Fictoin: "Lagartija" by Devin J. Meaney

Lagartija

By: Devin J. Meaney

It was a glacial January morning and Jack Lagartija was sipping on his first espresso of the day. The buzzing of the heat lamps that were placed all through the studio was almost inaudible...but their warmth attempted to permeate Jack's bones.

God damn! Jack thought to himself as he clasped his icy hands together, rubbing one against the other vigorously. I have lived in this wretched city for seven years now, and this winter stuff never gets any easier!

Jack hated the cold. Every winter, he would always wish he was sitting on a hot rock under a blistering sun, or maybe in a sauna at one of the fitness centers downtown he was known to frequent. He basked in the hotness of the nearest heat lamp for about thirty seconds, but he knew it would soon be time to start his work day.

Jack had three minutes before the cameras would start rolling. He reported the news at the crack of dawn every day, but the last few minutes before he would be on screen always seemed a bit hectic to him. He downed his espresso, and with one last coat of 'beautifying' makeup, he was now ready to let the earth know what has or has not been happening in the last twenty four hours. The countdown to air time was just about to begin, and Jack quickly adorned his brimming sickly-sweet smile that was well known throughout Metropolis.

Lights. Camera. Action!

''Good morning, and thank you for choosing Metropolis News. Today, the city braces for a blizzard, and as far as snow goes, it seems as if there will be no end in sight until late Thursday. High winds and traffic congestion can be anticipated, as the looming storm is expected to pummel the city, breaking last year’s record snowfall by a considerable margin.''

Jack licked his lips, preparing to continue his spiel. This had been his routine for the better part of a decade, but it never did cease being a chore. Monotony seemed to be an ever present aspect of Jack's life, but he managed to push forward with an increasing loathing for his profession.

The show must go on. Within an hour I will be out of this place!

''Emergency crews will be on stand-by to assist anyone caught out in the weather. Both the police and the fire department are urging folks to stay indoors, as icy roads and downed power lines may limit available transport. Medical professionals will be working overtime at Metropolis General, as serious injury and ailment may become a factor within the next two days.''

The daily news continued for a few moments as Jack droned on with false ardor. He finished up his weather report, longing in silence for the work week to end. He really wished that he was stationed somewhere else. Maybe down south where he could put his feet up, relax, and indulge in a stiff martini when his day came to a close. A place where heatwaves were rampant and the intrusion of snow was a foreign concept.

Jack licked his lips once again, and the glimmer of his forked tongue evaded notice on screen. The slightest hints of scales were beginning to emerge on his face, and his makeup was slowly starting to run down his cheek. The majority of the citizens of Metropolis failed to notice, though. Most of them were too dull to fathom the reality surrounding Jack Lagartija. Only those firmly planted within the higher echelons of society were privy to the complete truth behind his gleaming smile. Only a select few had the capacity to stop him.

''In other news, recent UFO sightings have been dismissed by NASA as weather balloons, leaving some locals disheartened. Mayor Martin Reptil has addressed claims of visiting extraterrestrials as pulp-grade fiction, sparking chaos amongst true believers. Conspiracy theorist Zachary K. Candor insists there will soon be an alien invasion, but the majority of Metropolis has concluded that he should trade in his degree for a tinfoil hat. Still, there are some who wish to believe little green men have come upon the city, and are now disguised as high profile figures and politicians. They expect malevolence.''

Jack froze as he read the text on the prompter. He tried to maintain his composure as the veracity of this report sunk into his brain.

No! I assumed they were all too dumb to figure out the truth. There may only be a handful of them, but that is still too many!

Jack's eyes glared vacantly at the camera. He never expected even a single person to unveil his plot. He loosened his collar, his hands starting to tremble as he pondered his current situation. Jack's temples were pulsing and he now had a headache that could be likened to a train wreck within his cranium. He needed to urinate badly, as his cloaca was responding poorly to the recent news. The veritas of his mission needed to remain confidential. The public needed to be kept in the dark.

After many thousands of years of evolution, his species had now made it to earth in a hunt for clean water, air, and other resources. They had destroyed their previous planet from centuries of neglect, and now they planned to claim this terra as their own. Jack refused to be thwarted by the lowly scum that called themselves humans. After seven years of preparation, they had come too close to fail now. Nothing would stop Jack and the others from achieving their one goal. Their plan called for the eradication of the human sub-species. There were not enough resources for both to thrive. This was survival of the fittest.

Keep it together Jack. Damn it, keep it together!

Jack was nervous now, but the broadcast needed to continue.

''Nearing the border, migrant detention centers have been springing up rapidly in what is assumed to be an attempt to quell illegals from gaining access to the country. Government officials have been silent on the topic, but some surmise that a shadow corporation known only as MONITOR is responsible for their construction. Thousands of asylum seekers have been detained. Once again, Zachary K. Candor has been present with his theories, but as always, most refute his claims as nothing more than vibrant fantasy.''

Jesus, they are even trying to steal the food right out of my mouth!

''Up next, sports columnist Jade Iguane interviews hockey legend Don Matthews about his recent signing to the Metropolis Rhinos. Please hold for a brief commercial break.'' As a slew of commercials began to roll, Jack decided that now was the time to give Martin Reptil a call. Something needed to be done about Candor. He was getting too close for comfort, and without the intervention of MONITOR, Jack feared that he may just be the wrench in the gears that would halt production at the migrant facilities. Within minutes, Martin was on the phone, and Jack could tell by the tone of his voice that something was afoot.

''Martin, we need to put a muzzle on that conspiracy loon Candor. He is going to ruin everything!''

Jack waited for a response, and after a few brief seconds, Martin replied.

''I know Jack, but don't worry about it. It has been taken care of. He won’t be a threat much longer. MONITOR has already been notified. Very soon it will be as if he never existed. Our time is coming, Jack. But I need to go! I have business to take care of.''

Martin hung up the phone. After an ample sigh and a trip to the lavatory, Jack retreated back to the news room. Jade was now in the middle of interviewing Matthews, so he decided it was time to have something to eat. He pulled his lunch box out from under his desk, removing its contents delicately. Jack took a whopping bite out of his 'mystery meat' sandwich, quietly contemplating Candor and his prying ways. Jack was still worried, but the hurried chat with Martin calmed him down immensely.

Outside, the weather was reaching whiteout conditions, and Jack was unsure if he would be able to leave the studio when his broadcast was over. Braving the squalls was probably not an option. This was no big deal, though. He had spent many a night hunkered down at the studio. He would just confiscate one of the heat lamps to keep his office nice and sultry.

After a few more minutes, Jade finished up her interview, and it was now time for Jack to continue his reports.

''And that's all for now! Back to you, Jack!''

''Thanks, Jade. Great interview! This week, students of Rising Star High will be raising funds for their renowned hockey team, The Rising Stars! In their gymnasium on Friday, there will be games, treats, and the chance to win three V.I.P. seats at the Rhinos game Sunday night. Tickets for this contest are five dollars each or twenty dollars a book. The hype is on, and Rising Star high is hoping for a great turnout! Let’s all hope we can dig our cars out by then, because right now, it's a rager out there!''

Jack smiled at the camera, the majority of his viewers looking on in blissful ignorance.

''And speaking of contests, The Story Forge Writers Collective is now accepting short story submissions for their upcoming anthology. Writers everywhere are flocking to the Wilfred Oram Centennial Library to get their works read. Only stories ranked within the top tier will be printed, but thousands are hopeful that their tales will be chosen. The Story Forge Writers Collective produces the best fiction and non-fiction in all of the land, and this is expected to be the competition of the year!''

Jack chuckled internally.

Good. Good! This will keep their minds off Zachary and MONITOR for a bit!

He pushed on with his reports, the minutes passing at a sluggardly pace.

Jack was elated that the citizens of Metropolis had something to occupy their witless minds. Like dogs chasing their tails, the locals would continue to busy themselves with insipid endeavours, the bulk of the masses ignorant to the encroaching invasion and the soon-to-be reptilian uprising.

The conspiracy theorists were still out there, though. MONITOR would need to continue stifling their painfully inquisitive probes. Their numbers were minimal, but even a single person speaking against MONITOR was one too many. They needed to be removed from the limelight. Their silence was essential to the fate of the new world, and Jack would do his best to make sure they were quickly nullified. Jack continued to beam with pseudo enthusiasm, his brilles glistening in the mild glow of the camera.

''Moloch Avenue and Calotes Drive are now closed due to the weather. Only local traffic will be permitted to enter, as city workers are struggling to remove snow from the area. A few trees have also been uprooted, making travel increasingly laborious. Metropolis- wait. Hold on, we are now receiving a breaking report.''

Jack's thoughts began to swirl. What the hell could this be?

He braced for the worst, as anything was possible within the city of Metropolis.

