaning to do so. I tend to favour the same style of writing that I do myself, as in rhyming verse. All of the writers are extremely talented in their own way, but my favourites are definitely Mary Genevieve Fortier, Lori R. Lopez, Lemmy Rushmore & DS Scott. I love the balance and rhythm that their poetry has, they are rhythmical stories in poetic form.

How many rejections were there before your work was published in the anthologies? Do you own copies of any of them?
I received five or six rejections, whilst also having some poems accepted. So it was a bit of a mixed bag. I think a lot of the rejections were based on the fact that what I had written didn't quite fit the genre of what they wanted for the anthologies, some were based on the style of my poetry though. Not all publishers like rhyming verse I have learnt, but that's ok. Live and learn. And yes, I do own a paperback copy of each anthology book I have been published in. My own little collection.

Since you have had so much experience at writing poems, how do you think you would do at writing fiction?
I have been asked this before, and I honestly don't know if I'd have the patience and persistence to write anything longer than what I do write… but who knows… if you had told me two years ago that I would be a published writer of poetry in several anthologies, I would have laughed. And I've persisted with this interview which is certainly the longest thing I've ever written. So you never know.

If you did decide to start writing fiction, would you take the inspiration as you do for your poems?
Probably. I know no other way. I have talked to a friend of mine, he does poetry, short stories and even scripts for some audio programs. He is writing a book... he has an 'idea' a 'concept' of what he wants to portray, he has his characters formed and growing in his mind, a fair idea of the plot, the twists and turns that he would like it to take, how he would like it to end. I don't write that way and I'm not sure if I could. So if I ever did attempt more fiction based writing, it would probably be very messy, random and unstructured. And no doubt it would still have spots that rhyme… I just can't help myself sometimes.

CRowes Manifestations

-Dave Wolff

Interview with John Nelson of UNICORN HOLE by Dave Wolff

Interview with John Nelson of UNICORN HOLE

I interviewed Chase Fincher of She Wants The D Pad recently and we talked at length about the new subgenre known as Nintendocore. Present your insight about this subgenre to the readers.
My understanding is that Horse The Band jokingly coined the term Nintendocore. They use a keyboard in place of a second guitar, and instead of using the standard metal synths - choirs and string ensembles and stuff - they embrace the more standard keyboard bleeps and bloops that bring retro video games to mind. This style really hit home with kids like me who grew up with a controller in their hands. Since Nintendocore wasn't exactly created on purpose, the genre isn't very well defined. I see this as a good thing. It basically means that you can take whatever style of music you like and combine it with video game synths and themes, and you've got your own take on the genre. Horse The Band happened to choose metal, and that's the route I took as well. Also, shout out to Chase! He's a cool guy, and his music is rad too.

For a genre initially named as a joke, Nintendocore seems to be gaining momentum as more bands are adapting this sound. How did this approach to extreme music speak to you and what made you decide to pursue it as a musician?
Nintendocore actually became really popular around 2005, and was at the height of its popularity during "the Myspace days." It died off for a while, I'd say around 2010, and has recently started to gain momentum again. There were always bands releasing music, even during the slow times, but the community is really hoping and fighting for a second wave of popularity soon. Gaming is more popular than ever, so it seems like a real possibility. As for why I was drawn to N-core, I'd definitely say the most straightforward answer is simply because I'm a huge fan of video games. I grew up playing Mario, DK, Pokemon, and Zelda, and I still do today (plus many more of course!). When it dawned on me that I could combine my passion for gaming with my passion for metal, it was just a no-brainer. I'd have to say another reason I was drawn to N-core is that metal tends to be so damn serious. Check any comment section on a metal song and you'll see people vehemently fighting over whether it's blackened death metal or technical black metal, or whether it's "true metal" or "Hot Topic stuff." Who gives a shit!? So I liked the idea of playing music that didn't take itself so seriously. It's a genre that's just about fun.

Do you think the “old Myspace” was in any way instrumental in the birth of Nintendocore, as musicians dabbling in it spread their work from profile to profile?
Horse The Band is the only band I know of who was signed to a major label and claimed the genre of Nintendocore. There are a handful of other signed bands that you could argue played Nintendocore, but the point remains. Myspace was definitely the canvas upon which N-core was painted, ha. If not for Myspace, I don't know how the bands back then would have ever reached any level of popularity.

Did Myspace really need to upgrade to version 3.0 or was it fine the way it was before?
I don't know which version is which, but I gave up on Myspace pretty much right away when they started making weird changes. I hate having to go there for any reason now, ha. Last time I checked it was ridiculously clogged with ads, and nobody seemed to be using it.

