Doom Metal band Bathsheba will release The Sleepless Gods on May 15th through Svart Records. Bathsheba play a rehashed 1970s “witchy” doom metal that appeals readily to a mainstream audience looking for a moderate and palatable dose of the mainstream and casual “occult” . Women’s vocals accentuate the late 1960s and 1970s horror movie concept of the witch’s covenant celebrating a bloody black sabbath. For fans of average retro music.
The metalcore community is aware of your criticisms and attempting to reform itself.
During the past decade, a number of bands have tried to reign in the genre from its Necrophagist-style peak of unrelated technical fireworks to more of the songwriting that made bands like Botch, Human Remains and Rites of Spring influential founders of the genre.
With The Blessed Sleep, Ara steps up to the plate by streamlining the genre and removing the unrelated parts, which keeps a focus on songwriting like Harkonin or Neurosis. This eliminates the biggest problem, but for those who don’t like metalcore, it leaves the tendency to scream out lyrics in a trope of regularity and a fascination with “different” riffs and surprise twists that often leads toward a predictability of being unpredictable. (Imagine a general on the battlefield who maintains an advantage by being unpredictable. After a while, it becomes random, and easier to respond to because there is no expectation otherwise.)
The Blessed Sleep attempts to work around these challenges to the genre by varying tempo and the texture of riffing, stacking subtly melodic arpeggios up against chromatic chugging riffing, and by not using any single technique constantly (except the angry-man-in-a-phone-booth vocals). The result is far more listenable and develops actual songs that, although based on jarring contrast, are able to return to a single pair of themes and develop variation there.
Although Ara are touted by many as technical, nothing here is particularly technical as in specific skills, but putting these songs together without them falling apart and playing them on the nose will be difficult for any but a professional and experienced band. The streamlined songwriting, topicality and focus make The Blessed Sleep one of the more intense tech-deth albums to emerge in recent years.
Sleepwalker has decided to come out from the shadows to indulge us further regarding his projects:
Since creating Forbidden Records you’ve released numerous albums and splits. What are some of your favorite releases that you’d like our readers to check out?
93! I would have to say that they are all killer and out of print. Each release has had its own relevance and meaning. I was really happy to put out Thornspawn / Black Angel, two legendary bands, along with re-issuing Kult ov Azazel’s demo material. That is not to make light of Immolith or Draconis Infernum, as their tape releases were killer companions to the CD counterparts. I hope to re-issue the older A Transylvanian Funeral material soon as well, so I suppose fans will get a chance to hear that material again…
How has Forbidden Records grown since its inception?
This month, March of 2013, marks several ‘firsts’ for Forbidden. The distro is growing in size and I am able to mark all of our CDs @ $5. I would rather they sell and be enjoyed than try and get every last drop of money from the fans. The new A Transylvanian Funeral and Goatcraft albums out this month are our first Pro CD, Redbook quality release, and I was able to hire Clawhammer to help out with the press push. It has grown to the point where I almost can’t do it all myself, which is great. I have also expanded into selling occult amulets and talismans, as well as occult books from Crowley, Summers, Mathers, etc.
The occult and metal have always been a huge part of my life so it is a natural progression. Forbidden Records is also still a recording studio, as it really began, although I rarely invite clients into its doors and remain private. When I have, I have been very selective and not disappointed in the outcome.
Why did you start Forbidden Radio?
Forbidden Radio started for many of the same reasons Forbidden Magazine started. I was operating a studio under the name of Third Eye Audio and writing a magazine when I put out the first A Transylvanian Funeral album. The magazine was fun but I found myself with more and more responsibility online while the print version sat on a self and the interviews I secured went nowhere. I understand the difficulties of running a zine so I opted to leave and start my own, since I had an album I wanted to promote, why rely on someone else to promote it for me when I can do it myself on in my own zine? With Forbidden Radio, it was the same situation. Many have great mp3 collections they have downloaded via Limewire or whatever it is these days to listen to them mutter incoherently in to a $20 radio shack microphone makes my skin crawl. I am not hoping that DJ Tonedef is gonna pay his internet bill this month and be able to do the show and promote my songs. No way! Just another case of DIY. There are a lot of great internet DJs out there and I had opportunity to be one but I know I don’t have the time or interest so I made Forbidden Radio, where bands can upload their mp3 and be in the queue of songs being rotated. There are no DJs, no advertisements nothing but streaming aggressive music.