''It is with our deepest sympathies that we announce this breaking coverage. Zachary K. Candor has just been found dead in his upscale loft on Stratagem Street. Police are now investigating, but foul play is not believed to be a factor. His newest journal The Reptile Agenda was just about to hit the press, but sadly, fans and admirers of his work will now have to look elsewhere for their conspiracy needs. Funeral arrangements will be announced at a later date.''

Yes. Yes! That beautiful creature Martin has done it again!

Jack's heart made a jump, almost bursting from his chest with spastic delight. Martin had come through with flying colors, Zachary now 'magically' erased from view of the public eye. With Candor gone, there was now nobody to front any rebellion against MONITOR. The contest for The Story Forge Writers Collective would also aid in the cover up, and with Rising Star High having a contest of their own, Jack knew that there was now nothing stopping him and his associates.

Jack thought with mild ecstasy. Nothing can stop us now. This terra will be ours within the month!

Although Jack now felt like it was time to party, he was still on screen and needed to remain calm. He pushed on for a few more moments, knowing soon it would be time to read his final report. Within ten minutes he would be sipping a martini in his office with his true face turned to the warming glow of one of the heat lamps. Within the grand scheme of things, very soon the streets of Metropolis would flow red with human blood...and Jack was now riddled with extreme anticipation.

We're in the home stretch now, Jack!

Jack's beaming sickly-sweet smile now radiated with genuine contentedness.

''To finish off for the morning, we now bring you a heart warming tale. Just under an hour ago, a kitten lovingly named 'Mittens' by her owners had managed to climb a tree, getting herself stuck on the highest branch. Her owners feared that she was lost to the storm, but the bravery of the Metropolis Fire Department knows no bounds. Fire chief Susan Lucertola and her colleagues rushed to Mittens' aid, and after a few attempts, she was brought safely back to the warmth of her home on Chuckwalla Street. This story is one of dozens we have received today, proving once and for all that the city of Metropolis is in good hands. My name is Jack Lagartija, and thank YOU for choosing Metropolis News.''

The credits began to roll, and Jack took no time rushing from his desk. He waved a goodbye to Jade and the other people working at the station, grabbed the nearest heat lamp, and quickly made off to his office on the third floor. He could not wait to take his makeup off and shoot a few martinis. The blizzard was still raging outside, but everything was set in motion. The mother ship was so close now...

Note: This story was the winner of the CBRL (Cape Breton Regional Libraries) summer short story contest for 2020.

Reposted with permission from the author

Fiction: "Devin Stoddard: Vampire Hunter" by Devin J. Meaney

Devin Stoddard: Vampire Hunter

By: Devin J. Meaney

Devin Stoddard held a stake firm in his battered and manly hands as he stalked his pale yet menacing prey. The garlic necklace hanging from his neck brought forth a pungent stench…and the crucifix in his back pocket gleamed slightly in the moonlight as he made his way through the graveyard.

His familiar, Charlie, followed quickly yet quietly behind him…eager to kill…yet wary of the fanged ones that may or may not creep silently from their forsaken tombs. This was their third hunt just this week, and they had already bagged nine fanged ones…but this hunt was different. They were on the trail of an elder vampire by the name of Jinne…and rumor told that he had an entire brood under his twisted thumb, one big enough to turn all of Cape Breton into nothing more than a mere feeding ground.

The graveyard was silent, but Charlie inevitably broke the quiet with an utterance.

“Master…when will I get to kill again?”

Devin put his fingers to his lips motioning for Charlie to muzzle himself.

“Quiet you. You will be able to have fun soon. Right now we need to locate Jinne’s tomb. If we cause a disturbance before then it will awaken all the other filth. We need to corner Jinne alone…with him gone, the others will perish within days.”

Charlie simply nodded and continued to tail Devin. He was loyal to his master, and he knew that if he was successful in the hunt he would be handsomely rewarded. The flesh of the deceased would be his hearty meal…with a side of as much lettuce as his dark soul desired. Lettuce was Charlie’s favorite.

The duo made their way to the midpoint of the graveyard and it seemed as if no vamps were in sight. Devin was expecting the surrounding woods and marshes to be teeming with undesirables, but it seemed as if they were alone in the cemetery. Aside from the chirping of crickets the quiet continued…but again, Charlie felt the need to speak.

“Master…why is this Jinne so dangerous? We have caught many fanged ones and they were always easy prey. Why is this one different?”

Knowing they were alone, Devin turned to reply.

“Jinne is thousands of years old. Rumor states that he has ten times the power of an ordinary vamp, and his horns extend toward the heavens like spears of ancient bone. His fingers are clawed like a spawn from the deepest darkest depths…and just the shrill of his voice is enough to leave you breathless.”

Charlie shivered.

“He sounds delightful.”

Devin chuckled quietly.

“Yes…the delightful-est.”

The moon was still high in the sky and the drone of the crickets seemed unending. The duo continued to stalk between the gravestones, and the moments passed at a sluggardly pace…each second as still as a photo and as prolonged as a Cape Breton winter’s chill. It seemed as if they were getting nowhere with the hunt…that’s when they heard the music.

Like a cacophony of malignant sirens, the music pulsed feverishly. It started out as a low hum, but as Devin and Charlie quickened their pace, it grew louder and more maniacal the more the pair delved into darkness. Each step forward brought a heightened tone to audible madness…but they continued on. This was seemingly the playlist of a monster.

Just as the music appeared to be reaching a grotesque climax, they saw what seemed to be an open tomb. As moonlight cascaded upon it, it looked as if light was emanating from the ground. A strange sight to see, and even stranger still was the fear in Devin and Charlie’s hearts. They both knew this was no regular fanged one. They knew then and there that this was the abomination they lusted for. This is when Devin spoke.

“Prepare your holy water, Charlie. I will need backup if this monstrosity wakes up. We need to be quiet. We need to put a stake through its heart quickly and efficiently. If Jinne wakes up, the others won’t be long making their way here…so we need to kill the master promptly. We don’t need a mess in this cemetery now do we?”

Charlie just nodded and readied his Super Soaker. He was prepared to do battle (and maybe even die) for his master. The meat of the decomposed was waiting at the finish line, the lettuce would be abundant after victory’s embrace…and another notch in the belt of Charlie the Gnome would be cut with pride.

Devin and Charlie moved forward, and within seconds they saw a sight that left them almost paralyzed. A music box laid beside Jinne’s tomb, its music now more abysmal than ever. The light they glimpsed previously they now knew was coming from an old oak coffin, which was open…showing the ghastly innards to the moon with nefariousness.

Laying in the coffin was a beast like no other…his skin as pale as powdered cocaine and his hair as elegant as an eagle’s flight. His claws were as long as opal daggers…and his horns, like fangs of vicious serpents enlarged to behemoth proportions sat upon his withered head like venomous pillars far beyond basic human comprehension. The light seemed to be coming from the vampire himself.

Devin nodded and Charlie whispered back in anticipation.

“…Let’s do this!”

Devin crept forward with his stake in hand, his other hand clutching the crucifix. Charlie stood at the edge of the tomb prepared to blast the master vampire back to hell with his liquid holiness. Devin inched closer and closer, and just as he was raising his hand to impale the creature…Jinne’s eyes opened, their milky white appearance as revolting as curdled bile.

Devin came down with his stake, but in a fraction of a second his stake and crucifix were intercepted by Jinne. They went flying through the air…ending up somewhere unseen and out of reach. Charlie tried to pump his soaker, but that too soon went the way of Devin’s arsenal. It seemed as if the pair had been stifled. Then…the vampire laughed.

“Who dares disrupt my slumber? Are you the delivery men? Did you bring me the falafel I ordered?...And what’s with the stake? Are we in medieval Europe? I think not!”

Devin just gasped in confusion.

“Uh…whut?”

Jinne laughed again.

“So…you’re not the delivery men? I ordered falafel two hours ago and it still hasn’t arrived. They better get here soon otherwise I’m not paying full price. Falafel is best served fresh…and they better not forget my Pepsi!”

Devin just stuttered in awe.

“…A v-v-v-vampire that eats falafel?”

Jinne chortled.

“Whoa. Whoa. I’m not actually a vampire, ok? That’s just an act I put on to get popular with the gothic babes. What…so you were trying to KILL me?”

Devin once again writhed in confusion.

“But…but…the music…the light…the coffin…the stories?”

Jinne raised his hand in dismissal.

“I play in a black metal band. The music is from my upcoming EP. I sleep in a coffin for publicity and the stories I put out myself to ramp up album sales. As for the light, I grew up by the tar ponds…ok? Don’t worry about it!”

Devin panicked.

“If the vampires aren’t real…then who the hell have I been killing all week?”

Jinne crossed his arms in disappointment.

“Uh…goth kids. You’ve been killing goth kids…arsehole.”