Who were the first Nintendocore bands you listened to? How active have those bands been and have they released any material?
The very first N-core band I heard was Horse The Band. Once I starting making my own stuff and got into the scene, I heard a lot of other Nintendocore bands, but I honestly never really listened to any of them much back then. Instead of dwelling on one band, I would just jump around different bands' pages and see what was new. I don't even think there were bands I checked consistently - just whatever was popping up on Myspace. I kinda regret that now, and today I listen to a pretty big selection of N-core bands and know them personally (well, over the internet). A lot of the N-core bands that were big when the genre first took off are no longer active, or are active in different projects today. I think the emphasis today seems to be on quality instead of quantity, ha.

What subgenre of metal is Horse The Band and how long have they been active? What sort of vision did you have when you started Unicorn Hole? Is this project influenced by traditional metal or underground metal?
It's not wrong to call Horse The Band metalcore, but they've dubbed themselves Nintendocore to be more specific. They've been around since '98, but their first official CD was released in '03. When I started Uhole I had a handful of bands in mind, one of which was Horse The Band. The others were more intense metal bands: See You Next Tuesday, The Number Twelve Looks Like You, and Anal Cunt somewhat. AC influenced the humor element and short song lengths, but not much as far as the actual music was concerned. The music was more akin to SYNT and TNTLLY - fast, spastic, and unpredictable, but with occasional refrains and melodic sections. There was definitely an N-core influence too, which mostly manifested itself in the lyrics and Nintendo sounds and melodies I sampled. I would say that very little traditional metal influenced Uhole's original sound. Over the years, however, the metal aspect has become more representitive of popular contemporary metal. The Nintendocore influence has also increased to the point that I feel comfortable claiming the genre as my primary goal now.

Is Horse The Band still releasing albums on CD or on the net? Which of their releases would you recommend?
They are still putting out music as far as I know. Their most recent CD was in 2009, but they're supposedly working on another now. I would recommend any of their music, really; they've always been a solid band. My favorite track by them is probably Birdo (about the enemy from Mario Bros 2), but my favorite CD is Desperate Living. You can't really go wrong with them.

How many full lengths has the band released altogether? Are there any sites where people can check them out?
Horse The Band has released four full-lengths, and a few DVDs. You should be able to find their music on any normal streaming site, or buy them physically online. They're fairy popular, as far as extreme music goes, so you won't have to dig for it.

How would you describe the song structure and lyrical content on HTB’s Desperate Living full length?
Their lyrics range from silly (like Kangarooster Meadows) to more serious and somewhat abstract (like Cloudwalker). Their song structures vary too- from the more traditional verse-chorus-verse-chorus-bridge-chorus, to no discernible structure at all.

Being that Nintendocore is not well defined yet, how much room for originality exists within this subgenre? Do you plan to bring anything new to it at this point?
As with anything, there are elitists who would attest that N-core does have very specific guidelines. I believe people are too concerned with genres and labels anyway. If the music appeals to you, then be a fan; it's that simple. I would argue that N-core is a genre where you can combine pretty much whatever style you want with video game influenced synths and ideas to craft your own brand. Most Nintendocore uses aggressive rock styles, but as long as the Nintendo element is there, I say it counts regardless! With Unicorn Hole I try to incorporate all sorts of music that I like: metalcore, technical death metal, post-rock, and occasionally some outliers like hip hop and carny punk. I believe I've crafted a novel take on the genre. Again, I do urge people not to be too concerned with labels, and to just write and listen to what they think sounds good!

Who are the N-core bands you’ve been keeping track of these days? Are they all contributing something different?
A lot of the active N-core bands of today are in a big group on Facebook, and we've put out a couple compilations over the past year or so. If you check them out, you'll have a good idea of which other bands I'm associated with. And yes, I'd say everyone brings their own flare to the genre. Also, if any N-core bands are reading this and interested in the group, just message me on FB and we'll have you added! nintendocorelives.bandcamp.com.

Are these compilations you speak of independently released? What label are they on and who are the bands involved?
The comps are not a part of any label, but they are released through the Nintendocore Lives blog. There are more bands than I care to list involved- just check out the comps! I'll point out that She Wants The D-Pad is on the newer comp, since you mentioned him. And a couple other favorites of mine on the comps are Poopmaster and Are You Afraid Of The Dog?

From where are Poopmaster and Are You Afraid of the Dog based? Is Nintendocore most active in the States or are bands from other countries experimenting with it?
Poopmaster is based in Germany, and Are You Afraid Of The Dog is based in Canada. I guess that kind of answers your second question too. I don't know if N-core is as big in other places, but it certainly exists. There's a big N-core scene in Russia and surrounding areas that some of us have stumbled upon. They share our stuff on VK (kinda like the European Facebook) when we release it, and write their own stuff too. There's a lot of talent there as well.

What Russian N-core bands are worth mentioning here? How much exposure has your project gotten on VK?
Muhrochka is the project that introduced me to VK. He invited me from Soundcloud, and I was surprised to see the following Unicorn Hole had there. Muhrochka's music is really moody and spacey. I got a message on VK a couple days ago from a project called Gurknakk, saying Uhole was their main influence to try Nintendocore. There are a lot of good acts there.