It’s very admirable that you run Forbidden Magazine. The internet has garroted most DIY publications. Why did you elect to print physical copies of your magazine instead of stockpiling it all online?
I don’t know, to be honest. I enjoy making things, tangible products as opposed to files and software. I have all the magazines online in PDF form for people to read in whatever form they want but I have always been a reader, I still collect books. I work in a bookstore. It is in my blood to turn pages. Blogs and webzines are a dime a dozen but they are usually more current and up to the minute, which is nice, but a zine that interviewed Mayhem in 1990 is more appealing than a webzine that interviewed Mayhem in 2012. Printed zines are not disposable like the junk food internet is. Labels like to see their material represented in print as do the bands. Fans can go either way but if a fan collects Inquisition records, patches, buttons and zines with their interviews he has something to work with in printed form, online, not so much. The online he has to share, he can’t claim his territory with the online interview and add it to his collection. He is forced to share. I like giving people the ability to mark their territory, to not share, to have something of which only 100 copies were made, revert to primal animal character instincts, etc.
You have interviewed numerous bands for Forbidden Magazine. I noticed in some interviews you inquire about occult influences. What are your thoughts on the occult?
I have always had an interest in things occult, or ‘hidden’. My mother was an accomplished numerologist and had an uncle who was a successful hypnotist and psychic so I was exposed to things that others may not have been, all of which were positive, of course. I don’t consider myself a satanist or devil worshiper as other who do not know me or my character do. I do not discuss my spiritual practices as that only weakens their potency but anyone who is familiar with Crowley’s 28 Theorems should know that I adhere to their principles and methodology. I have experienced far too much amazing ‘changes in conformity with Will’ to believe anything less than the Truth in Magick and the Higher Self. Crowley says the same thing that Chopra and Robbins does: we live in abundance, change your paradigm and become a receptacle for your desires. Get out of your own fucking way and let the power flow through. While I study and practice Thelema, Tarot and Western Hermeticsim, I also find the practice of Chaos Magick to be of worth, as the complex systems of the Golden Dawn, QBL and Enochian can be so multi-faceted that it become unproductive. Sure, you may become a wise old mystic after 20 years of studying and meditating upon the QBL but that understanding is of little practical use when you can’t manifest a parking spot or get a better paying job. I was initially drawn to the work of LaVey as a teenager, as most rebel youth are, the ‘practical’ or ‘materialist’ sense of LaVey’s Satanism is appealing to me as well, as I spent years of my life without money, without direction, without the power that money brings, like being able to print a magazine, put out albums, buy mixing boards, etc. Unfortunately, LaVey puts his Satanists on an island, disconnecting them from the infinite universe and its 100 trillion stars. That is where I switch gears and find myself picking and choosing amongst different faiths and making things work for me. I guess that makes me a heretic of some sort or another.
You appear to be a workhorse. Is it strenuous to operate so many projects at once?
Yeah, it is and I try not to bitch about it too, as I would ‘do’ than ‘want’. I just had the conversation with a friend that I would rather be hard to work with and show a strong track record of success as opposed to be ‘easy going’ and get nothing done. The hardest thing is not making time to go the gym, to be honest. I miss working out and having that time to myself, for myself, alone. When the time comes that a project is suffering because I am trying to juggle too many projects, I hope I am smart enough to give some one else the reigns, hence my hiring of Clawhammer for March’s releases. I don’t gamble at casinos, but I do bet on myself and Forbidden to get shit done. I have watched so many young bands rely on other people to get them somewhere they want to be instead of taking it themselves…fuck that shit! I am humble but when I look at what I have done, it feels good. I wrote a pretty heavy introduction to Forbidden Magazine III, reminding bands that if they work forty hours a week at a shitty day job, why can’t they work just as hard for their precious fucking art? I just can’t wait on handouts from anyone and the zine, the label and the band all kind of fit together well anyway. Malcolm X said that no one can give you anything, if you are a man, you take it.
What are the influences for A Transylvanian Funeral?