* With that, Devin and Charlie realized that their quest was nothing but fantasy. The vampire takeover was as fake as Jinne’s claws, horns, and contact lenses, and Cape Breton was not actually in any peril at all. There would be no flesh of the dead for Charlie to feast upon, and the notch in his belt would remain un-cut.

No more would Devin and Charlie push forward on their delusional rampage…and after the LSD wore off, they would go to jail for multiple homicides. Never again would Devin and Charlie “bag” another “fanged one”, and never again would Cape Breton feel the wrath of the vampire slayers. Due to the publicity of the graveyard spree, Jinne’s band would sign a record deal and go on to release a whopping 66 copies of their EP worldwide…and as for Jinne, well…he’s currently dripping in gothic babes!

THE END

Reposted with permission from the author

Film Review: School Spirits (2017) by Devin J. Meaney

School Spirits

Directed by Allison Eckert

Written by Christopher Babers, Terrance Hines, Caitlin Kleppinger and Christina Kleppinger

Starring Tiffany Alvord, Teala Dunn, Piper Curda, Christian Delgrosso and Audrey Whitby

Released October 6, 2017, June 2, 2020 (online)

MORE Productions

“A girl relocates to a small town only to find it inhabited by ghosts. A struggle against a bad spirit ensues to keep the town's children safe.”- pulled from Google.

I normally watch a lot of horror and fantasy but I needed a break from my usual pursuits. I hit up Tubi and eventually stumbled upon “School Spirits”…a 2017 teenage flick about…well yeah…ghosts! Unlike most of the films I view this one was entirely family-friendly. I mean…sometimes you need to catch up on some of the lighter stuff I guess? Anyway…I don’t think the budget for this was insanely high but it was far from the bottom of the barrel. Each actor/actress played their parts well and there was a lot of humor here. Overall my favorite character was a teen boy with cystic fibrosis named Link (or maybe Lynk? I’m not sure). Literally every single scene with him in it made me laugh. No joke!

One of the things that really struck me about this was that two of the lead actresses reminded me of my daughter, each for different reasons. Maybe all teen girls have certain things in common but I found it amusing that there were many scenes that made me think of her.

The only main negative comment I have to make is that some of the “plot” involving the “bad spirit” kind of got lost on me. I mean…there could have been a bit more of an explanation. With that being said I would entirely recommend this as a movie to watch as a family unit and young viewers would be able to enjoy this without much of a scare.

Anyway...Watch this film! It was pretty darn good! -Devin J. Meaney

Film Review: Curse of Crom: The Legend of Halloween (2022) by Devin J. Meaney

Curse of Crom: The Legend of Halloween

Directed by Rob York

Written by Rob York and Scott Baird

Based on the story by R.H. Grimly

Produced by Rob York and J. R. Andrus

Starring Chelsea Jurkiewicz, Tanner Gillman and Colin Cunningham

Released September 23, 2022

Firespire Productions, Arrowstorm Entertainment

“High school teenagers accidentally unleash an ancient Irish entity on their hometown and must stop it before midnight on Halloween.”

The premise for Curse of Crom: The Legend of Halloween is a simple one but all in all this film was quite entertaining and put together nicely. There was a lot of decent practical effects, and although this was low budget everything was filmed well and this didn’t come off as something that was put together with a shoestring.

There was a fair amount of humor here too. Unlike a lot of horror films there wasn’t a ton of swearing, nudity or gore…so I can go out on a limb and say that this one would be good to introduce younger viewers to horror. It has a rating of 14A but even that seems a tad excessive…and I’d say viewers even younger would be able to watch this. This wasn’t the best horror flick I have ever watched. But it was far from the worst…and I would encourage just about anyone to give it a go!

This was directed by Rob York and produced by Rob York and J. R. Andrus, and was written by Scott Baird and Rob York. -Devin J. Meaney

Interview with Dr. Mike Trubetskov of The Overcoming Project by Dave Wolff

Interview with Dr. Mike Trubetskov of The Overcoming Project by Dave Wolff

Your new single “Overcoming” has just been released on several streaming platforms. Describe what the song is about and your experiences recording it with Mike Heller of Fear Factory, Jon Howard of Threat Signal, and Sergei "Efes" Fomin of FS Projekt.

It’s just a story of me going through a Doctorate Degree and immigration, experiencing massive challenges, and overcoming these to start a metal production career in the end. On the other hand, though, this song is about overcoming the inner misery in any human being and ascending through this process into the core essence of our souls and the true meaning of our lives.

Recording with Mike Heller was a breeze as always. Mike went ahead and rearranged my guide parts into absolutely spectacular, vibrant, and very sophisticated drums. We got 95% down in Mike's first take, and then just tweaked the details from there. Very similar process with Jon as his melodic ideas were so catchy and outstanding that I didn't need to change a thing! I just had a few requests for adding extra emphasis layers and accents, and that's it. With Sergei, the process was more sophisticated and stretched in time. "Overcoming" has the most complex bass line for the entire project. We started by working with MIDI in guitar pro, tweaking and refining Sergei's vision for these Mudvayne-inspired bass lines. Once we got it down, Sergei had to really take his time to record these up to his highest standards, as he is the one who challenges and criticizes himself the most. It took months, and it was worth it as the results speak for themselves.

What were the challenges you experienced on your way to starting your career? How much time and work did it take to get past them?

Apart from the "normal" challenges of getting new clients, my biggest challenge was that I was new to Australia. I had no network of musicians. No one knew me, basically. And that had to be fixed in order to get interested. So I went ahead and met every musician that I could at every show that I could go to. I introduced myself to everyone, sometimes with great success; other times, awkwardly as I was so fresh in there. That created a snowball effect eventually, but it was incredibly difficult to pull off at first. I spent at least a few years building this momentum.

Where were you based before relocating to Australia, and what were the reasons you decided to move?

I was based in Moscow, Russia. Before coming to Australia, I briefly lived in Philadelphia, PA, USA. The reasons for moving were: the unstable political climate and the very poor musical situation in Russia. At the time, I didn't know that I wanted to pursue music as a career, however, I could feel the need subconsciously, and the only way to make it work was living in a country that accepts heavy music widely. That certainly aligned with Australia with its rich and diverse heavy scene. I moved to Australia because I was offered a scholarship for my Ph.D. studies at the University of Melbourne.

I’ve heard a little about Russia’s political climate, especially the way bands are regarded. I remember hearing one or two other stories in which a band had to relocate under similar conditions. What were those conditions from your perspective and at what point did you decide it would be better to live somewhere else?

While I was playing with Gift Of Madness, we were quickly growing from just your regular underground band with history (the band was formed in 2003) into a better-known metal band that opens for international artists (we supported Black Bomb A and Killswitch Engage). While that rapid growth was really exciting and somewhat unexpected, I could quickly see the ceiling. There wasn't much further to go from that level, and we would be probably stuck there if I didn't move out.

I mean, there absolutely were much bigger heavy bands (like Amatory, Stigmata and such), yet even for them, opportunities were scarce. All of that stemmed from the lack of heavy music culture in Russia. People simply didn't go out to gigs, unless it was a big deal international band. And even then, it was very common for listeners not to just have fun - yet to judge how musicians were performing, what was lacking, etc. This sense of elitism and gatekeeping are quite common in the English musical communities too - yet back home, it was cranked up to the max.

I was much younger and didn't do any comprehensive research on the scene or opportunities, however, it just felt the way I describe it now, and I trusted my gut feeling. Needless to say that since I moved out, heavy music became even less popular, and right now only a handful of bands exist in very niche underground communities. Very little international touring is happening (I know that Arkona is coming to Australia which is sick, but apart from that - nothing really).

Was the Ph.D. scholarship you were offered by the University of Melbourne related to music or other academic areas?

I did my Ph.D. in Biochemistry and Molecular Biology. I studied how cells die when exposed to Huntington's Disease. Before that, I studied Physics at Lomonosov Moscow State University and then specialized in Biophysics. While it all sounds very fancy, in reality, Ph.D. was mostly repetitive and exhausting routine work with experiments not providing results for months and one's supervisor being unreasonably mean about that.

What are the most significant differences you noticed between Australia and Russia, music scene and music industry-wise?

As I mentioned before, the main difference between the Australian and Russian music industries is that you can immediately see the Australian scene being truly alive. There are hundreds and hundreds of metal bands in Australia, and some are truly worldwide known, and rightfully so. The level of performing and entertaining is much higher, and even though Australia does feel more laid back, musicians utilize the best of both worlds. The listeners are the ones that keep the scene alive. It is in the culture - where the older generation supports younger artists by going to the pub, having a drink, and listening to all the bands performing, and being truly open-minded about it. There really is no such thing in Russia, it's not in the blood. I attribute this to the Soviet Union's false ideology, where heavy metal bands were considered violent, anti-Soviet, or racist. Even though the Soviet Union fell more than thirty years ago, the stigma is still there.