Are there other countries on the Western Hemisphere where N-core bands are based from?
I would be willing to bet you could find at least a handful of N-core bands just about anywhere. Other than the places I mentioned, I'm not sure of specific bands. You'd have to check Facebook or Soundcloud, etc.

Describe how you started Unicorn Hole and if you decided you would work with other musicians or do it solo. Where do you get your sound samples from?
Unicorn Hole was started to be a quick, easy outlet for my more obscure musical ideas. Because of this, I decided to make it a solo project. Group projects are a lot more work, and tend to take much longer to complete. The way I produced my tracks in the early days was simply to write songs in the tabbing software I use called Tabit, and then export the raw midi and add vocals. That was the whole process. Since I only wrote 30-second tracks, I would put out five or ten at a time. My first full-length is sixty-two tracks, ha. I did have guest spots occasionally, but it was limited to people who were at my house and could easily contribute. As for the samples, I used to just sample anything I thought would be funny. Most of it was clips from shows like South Park or Drawn Together. My video game samples would come from websites where you can download sound packs from games. I still use video game samples today, but I've dropped the random, funny samples. I feel like they're just cheap laughs, and when I listen to my old stuff now I get really tired of hearing the longer samples that I've heard so many times before.

How did you discover Tabbit and what made you decide you wanted to record with it?
I actually don't remember how I first found Tabit, but I'm sure one of my guitarist buddies showed it to me. I used it for Uhole's music at first, just because it was quick and easy, and had a unique sound. Obviously it was fake, but it wasn't supposed to seem real. Seth from Anal Cunt had a side project at the time that was an acoustic black metal band, where the drums were just someone slapping his lap. I was kinda inspired by silliness like that I suppose. My thought was "what's something wild I can do that'll be easy and fun?"

What were the reasons you chose to name your project Unicorn Hole?
This is a good question, and I don't think anyone's ever asked! Uhole started out a lot more grindcore oriented, so I wanted to start with a word to contrast with that extreme style- something like rainbow or butterfly or unicorn. I settled on unicorn, and then tried to come up with something from there. Unicorn Hole eventually came to me, and I liked it for several reasons. First, there's the ambiguity of it. It could refer to the hole of a unicorn, or a hole filled with unicorns, or perhaps something even stranger. Then of course there's the cornhole in the middle- childish slang for butthole. I liked the idea of childish terms for gross stuff, again, because it contrasts most band names in the genre, which go for shameless vulgarity. You know- stuff like Anal Cunt or See You Next Tuesday (CUNT). Cornhole is also a game played in the south, and I'm from the heart of SC (much to my dismay).
Finally, my favorite reason, is that it's actually a very subtle Zelda reference. In Ocarina Of Time (my all-time favorite game) there was originally supposed to be a secret area called the Unicorn Fountain. It was in the Beta build of the game, and you can find pictures of it online. It was removed, however, from the final version. Well in the 90's, the internet ran rampant with video game rumors and outright lies, and we didn't know the picture was from a beta version. Everyone saw the picture and was dying to find out how to get to it. People believed you could acquire the fabled Triforce in the Unicorn Fountain. Of course there were people claiming to have already done it, which fueled the fire. In the game there are secret holes that open up when you use bombs in certain places, and these holes lead to secret areas. So before we realized the picture was from an old version of the game, there was this cult following of hardcore Zelda fans looking for... the Unicorn Hole.

Do you think the name Unicorn Hole brings a kind of fantasy element to the band’s music?
I hope so, but I'm sure a lot of people just think of the butthole joke, ha. I'll take either. Humor has been an emphasis since the beginning of Uhole.

Were any demos released by you before your first full length? Are all the songs on your debut full length original pieces or are there also a couple cover songs?
I released a handful of demos and other small releases before my first full-length. My first demo was released in 2007, and was just a collection of everything I'd done up to that point. In 2008 I released a split with Cheerleader Concubine, and later a CD of grindcore-style Christmas covers. In 2009 I released a CD of covers from The Legend of Zelda: Ocarina of Time. Finally, my first full-length was released in 2010. I've never included a cover of a non-video-game song on a release, but I've done a couple and just posted them here and there online. I'll include a link to an anthology I released called The Hole Damn Thing that includes everything that exists from before my big style change, which naturally has all the stuff I just mentioned

Was The Hole Damn Thing released strictly for promotional purposes or can people review this anthology?
Anything of mine is open to review I suppose, but I would rather have a solid review of something newer I'd done. The Hole Damn thing represents the entire catalog of my old stuff, but nothing of my new style. Then again, a review of it would be pretty cool too I guess, ha. I love feedback, as any musician probably does.

How did your demos differ in sound and approach to your debut full length?
Really the only difference is the overall production quality, which was improved a good bit for the full-length. The writing wasn't much different; in fact, most of the tracks from my first demo made their way onto the full-length with a nice polish.