I have a lot of influences musically. Mayhem was the first band to turn me onto black metal. I hear so much new music from Forbidden Magazine it is hard to gauge what makes it through my subconscious filter into my guitar… I think the sound has changed enough over time that it hasn’t grown old, and it was always my intention to reinvent my sound or creative process with each album. I enjoy all extreme music but find myself listening to completely different stuff for pleasure, when I am driving, for example, this week I have been listening to old Wax Trax! stuff, before that I was listening an album that I mixed of a local psychedelic / rock band. There are parts of me that just like playing Black Sabbath songs standing in front of my amp, rattling the windows, too.
Being the sole member of A Transylvanian Funeral, how would you place in juxtaposition your new album Gorgos Goetia to previous works? Is there a personal rumination promulgating in your music?
I am certain that I do have a message or proclamation that I am making in my music, it is just that it changes from song to song, album to album. Gorgos Goetia has a focus on the creative energy of Magick, its power and properties but every song is not necessarily about Magick, unless of course you reference Crowley’s Theorem #1… When I started writing for Gorgos Goetia, I didn’t want a drum machine, so I got a shitty drum kit and beat the hell out of it the best I could. I didn’t want layers of guitars, so I recorded one track and used a delay for fake stereo. Minimal production in terms of EQ, compression, gates, etc. Anyone who has heard the previous album, ‘the Outsider’, can hear keyboards, pianos, samples, drum machines, multiple guitars, elaborate reverbs and a very coherent flow of songs from start to finish. I wanted Gorgos Goetia to be more disjointed, less of a comfortable listen, harsher on the ears and more a collection of songs that a ‘concept’ album.
What are the themes of the title and lyrics for Gorgos Goetia?
The themes vary but are based in Magick. ‘Moonchild’ has little to do with the novel and more to do with the novel’s point, the birth of a Magick child, the creation fashioned from a union between the Will and the Universe. Potential + Preparedness = Creation. ‘The Supreme Rite of Transmutation’ is a celebration of power, a giving of thanks and acknowledgement of the divinity within. ‘Night Hags’, on the other hand, is based on a story I read from one of Montague Summers’ collection of witchcraft and vampire legends about these vampire slaves, or ‘night hags’, as he were referred to, that would enter the home and steal the body of a soon to decease corpse. I enjoyed that story, because in it, the hags didn’t use ‘black magic’ to steal the body, they simply left a bottle of rum outside the door and when dying’s family were all drunk and fast asleep, they simply walked in and took his body. Depending on your perspective of things, they can appear either mundane or magickal. Many times, I have a song title in my head and work from that point forward, ‘Hymn to a Gorgon’ was one of those instances. From that song, I derived the album title, Gorgos Goetia, which is a difficult translation from Greek to ‘terrible sorcery’. I plan to release a collection of all lyrics from A Transylvanian Funeral in book form, as they have never been released previously, other than in PDF form and two songs with Plutonian Shore, ‘Moonchild’ and ‘The Supreme Rite of Transmutation’.
The split Alchemical Manifestations has received good reviews. Why did you choose to do a split with Plutonian Shore?
Plutonian Shore was visiting Tucson and contacted me, wanted to hang out and we did. They came over and we sat in the studio listening to Snotarar and talked about Magick and putting out an album together. We both had material to release and it seemed natural. It was great meeting them and we are both fans of each others music, I just hope to repeat the experience sooner than later. I just heard today that they sold out of the cassette version of the split but I still have copies of the CD available. I also wanted to share a split with a band that operated differently from my own. They are a full band with two guitars and keyboardist, play live, etc. where as I do not, etc. We vary in methods but share similar results or goals, so it made for an interesting and contrasting split, which I think creates more listenability and interest.
A Transylvanian Funeral has never played a show and has declined summons from others to do so. Will A Transylvanian Funeral ever perform live?
I doubt it but I never say never. I don’t disrespect what other people do but feel disrespected when someone asks me to play a bar and doesn’t take the time to research who they are contacting. A mass email to 1000 bands inviting them to ‘pay to play’ is garbage and I will not suffer a fool. If and when I do play live, I would like to document the event, video, audio, etc. and make a nice release out of it as it will probably not occur again. I just find I get more done alone. Maybe I spent too many years playing with people whose ideas did not coincide with my own and things would be different if I were different but if it isn’t broke, why fix it? Plus I would need to do it in Texas as all the potential members reside there currently…!