Why do you think that stigma still exists so many years after the collapse of the Soviet Union? Do recent events in Russia generate the same feelings today?

That extends to the bigger paradox of Russian society. One would think that indeed, the obsolete approaches would eventually fall under the pressure of progress. Modern Russian history shows us otherwise - the concepts only grow stronger. In the heavy music world, I assume it may be due to the fact that Russians still haven't been fully exposed to the proper culture of heavy concerts. There certainly were a fair few, yet not widespread and always stigmatized. When I first went to the US I attended Killswitch Engage and Lamb of God gig, and the atmosphere was just so drastically different. People had a state of immense bliss combined with a ferocious push toward freedom. People felt free. Russians don't quite allow themselves to relax enough. This concept would be very foreign - based on how the society and the government is set up.

There was a strong anti-USSR punk and rock music movement in the late 80s in Russia, and one of my big influences Civil Defense band were the formers of that movement. This wave has completely subsided, though. Some think that it has partially transformed into modern hip-hop/rap music in Russia - but I wouldn't readily agree.

How much of a stir did Civil Defense create in Russia when they were active? Is this band still active now, or what are they doing?

Massive stir. Listeners were going absolutely nuts on those gigs. Full-on punk action including the destruction of venues and anti-social actions. Just one example from 1997: https://youtu.be/tngJ2Sgd-LQ At the same time, Civil Defense members hated the misunderstanding that their music met in the audience, the lack of empathy, and just plain stupidity some of the fans were showing. Egor Letov's aim was to show the beauty of progress and growth that literally anyone can achieve by making an effort. Throughout his career, Egor stopped the band a few times - particularly in the early 90s when they were truly about to blow up and play stadiums. The reason being, he would never "sell out" if his message wasn't delivered, and he felt like it wasn't at the time. Quite a band with incredible history. Egor Letov died in 2008. His project has therefore concluded.

Who were some of the musicians you met with while searching for people to work with? How often would you run into musicians who were interested?

I met the whole metal community in Melbourne, who were very open and friendly to me. My closest friends were the guys from Vulture Culture - Tim, Gus, Mitch; the Hybrid Nightmares crew - Adam, Ben, Johnny, Loki; and each and every musician who worked with me on their own projects.

For production work, I would say half of the musicians were interested in talking about their sound further and just vibing with our common music tastes together. For The Overcoming Project, it's been much less since I have very specific music taste in heavy. However, there were a few guys online and locally interested to talk about the project, and many more supported it by giving a listen.

What do you mean by overcoming inner misery and ascending into one’s own core essence, finding one’s true meaning? How does your music reflect that?

My philosophy is that every human being is at ground level to start with. That is, lazy, egotistical, and miserable. It requires an enormous effort to break through that slog and become better by achieving results that help one to grow, and help change the others around them with positivity. That is only possible when one discovers what they are born for, what their place in this world is, and the path towards getting there. My music reflects this idea by describing my own journey and hopefully inspiring others to follow; but also by creating a certain feel of ascension musically. It is similar to what one experiences through meditation.

In what ways are your songwriting and playing likened to meditation and introspection?

I link meditation to ascending into a certain state of mind, clear, focused, and sharp. I wrote these songs in or right after meditation sessions. Similarly, with guitar playing and recording, I try to capture this enlightened state by at the very least being in it on sessions - and that's not an easy task. Most of life stuff distracts from it, and it requires enormous focus and attention to carry through - or come back another day when there are fewer distractions. Very much the same with mixing, although probably three times harder - considering how intense and laborious this process is in itself.

How long do you usually need to meditate before you can compose without outside world distractions?

It's just eight minutes. I meditate every morning before I hit the studio. Sometimes, in between the sessions or before some intense ones when I can.

Can you describe the state of mind you’re in when you are completely focused and able to concentrate on your songwriting?

It’s a state of flow without any anxiety about external interactions, relationships, messages, or anything, really. It's just pure immersion in the music and 100% concentration on what it means and feels. I find that any outside interactions easily disrupt it and leave only a fraction of this pure musical essence flowing. Therefore it is so important to be in the right state of mind to approach the music with the fullest attention possible.

How much of your inner self can you express once you reach the state of mind you’ve been talking about?

Probably about 50% - as much as humanly possible. I have definitely succeeded in expressing this state of my mind in this EP, with "Victory" containing it at its highest - as humanly possible. What lies beyond isn't quite describable with music or even visuals at all, hence 50%. One has to experience it to understand. I hope that my songs may serve as a guide into this state.

On how many of your releases have you worked with Mike Heller? How did you and he come to work together so well as long as you’ve been acquainted?

We worked with Mike on four out of five of my releases, starting with "Anxiety" which was released in 2020. When I wrote "Anxiety", I wanted to collaborate with the very best in the metal world - and with the musicians who have been my biggest inspirations. I went ahead and discovered a resource called Metal For Hire. Mike was there, available as a session musician. Being a fan of Fear Factory, I reached out to him. I guess, the biggest factor was that he liked the music. It all started from there.

Where on the internet can Metal For Hire be found, and how reliable would you say it is?

https://metalforhire.com/. It's a very reliable, curated resource. The only thing is that one has to make sure that session musicians do receive the initial message through the platform as they may be very busy and not check inboxes very often. So the initial conversation requires an effort, and it all goes very smoothly from there.

Name the releases you have out and describe what the lyrics of each of them mean to you. What did you intend to communicate to your listeners through those lyrics?

"Anxiety", 2020. Lyrically, the song describes a journey of getting rid of the anxiety that was seeded in my childhood.

"Determination", 2022. The lyrics are about constant self-doubt and imposter syndrome, and how to break through these by finding my true purpose in life.

"Overcoming", 2022. I aimed to describe my journey of doing a Ph.D. and all the massive challenges that I faced with burnout, bullying, and immigration issues throughout this process.

"Victory", 2022 (out late Sep). I think that I was truly able to reach the highest possible state of mind with this song, and the lyrics depict it the best way they could. Personally, the song serves as an anchor for me to never get back to the lowest state, depression, and misery that I've been in for a few years while struggling with immigration.

There certainly is a common thread in these lyrical ideas for the listener, who may not be familiar with me or my journey. I truly try to share how I persevered through my various challenges and really hope that this may inspire a listener to embark on a similar personal journey. In short, I hope to give some hope to those who may need it in their dark days of mental struggles.

Are the lyrics to The Overcoming Project’s songs made available for your listeners? If so does this help them relate?

Certainly so. I have uploaded these to Distrokid so lyrics are readily searchable and available via streaming. I can only hope that these weird lyrics would make great sense - as, obviously, English is my second language.

Did this common thread you mention develop naturally as you composed those songs listed above? How do you intend to develop it further in future songs?

Yes, this merged naturally into these songs as I worked on my own self-development and used meditation and such methods as a tool for growth. I realized that I absolutely need to share it with others as it may help them on their own journey. Hence I started implementing musical and lyrical elements into the initial song canvas that would represent such states.

Right now, conceptually The Overcoming Project is completed - we shall see how we go, though! I aim to certainly continue implementing such elements onto anything that I compose in the future though, and some of my inspiration is music for the film with a heavier edge to it.

At what point did you decide The Overcoming Project had reached its conclusion conceptually? Looking back, how important a chapter do you consider it in the “big picture” so to speak?

This happened after an event of massive self-reflection at a national park on May 30th, 2020 - this is the date when I completed songwriting for "Victory", too. It felt that everything has clicked in my head and I finally got past the trauma and moved forward clearly. Looking back, this project has tied into all the events of my life completely, and although heavily involving mentally, it depicts major milestones of my adult life. So for my big picture, it's very significant. Overall in the world - obviously not, yet everyone has their own world.

Do you have any ideas for new bands or solo projects? In what ways could you develop as a musician if you decide to continue with a new outfit? How would film come into it?

As I am playing live with Hybrid Nightmares now, a progressive black metal band, I'm likely to be involved in writing the next album with them. I am considering getting a 7 or 8-string guitar to experiment with low tunings and implement a different sound in my music - however, this is currently truly speculative. Film scoring is likely to be one of the main outlets for my creativity as I consider it a sneaky way to channel heavy music influence into the wider audience without them quite realizing it. Heavy music without sounding heavy, essentially. We shall see how we go!

How long have you been performing with Hybrid Nightmares, and what are you hoping to achieve with the band? What was it about their music inspired you to work with them?

I've been with HN since the beginning of 2022. I hope to just be out there and have fun on stage, delivering great guitar performance and energy. The guys have been incredibly kind to me. I loved the unique melodic aspect that HN combines with black metal - some jazz or odd chord progressions, complex song structures, and a deep atmosphere.