What tech did you have on hand to produce your demos for Unicorn Hole?
With Unicorn Hole I write all my music in Tabit- a simple guitar tabbing software. In the early days, I would export the midi from Tabit and convert it to mp3s. I would then record the mp3s onto a Zoom 8-track recorder my dad had bought, and record vocals onto the tracks with it. I'd use whatever mic I could find. My dad is a musician, so I was lucky enough to have the stuff I needed lying around. Then I'd export just the vocal tracks off of the Zoom recorder and add them back to the music on my computer, where I had a bit more control over the sound. The only difference in the process today is that my vocals are recorded directly onto my computer, and the midi is ran through virtual instruments rather than staying raw. And of course I have my own equipment by now, ha. I use Cubase for mixing and producing.

Do you generally feel sampling is too overused in extreme music, particularly grindcore and goregrind, these days?
I have a problem with sampling when it's done just for the hell of it. If a sample sets the mood for your song or matches the lyrics, then it's probably fine. But when bands add brootal samples to every song just because that's what you do in the genre, then yeah, it becomes an issue. You also have to realize that people get desensitized to stuff, so after the fifteenth clip of a woman screaming and being chopped up, we start yawning. And as I said, there's the issue of hearing the same sample over and over upon repeatedly listening to the CD. The music may not get boring, but the sample surely will. I'd say use them wisely and sparingly.

List some examples of sampling that did and did not fit the song it was recorded with.
I actually don't listen to a whole lot of music with samples. I have a friend who's big into goregrind and genres like that, so I'll hear them a lot when we hang out, but I don't really know what I'm listening to. Or I'll hear a random band on Youtube with a bad sample, but then forget who it was, ha. One example of a band who uses samples well in my opinion would be Stick To Your Guns. They always find samples that match the message of the song, and usually mix them in with the music, so you're not just listening to talking for twenty seconds before you hear the actual song every time. Affiance's No Secrets Revealed also has a sample that sets the stage and gets the listener pumped right off the bat.

Describe the lyrics you have written for Unicorn Hole from your demo days to the present.
My lyrics were very much grindcore lyrics in the beginning: this is stupid, that thing sucks, so-and-so is lame. I tried to always make them funny though, not just angry or vulgar for the hell of it. I had songs about video games back then too, but over the years I've just zeroed in on that theme. I think it's a lot of fun to write about something that I hold so dear, and that so many other people do as well. My most recent EP, "Songs Unsung" tells the stories of a few popular video games, but from the perspective of side-characters. It was a lot of fun thinking of how those characters would perceive the events of their games. My third full-length, which is just in the planning stage now, will be a concept album about a big war among the Nintendo characters. Pretty nerdy, yeah, but I embrace that.

Describe the amount of work that went into Songs Unsung. Was it released on CD or online or both?
Well, it involved 28 hours of driving! Confused? I met a guy online who would do real instrument covers of my midi songs, and the production on them was top-notch. I knew going into Songs Unsung that I wanted the absolute best sound I could muster, and that he could help me achieve it. He lives seven hours away in Florida, and was unemployed at the time. He couldn't drive himself, or afford a plane, so I drove up there and got him. I made the seven hour trips four times in total: there, then back, and then both again to take him home. We didn't only meet for the sake of producing my CD, but it was definitely on the list. Tyler had become a good friend of mine by then.
Aside from that, the actual writing and recording process wasn't too much different from previous efforts. Production took a little longer, and I made sure all the recordings were as perfect as I could get them. I also approached writing differently for some of the tracks. Only one of the tracks was written solely as Uhole writes, if that makes sense. The other four were planned for a specific purpose ahead of time, and written with it in mind. One was the single- written to hook listeners, one was molded after The Faceless and some more mainstream deathcore acts- to appeal to fans of heavier music, and a particularly challenging track for me was Stranger Danger. I challenged myself to use dropped D tuning (the highest I'd ever used), include clean guitar sections, have no breakdowns, and try to write something emotional for the listener. Basically, I pushed myself to branch out with Songs Unsung. It also features some of the first serious lyrics for Uhole, and I think I did a pretty good job showing the characters' points of view with them.

Could you perform with Unicorn Hole if you got a full band together? Would you be able to pull off live what you do on record?
Most of my recent stuff is in the realm of possibility, although that's definitely not the case for my older stuff. My buddy Tyler Hendricks does real-instrument covers of my songs sometimes, and he plays most of the guitar parts normally. He says some parts he has to play at a slower tempo though, and then speed them up. I don't pay attention to whether my music is possible or not, since I don't intend for it to actually be played (Granted, listening to my new style most people can't tell I don't use real instruments. I don't try to trick people- it's always in the description!). If I were to do a live show- and the thought has occurred to me before- I'd probably play the music through speakers, and just do vocals live. But I would get friends to come on stage and play with Guitar Hero guitars and Rock Band drums and stuff, just to make it a fun show. That's how I envision it. And this would be a small party thing at first; I don't expect to sell out venues this way, ha.