Thank you for taking the time to enlighten our readers about your exploits. What advice would you give others that are interested in creating their own record label, performing solo in a black metal band, or establishing their own magazine?
Thank you for taking the time to write the interview and push my material, it means a lot to me! If someone is reading this and wants to do the things mentioned, remember that your success is your responsibility, not a label’s, not a magazine, not a DJ or promoter or club or a drummer or his three girlfriends. There is a power and a means to use that power to get what you want in life. Trust your instinct and be prepared to get knocked on your ass more than once. Once you decide to stand back up and keep fighting, that’s when life will give you more of what you want. 93!
Hailing from Rhodes, The One is a black metal project by the mastermind behind Macabre Omen, who, alongside Varathron, have been the most consistent artists in the Hellenic scene during the past few years. The One performs a style of black metal that draws from various influences such as Mayhem, Hellhammer and Bathory, yet it is filtered through the Hellenic prism of longer melodies and warm, ritual atmosphere.
This sound is shaped by multiple layers of guitars and distortion. The ensuing disorienting atmosphere resembles a maelstrom in the river Acheron, sucking the listener inside. Indeed, it feels like this was recorded in a cave; in the same way that subterranean noises can be distorted due to echo, the guitar parts are blended into each other, rendering the act of discerning riffs difficult at certain points. This is a great case-study in modern black metal production, because it helps the riffs hide on the first listen, in order to reappear on the next.
Following the title of the album, the senses are guided from freshly dug graveyard soil to the nebulous regions of the sky, so that through death and a confrontation with the violent forces that sleep in man, a feeling of mastery may be conveyed. The tools with which The One is trying to impose this effect upon the listener are chromatic riffs inspired by Hellhammer that provoke cyclopean headbanging and excellent vocal invocations to Mayhem. Truly, the vocals are resourceful and employ a wide pallete of techniques. The locomotive guitar parts taken from Mayhem lead to cryptic orientalist melancholic riffs in the style of Macabre Omen.
A natural mood pervades the compositions, in the sense that changes happen when they have to; nothing is rushed and there is room for the riffs to breath. They rarely outstay their welcome as they flow into the next riff. However, chromatics are used not to liberate the composer, but to evoke claustrophobia, thus there is not much harmonic movement going on, similarly to church and folk music. This fact interestingly tends to increase the value of such movements when they happen.
The listener has to meditate on the sonic violence, for things that hide and appear on the third listening session. Even the guitar solo which imitates Euronymous can be mistaken as a traditional pipe instrument for a few seconds because of the sound and bending technique employed. Proceeding from the Heracletian philosophical foundations that “All is One”, Byzantine chants, melodies and vocals are chocked in the midst of chaos and appear as a homogenous mixture that propels the song onwards. This atmosphere is very ritualistic and the compositions move with uniformity to reach the epilogue of the record.
For all the talent of its creators, I, Master might pose a few drawbacks on the more experienced listener. To begin with, due to the hiding of the riffs and all the finer details it appears that the album doesn’t want to be noticed. Verily, the hooks of the record are the noisier parts which rely on the listener’s curiosity, like a puzzle. Unlike Aosoth’s early work and other Greek bands, this release is more tempered and doesn’t aim for direct impact. This is not a drawback per se, as it is a really interesting approach to keep the uninitiated listeners away and is in alignment with the spirit of black metal.
The second danger, is that this record belongs to the tradition of occult black metal, which is often dominated by monotonous attempts to resemble a liturgy and subsequently the release flirts with wallpaper aesthetics. However, The One manages to navigate through those reefs by channeling quality melodies and intriguing vocal performances into the mixture, thus keeping the attention of the listener throughout the record.
Therefore, the degree to which The One falls on the above trappings is subjective and depends on the attention span of the listener. An equal case can be drawn for experimental doom rock band Universe 217, which creates a parallel cosmic vibe which escapes post-rock monotony through possessed Janis Joplin vocals and intricate 12-chord riffs that channel emotion so that the composition can move somewhere else. In general, when monotony may infiltrate a composition, a great riff and some fine details can save the day. As Ildjarn demonstrates, passionate performance stands above all and passionate performance stems from passionate composition, which in term depends on the artist’s intention. The One’s intention cannot be disputed.