Where is Hybrid Nightmares based, and how much material did they release before you hooked up with them? How much involvement do you expect to have in the making of their next album?

HN are based here in Melbourne. They've been active for more than 10 years with a large and diverse catalog of songs available - a few albums and EPs. Right now, their next album has been completed and is awaiting release, I joined at the tail end of the production process. Hopefully, we would compose the next one together!

When in your recording career did you become interested in film scoring? Were there any movies or soundtracks in particular that inspired you to get involved?

I became interested in film scoring during the 2020 lockdowns. I wanted to challenge myself and experiment in a genre that I don't practice very often, so I sat there with my synth and composed some ideas which I found surprisingly nice - and started from there! There are a lot of movies that inspired me, many of these subconsciously without even realizing it. Particularly though, Inception was a huge inspiration, as well as Star Wars and the Dune.

What genre of movies are you considering writing soundtracks for? Are you in contact with anyone who could help hook you up?

I feel like my music would suit a drama, a thriller, an action or a horror. Any genre that allows room for tense and evolving music actually needs it to build the dynamics. It would also suit some kind of commercial ads.

I am in touch with a few people and currently working towards connecting with more. Only time will tell which of these connections become fruitful.

Thank you very much for your kind time and attention to detail, I had a blast answering your questions and would like to thank you again for your diligence.

https://eolstudios.com/

https://www.youtube.com/c/Eolstudios/

-Dave Wolff

Interview with guitarist Wade Norris of Our Last Enemy by Dave Wolff

Interview with guitarist Wade Norris of Our Last Enemy by Dave Wolff

Your latest release is a cover of Smashing Pumpkins’ “The End is the Beginning is the End” which appeared on the soundtrack of “Batman & Robin” (1997). What about its dystopian theme inspired you, and how does your version compare with the original?

"The End is the Beginning Is the End" was one of those songs that we all played on repeat in our teenage years (all of us are Smashing Pumpkins fans). For me, it opened my eyes to a world of loud guitars combining with synths creating huge walls of sounds and I couldn't get enough.

I feel like your teenage years are when the smallest things in life are amplified and feel catastrophic. So, a song like "The End Is the Beginning Is the End" was a great soundtrack to that angst! Fast forward years later and the world is facing a pandemic, is locked down, isolated and the news continues to list how many people are sick and dying. So the song once again felt like a suitable soundtrack to the real world we all face.

Our cover pays homage to the original but amplifies everything to 11. With our own music we try to create a wall of guitars, bass, drums and synth that just hits you in the face while still having enough melody to get stuck in your head, so we followed the same approach. It was an honour to cover the song that turned me on to looking beyond heavy guitars to create heavy music.

Being an industrial metal band, how much would you say an alternative rock band like Smashing Pumpkins inspired you to naturally progress and expand your horizons? Did other alternative bands or bands in other genres have similar inspirations?

Bands like Smashing Pumpkins are known for a big wall of guitar fuzz, which in ways is similar to industrial metal’s big wall of guitar and synths. In ways we have always been influenced by alternative bands, but in saying that we all have varied music tastes in OLE and bring those together in our original music.

How did "The End is the Beginning is the End" speak to you and Our Last Enemy, and how did you reinterpret it to make it more personal? As a result of your appearance on the soundtrack, how much attention did the band receive aboveground?

The song has always been a favourite of the band so we aimed to combine everything that is OLE while not changing what about the original song that made us love it in the first place!

Do you still hear the angst of Smashing Pumpkins’ song in today’s popular music, or has it diminished somewhat these days?

I can definitely hear the angst of Smashing Pumpkins influencing today’s artists. Songs like “Zero” and “Bullet with Butterfly Wings” are timeless classics and that is only scratching the surface. I even know a guy who fronts Death Metal bands whose favourite all-time band is the Smashing Pumpkins! I feel as a musician I try to listen to more than one style of music and instead just listen to good songs. Life is too short to listen to only one style of music. We as a band have influences that range from Ice Cube to Morbid Angel, Faith No More to Einstürzende Neubauten, Jethro Tull to Lamb of God (you get the picture!).

I myself listen to many musical genres, from Cradle of Filth to old Prince to Ministry to Loreena McKennitt, depending on my mood. Is it easy for you to tell natural from forced progressions in other bands?

I always find the music I gravitate towards is the type of music that makes you feel something inside. It doesn't have to be heavy or loud, but it has to least have something to say. You can hear when someone is forcing it to create a catchy yet forgettable little ditty for pop radio and chewing gum commercials.

Loud and heavy are not requirements, and bands can be nuanced without preaching or oversimplifying the matter. The new releases by Sigh and KMFDM are good examples. Smashing Pumpkins’ “Machina/The Machines of God” is another, far better than pop or the formulaic hard rock of the late 80s. What other examples can you think of?

We are generally drawn to music that makes us at least feel something. One of my favourite albums in the world is “Aqualung” by Jethro Tull which is 70's folk inspired rock! A Perfect Circle is a great example of a band that isn't heavy but still rocks. As a band I think the only genre none of us like is the overly autotuned pop tunes that are played on the radio (does anyone still listen to the mainstream radio anymore?). In saying that sometimes there are times where the only album you need is “The Great Southern Trendkill” by Pantera and can just play that on repeat.

How much more potential does underground metal have to continue growing at the rate it has since the 90s? There are more subgenres appearing since those days. Is there anything that hasn’t been thought of yet?

Underground music in general is in a strange place. While it's now possible to make your music available worldwide at a push of a button... absolutely anyone can do that. Over 60,000 songs are added to Spotify every single day so I am sure any musical idea you have ever imagined is out there somewhere. It's just a question of how to find it!

With so many songs uploaded to Spotify each day, how much more difficult is it for people to find material they really want to listen to? What are the chances of tracking down something original and inventive?

I think it can work well if you use the "radio" stations of bands you do like to find bands you may not have heard of that fit into the same genre but there is also so much there that I am sure there are bands that have been uploaded that no one has ever even listened to that could be the wildest most inventive bands ever! We are back to the stage where putting it online is no longer enough because everyone can do it (which is a blessing and a curse really!).

Did your inclusion in the “Batman and Robin” soundtrack lead the band to receive offers to appear in other soundtracks?

Unfortunately that wasn't us but the song we covered by the Smashing Pumpkins was on that soundtrack... We have just had two songs included on soundtracks. We have the songs “The Holy Ones” on the soundtrack for “My Bloody Banjo Directors Cut” which is about to drop on Blu-ray and “Never Coming Back” is featured on the “Eating Miss Campbell” Soundtrack. “Eating Miss Campbell” is a Troma film which has just had its release at London Frightfest! I can't wait to get to see it!

How did the band manage to land soundtrack additions on “My Bloody Banjo” and “Eating Miss Campbell”? Can you fill us in on the storylines of those movies? How familiar are you with Troma Entertainment?

Liam Regan approached us about using the songs for both movies after hearing Never Coming Back and with us being fans of Horror we were honoured! My introduction to Troma was being about 10 years old at a friend’s slumber party whose mother thought “The Toxic Avenger” was just the live action version of the kids cartoon... “The Toxic Crusaders”. It blew our young minds!

Since you appeared on those soundtracks has the band increased their listenership among horror fans? Do you see a need for the sort of gore soaked and comedic movies Troma produces?

The movies are still on the festival movie circuit at this stage so it's hard to tell, but we have always had the sort of fanbase that love horror movies, violent video games and heavy music. I think the important thing about the sort of ridiculous movies that Troma produces is that they stand for artistic freedom. They are so tasteless that it can't be taken seriously and is just a bit of fun really. I don't think anyone should get to censor anyone else's art.

Which Troma films would you most like to contribute to, soundtrack wise? Horror movies, violent video games and heavy music have gone hand in hand for many years. Why do you think they’ve been associated for so long?

I would love to contribute music to a Toxic Avenger movie. Toxie is that one Troma character that was able to break out into the mainstream (even if it was decades ago!). Video games and, horror and heavy metal?? That answer could take a long time to answer - let’s just say fun times stick together.

Are there other bands whose songs you would like the band to cover? How would you arrange those sons to make them unique to the band while keeping to the originals?

There are lots of songs I would love the band to cover, but at the same time I much prefer to write something new. But in saying that covers are a fun way of trying out new gear, new synths or new recording techniques. I would love to do a cover of a rap song. I always loved that cover of “Fuck the Police” by Dope! It’s just a lot of fun! As far as the arrangement I tend to prefer covers that keep what is great about the original song and don't change the melody too much most of the time but every so often there is a cover that pretty much turns it into a whole new song!

Since Our Last Enemy formed, how many albums and/or EPs have you released, and how would you describe the evolution of your sound as a whole?

So far we have one full length album, two EPs and a remix album! We have tried to keep evolving our sound by having an approach where no idea is off limits where we all come up with ideas and throw them in a blender to make something uniquely Our Last Enemy.