I was thinking a live show like you described would go over at private parties or perhaps in a promotional video.
Unless we put on a hell of a show I'd feel bad charging people for it at some venue. I'd rather just do it for fun with friends and stuff. And the video idea is something I've thought about too- I wanna get Uhole moved onto Youtube Fosho. It's definitely on the list for next year!

How long have you been into grindcore? Before you started Unicorn Hole did you consider doing straight grindcore? What grindcore bands did you most listen to (for me it was the early bands like Napalm Death, Sore Throat and Agathocles etc)?
I was never especially enamored with the genre. I liked what I heard, but didn't seek it out I guess. I heard stuff by Anal Cunt, See You Next Tuesday, Agoraphobic Nosebleed, Massacre Of The Umbilical Cord, and probably a few others that I've forgotten about. Cybergrind was big at the time too, so bands like Wecamewithbrokenteeth were a bit of an inspiration too. I know a little by Napalm Death.

I’ve heard of a few cybergrind bands, but not Wecamewithbrokenteeth. What can you tell the readers about them?
Not much at all, haha. I just know I liked their music back when I started Uhole, and that they were fairly successful at the time, as far as cybergrind goes. I remember they didn't take themselves seriously either, which is a plus as I see it.

What was it like to grow up as a metal fan in South Carolina? I’ve heard a few accounts of living in the Bible Belt and not fitting in; I was wondering if you would relate some of your experiences.
It's just what you'd expect- about half the people who hear any extreme music dub it "the devil's music" right away. I was never offended by it; I just found it funny and ridiculous. You can show a dude being chopped up in a Saw movie, and the general public is fine with it, but when a song has screaming (even if it's a Christian metal band like For Today) it's automatic grounds for eternal hellfire. A lot of preachers around here tell kids that rock and metal are evil just because they aren't the genres the preacher likes, and since he's in a position of power, hey, why not force his opinions as fact? I've witnessed it a few times. Pretty sad.

What specifically have you witnessed when it came to preachers condemning music? Personally I see it as infringing on free expression; do you think they sincerely mean it or is it just to further their own authority as church spokesmen?
I can count the times I've been to church on one hand, and the times it was of my own volition on one finger. I've just had lots of people tell me their preacher/pastor/whatever said metal is the devil's music. If you listen to it, it leads you to evil stuff, and to hell, and blah blah blah. One example that particularly bothered me was an ex's little brother. He was probably eight-years-old and thus very impressionable. He heard I was in a metal band and informed me that I was going to hell. I told him there were Christian metal bands, and that whoever told him that is a closed-minded jerk, and naturally he said it was his preacher. I wanted to write the guy and tell him he was a piece of shit (diplomatically), but I knew there was no point.

Besides Stryper I have heard of many Christian death and black metal bands (Living Sacrifice, Mortification, Horde) that have been around for as long as their “evil” counterparts. Do you see fundamentalists overlooking them or no?
I think a lot of religious people do. Rise is a Christian metal label for Christ's sake (see what I did there?)! There's no reason to assume metal is Satanic these days- it's like racism to music.

A long time ago I read that the staff of a friend’s zine were being hassled by evangelists pressuring them to convert, and a friend of theirs stepped in and put a clean end to it. More recently a friend of mine discouraged someone trying to convert him with some verbal self-defense. So sometimes it is possible to intervene so to speak. Have you ever had to discourage attempts to convert you?
Not very many. In high school I would lie and tell people I was Christian so I wouldn't have to listen to the inevitable lectures. Now that I'm out in the world and mostly get to choose who I spend my time with, I choose people who are like-minded or who agree to disagree. There are a few people where I work who used to give me Jesus pamphlets around Xmas, but they've let off. I won't bother someone about his religion unless it's directly causing other people problems, but one lady at work did start a religious debate with me. It ended with her being unable to answer a lot of questions I posed to her, and with her understanding that I'm not going to give anyone a hard time about their choices. That was the most recent encounter I remember, and it was probably a year or so ago.

One of the most prominent examples of how metal fans are misunderstood in the Bible Belt is the story of the West Memphis Three, how they were incarcerated for at least two decades without sufficient evidence to convict them. It makes you wonder how much there have been similar situations in that area and elsewhere in the States, of varying degrees.
It's a scary thought. Atheists and people who like metal are definitely thought of as evil-by-default by most older adults in my area.

Did you see all three documentaries about the West Memphis Three (Paradise Lost I, II and III)? As those films cover the entire story from their conviction to their release, what are all your thoughts on them? There was also a movie made about it, but the documentaries generally seem to cover more ground.
I'm familiar with the case, but I haven't seen any documentaries on it actually. I'll have to check them out; you've definitely got me curious.