In fact, the whole record has a personal dimension for many reasons; first of all, the “I” in the title; second, enigmatic whispers on the final track suggest the importance of “creating” for the artist; third, Macabre Omen has already taken a personal tragedy and projected it into historical events, in Gods of War. Therefore, there is a tendency of projecting the personal into the universal, which might account for some addictive elements in the record that assure its replay value. In addition, there is an emphasis on individualism, that can be also witnessed on the early days of the band.
To sum up, this album highlights:
How to create a dense cryptic atmosphere without becoming a sonic wallpaper.
How to use the asphyxiating production to hide messages, like a grimoire or an ancient artifact.
The importance of blood and/or culture, since The One is definitely inspired by the folklore, religion and traditional music of his country on the catchier passages, making those possibly unfitting influences sound honest, true and convincing, because they have been experienced.
However, the strongest part of the record is the translation of its philosophical underpinnings into music. A cosmic ambience resides on some tracks, a vibe of some greater universal force that drowns the individual and helps him reach his potential at the same time. An example where The One flirts with this ambience is on song V, which unleashes a Burzum interpretation of doomy ambience and contains a long melodic riff that covers “Temples in the Shape of the Sky” by Greek composer Mikis Theodorakis. This riff is the high point of the record and hints at a possible ascension, a sort of spiritual illumination.
What is tragic is that when this theosis is attained, there is no escape into the great beyond. The song falls back to the Earth, back into the previous slow stratospheric riff.
This is exactly where The One and good black metal in general differs from the so called ritualistic, occult or “Orthodox” varieties: spirituality is acknowledged yet it complements the Earth and cannot be conceived without the Earth. After all, metal is not about escaping, it is about consecrating reality. The return to this previous riff may feel sad and definitely makes one hunger for more. However, it also creates a feeling of strength over reality, strength gained through experience and understanding. The listener was dominated by the music throughout, but now a sense of mastery is communicated. Albeit tragic, this can feel beautiful and the aim of The One is achieved.
Death Metal Underground is glad to host an interview with Lou Ferrara of Sapremia, a true Hessian who has continued to develop his underground metal art throughout more than two decades while battling in real life beyond pretensions and illusions. So far, Death Metal Underground has published reviews of two of Sapremia’s works: Existence of Torture (1994), and With Winter Comes Despair (2008).
1. Sapremia released two demos back in the day, Subconscious Rot in 1992 and Existence of Torture in 1994. What brought about your return, and development of two full-length albums in 2008 and 2013?
Lou: We actually played until 1996, and had enough material for a third demo, but our drummer left and we could not find a suitable replacement. At the time, the decision was to “go to sleep” instead of putting out any inferior quality that we held ourselves to. Around 2005, we began to talk about “waking up” and we had found a drummer worthy of bringing our material to life. We brought back a few old songs, wrote a few new songs, and booked a bunch of gigs which were to begin in January 2007. At the very first gig, a rep from Open Grave Records approached us about releasing material and actually followed us around to the next few gigs to make sure of it. In Philly, the 4th show back in 10 years, we signed a deal with OGR for an EP and a full length. The EP, Hollow, came out in July 2007 and the full length came out early 2008. We had not planned on this, it just happened and we embraced it as the EP sold out in presale, and the full length went through four pressings. One guitarist left, bringing us back to a three piece, which is how we were from 93-96. We ambitiously gigged a ton in the next few years, which slowed the writing process down a bit. Autumn’s Moon was released July of 2013 on Butchered Records, as we had talked with them several times through touring about our next release. As of now, we are working on the final track for our next release, which with good fortune should be released 2019.
2. How does the playing of live performances feed into the creative process of Sapremia? Can the same potent effects and thought out structures we hear in With Winter Comes Despair (2008) be repeatedly accomplished without the experience of live performances?
Lou: Live performances feed into the process 110%! During our writing process, as the band molds each track, we generally will test them live. Audiences never realize that they hear a new song and may never hear it in that form again… there are only small changes, but they indeed happen, especially lyrics and vocal patterns as I become more comfortable singing and playing the songs. It is only through playing live that we truly find what each track needs and go forth from there. The only downside to this process is that the next album is always revealed to live audiences before it is ever recorded.