Of all your collective influences, what most makes Our Last Enemy unique alongside other bands of your genre and underground music in general?

We are one of those bands that are always trying to reinvent ourselves and try new things. This last release is probably both the most melodic and the heaviest the band has ever been at the same time. It's hard to stand out but the people who are into what we do are really into what we do.

In what ways does your full length, EPs and album of remixes mark OLE’s evolution as a band? How many new ideas have you explored with each release?

If you go back and listen to the releases in order you can hear the band evolve and try new things. The first release really laid a foundation that the rest have built on. Our last EP release “As Above So Below” has songs that smack you in the face with distorted guitars and synths preparing you to headbang wherever you are and then have you singing and dancing along on the next song. Music is meant to move you and make you feed that hunger inside for the rollercoaster of life, and we just try to provide the soundtrack for that.

How did you arrange for the guitars and synths to complement each other while writing and recording “As Above So Below”? In what ways are the lyrics arranged to fit your songwriting?

It can be really tricky to balance so many sounds, but the biggest advice I can give anyone is to not focus on what each part sounds like on its own and then try to make it fit but to instead work on vocals, guitar, bass, drum and synth parts together. They are all important pieces of the puzzle, and the way for them to work well together is to not let one be an afterthought. Lyrics tend to come last but the musical arrangement needs to have the space left for those lyrics to be the pieces that complete the puzzle.

How much spontaneity does composing songs on the spot allow for the band? Does it account for the variety in moods on the EP?

We are a band that tends to write on our own and bring our ideas together to allow them to evolve until the song is finished. We tend to use the rehearsal room to rehearse the songs after they are finished. That way we just reinterpret them for the stage but try not to think about "how will we do this live" in the writing process. Plus it is best to write when you are inspired instead of just forcing a song out because you have to, because you are at the rehearsal studio!

How often does inspiration come when you are composing or rehearsing a song? Can you hear the difference between a song that develops naturally and one that is forced?

I used to try to force inspiration but I don't anymore. If I can't come up with something naturally I move onto doing something else. But one thing I try not to limit myself to is one particular instrument at a time. So even if I am aiming to record guitars for a song but a synth part comes to my head I will put down the guitar and try to capture that lightning before it is gone so it is not forever forgotten. We have a lot of song “ideas” recorded that may only be two guitar riffs and a drumbeat, and if the inspiration to write something new going back to something that was started can spark something and give new ideas.

Once the composing is completed, how are the lyrics usually arranged to fit the music? Is the subject matter standalone or inspired by the songwriting?

Our singer Olver Fogwell uses a variety of methods. Sometimes they come to him in the jam room and other times he works on tones and phrasing then attributes lyrics and meanings later. Sometimes we give him a working title for the song that encapsulates the vibe we are going for musically and that puts him on the path thematically for the lyrics.

When the band gives him a working title, does he come up with the lyrics on the spot or take time to write something? What form do the lyrics usually take?

It can go both ways, sometimes a line from a song inspires the working title. Sometimes the working title can just be something dumb that sounds like a riff in one of the songs. The lyrics are generally a joint effort between Oliver and Matt Heywood (bass/backing vocals).

What do Oliver and Matt draw influence from when writing lyrics? Do they write about personal experiences or anything happening in the world around them?

The guys write from everywhere. Some songs are based on true events or people they know or themselves. I know they have also written songs about historic events.

Indicate the historical events and true events Oliver and Matt based lyrics on. How closely do you see the songs fitting said events?

Wolves of Perigord was written about the historical story of a pack of wolves that killed 18 people in France in 1766. There are others I know that relate to personal events to Oliver and Matt but they do prefer to leave their lyrics open to interpretation to allow our fans to be able to relate the lyrics to their own lives!

Does Oliver have any techniques to train his voice to fit the background music without damaging his vocal cords?

Oliver definitely makes sure he always warms up before having to sing with the band with a bunch of vocal exercises. It's too easy to damage your voice if you don't look after it to not warm up and you won't be a singer long if you don't!

Tell the readers about your two full lengths “Fallen Empires” (2011) and “Pariah (Eclipse)” (2014) and your EP “Wolves of Perigord”. How much distribution did they receive and how do they represent the band’s growth?

“Fallen Empires” and the “Wolves of Perigord” EP were released through Riot! Entertainment in Australia and “Pariah” was a compilation of some of the tracks on those two records through Eclipse for the worldwide market. So in a way we have already had a greatest hits! I think if I look at what we do now compared to the band back then, the biggest difference is the electronic element of the band has headed in a much more industrial direction. Much more sequencing synths and samples instead of playing them on a keyboard. One of my biggest electronic influences is film and film trailers. Those sounds that just shake a theatre so we have been throwing those into the OLE Blender. We have also really inspired by experimenting with vocal effects like you can hear on parts of “As Above So Below” and the Smashing Pumpkins cover. We have some ideas to expand the band’s sound again soon too but that is still a secret!

Talk about the other releases you have out, including your promotional videos and the album “Engineering the Enemy” on which several artists guested recording remixes of your songs.

Right now our most recent EP "As Above So Below" is available on streaming services everywhere as well as on CD through Imprintmerch.com.au.

“Never Coming Back” and “Long Time Coming” are latest big videos who were directed by Her Name Is Murder Productions who have worked with Sepultura, Red Hook and lots of other great bands! We have the videos for “The End is The Beginning Is The End” and “The Holy Ones” which we shot and edited while Australia still had on and off again lockdowns.

We also have a visual for the other two tracks from the EP which are on our YouTube channel (https://www.youtube.com/c/OurLastEnemy) as well as all the music videos the band has ever done. The remix album was something we did after making a lot of connections with various bands and artists around the world, from high-profile names to the friends we hang out with here. We found

we have a good crossover with the industrial/dance/electronic scenes so this was also a good way to tap into that. Our singer was the big driving force behind that record as he is also a DJ and is really into that stuff as well.

How closely did Her Name Is Murder Productions capture the vision you had for your videos? Would you work with them again?

HNIMP has so far done every Our Last Enemy main single video (We have done some ourselves) and every time the band has worked with them it's like getting old friends together working towards a common goal. We have worked again with them already and have a new video out next year!

How many ideas does the band have saved away to elaborate on when the inspiration comes?

In all honesty I have a lot of half-finished songs stored away that I just couldn't find the right way to finish or progress at the time and even more small ideas that could just be a riff or two or a drum beat idea or a chord progression on a synth. I know the other guys in the band have ideas saved too!

What methods have you been discovering to compose with synthesizers and samples since you started working with them? What new ideas have you come up with?

As far as working with Synths and Samples is, the rules are there are no rules. For the majority of our songs we aim to use synths to fill out the soundscape and add an extra layer to the songs instead of "being" the song. Almost all of the songs do work without the synths being present but the synths just add that special sauce to our music and just adds either an extra layer of melody or chaotic noise to really turn things up to 11.

Would you say the ideas you and the rest of the band have are compatible? How do you intend to make them fit together when you start working on new material?

As a whole they are definitely compatible but like all band's compromises have to be made but as a whole I can't think of any compromises that have been made that weren't for the better even if I disagreed at the time! What can I say... Guitar players sometimes overcook the guitar parts!

Will you be seeking additional platforms to stream and sell through besides those you hooked up with? How much publicity are you hoping to generate with new releases?

Right now we are on all streaming services as well as Bandcamp if you prefer to buy digital music on a platform that gives more money directly to the artist. Our goal is to always get our music into as many ears as possible of course.

What kind of an impact do you want the band to have on your field of music and on music in general?

I would love our music to reach people who want to listen to it over and over again. Some of our songs are quite layered and you won't notice certain noises or synths or effects on the first listen. I want to get to a point where we can tour the world and have people enjoying the music as much as we have enjoyed making it!

http://www.ourlastenemy.com

http://www.facebook.com/ourlastenemy

http://www.reverbnation.com/ourlastenemy

http://www.last.fm/music/Our+Last+Enemy

http://www.youtube.com/user/OurLastEnemy

http://www.ausmetalguide.com/Our_Last_Enemy

-Dave Wolff

Interview with Matt Hart by Dave Wolff

Interview with Matt Hart by Dave Wolff

Explain the conceptual story you created for your current full-length “Below The Terra Pt. 1”. How long did it take you to devise it, and did it come out as you expected?

BELOW THE TERRA PT.1 is actually a follow-up to my previous works; the story of ‘3808’ really began with my album TERRA 3808 where humanity was fighting a losing battle against the machines. BELOW THE TERRA PT.1 is the sequel in a way - humanity is hiding itself away from the surface, away from the icy wastelands created by the machines to destroy humanity. It's a story of survival against the machines, the elements, and themselves. The concept is ever-evolving, I’m really allowing the story to write itself as I progress through the timeline. I suppose it never took me any time to actually devise the concept. It has really just been there all the time… it is our future. If you consider the idea that I’m here in 2022 only as a hard light hologram transmitting back from 3808, then I’m only telling the story as it is, here in 3808.