How do you anticipate Unicorn Hole expanding musically and lyrically on future releases? How soon do you expect to work on new material?
Unicorn Hole's music will evolve as I am influenced by more and more new things. I want to keep all the elements that are currently a part of what I do, while adding new elements as I discover them. Lyrically, Uhole will be heading into more serious and even emotional stuff- but again, while retaining the humor and sarcasm that I started out with. I really want Uhole to become even more so a band where you never know what to expect. And I'm always working on new material, ha. I'm writing for a couple little releases now, and will be starting my third full-length soon. Thank you so much for the interview!

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-Dave Wolff

CD Review: FESTERING DRIPPAGE Fungally Infected Fistathon

FESTERING DRIPPAGE

Fungally Infected Fistathon

Grindhead

http://www.facebook.com/FesteringDrippage

The band name, song titles and cover art promise an unforgettable slab of brutal death metal. Anyone versed in the genre will find a graphically descriptive cover enhances the listening experience (Cannibal Corpse is the most obvious example, though a multitude of other examples will also come to mind. When it comes to heaviness and brutality, this 2012 MCD doesn’t disappoint in that regard and this Australian band is determined to make an impression. The cover art mentioned above appears to have been painted and is a clear statement of what’s waiting inside. This and a 2010 demo are all that comprise their discography so far, with compilation and split releases including a four-CD compilation from Torn Flesh Records, Insufferable Noise. The mental pictures Festering Drippage summon are so clearly written they’re bound to attract the most hardcore death metallers of the Cannibal Corpse/Carcass variety. In these five tracks are verses so gruesome they’ll turn the stomachs of those less experienced in reading DM lyrics, which is arguably the point of creating a gore-soaked collection of songs such as this. Apart from the Deicide similarities (particularly in the vocals) this MCD is a memorable catalyst to spring the band into its own territory; they’ll reach it should they use their own license to expand on their style and compose and release material on a consistent basis. The lyrics are presented as narratives to classic gore flicks, and there is a sample sounding borrowed from a Jim Carrey movie to remind you not to take these songs to heart. -Dave Wolff

Track list:

1. Fungally Infected Fistathon

2. Full On Fallopian Fungus

3. Suffocate The Defiled

4. Fingered To Death (The Fingerbang Fatality)

5. Menstrualbation

CD Review: ORDER OF THE EBON HAND/AKROTHEISM

ORDER OF THE EBON HAND/AKROTHEISM
Behold The Sign Of A New Era/Generation Of Vipers
Ewiges Eis
http://www.facebook.com/eerec
http://www.facebook.com/OrderoftheEbonHand666
http://www.facebook.com/Akrotheism
This is a two song split released in 2013, featuring two mind blowing Greek black metal bands. Some background information: Order Of The Ebon Hand from Athens and Attica formed in 1994 and have released material off and on since ‘97. Their main discography is two full lengths (The Mystic Path To The Netherworld, XV: The Devil) and a split of Bathory covers with Macabre Omen (Two Years Standing Proud In Valhalla). They appeared on the seven inch EP Tribute To Bathory (Necroterror) and three compilations: Hellas Salutes The Vikings (Metal Invader), Order Of The Tyrants (Season Of Mist), Hellas: The Black Death Anthology 1989-2006 (Kyrck Productions/Armour). Their lyrics center on dark mysticism and their name was inspired by the game Magic: The Gathering. Akrotheism is a newer band, having formed in 2012 by former members of Astral Aeon after they disbanded. This spilt was their first time appearing on record; they followed this appearance with the full length Behold The Son Of Plagues (Odium) and a split release with Septuagint, Sphinx: The Great Enigma Of Times (Forever Plagued). This band writes about orthodox Satanism, esotericism, nihilism and human decadence, and like Order Of The Ebon Hand they write music that complements their lyrics. These two songs are raw, abrasive, hateful, pounding, uncompromising cult black metal that doesn’t let up for a single moment. There are major differences between these bands; the song by Order is heavily enhanced with keyboards and Akrotheism include theatrical breaks that offer a visual picture of what their song is about. But both bands are equally promising and my only complaint is that I didn’t get to hear more of them, I strongly recommend checking them out on Facebook and other social media sites where you can hear their work. -Dave Wolff

Track list:
1. Order of the Ebon Hand - Behold the Sign of a New Era
2. Akrotheism - Generation of Vipers