3. Testing each track live and modifying it until it feels ready explains why you take many years between albums. Do you think that those songs could be modified and improved even after the album has been released, perhaps indefinitely, or does the album ‘freeze’ them in time? How do you know when a composition is ready: does it depend on the audience or is it the composition itself revealing “its needs” to you? Could your best creations keep changing and ‘grow’ old together with you… until the end?
Lou: They most definitely still evolve after the album is completed and released. Nothing is ever frozen with us, we change things up often, especially my vocal delievery. Most of the time, we will just know when a track is ready for recording, even if it may change, we are comfortable with the way it is set at that time. As example, in “The Despair of Winter,” we recorded the fourth riff of the song straight through, as we play it now; the third time played has a bunch of stops in it to accentuate the notes and give it a feeling of being more tight. I would definitely say the songs are as much part of the band as the members themselves, so they can and probably always will be tweaked as we continue to play them.
4. When writing music, how do you approach song-writing / composition with respect to organization or structuring to achieve a result that makes sense and feels complete?
Lou: I do almost all of the initial writing for each track. It usually starts with an idea or two floating in my mind and I begin to hash them out on guitar (though I play bass for the band). I usually like to weave similar note patterns into each riff of a single track, as it seems to make that particular track flow better within itself. When we were young and writing those demos, this was definitely not our approach at all, and it was only as I got older that I started to do this in an attempt to make songs less jerky and all over the place, giving them more of a flow and essence to themselves. I am not sure if anyone has ever picked up on my patterns, but most people, musician and non musician will say that our songs are memorable and engaging. That’s all I really am looking for: to take the listener on a ride with each track. When we all get together to play the songs out, little things will change here and there, and the songs become complete with a group effort.
5. We can personally attest to the fact that attentive listeners can consciously pick up on such patterns. It is also fair to say that even when the listener is not fully aware of them, such logical patterns play an important psychological role in the overall feeling of cohesion of the song. Do you usually start with one of those patterns (motifs) as pure sensations of flow and movement, or do you think more in terms of trying to make a guitar/bass riff?
Lou: I definitely have them start out more as sensations or feels. My intent while writing is never to write a riff, but to fiddle around with whatever concepts flow from my subconscious until I have something that I enjoy listening to. Usually this concept becomes the focal point to a track, it will mold and change, but it has started there. As I being to entwine other riffs into a track, then I may be more concerned with actually writing a riff, again using notes and structures from the original concept to make it flow to the attentive and casual listener alike.
6. Do you think that, besides the sense of enjoyment that one has for one kind of music or other, different kinds of music open ‘windows’ to different ‘dimensions’ inside us? So that, no matter what words are forcefully pasted on or appended to the music, the music has its own character, its own nature, and is a kind of key that opens specific doors in the mind?
Lou: Absolutely! Sapremia by no stretch of any imagination has invented any kind of wheel in the DM world, but I feel that we do have a certain sound that is unique to us. Part of that is because our drummer, Ryan Hill, basically comes from a hardcore / thrash background, and our guitarist, Brian Rulli, has not really listened to much newer styles of death metal since the 90’s. I personally listen to many different styles of music and it helps to not just be stuck into writing “a death metal song.” We came from an area in the early 90’s that has the NY Brutal DM label attached to most bands that are our peers, we tended to play more of the Scandinavian stlye of DM, with grooves and hooks, Ry added a lot of the off tempo and d beat drumming from his background to make it complete.
7. Is death metal a way to visualize powerful forces beyond human control that show us our place in reality, or is death metal only a way to fantasize and escape reality?
Lou: I believe that it can be both. Death metal is a juggernaut when done in the proper way, something that is colossal and has a life force unto itself. When I hear death metal in its true form, I am definitely swayed to feel it is unstoppable and beyond normal human understanding. I also feel that not all death metal encompasses this, and not saying this death metal is inferior in any way, just saying that it can help to escape reality if only for a few fleeting moments, but is not life altering. I know when I hear it, what I mean; I’m sure others do as well…
8. We share your opinion that not all death metal encompasses this, and that we know when we hear the ‘life-altering’ effects of more involved death metal of deeper consequences. What, in your opinion, is the nature or effects of mental bending or warping that (true) death metal can cause in the focused listener? Is it a removal of the petty, ignorant human vision that sets us as the center of the universe? Does (true) death metal help us not only understand, but to feel in our gut and deepest corners of the mind, that the universe is shaped by marvelous forces that neither care about —nor are aware of— our feelings and desires?