Are you a long-time reader of science fiction literature? If so, was anything you’ve read inspirational to your work? Or did your inspiration come from other mediums?

I’ve certainly read bits of sci-fi literature. The HALO series of books based around the video game has been really fun to read and there are certainly parts of them that have inspired particular ideas within my work. Currently, the shift from the icy wasteland of the surface world into the under terra was probably inspired by the labyrinthian construct of tunnels beneath the surface of the HALO rings – and there’s certainly quite an amount of snow on some of the halos! But, to be honest with you it’s more TV and movies that have inspired me. Movies like “The Terminator” inspired the man vs. machine context and the idea of time travel that I use for my Twitch show and the concept that I can be DJing my live shows to 2022 as a hard-light hologram transmitting back from 3808 is a direct nod to Arnold J. Rimmer in the BBC series, “Red Dwarf”. In fact, I’d say that the character I ‘play’ is more like Ace Rimmer but I’ll let you decide which I am!

What sci-fi authors have you read and which of their stories helped shape your writing?

I’ve recently been reading Ernest Cline novels - Ready Player One & Two and Armada. Although these are certainly not the ‘man vs machine’ stories of my music narrative, so I wouldn’t say they’ve much influence on what I write per se, I’ve been really enjoying the dive into the VR world that they portray. To this end, I’ve even gotten into VRChat (on VR) where there are almost infinite worlds you can visit and go clubbing in! I suppose this loosely links to the idea of my transmissions back from 3808 of my Twitch show.

How many releases do you have available that tell the narrative you invented? In what ways does each of them relate it lyrically and musically?

All my music since I started releasing in 2017 relates (two albums, three EPs), but I suppose the direct narrative began with TERRA 3808 (02/11/2019). There, I told of man’s struggle against the machine. A SUPERFICIAL world GONE TO SHIT, humanity on the EDGE OF LIFE. It tells of heroes, the OUTLAWS, and the people leading them. That’s all in the lyrics but musically it’s the raw abrasiveness of the album that tells its own story of struggle. The industrial noises of the machines to the wailing loneliness of some of the synth lines. Prior to TERRA 3808 were the CHAOS RISING Eps (11/08/2017, 14/03/2018, and 30/11/2018), which were a precursor to the events of 3808 but were more varied and not fully locked down into the concept yet. After TERRA 3808 came my new album BELOW THE TERRA PT.1 (15/03/2022) which continues during 3808 (3808 is actually more of a metaphor for the future time when humanity lost the war, and therefore, there is no need to denote a timeframe we are in by the conventional method of the day, week, month format) and it’s now telling of how humanity is burrowing down beneath the surface, seeking the best ways for survival.

Are there other movies or TV shows you’ve drawn from while writing lyrics, such as THX-1138 or Doctor Who for example? Dystopian themes have been a part of science fiction for many years; in what ways could technology and AI lead to a real-life dystopia?

I guess most ‘post apocalypse’ movies have some influence on my narrative. Possibly (minus the zombies) films like “Resident Evil”, “I Am Legend”, “Mad Max” etc. give a landscape to work from, although my world is now an icy wasteland, so maybe more akin to the world in “Snowpiercer”. Lyrically speaking, the aesthetic of these worlds, can’t see how anyone wouldn’t be inspired by them – the strong images and reoccurring visuals offer ample key words to draw on for writing. Within my own concept, you’ll see that TERRA is regularly referred to. In terms of AI, I can definitely see the advance in robotics outrunning man’s own intelligence, therefore “allowing/transforming” man to become sentient. It will happen, possibly not in our generation though – but then again who knows!

When does the narrative form in your creative process? How long does it take to develop it? Or is it an ongoing/ever-evolving process?

Every track of course is different, I’ve sometimes had true creative power and produced a finished track in a day or two – but more often it’s a few weeks to tweak nuances and levels. As I’m sure any artist will say, “nothing is ever really complete, but there comes a time when you have to decide it’s finished enough”. If I actually had continued solid time to focus on music, the few weeks might materialize – but with a full-time day job and life to add into the mix, realistically a track is at least a couple months in the making. I think my process is different to most, as I write the music first, then the lyrics are produced. Usually, the track title is identified, then the lyrics are devised surrounding the concept/story the title is looking to achieve. So, the narrative falls into place when I’m writing those lyrics and I don’t often find that I’m rewriting lyrics – it’s kinda like I see a “film” of the music in my head and the lyrics are vocalizing the visual. Writing lyrics has always been a difficult part of the process for me (I don’t claim to be a poet), but I know once they’re done the product is far superior and more well-rounded to listen to. What a song will mean and how that song will fit into the overall narrative, even so far as the liner notes for a track/single/album release, ultimately is a connected story off the back of the lyrics. The 3808 story is definitely still developing and ongoing, I potentially have three parts to BELOW THE TERRA, it is a hamster wheel of ideas in my head!

Tell the readers about the HALO video game and accompanying books? Which parts were influential to you and your work?

HALO is set in around the year 2552 when an alien ‘covenant’ has decided to attack human outposts across the galaxy. The United Nations Space Corps (UNSC) are sent in to eliminate the covenant threat. This includes a collection of SPARTAN soldiers who are physically and biologically enhanced super soldiers. One of these, their leader, is SPARTAN JOHN 177 – the Master Chief. The video game story centers on the Master Chief, but the books expand the ‘halo’ universe. A lot of the ideas for 3808 come from HALO as mentioned before, such as the idea of tunnel systems below the surface, the ominous threat from a foreign enemy, and the ability to use holograms to talk to people on the other side of the galaxy. So, throughout my music, there is evidence of the HALO influence and as it’s a series of works that I enjoy (both video and books) it’s exciting to carve out my own creation from this multi-faceted world.

What aspects of “The Terminator” helped inspire your lyric writing? Were you influenced mostly by the first movie or did any subsequent movies in the series speak to you?

My lyric writing isn’t that complex so it’s probably quite akin to the “Terminator” characters who don’t really say very much! I’m a fan of stark, bare-bones typewriting. Lyrics aren’t my strong suit, so I get across what the music/narrative needs in as little lyric writing as possible. Without a doubt, the “Terminator” movies were the inspiration for the man vs machine story and in my music, that story is told; in part, by the lyrics so I guess that’s what the films inspired. The second movie, “Judgment Day” was probably more of an influence, since it was the first one of the series I saw in my youth. My feeling is that “Judgment Day” is probably more pivotal in the series compared to the others, and certainly the scenes of the future war really spoke to me in a way of, ‘this is our future if we don’t do something about it’!

How long had you been watching “Red Dwarf” and what about the character of Ace Rimmer was an influence to your character?

I have watched “Red Dwarf” for about thirty years! Though in the last ten or fifteen I haven’t watched it quite as much. I should probably go back and watch it again, it is great! Simply put, Ace Rimmer is just such a great guy. People want to follow him and be him, he’s just so upbeat and positive. I guess I feel like I’m often like him, certainly in an upbeat way and that’s what I’d want from a leader in the future, especially as humanity is really struggling to survive at this point in the story.

Do you produce your releases with professional masterers or producers, or do you do this independently to have a clear interpretation of your vision? Do you prefer working with analog or digital equipment or both?

When I started releasing music, I wanted to have 100% control over what I was releasing and this still rings true today. The “Chaos Rising” records were completely produced by me, even down to the mastering. These days I have a good friend (Adi Calef – DNA Studio) who I work with in the mixing/producing phase and then I send the mix away for professional mastering by Krischan Wesenberg (Rotorsand). However, they don’t add anything to the actual music creation, just the overall mixing of the tracks. I have been using 90% digital equipment since I started writing properly for this project. I use software synths mostly and digital plugins (that’s my road setup, since I travel for work regularly I often create music on the go --- so digital setup was important), and then I obviously use mics for vocals and my trusty Jackson 7-string for recording guitars (mostly using software guitar effects too). In my home, I’ve got a music/studio room, so whatever gets created “on the road” gets fine-tuned back at my desk setup.

When your recordings are completed, do you see the balance you created between analog and digital sound? How hard do you work toward perfecting it?

Interesting that you picked up on the different nuances of these sounds. A lot of the reason why I use guitars is that I’m always writing with a live show in mind – which would then include my guitarist, Jerome. It is certainly a balancing job when mixing them in but at the end of the day, they are there as a difference to the digital sound – instruments have the capability of rounding out music with fullness, that’s sometimes a challenge with digital. It certainly takes time to mix them nicely, and whilst they may not reach the mark of perfection, I’m happy with the product that is produced – knowing it gives the live show better balance.