CD Review: WEEPING BIRTH The Crushed Harmony

WEEPING BIRTH
The Crushed Harmony
Apathia Records
http://www.facebook.com/weeping.birth
Weeping Birth describes itself as “an extreme metal entity” out of Switzerland. This description kind of sums them up pretty well really seeing as it seems the band is very grounded in Death or Tech Death, and some Black Metal-but, they seem to pull from a wider scope of various influences that can be heard throughout the songs on this release. The fact that there is no “they” in the case of Weeping Birth only serves to make The Crushed Harmony even more impressive. This is because Weeping Birth is just one guy, Vladimir.  There is a bit of a Blackened Death Metal undertone to some parts, namely the opener (Atonality), and Life in a Blood Spasm. Sunburnt has an almost borderline djent or Periphery-esque type of riff to it in parts, but it’s done so in a way that these modern elements don’t come off as outside of the Death Metal or Technical Death Metal spectrum. And they don’t exactly call to mind a band like Periphery either when hearing them. I hear a few feint similarities to a band like Rivers Of Nihil or maybe even newer era Gorguts in regards to the technicality, and dissonant harmony factors that are scattered throughout. There’s also a lot of layers and dueling guitar type parts that offer some extra depth to these songs and the release overall.  The drumming is machine gun like and blindingly fast when it needs or wants to be, but can also settle into more of a groove while still keeping things interesting and dynamic. As for the bass, there’s moments where some melody and various runs and that sort of thing shine through which is nice to hear and always adds an element to the bass overall that keeps both the bass itself and the songs more interesting and balanced.  The vocals are brutal and also not one dimensional, but they are also focused on the goal, and the goal is to go for your throat. The thing that stands out about this release is the technicality and the quality of musicianship, but it also has staying power and depth. Vladimir seems to have a pretty wide artillery of weaponry here at his disposal, and it gets showcased as the album unfolds to the listeners ears. I think this release proves that it’s possible to incorporate more modern elements into the Technical Death Metal genre and still maintain the music’s “Death Metal” integrity. The bottom line is, this guy can flat out play. But, there’s also a strong sense of songwriting and craftsmanship on display here. That’s a balance that a lot of bands, especially within this genre, strive for but sometimes struggle to attain. It really doesn’t matter what you want to call it honestly. An “Extreme Metal Entity” works just fine. It’s heavy, it’s technical, it’s fast, it’s intricate, and it’s brutal. If you’re into Technical Death Metal, or Blackened Death, or Extreme Technical music- check this one out. It doesn’t disappoint. 9 out of 10 -Alan Lisanti

Track list:
1. Atonality
2. A Surface
3. Resurrection of  Resentment
4. Sunburnt
5. Hatefilled
6. Meant to Be Wrecked
7. Life in a Blood Spasm
8. Hollow
9. The Crushed Harmony

CD Review: UPON SHADOWS Between the Southern Cross & the Northern Star by Alan Lisanti

UPON SHADOWS
Between the Southern Cross & the Northern Star
Independent
Upon Shadows is a two-piece, all female Black/Dark Metal project hailing from Uruguay. The band features Natalia Arocena on bass, and Tamara Picardo on keyboards, guitar, and vocals. There is an interesting combination here of harsh vocals and Black Metal riffing with plenty of double kick in the drumming as well. But, at the same time-there is also a strong sense and presence of melody throughout the songs that adds another dynamic to the music. Essentially, at times it almost sounds as if the core of the songs represented on the Black Metal end of the spectrum are completely separate entities or pieces from the melodies laced throughout them. It's as if either one could work well on their own, and yet when combined together, they complement each other so well that it actually enhances the listening experience as opposed to taking away from it. The melodies also lend an element of atmosphere to the songs, and yet this is also evident in the Black Metal aspects of the songs too (just in a different way). If you could imagine blending complete chaos with a soothing sense of melancholy and darkness into one unique entity, you might have a fairly decent idea of what is being achieved here. Tamara's keyboard work and the other symphonic elements give these pieces depth. While her shrieking screams and Black Metal inspired riffs, as well as the drums bring the heaviness and harshness of what some might expect from a Black Metal aesthetic. And I think the bass work of Natalia manages to be the glue and an integral part of what drives these songs along. I think this is especially noticeable on a track like Poetic Tragedy Of The Instant where Natalia seems to let loose a bit more, but without sacrificing her part in holding things together and maintaining a presence that is an important part of the pieces that complete this puzzle. I'm not sure if this would appeal to die hard Black Metal fans, but it's worthy of giving it a chance with an open mind. I'm more of a Death and Doom guy myself, but I am familiar with a fair amount of Black Metal. I think this release upholds the Black Metal end of the bargain, but also isn't afraid of pushing genre boundaries farther or making use of melody. Some purists out there may not be into melody to this extent with their Black Metal, but it's certainly worthy of listening with an open mind. And, it doesn't sacrifice the brutality for these other. 7 out of 10 -Alan Lisanti

Track list:
1. Lethargic Loss of Ambition
2. Streets of Despair
3. Unjust Punishment of Fate
4. The Despair & The Fatidic Arrow
5. Poetic Tragedy of the Instant
6. The Music of All Things
7. Mirage
8. Andromeda
9. Vision from the Child