Lou: This is a truly deep question, and I am not sure the any one answer would be the same for everyone. I only know what I hear and feel when a death metal phenomena occurs. For me, usually it occurs during a live performance, as outside forces and happenings will change each scenario. There are times when I am experiencing such a thing, and when it is completed, I really am not sure where I was, what I did, or what happened, other than the death metal experience itself. I have found this occur, and immediately need to leave the venue even though other performers are still to come, because nothing can touch what I just experienced.
9. Have you been able to find equivalent experiences through other media, such as literature or film? If so, how do those experiences differ to those had with music?
Lou: Oh yes, mostly with literature, as I am an avid reader. A lot of my lyrical ideas come from books and movies in which I adore. It is different than listening to music, as being at a show or listening to a favorite album brings out more raw emotion, that will leave me physically spent. Books and/or film take me on a journey that I can leave reality behind for a little while, but not have me as physically attached. If I’m locked into a good book, i can read for hours and come out of it not realizing what time it is or what has happened around me. A good film can have that same effect, though I would venture to say that it usually will only happen at the cinema and not at home from the couch,
10. We often talk about ‘narrative’ in music, as the way in which musical structure tells a story with a beginning, a middle and an end with a significant climax somewhere in there. Do you see any other parallels between music as a form of structured communication, and literature as organized thoughts?
Lou: Music and literature go hand in hand in these regards. The biggest of differences to me, are that even literature, while not visual, has description and direction that the author tries to steer their own audience to ‘see’. Musical landscapes are more open to the individual interpretation of one’s mind. I am not speaking of lyrics, just the music itself, every listener will hear it in a different way than the next. So while there are definite parallels between music and literature as far as structure, they also differ from one another in the uniqueness of the delivery.
11. What literature in particular, and why, would you recommend? Do any of these relate to some aspect of underground metal or what it points to?
Lou: This is a very individual response, anything can relate to underground metal depending on any persons perspective. Personally, I am all horror and fantasy, which is sort of cliche in our genre but definitely a driving force behind it. Tolkien, Brooks, Thompson are among my favorite fantasy authors, and I have definitely borrowed from each in certain aspects of lyrical motivation. Barker, King, Lovecraft, Stoker, are among the horror that I enjoy.
12. A lot of the less respectable metal has little value except for shock value. To what extent should an authentic underground metal artist strive to reflect in deeds what he in art praises, condemns or generally reflects as an interpretation of reality?
Lou: I really feel that that should be left up to the individual, as far as they want to pursue alternative means for which to get their perspective across. Personally, I am a fan of letting the music do all the talking, I do not need visual stimulation from an act to aid in the enjoyment of what they are trying to provide musically. This is not to say that any one approach is right or wrong, it is up to the individual performs to find what works the best for themselves.