How long have you known Adi Calef of DNA Studio and how much would you vouch for him as a mixer and producer? Who else has Krischan Wesenberg worked with, and why did you choose him to master your recordings?

Adi and I have worked together at our day job for many years (maybe since 2012) but he’s only been mixing for me since 2018. His primary musical influence is outside the ‘dark community’, so he approaches the music without any preconceived ideas – taking onboard my direction for how I want the music to sound, using his skill as a mixer to shape my music into its best form – and yes, I would totally vouch for him as a mixer and producer! I’ve known Krischan for a few years but more on the peripheral. It was only when I heard that he was mastering records that I reached out and asked if he would be interested in another customer, he was, and has mastered everything since the beginning of the BELOW THE TERRA era (2021)! Respecting the work he has done with Rotersand (Aesthetic Perfection, Straftanz, and more) – word of mouth and results of accomplishment, kind of speak for themselves – making wanting him onboard with my project an easy direction to take.

How long have you been hosting your show on Twitch, and what is featured there?

I’ve been DJing on Twitch since May 2020 (a DJ since 2013), right at the beginning of the pandemic – every Monday 9-11pm UK “transmitting back from the icy wastelands of 3808” via the show “Outlaw Vision” on twitch.tv/matthart3808. During this time, I’ve been able to gain a great community (#outlawcrew) who love how I interact with them directly (I use a mic and chat with the audience throughout the show) and at a time when we were all locked in at home, it was a great way to build connection and not feel so isolated. It’s been really touching to have many messages of “thanks for helping me not be alone” from viewers and I’m so pleased to have been able to carve something enjoyable for people during a tough time. Of course, not forgetting that the show is all about music though, so I’m always playing currently released music I love from many of the dark alternative genres (industrial/ebm/dark electro). In the absence of live gigs during the pandemic, it was vastly important to me to still support the music community – sharing new music with others, which also gave me a platform to share my music too. Gaining more interest and followers in a global capacity, than I would have had easy reach via standard gigs in my home town/country. One of the identifying factors of my show is that I always display TRACK ID on the screen, so viewers can discover their “new favourite” artist/track. I mean if you’re not letting the crowd know what you’re spinning, how can they go to Bandcamp to get it!? In addition to new music, I have special features like highlighting a band, event or guest DJ collaborations to further promote unity within the community. With live events back in full swing, I’ve got some festival events I’m a part of and the specials for these are fun. I devise a set to solely focus on the bands appearing at the festival, so really gives a great exposure to the festival and do a lot of social media promotion for it --- which means tagging bands and pushing their name out there. The last one I did was for Resistanz Festival (Sheffield, UK – April, 2022) where I was both DJing and performing and I’m next planning for Hellsinki Industrial Festival (Helsinki, Finland – November 2022 https://fb.me/e/1EGTy0cBX) where again, I’m both DJing and performing. Tune in and find your NEW favourite band!

Do you have requirements for bands seeking to be aired on the show? What do you look for in bands seeking exposure?

There’s one simple requirement, I have to like the music! I play music on the show that I like and generally have a good rapport with the artists too. If someone approaches me with new music, I’ll always give it a listen but the sound and style, generally, have to fit with where my musical interests lie --- that being industrial/dark electro/ebm sounds. Sending a promo copy/download link is the best way to get a DJ's attention, along with some goodies – like download codes that can be giveaways during a show to generate interest is valuable too. Whilst that’s not discounting the merit of other genres, it’s just not usually my sound. There are plenty of other DJs out there that cater to other genres, so I appreciate (just as I do for myself) when an artist “researches” for suitability – it saves everyone time. Do I break out of my preferred genres every now and again, sure --- variety is the spice of life, but I defo have my favourite kind of sound, and that’s what gets played on my DJ show.

Who are the artists you have the most rapport with through the show? Which industrial, dark electro and ebm artists featured on the show would you recommend?

I regularly have the likes of Waijdan, antibody, Simon Cater (and Fabsi), Anthony H, SET, Witch of the Vale, spankthenun, Mechanical Vein, and Live Evil pop into the stream and have built good relationships with them, so much so that we’ve exchanged remixes in the most part. Other artists that have come by when I’ve had a special which includes them include the likes of Moaan Exis (remixed my track “Terrorfying”), Aesthetic Perfection, ESA (remixed my track “Triolith”), Hidden Souls (I remixed “I Was There….” Melmoth, Ludovico Technique, Danny Blu (I remixed “Love Me Bad”), Gothsicles, Caustic… I’m sure there’s more, but they’re slipping my mind right now. Artists who are consistently played on the show are bands like ESA, HORSKH, Moris Blak, Aesthetic Perfection, Faderhead, Night Club, Kanga, Ayria, and Josie Pace all of which I would highly recommend!

When did you start co-promoting with music festivals to gain more listeners and supporters for the bands you air?

The first “special” I did like this was for Resistanz Festival 2020. I was meant to DJ live at the event, but that’s when the first lockdowns happened. It’s a well-loved festival in the UK and I sensed everyone’s disappointment at it being canceled, so I put together my first online DJ event (April 2020 which was via Youtube, then I quickly moved to Twitch in May 2020). The festival organizers were excited that there was something still being presented and in this early stage of “living life online” it was an incredible turnout of fans and bands. From there, it seemed a great way to promote festivals/releases, particularly when I’m involved in them, but I especially like to promote the community as a whole and if there’s a great line-up why not help promote it and the music! People won’t go to live music shows / pick up that new release if they don’t know about them, and my events are just another way of getting the word out there! I’ve had some really creative shows: WGT (Wave Gothic Treffen tribute), Industrial POP special (supporting Aesthetic Perfection and similar artists), HATARI release party – I was a contributor to their remix release “NEYSLUTRANS” along with eleven other remixers and devised a Twitch show where I played each of the remix tracks, “sandwiched” between two of the remix artists original tracks – it was a fantastic way to highlight the talent of the remix artist and their own work and was very well received. Then there are the countless charity/fundraiser streams I’ve been a part of too, supporting the likes of Slimelight, ACLU, Beat: Cancer, QXTs, Tierschutzverein Heidelberg (animal shelter), flood victims 2021 Germany, Afghanistan Refugees, Cure Rare Disease Org, medical expenses for community members. Ultimately if we support each other, then the community as a whole thrives. There’s a brilliant statement/quote from Daniel Graves (Aesthetic Perfection) that resonates with me, “a rising tide lifts all boats”, truly poetic and rings true again and again.

What music festivals do you plan to co-promote with in the future? Are you discovering new bands to promote of late?

Other than the upcoming HELLSINKI INDUSTRIAL FESTIVAL stream (mentioned previously) there are no other current promotion plans. Too much day job and music writing/releasing taking up all the hours!! However, yes, there are always new bands we are discovering that we try to promote within the show – Twin Rattler (top pick), Waijdan, Skren to name a few.

What’s next for your solo project, and what impact do you expect to have on music in general?

Exciting things in the pipeline for future happenings! Release-wise, a mini EP INFINITE HORIZON REQUIEM was just made available this past Monday, 24th October. The special mix versions of these three tracks were previously only available on selected compilations but now collected together to form IHR. Then continuing in the musical vein, is the release of a brand new single, TERRAFORM, accompanied by remixes from SIRUS and BLUE ANT! The release date for this is to coincide with my debut USA gig, a solo show in Portland, Oregon on Friday, 18th November, 2022 at the Coffin Club and is presented by the promoter Creepy Culture. In advance of that live gig, I have other appearances at HELLSINKI INDUSTRIAL FESTIVAL, both a band performance on Saturday, 5th November, 2022 and a DJ set on Friday, 4th. This event by Elektrik Products is bringing together a ton of stellar bands across the scene, including Suicide Commando, Jessi Frey, King Satan, ESA, Centhron, Gothminister, Siva Six and many more. And nestled in between these two massive live events, I've got a DJ set at Zero Day Festival, here in London at the iconic Electrowerkz venue (home of the world's longest running “goth” club, Slimelight) on Friday, 11th November, 2022. It's awesome to have such a full live performance calendar, but December holidays will be focused on writing more new music!

Impact? That's an interesting question... ultimately I make music for myself, it's something in me that needs to get out and be expressed. If it can resonate with others for a minute of their day, that's awesome and I'm eternally grateful for the support and interest my project receives. To the music lovers out there, like what I'm doing - keep supporting in whatever manner is easiest for you: gigs, Bandcamp, merch, streaming, requesting track play from your clubs/DJs, following on social platforms, sharing/liking posts and introducing friends. Every little bit makes an impact, especially for an independent artist such as myself.

https://matthart.bandcamp.com/

https://www.facebook.com/djmatthartuk

https://linktr.ee/matthart3808

-Dave Wolff