Zine Review: HEADBANGER #12

HEADBANGER Issue #12 
headbangerperu@hotmail.com
This is the second issue I received while zine trading with editor Rafael Iturrino Ubidia. The other was issue #11 which is reviewed earlier in this blog with background information on the zine. These issues were released a year apart (the release date for #12 was February of 2014) and the front cover establishes Headbanger as having been active for 27 years. The editorial of this issue states Rafael had loads of interview and review material to publish but his computer was infected with a virus and he lost almost everything he had saved to file. The editorial also mentions a run-in of sorts he had with a known ripoff from his home country of Peru. Christian Felipe Paucar Toledo has screwed over a lot of people from what I’ve read on social media (ask Tchort of The Legion Of Tchort zine for example). I thought the layout of the previous issue was a little better, but the cult attitude and spirit hasn’t been diminished by any of the obstacles he has faced gathering enough reading material to release a new edition. Again you’ll receive insight not only about the bands but the scenes in their respective countries. The bands Rafael managed to feature this time are Abrahel, Baphomet Throne Hells, Black Vul Destruction, Beelzebuth, Empty Of Darkness, Infernal Pussy, Lucifier, Matteus, Master Of Cruelty, Masturbator, To Arkham and Vlad. Following these articles are five pages of reviews and a two page section featuring band bios. -Dave Wolff

CD Review: MIKE LE POND'S SILENT ASSASSINS s/t

MIKE LE POND'S SILENT ASSASSINS
Mike Le Pond's Silent Assassins
UDR/ADA/Warner
http://www.facebook.com/mikelepondssilentassassins
If your clamoring for some old school influenced metal that kicks some serious ass you need to check out Mike Le Pond's Silent Assassins. Le Pond's solo effort is a gorgeous, expansive landscape of metal beauty. My first reaction upon hearing the opening track, Apocalypse Rider, was "take Accept, Maiden and Motörhead, put them in a cement mixer and spew it out all over an amazing production and boom - you've got it". The feeling was so intense I felt I could run five miles in the time it took me to listen to this song; it was so driving and compelling. And who among us doesn't miss these types of songs... The ones that make us throw back our heads and scream along.
On Red Death we get a taste (but just a taste) of how creative this project could have been when a Raga interlude melds into a crushing bass lead in; really innovative. But then the tune turns into more predictable metal fare. Would have loved to hear the band continue down this path a bit more and maybe mimic some of the Indian influences.
But please don't get me wrong - this is a killer product. Ragnarok goes right for your throat with nice harmonies and is echoed in the titular track, Silent Assassins. That one just about sent me over the edge. These songs make you want to get up and punch a hole in the wall. And this is where Silent Assassins shine.
We hear a few of the metal clichés here as well... The soft played guitar intros and such... But when this band starts out strong and stays strong all the way through they are really contenders. I am partial to songs that sound like a freight train going off a cliff, so the strong, tight and extremely fast openers get me off and running.
The Vocals provided by Alan Teccio are reminiscent of Rob Halford or a very young Bruce Dickinson. But there's something a bit more slick in his delivery - and for this outing it really works. There's one thing not old school about this album, it's the production. Let's be honest - those old metal albums left a lot to be desired sonically. Not so here. Jesus, the drums and bass are on fire and not only lay down a true foundation for the vocals and guitars but give the band a bedrock solid home where they can play around. None of it sounds happenstance. It's precise, logical and mathematical, and it's beautiful.
This album was released in 2014. I'm sad to learn I could have been listening to this powerful music for months already. Check it out.... -Heather Dawson

Track list:
1. Apocalypse Rider
2. Red Death
3. The Quest
4. The Outsider
5. Masada
6. Silent Assassins
7. Ragnarok
8. The Progeny
9. Oath Of Honor

Zine Review: HEADBANGER #11

HEADBANGER Issue #11

headbangerperu@hotmail.com

Headbanger Zine from Peru is well written and well printed and covers an extensive amount of extreme music. Issue 11 came out in 2012 and starts with an editorial explaining a long delay that preceded its release. Editor Rafael Iturrino Ubidia wrote that he does a great deal of traveling to support brutal music (he leaves his home country four times each year) and prefers to cover all the material as opposed to giving some of it to staff writers. The photo and bands listed on the front cover let you know what to expect inside. The title of this zine is fitting if there ever was a fitting title. It’s simple and tells all you need to know about it. I’d joke that you know a zine is purely underground when you check out the interviews can’t make out any of the band logos. But I can’t fault him for his dedication and the material featured is consistent. From the printing and layout, as well as the tone of the articles, I gather this is the kind of zine that would have been getting a big response from several countries in the 90s. This goes to show what I’ve heard from interviewees I contacted for AEA: there is still an audience for print zines and likely always will be no matter how many ezines and webzines there are. The bands interviewed in this issue are Ars Macabra, Bloodarv, Chaska, Devasted, Devilish, Kristenn Corpse, Malkavian, Marthyrium, Paganus Doctrina, Tengwar, Troops Of Terror, War Ancestry and Xerbeth. You get information about these bands and the underground scenes in their respective countries. Which is why it’s always good to feature bands from different parts of the world, especially now in the age of social media. Each interview is preceded by a paragraph or two providing background information so you get to know the bands before reading. Plus eleven pages of CD reviews, a host of advertisements of independent and fan run labels and various pieces of artwork complete a worthwhile issue. -Dave Wolff