While it may appear pandering to many that we constantly bring certain albums to the forefront of our discussion, the reason for doing this is that the state of maturity which metal as a whole attained was only able to knock on the door of the mysterious experience transmitted through music. Different albums discovered different doorways, uncovered overgrown pathways, and scaled mountains. Ildjarn found contemplation of the absolute in the eye of stormy rage through elated freneticism. At the Gates reached hitherto unmatched heights of craft and musicality. All rasping and scratching while blindfolded, a crossing of the threshold by different means and interpretations. Fewer still are the music albums, metal or otherwise, which struck at a purity of sound that needed no interpretation. (more…)
One of the hallmarks of great musical works is that every note has a purpose to move the mindset of the listener in some direction. Musical structure whether on a small or grand scale is what gives music much of its power and memorability; a focused work that wastes no note and moves with constant intent from distinctive point A to distinctive point B and on will embed itself into the mind of the listener not just for its general sound and aesthetic but in its entirety. Classical pianist James Rhodes said of Ludwig van Beethoven, likely the greatest composer of memorable themes in western art music, that with his works, “Every note was sweated over, every theme worked on tirelessly and chiselled into immortality. The manuscripts of Bach and Mozart look spotless next to the messy, crossed-out, almost indecipherable madness of Beethoven’s. While Mozart hurled symphonies on to paper as fast as he could write, barely without correction, Beethoven stewed and fought and wrestled and argued and raged until he forced what he was looking for out and onto the page.”  Sadly, however, the importance and art of structure is often ignored and neglected entirely within metal albums. Too often a death or black metal band is content to choose a tempo or two and proceed to restate the same content through interchangeable means for a length such that they overstay their welcome about halfway through the ordeal. (more…)
With an unstoppable invasion of Muslim migrants and a judicial system that refuses to prosecute their crimes, the nation’s progressive government leaders have definitively surrendered the future of Sweden into a Muslim majority. It will only be a matter of time until a revolution occurs similar to that of Iran in 1979, when the country’s republic is overthrown and replaced by an Islamic theocracy and hijabs are forced on the women of Sweden. It’s a reality that Swedes had better accept sooner than later as it has already happened to many other less willing nations within the last century.
Under Sharia law, there are harsh penalties for blasphemy, witchcraft, female indecency (exposing your body/not wearing a veil in public) and devil worship- ranging from a life in prison (with the press declaring you committed suicide) to public execution. There will be no mercy shown for those who profaned/denied the image of God whether the act occurred during or after the new rule of law was instituted. Therefore, any and all Swedish bands with such lyrical content will be quickly and efficiently strung up en masse when the new government arrives.
And if all this sounds crazy to you, just read the tale of Iranian metal band Confess and the horrors its musicians have been forced to endure. After recording the lyrically harmless In Pursuit of Dreams (of which song titles include “Did You Get My Last Massage?” and “What Doesn’t Kill You Make You Exhausted!”), the band’s vocalist Nikan Kosravi were thrown into prison, forced in solitary confinement, and denied bail for almost a month. The kid’s parents had to sell their houss and pay $30,000 for him to be released, and he faced the punishment of death by hanging for the crime of blasphemy. He eventually hired a human trafficker to smuggle him out of the country to escape a 6 year prison sentence!
FYI Those are Saudi Arabian women being hanged, for all of you hijab-wearing feminists out there
But all the while brainless beta-cuck musicians existing in a Gothenburg liberal bubble like Tomas Lindberg of At the Gates will be decrying nationalism and populism as the horrifying bogyman that threatens their world. They will cheer the eventual institution of Islamic government as “the end of a tyrannical Christian reign” and will not even notice the militants sneak up behind them until the bag is thrown over their heads. Some of their fans will cry and throw tantrums and in retaliation be beaten in the streets, but they will ultimately do nothing as their Swedish death metal heroes are hanged by the neck right before their very eyes.
If you have ever played in a Swedish death or black metal band, you’d better get the hell out of the country before the day of Sharia comes (I’m giving it less than ten years). And if you’re in a band on the below list, I am not kidding you: you are going to die!!! To the rest of the world, prepare yourself, because it is likely only a matter of time before the musicians of following bands will likely be executed in front of a liberal metal world that was too dumb and too feminine to stand up to what is happening:
I enjoy camping. Solitude. Enjoying primitive conditions. Witnessing the power and beauty of nature. It helps one keep a good Hessian frame of mind. I try to go as often as is possible and there is one location near me that I frequent rather often. After a bit of a drive over old logging roads through the hills I stop and pull my car off the side of the road and put on my pack and get my rifle at port arms. To get to my favoured camping area it is a 5 mile hike that for a short while follows an abandoned narrow-gauge railroad that some logging company built to expedite the extraction of resources from the area many years back. The place I like to set up camp is a tiny, elevated clearing in the pine trees next to a small creek from which I can get water. The area is a temperate rain forest of sorts, so there are 3-6 foot tall ferns everywhere, and in old-growth areas that have not fallen prey to logging, you can see the triple-canopy growth that is common to all rain forests. However, most of the forests around have been logged at some point so this sight is rare. I use a small shovel or a machete to clear out the ferns so I have a nice place to build a camp fire and an area to lay out my sleeping bag. The chopped down ferns double as a nice mattress.